Anna-Queen Doll
View allAll Photos Tagged Anna's
Famous Movie Quotes :
– Picture :
– Description
Anna Karina in Godard's Pierrot le Fou (1965).
-Read More –
dearart.net/cinema/quotes/famous-movie-quotes-anna-karina...
Trendy Engagement Rings & Wedding Rings
Picture
Description
Elegant & Contemporary Champagne Diamond Engagement Rings ~ Anna Sheffield's Pear Rosette Ring
- #Rings
Famous Movie Quotes :
– Picture :
– Description
Anna Karina in Godard's Pierrot le Fou (1965).
-Read More –
dearart.net/cinema/quotes/famous-movie-quotes-anna-karina...
Model: Skye McLeod Fairywren
Bento Mesh Head: CaTwA Lona
Bento Mesh Body: Maitreya Lara
Face/Body Applier: YS&YS
Body Tatt: Belle (pink) by [White~Widow] for The Enchantment
Hair: Giz (moon stone) by D!va
Gown: Belle's Enchanted Ballgown (pink) by Silvan Moon Designs (!!SMD!!) for The Enchantment (available in six shades)
Bento Rings: Ilaria by *elise*
Pose: 9 of 25 2012 by aDORKable
SIM: Brand New Colony, Teasers @ maps.secondlife.com/secondlife/Teasers/86/170/39
THE FASHION TELLER: Femme Fatale "MEDUSA"
issuu.com/fashiontellersl/docs/femmefatale
MODELS: Anna Sapphire
PHOTOGRAPHER: Enzo Champagne
FASHION: Champagne! Sparkling Couture
LM: maps.secondlife.com/secondlife/The%20Renaissance%20Galler...
Medusa was once the most ravishingly beautiful maiden in Athena’s temple, the jealous aspiration of many suitors. One day, she was caught being raped by the God Poseidon in which the enraged Athena transformed Medusa's beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone.
MEET ALL THE FEMME FATALES: issuu.com/fashiontellersl/docs/femmefatale
Our sincere gratitude and appreciation to:
-Enzo Champagne for designing this amazing outfit for Medusa and for his amazing talent in making the story come to life with art
-Anna Sapphire for portraying the character in a breathtakingly beautiful way
Head: Catwa Head Catya
maps.secondlife.com/secondlife/Catwa%20Clip/144/114/24
Body: Maitreya Mesh Body - Lara
maps.secondlife.com/secondlife/Maitreya%20Isle/128/133/24
Hair: {Limerence} Afina hair
maps.secondlife.com/secondlife/MagnetiS/194/129/1001
Top: ED. Sabrina Black
maps.secondlife.com/secondlife/Trixas/129/96/29
Pants: .miss chelsea. Yara Pants Army
maps.secondlife.com/secondlife/Love/129/188/25
Shoes: V.S ANNA SHOES MAITREYA-BELLEZA-SLINK-TMP OUCH!
You can see ; www.flickr.com/photos/maiclo__1001/14409882039/in/photost...
www.flickr.com/photos/maiclo__1001/14409872698/
www.flickr.com/photos/maiclo__1001/14410059277/
L’Architecture
Dès sa fondation, St-Pétersbourg fut placée sous l’influence européenne. Fasciné par l’Occident, Pierre Ier rompt avec la tradition moscovite, et invite des architectes étrangers. Le premier venu en 1703 est le Suisse italien Domenico Trezzini qui va dessiner les plans de la cité et construire les premiers édifices, comme le palais d’Été conçu sur le modèle de maisons pour notables (un des quatre types de demeures imposés par le tsar dans sa capitale), la cathédrale de la forteresse Pierre-et-Paul, l’église de l’Annonciation du monastère Alexandre-Nevski et le bâtiment des Douze Collèges, (devenu l’université). Mais c’est le palais Menchikov, construit par l’Italien Fontana et l’Allemand Schädel sur l’île Vassilievski, qui offre le meilleur exemple de ce style baroque pétrovien , avec ses fenêtres à petits carreaux, ses pilastres corinthiens et son toit mansardé à la française. Quant à Peterhof, c’est un Français, Jean-Baptiste Leblond , qui le dessine sur le modèle de Versailles.
Sous les règnes d’Anna Ioannovna et Élisabeth Petrovna, St-Pétersbourg entre dans l’ère du baroque russe . Son représentant le plus illustre est Bartolomeo Francesco Rastrelli qui, pendant trente ans, couvre la ville d’édifices féeriques. Des cariatides, des corniches, des colonnes et des pilastres surgissent de toutes parts, se reflétant dans les rivières et les canaux. Le blanc des colonnes ressort merveilleusement sur le fond bleu et vert – couleurs préférées de Rastrelli. Le palais d’Hiver avec son abondance de moulures et de pilastres, le palais Stroganov qui déploie ses cariatides à l’angle de la perspective Nevski et la cathédrale Smolny qui réussit une heureuse synthèse du baroque italien et de l’architecture russe, sont parmi les œuvres les plus connues du maître. Le palais Catherine de Tsarskoïé Selo constitue l’apogée du baroque rastrellien avec son immense façade bleu azur ornée de colonnes et d’atlantes. Savva Tchevakinski , élève de Rastrelli, construit la magnifique église St-Nicolas-des-Marins.
Possédée par la « fureur de bâtir », Catherine II renvoie Rastrelli et fait appel à des architectes nourris de culture antique. Commence alors la grande époque du classicisme . Vallin de La Mothe conçoit le sobre édifice du Petit Ermitage, destiné à abriter les collections de la tsarine. Antonio Rinaldi est chargé de la construction du palais de Marbre. Le jeune Giacomo Quarenghi , qui ne jure que par Palladio, impose le portique à colonnes corinthiennes soutenant un fronton triangulaire. L’Écossais Charles Cameron , fin connaisseur de l’Antiquité, est invité à dessiner des intérieurs de Tsarskoïé Selo. Les architectes russes sont mis à contribution avec Ivan Starov , auteur du palais Tauride inspiré du Panthéon de Rome, tandis que se développe le goût pour le style chinois .
L’engouement pour l’antique trouve son apogée sous le règne d’Alexandre Ier avec le style Empire chargé d’exprimer la puissance impériale. Les édifices deviennent pompeux : le Français Thomas de Thomon construit une Bourse aux allures de temple grec, Andrian Zakharov reconstruit l’Amirauté sous forme d’un arc de triomphe surmonté d’un temple ionique. Quant à la cathédrale Notre-Dame-de-Kazan, commandée à Andreï Voronikhine , elle prend pour modèle St-Pierre de Rome. Cette époque voit également les premières réalisations de Carlo Rossi , qui entreprend de bâtir de grands ensembles parfaitement homogènes. La couleur jaune des façades se substituant aux teintes bleues et vertes de Rastrelli devient la référence classique. Avec leurs portiques, leurs pilastres corinthiens et leur fronton, le palais Michel et le théâtre Alexandra révèlent le raffinement du style Empire. Après l’accession au trône de Nicolas Ier, Rossi aménage de vastes ensembles comme la place du Sénat qui, avec les bâtiments du Sénat et du Synode réunis par un arc de triomphe, semble conçue pour servir de décor à des défilés militaires. Mais c’est l’État-Major sur la place du Palais, avec son interminable façade semi-circulaire, qui reste son ouvrage le plus spectaculaire.
Au milieu du 19e s., le style Empire se voit supplanté par l’ éclectisme , subtil mélange des styles les plus divers. L’un des exemples en est l’intérieur de la cathédrale St-Isaac édifiée par Auguste de Montferrand sur le modèle de St-Paul de Londres et du Panthéon de Paris. Mélange de baroque et de classique, elle inclut également des éléments russes, italiens, byzantins, etc. Parallèlement, on assiste au développement de l’ historicisme qui opère un retour vers l’architecture d’autrefois. Le néogothique, le néobaroque, le néo-Renaissance sont à la mode et donnent quelques réussites comme le palais Belosselski-Belozerski, œuvre d’ Andreï Stackenschneider , l’église St-Sauveur-sur-le-Sang-Versé édifiée par Alfred Parland , la petite église de Tchesmé, néogothique, construite par Iouri Velten dans la banlieue sud de la ville.
Au tournant du 20e siècle, avec l’ Art nouveau , les façades se couvrent de détails qui font de certaines rues, comme l’avenue Kamennoostrovski, de véritables musées à ciel ouvert. Ce style est surtout présent sur l’île Petrogradskaïa qui voit la construction d’immeubles en pierre à l’époque de son essor. Le pont de la Trinité, construit pour le bicentenaire de la ville sur le modèle du pont Alexandre III à Paris, la maison bâtie par Fiodor Lidval en bas de la perspective Kamennoostrovski, l’hôtel élevé par Alexandre von Goguen pour la ballerine Kchessinskaïa, en sont autant d’exemples. D’autres édifices furent marqués par ce style, comme l’hôtel Astoria élevé par Lidval, le magasin Elisseïev construit par Gavriil Baranovski et même la mosquée qui imite le mausolée de Gour Emir à Samarkand !
Si l’époque soviétique épargna le cœur historique de St-Pétersbourg, elle imposa son style monumental à certains quartiers périphériques de la ville. C’est le cas des quartiers du sud que l’on traverse en venant de l’aéroport par l’avenue Moskovski prospekt, que bordent des immeubles massifs, d’une majesté austère. Au fond de la place Moskovskaïa d’un monumentalisme hors pair, un immense immeuble à colonnes devait abriter le Soviet de Leningrad. En son centre, l’une des dernières statues de Lénine encore debout (cette statue est surnommée le « Lénine dansant » !). L’art officiel soviétique ne fut pas sans réussites, comme les stations du métro, et le monument aux Défenseurs de Leningrad, œuvre du sculpteur Anikouchine .
L’après-guerre fut entièrement tournée vers l’effort de reconstruction. On restaure et on reconstruit à l’identique les palais impériaux des environs. Les quartiers périphériques, détruits par les bombardements, se couvrent de cités-dortoirs composées d’immeubles aux appartements exigus appelés « khrouchtchovki » du nom du successeur de Staline. Sous Brejnev, surgissent des mastodontes où logent les groupes de touristes encadrés. L’avenir de ces établissements reste incertain, car la ville développe aujourd’hui des infrastructures hôtelières à échelle plus humaine, notamment dans des bâtiments historiques, la construction étant interdite dans le centre classé par l’Unesco au patrimoine de l’humanité.
ENGLISH******************************************
The Palaces of Nevsky Prospekt
Belosselsky-Belozersky Palace illuminated at night
On the southern corner of Nevsky Prospekt and the Fontanka river at No.41 is the faded dark red Belosselsky-Belozersky Palace seen here. This was the last private palace constructed on this multi-palatial street and was completed in stages between 1840 and 1848. The prime riverside site having been purchased by Prince Alexander Mikhailovich B-B in 1800.
This unique eye catching elegant rococo building with muscular Atlantes supporting Corinthian columns was the concept of the architect Andrei Stakenschneider, who was born in the nearby city of Gatchina and the son of a German miller.
The pseudo-baroque exterior has two front facing façades, west to the Fontanka river, and north to the street. Like many prominent buildings in the city, this palace has recently undergone extensive restoration in preparation for the tricentennial celebrations.
The interior is as dramatic and elegant as the exterior. In the main rooms the architect used an extensive blend of composite materials for the baroque decor. Many of the walls are carved and all of the doors are decorated. Especially interesting are the front stairs in the entrance hall, the large and small Golden sitting rooms, the Purple, the Green and the White Halls and the Great Mirror Hall which is used for concerts.
Extravagant imperial courts reigned here well into the 20th century, when the palace was the residence of Grand Duke Sergei Alexandrovich (Alexander III's brutal brother - assassinated in 1905). In 1905, Grand Princess Elizaveta Fedorovna, having just become a num, willed the palace toher nephew, Grand Prince Dmitry Pavlovich, who sold it in 1917. During the Soviet period the grand palace was used as the party headquarters for the Kuibyshev district of Leningrad, but its interiors were preserved almost intact. Nowadays the palace houses the Wax Museum, an art gallery and a concert hall, which holds regular performances of the folk group Petersburg Mozaik, The Wax Museum collection contains 80+ wax figures, including models of many prominent figures in Russian history such as Tolstoy, Dostoyevsky, Kutuzov, Alexei, Speransky, Kerensky, various tsars and other members of the Romanov Dynasty. On the wall inside the entrance hall of the former Belosselsky-Belozersky Palace there is a plaque which indicates that during World War I the palace housed the Anglo-Russian Hospital.
On the other side of the Fontanka and separated by Quarenghi's Stalls, is the Anichkov Palace at No.39 Nevsky Prospekt. In the 18th century this was a suburban area and the broad Fontanka river was lined with palaces for the elite that were usually accessed by boat. Which explains why the main entrance to this great building faces the river rather than Nevsky. The palace was named for Colonel Mikhail Anichkov who set up his camp on this site at the time of the founding of the city and whose regiment built the original wooden bridge over the Fontanka, now known as the Anichkov Most.
This palace was commissioned by Tsarina Elizabeth as a gift for her lover, Alexei Razumovsky, between the years 1741 and 1750. In continuing with this tradition after Razumovsky's death, Catherine the Great gave this palace to her paramour, Prince Grigory Potemkin. As an able statesman and military officer Potemkin is famous in his own right for his attempts to deceive Catherine about the squalid conditions of the Russian south. He had fake villages built for Catherine's area tour of 1787. The term "Potemkin village" has come to mean any impressive façade that hides an ugly impoverished interior. Not so the Anichkov Palace, which was originally designed by Mikhail Zemtsov and completed by Rastrelli. Little remains of those early Baroque designs as the building has undergone a number of changes and in the early 19th century, Neoclassical details were added by Carlo Rossi.
After Rossi's alterations the palace became the winter residence of the heir to the throne. However when Alexander III became tsar in 1881, he continued to live there, rather than the customary Winter Palace. After his death, his widow Maria Fyodorovna remained there until the revolution.
Many young princes grew up in this palace and in 1935 the premises were returned to children and it was known as the Leningrad Palace of Pioneers. Today is is still occupied by a children's organization and the Anichkov Lyceum. Exhibitions of their works are regularly held in the palace or grounds, where there is a modern theater and concert hall.
The elegant colonnaded (Quarenghi's Stalls) building overlooking the Fontanka to the east had been another addition to the palace, by Giancomo Quarenghi in 1803-05. Initially this was built as a trading arcade where imperial goods destined for the palaces were stored prior to their delivery. This extension was later converted into government offices and was known as the Cabinet.
#261 on Explore
Cover photo - www.flickr.com/groups/2144774@N25/
Cover photo - www.flickr.com/groups/2141167@N25/
Please visit my collection of Icelandic horses - photographershalloffame.blog.com/?s=AnnaAndres
www.flickr.com/photos/anna9370/show/
My fave mares Hnáta,Dögg og Fiðla.
Photo of the month for October 2008 www.flickr.com/groups/impressed_by_your_beauty/discuss/72...
Winner of Week #39 www.flickr.com/groups/reflectyourworld/discuss/7215760745...
Front page www.flickr.com/groups/14kgold/ mosaic
FRONT PAGE WINNER CONTEST!! www.flickr.com/groups/mywinners/
Front page www.flickr.com/groups/genieslight/
The Best shot of the Week www.flickr.com/groups/thewowgallery/
2nd place www.flickr.com/groups/100__plus_comment_group/discuss/721...
Front page - www.flickr.com/groups/322290@N20/?added=1
Omgomgogogomg it's a spider! And omg random circles XD No edits FTW. XD
100 things:
1. Sweaters
2. Thunderstorms.
3. Skype.
4. Photogrpahy.
5. Friends
6.TRUE friends.
7. BEST friends.
8. Cell phones.
9. Texting.
10. Canon and Nikon P&S'. NOT HP P&S's XD
11. Shoes
12. Flats.
13. Heels.
14. Galaxies by Owl City
15. Singing
16. Honors Choir
17. Ostrich
18. Flamingo [I'm having a nice moment XD]
19. This picture.
20. No edits on pictures
21. Picasa.
22. Women's Soccer!
23. Watching the Brazil Soccer team flip out.
24. Hope Solo [her goalie skills XD]
25. Stuffed Animals.
26. Vanilla Twlight.
27. MACS.
28. Meh online bfferz, Emmerz.
29. Z's.
30. Tennis
31. Serving when playing tennis
32. Shouting at Sharpova.
33. Wimbledon!
34. Soccer
35. Collies
36. Doggies
37. When Anna will get her power back so she can Skype call me back XD
38. Pikachu.
39. YT.
40. Flickr.
41. Vera Bradley.
42. Call me Coral [VB Pattern]
43. Deco daisy. [Another VB Pattern]
44. my teachers.
45. 7th grade.
46. When people aren't getting on my friends.
47. Pie
48 Apple pie.
49. Yankee Candle.
50. Cookie Cutter? Idk some cookie scent at YC. XD
51. Best Buy
52. Staples! [The store]
53. Filing!
54. Volunteering.
55. Pretty Dresses.
56. HEB PLus(:
57. owl City
58. My Father
59. My Mother
60. My Brother XDD
61. Misty! :D
62. Coco.
63. Kitties.
64. Smart people.
65. Scientists.
66. Pharmisists.
67. Canada,
68. Niagara Falls
69. Complimentary items.
70. Cake?
71. COOOKIIEEEE!
72. Subs on YT(:
73. The near 700 views i have on my Flickr photos!
74. All my Flickr contacs(:
75. School.
76. When i finish this!
77. An open phone line.
78. Claire-bear XD
79. A tripod without missing peices XD
80. Ostrich's blog
81. Turtles.
82. Cotton.
83. UD.
84. SHEEP.
85. UNICORNS! ;D
86. People who use their dSLR to help other people and also for their own pleasure.
87. My school!
88. Everybody who is always there to support me.
89. When heidi relaizes that Karma is not real.
90. LEAVES.
91. rainy places.
92. Austrailia.
93. Candles.
94. Pokemon plushes.
95. Cosmetic bags.
96. Wristlets.
97. PILLOW PETS!
98. Puffs Plus Lotion Tissue
99. JESUS! OH YEA :D
100. The Canon brand.
WOO! 100 things:)
13de52paraules: camí
Normality is a paved road: it's confortable to walk, but no flowers grow on it.
―Vincent Van Gogh
Les 52paraules: 1.Tardor✓ 2.CasaMeva✓ 3.Natura ✓4.Foscor ✓ 5.Aigua ✓ 6.Escalfor ✓7.Nou ✓ 8.Reflexe ✓ 9.Jo ✓ 10.ARasDeTerra ✓ 11.Créixer ✓ 12.Paraules ✓ 13.Camí ✓ 14.Hivern 15.Ombra 16.Calma 17.Verd 18.Construir 19.Analògic 20.PartDeMi 21.Porta 22.Obert 23.Fred 24.Lluny 25.Llibres 26.Desenfocat 27.Primavera 28.Textura 29.OnSóc 30.Línies 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment
◆ Web ◆ Blog ◆ Facebook Page ◆ Twitter ◆ Getty Images ◆ Instagram ◆ +Anna ◆
29de52paraules: on estic
“We're all golden sunflowers inside.”
- Allan Ginsberg
Full project here.
Instagram project here.
Les 52paraules:
1.Tardor✓ 2.CasaMeva✓ 3.Natura ✓4.Foscor ✓ 5.Aigua ✓ 6.Escalfor ✓7.Nou ✓ 8.Reflexe ✓ 9.Jo ✓ 10.ARasDeTerra ✓ 11.Créixer ✓ 12.Paraules ✓ 13.Camí ✓ 14.Hivern ✓ 15.Ombra ✓ 16.Calma ✓ 17.Verd ✓18.Construir ✓ 19.Analògic ✓ 20.PartDeMi ✓ 21.Porta ✓ 22.Obert ✓ 23.Fred ✓ 24.Lluny ✓ 25.Llibres ✓ 26.Desenfocat 27.Primavera ✓ 28.Textura 29.OnSóc 30.Línies ✓ 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment
◆ Web ◆ Blog ◆ Facebook Page ◆ Twitter ◆ Getty Images ◆ Instagram ◆ +Anna ◆
Here's each of the Disney Princesses represented by a selected Disney Store Limited Edition 17 inch doll in my collection. I include Anna, Elsa, Moana and Elena, although they are not officially part of the Disney Princess franchise. They are ordered by the release date of their original animated feature (or TV series in the case of Elena). They are all fully deboxed, and are supported by their included display stands.
List of dolls and their movies:
Snow White (2009, 250/5000) from Snow White and the Seven Dwarfs (1937)
Cinderella (2012, 2955/5000) from Cinderella (1950)
Harrods Pink Aurora (2014, 32/100) from Sleeping Beauty (1959)
Ariel (2013, 1633/6000) from The Little Mermaid (1989)
Platinum Ball Gown Belle (2016, 107/500) from Beauty and the Beast (1991)
D23 Red Jasmine (2015, 226/500) from Aladdin (1992)
Pocahontas (2018, 344/4500) from Pocahontas (1995)
Mulan (2018, 213/5500) from Mulan (1998)
Tiana (2010, 4164/5000) from The Princess and the Frog (2009)
Purple Rapunzel (2011, 3630/5000) from Tangled (2010)
Celebration Merida (2012, 1262/7000) from Brave (2012)
Harrods Coronation Anna (2013, 39/100) from Frozen (2013)
Harrods Snow Queen Elsa (2013, 39/100) from Frozen (2013)
Celebration Moana (2017, 3031/5500) from Moana (2016)
Elena of Avalor (2017, 1375/6000) from Elena of Avalor (2016)
FACEBOOK / INSTAGRAM / FLICKR / TWITTER
photo by: Roman Kajzer @FotoManiacNYC
____________________________________________________
thank you for your visit and comments ...
dziekuje za wizyte i komentarz... (Polish)
gracias por su visita y comentarios ... (Spanish)
obrigado por sua visita e comentários... (Portugese)
la ringrazio per la vostra visita e commenti ... (Italian)
je vous remercie de votre visite et commentaires ...(French)
ich danke Ihnen für Ihren Besuch und Kommentare ...(German)
поблагодарить Вас за Ваш визит и комментарии ... (Russian)
訪問とコメントをお寄せいただきありがとうございます... (Japanese)
여러분의 방문이나 의견 주셔서 감사합니다 ... (Korean)
谢谢您的访问和评论... (Chinese)
شكرا لك على الزيارة والتعليقات... (Arabic)
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MODEL
A model (from Middle French modelle) is a person with a role either to promote, display, or advertise commercial products (notably fashion clothing) or to serve as a visual aide for people who are creating works of art or to pose for photography.
Modelling ("modeling" in American English) is considered to be different from other types of public performance, such as acting or dancing. Although the difference between modelling and performing is not always clear, appearing in a film or a play is not generally considered to be "modelling".
Types of modelling include: fashion, glamour, fitness, bikini, fine art, body-part, promotional and commercial print models. Models are featured in a variety of media formats including: books, magazines, films, newspapers, internet and TV. Fashion models are sometimes featured in films: (Looker), reality TV shows (America's Next Top Model, The Janice Dickinson Modeling Agency), and music videos: ("Freedom! '90", "Wicked Game", "Daughters", and "Blurred Lines").
Celebrities, including actors, singers, sports personalities and reality TV stars, frequently take modelling contracts in addition to their regular work.
HISTORY OF MODELING
Early years
Modelling as a profession was first established in 1853 by Charles Frederick Worth, the "father of haute couture", when he asked his wife, Marie Vernet Worth, to model the clothes he designed. The term "house model" was coined to describe this type of work. Eventually, this became common practice for Parisian fashion houses. There were no standard physical measurement requirements for a model, and most designers would use women of varying sizes to demonstrate variety in their designs.
With the development of fashion photography, the modelling profession expanded to photo modelling. Models remained fairly anonymous, and relatively poorly paid, until the late 1950's. One of the first well-known models was Lisa Fonssagrives, who was very popular in the 1930's. Fonssagrives appeared on over 200 Vogue covers, and her name recognition led to the importance of Vogue in shaping the careers of fashion models. In 1946, Ford Models was established by Eileen and Gerard Ford in New York; it is one of the oldest model agencies in the world. One of the most popular models during the 1940's was Jinx Falkenburg who was paid $25 per hour, a large sum at the time. During the 1940's and 1950's, Wilhelmina Cooper, Jean Patchett, Dovima, Dorian Leigh, Suzy Parker, Evelyn Tripp, Carmen Dell'Orefice, and Lisa Fonssagrives dominated fashion. Dorothea Church was among the first black models in the industry to gain notoriety in Paris. However, these models were unknown outside the fashion community. Compared to today's models, the models of the 1950's were more voluptuous. Wilhelmina Cooper's measurements were 38"-24"-36" whereas Chanel Iman's measurements are 32"-23"-33".
The 1960s and the beginning of the industry
In the 1960's, the modelling world began to establish modelling agencies. Throughout Europe, secretarial services acted as models' agents charging them weekly rates for their messages and bookings. For the most part, models were responsible for their own billing. In Germany, agents were not allowed to work for a percentage of a person's earnings, so referred to themselves as secretaries. With the exception of a few models travelling to Paris or New York, travelling was relatively unheard of for a model. Most models only worked in one market due to different labor laws governing modelling in various countries. In the 1960's, Italy had many fashion houses and fashion magazines but was in dire need of models. Italian agencies would often coerce models to return to Italy without work visas by withholding their pay. They would also pay their models in cash, which models would have to hide from customs agents. It was not uncommon for models staying in hotels such as La Louisiana in Paris or the Arena in Milan to have their hotel rooms raided by the police looking for their work visas. It was rumored that competing agencies were behind the raids. This led many agencies to form worldwide chains; for example, the Marilyn Agency has branches in Paris and New York.
By the late 1960's, London was considered the best market in Europe due to its more organised and innovative approach to modelling. It was during this period that models began to become household names. Models like: Jean Shrimpton, Joanna Lumley, Tania Mallet, Celia Hammond, Twiggy, Penelope Tree, and Pauline Stone dominated the London fashion scene and were well paid, unlike their predecessors. Twiggy became The Face of '66 at the age of 16. At this time, model agencies were not as restrictive about the models they represented, although it was uncommon for them to sign shorter models. Twiggy, who stood at 5 feet 6 inches (168 cm) with a 32" bust and had a boy's haircut, is credited with changing model ideals. At that time, she earned £80 an hour, while the average wage was £15 a week.
In 1967, seven of the top model agents in London formed the Association of London Model Agents. The formation of this association helped legitimize modelling and changed the fashion industry. Even with a more professional attitude towards modelling, models were still expected to have their hair and makeup done before they arrived at a shoot. Meanwhile, agencies took responsibility for a model's promotional materials and branding. That same year, former top fashion model Wilhelmina Cooper opened up her own fashion agency with her husband called Wilhelmina Models. By 1968, FM Agency and Models 1 were established and represented models in a similar way that agencies do today. By the late 1960's, models were treated better and were making better wages. One of the innovators, Ford Models, was the first agency to advance models money they were owed and would often allow teen models, who did not live locally, to reside in their house, a precursor to model housing.
The 1970's and 1980's
The innovations of the 1960's flowed into the 1970's fashion scene. As a result of model industry associations and standards, model agencies became more business minded, and more thought went into a model's promotional materials. By this time, agencies were starting to pay for a model's publicity. In the early 1970's, Scandinavia had many tall, leggy, blonde-haired, blue-eyed models and not enough clients. It was during this time that Ford Models pioneered scouting. They would spend time working with agencies holding modelling contests. This was the precursor to the Ford Models Supermodel of the World competition which was established in 1980. Ford also focused their attentions on Brazil which had a wide array of seemingly "exotic" models, which eventually led to establishment of Ford Models Brazil. It was also during this time that the Sports Illustrated Swimsuit Issue debuted. The magazine set a trend by photographing "bigger and healthier" California models, and printing their names by their photos, thus turning many of them into household names and establishing the issue as a hallmark of supermodel status.
The 1970's marked numerous milestones in fashion. Beverly Johnson was the first African American to appear on the cover of U.S. Vogue in 1974. Models, including Grace Jones, Donyale Luna, Minah Bird, Naomi Sims, and Toukie Smith were some of the top black fashion models who paved the way for black women in fashion. In 1975, Margaux Hemingway landed a then-unprecedented million-dollar contract as the face of Fabergé's Babe perfume and the same year appeared on the cover of Time magazine, labelled one of the "New Beauties," giving further name recognition to fashion models.
Many of the world's most prominent modelling agencies were established in the 1970's and early 1980's. These agencies created the standard by which agencies now run. In 1974, Nevs Models was established in London with only a men's board, the first of its kind. Elite Models was founded in Paris in 1975 as well as Friday's Models in Japan. The next year Cal-Carries was established in Singapore, the first of a chain of agencies in Asia. In 1977, Select Model Management opened its doors as well as Why Not Models in Milan. By the 1980's, agencies such as Premier Model Management, Storm Models, Mikas, Marilyn, and Metropolitan Models had been established.
By the 1980's, most models were able to make modelling a full-time career. It was common for models to travel abroad and work throughout Europe. As modelling became global, numerous agencies began to think globally. In 1980, Ford Models, the innovator of scouting, introduced the Ford Models Supermodel of the World contest. That same year, John Casablancas opened Elite Models in New York. In 1981, cosmetics companies began contracting top models to lucrative endorsement deals. By 1983, Elite developed its own contest titled the Elite Model Look competition. In New York during the 1980's there were so-called "model wars" in which the Ford and Elite agencies fought over models and campaigns. Models were jumping back and forth between agencies such Elite, Wilhelmina, and Ford. In New York, the late 1980's trend was the boyish look in which models had short cropped hair and looked androgynous. In Europe, the trend was the exact opposite. During this time, a lot of American models who were considered more feminine looking moved abroad. By the mid-1980's, big hair was made popular by some musical groups, and the boyish look was out. The curvaceous models who had been popular in the 1950's and early 1970's were in style again. Models like Patti Hansen earned $200 an hour for print and $2,000 for television plus residuals. It was estimated that Hansen earned about $300,000 a year during the 1980's.
The 1990's to present
The early 1990's were dominated by the high fashion models of the late 1980's. In 1990, Linda Evangelista famously said to Vogue, "we don't wake up for less than $10,000 a day". Evangelista and her contemporaries, Naomi Campbell, Cindy Crawford, Christy Turlington, Tatjana Patitz and Stephanie Seymour, became arguably the most recognizable models in the world, earning the moniker of "supermodel", and were boosted to global recognition and new heights of wealth for the industry. In 1991, Turlington signed a contract with Maybelline that paid her $800,000 for twelve days' work each year.
By the mid‑1990's, the new "heroin chic" movement became popular amongst New York and London editorial clients. While the heroin chic movement was inspired by model Jaime King, who suffered from a heroin addiction, it was Kate Moss who became its poster child through her ads for Calvin Klein. In spite of the heroin chic movement, model Claudia Schiffer earned $12 million. With the popularity of lingerie retailer Victoria's Secret, and the Sports Illustrated Swimsuit Issue, there was a need for healthier-looking supermodels such as Tyra Banks and Heidi Klum to meet commercial modelling demand. The mid‑1990's also saw many Asian countries establishing modelling agencies.
By the late 1990's, the heroin chic era had run its course. Teen-inspired clothing infiltrated mainstream fashion, teen pop music was on the rise, and artists such as Britney Spears and Christina Aguilera popularized pleather and bare midriffs. As fashion changed to a more youthful demographic, the models who rose to fame had to be sexier for the digital age. Following Gisele Bundchen's breakthrough, a wave of Brazilian models including Adriana Lima, Alessandra Ambrosio, and Ana Beatriz Barros rose to fame on runways and became popular in commercial modelling throughout the 2000's. Some attribute this to decisions by magazines to replace models with celebrities their covers.
In the late 2000's, the Brazilians fell out of favor on the runways. Editorial clients were favoring models with a china-doll or alien look to them, such as Gemma Ward and Lily Cole. During the 2000's, Ford Models and NEXT Model Management were engaged in a legal battle, with each agency alleging that the other was stealing its models.
However, the biggest controversy of the 2000's was the health of high-fashion models participating in fashion week. While the health of models had been a concern since the 1970's, there were several high-profile news stories surrounding the deaths of young fashion models due to eating disorders and drug abuse. The British Fashion Council subsequently asked designers to sign a contract stating they would not use models under the age of sixteen. On March 3, 2012, Vogue banned models under the age of sixteen as well as models who appeared to have an eating disorder. Similarly, other countries placed bans on unhealthy, and underage models, including Spain, Italy, and Israel, which all enacted a minimum body mass index (BMI) requirement.
The often thin shape of many fashion models has been criticized for warping girls' body image and encouraging eating disorders. Organizers of a fashion show in Madrid in September 2006 turned away models who were judged to be underweight by medical personnel who were on hand. In February 2007, six months after her sister, Luisel Ramos, also a model, died, Uruguayan model Eliana Ramos became the third fashion model to die of malnutrition in six months. The second victim was Ana Carolina Reston. Luisel Ramos died of heart failure caused by anorexia nervosa just after stepping off the catwalk. In 2015, France passed a law requiring models to be declared healthy by a doctor in order to participate in fashion shows. The law also requires re-touched images to be marked as such in magazines.
In 2013, New York toughened its child labor law protections for models under the age of eighteen by passing New York Senate Bill No. 5486, which gives underage models the same labor protections afforded to child actors. Key new protections included the following: underage models are not to work before 5:00 pm or after 10:00 pm on school nights, nor were they to work later than 12:30 am on non-school nights; the models may not return to work less than twelve hours after they leave; a pediatric nurse must be on site; models under sixteen must be accompanied by an adult chaperone; parents or guardians of underage models must create a trust fund account into which employers will transfer a minimum of 15% of the child model's gross earnings; and employers must set aside time and a dedicated space for educational instruction.
TYPES OF MODELING
Runway modelling
Runway models showcase clothes from fashion designers, fashion media, and consumers. They are also called "live models" and are self-employed. They are wanted to be over the height of 5'8" for men and 5'6" for women. Runway models work in different locations, constantly travelling between those cities where fashion is well known—London, Milan, New York City, and Paris. Second-tier international fashion center cities include: Rome, Florence, Venice, Brescia, Barcelona, Los Angeles, Tokyo, and Moscow. Cities where catalog work comprises the bulk of fashion packaging, merchandising and marketing work are: Miami, San Francisco, Sydney, Chicago, Toronto, Mexico City, Tokyo, Hamburg, London, and Beijing.
The criteria for runway models include certain height and weight requirements. During runway shows, models have to constantly change clothes and makeup. Models walk, turn, and stand in order to demonstrate a garment's key features. Models also go to interviews (called "go and sees") to present their portfolios. The more experience a model has, the more likely she/he is to be hired for a fashion show. A runway model can also work in other areas, such as department store fashion shows, and the most successful models sometimes create their own product lines or go into acting.
The British Association of Model Agents (AMA) says that female models should be around 34"-24"-34" and between 5 ft 8 in (173 cm) and 5 ft 11 in (180 cm) tall. The average model is very slender. Those who do not meet the size requirement may try to become a plus-size model. According to the New York Better Business Career Services website, the preferred dimensions for a male model are a height of 5 ft 11 in (180 cm) to 6 ft 2 in (189 cm), a waist of 29–32 in (73.66–81.28 cm) and a chest measurement of 39–40 in (99.06–101.60 cm). Male runway models are notably skinny and well toned.
Male and female models must also possess clear skin, healthy hair, and attractive facial features. Stringent weight and body proportion guidelines form the selection criteria by which established, and would‑be, models are judged for their placement suitability, on an ongoing basis. There can be some variation regionally, and by market tier, subject to current prevailing trends at any point, in any era, by agents, agencies and end-clients.
Formerly, the required measurements for models were 35"-23.5"-35" in (90-60-90 cm), the alleged measurements of Marilyn Monroe. Today's fashion models tend to have measurements closer to the AMA-recommended shape, but some - such as Afghan model Zohre Esmaeli - still have 35"-23.5"-35" measurements. Although in some fashion centers, a size 00 is more ideal than a size 0.
Plus-size models
Plus-size models are models who generally have larger measurements than editorial fashion models. The primary use of plus-size models is to appear in advertising and runway shows for plus-size labels. Plus-size models are also engaged in work that is not strictly related to selling large-sized clothing, e.g., stock photography and advertising photography for cosmetics, household and pharmaceutical products and sunglasses, footwear and watches. Therefore, plus-size models do not exclusively wear garments marketed as plus-size clothing. This is especially true when participating in fashion editorials for mainstream fashion magazines. Some plus-size models have appeared in runway shows and campaigns for mainstream retailers and designers such as Gucci, Guess, Jean-Paul Gaultier, Levi's and Versace Jeans.
Fit models
A fit model works as a sort of live mannequin to give designers and pattern makers feedback on the fit, feel, movement, and drape of a garment to be produced in a given size.
Glamour models
Glamour modelling focuses on sexuality and thus general requirements are often unclear, being dependent more on each individual case. Glamour models can be any size or shape. There is no industry standard for glamour modelling and it varies greatly by country. For the most part, glamour models are limited to modelling in calendars, men's magazines, such as Playboy, bikini modelling, lingerie modelling, fetish modelling, music videos, and extra work in films. However, some extremely popular glamour models transition into commercial print modelling, appearing in swimwear, bikini and lingerie campaigns.
It is widely considered that England created the market for glamour modelling when The Sun established Page 3 in 1969, a section in their newspaper which now features topless models. In the beginning, the newspaper featured sexually suggestive images of Penthouse and Playboy models. It was not until 1970 that models appeared topless. In the 1980's, The Sun's competitors followed suit and produced their own Page 3 sections. It was during this time that glamour models first came to prominence with the likes of Samantha Fox. As a result, the United Kingdom has a very large glamour market and has numerous glamour modelling agencies to this day.
It was not until the 1990's that modern glamour modelling was established. During this time, the fashion industry was promoting models with waif bodies and androgynous looking women, which left a void. Several fashion models, who were deemed too commercial, and too curvaceous, were frustrated with industry standards, and took a different approach. Models such as Victoria Silvstedt left the fashion world and began modelling for men's magazines. In the previous decades, posing nude for Playboy resulted in models losing their agencies and endorsements. Playboy was a stepping stone which catapulted the careers of Victoria Silvstedt, Pamela Anderson, and Anna Nicole Smith. Pamela Anderson became so popular from her Playboy spreads that she was able to land roles on Home Improvement and Baywatch.
In the mid-1990's, a series of men's magazines were established such as Maxim, FHM, and Stuff. At the same time, magazines including Sweden's Slitz re-branded themselves as men's magazines. Pre-internet, these magazines were popular among men in their late teens and early twenties because they were considered to be more tasteful than their predecessors. With the glamour market growing, fashion moved away from the waifs and onto Brazilian bombshells. The glamour market, which consisted mostly of commercial fashion models and commercial print models, became its own genre due to its popularity. Even in a large market like the United Kingdom, however, glamour models are not usually signed exclusively to one agency as they can not rely financially on one agency to provide them with enough work. It was, and still is, a common practice for glamour models to partake in kiss-and-tell interviews about their dalliances with famous men. The notoriety of their alleged bed-hopping often propels their popularity and they are often promoted by their current or former fling. With Page 3 models becoming fixtures in the British tabloids, glamour models such as Jordan, now known as Katie Price, became household names. By 2004, Page 3 regulars earned anywhere from £30,000 to 40,000, where the average salary of a non-Page 3 model, as of 2011, was between £10,000 and 20,000. In the early 2000's, glamour models, and aspiring glamour models, appeared on reality television shows such as Big Brother to gain fame. Several Big Brother alumni parlayed their fifteen minutes of fame into successful glamour modelling careers. However, the glamour market became saturated by the mid-2000's, and numerous men's magazines including Arena, Stuff and FHM in the United States went under. During this time, there was a growing trend of glamour models, including Kellie Acreman and Lauren Pope, becoming DJs to supplement their income. In a 2012 interview, Keeley Hazell said that going topless is not the best way to achieve success and that "[she] was lucky to be in that 1% of people that get that, and become really successful."
Alternative models
An alternative model is any model who does not fit into the conventional model types and may include punk, goth, fetish, and tattooed models or models with distinctive attributes. This type of modeling is usually a cross between glamour modeling and art modeling. Publishers such as Goliath Books in Germany introduced alternative models and punk photography to larger audiences. Billi Gordon, then known as Wilbert Anthony Gordon, was the top greeting card model in the world and inspired a cottage industry including greeting cards, T-shirts, fans, stationery, gift bags, etc.
Parts models
Some models are employed for their body parts. For example, hand models may be used to promote products held in the hand and nail-related products. (e.g. rings, other jewelry or nail polish). They are frequently part of television commercials. Many parts models have exceptionally attractive body parts, but there is also demand for unattractive or unusual looking body parts for particular campaigns.
Hands are the most in-demand body parts. Feet models are also in high demand, particularly those who fit sample size shoes. Models are also successful modelling other specific parts including abs, arms, back, bust or chest, legs, and lips. Some petite models (females who are under 5 ft 6 in (1.68 m) and do not qualify as fashion models) have found success in women's body part modelling.
Parts model divisions can be found at agencies worldwide. Several agencies solely represent parts models, including Hired Hands in London, Body Parts Models in Los Angeles, Carmen Hand Model Management in New York and Parts Models in New York. Parts Models is the largest parts agency, representing over 300 parts models.
Fitness models
Fitness modelling focuses on displaying a healthy, toned physique. Fitness models usually have defined muscle groups. The model's body weight is heavier due to muscle weighing more than fat; however, they have a lower body fat percentage because the muscles are toned and sculpted. Fitness models are often used in magazine advertising. Sometimes they are certified personal fitness trainers. However, other fitness models are also athletes and compete as professionals in fitness and figure competitions. There are several agencies in large markets such as New York, London, Germany that have fitness modelling agencies. While there is a large market for these models, most of these agencies are a secondary agency promoting models who typically earn their primary income as commercial models. Plus there are also magazines that gear towards specifically fitness modeling or getting fit and in shape. Fitness Models showcase their fitter side of their bodies on the covers gearing towards specific competitions in fitness and figure competitions.
Gravure idols
A gravure idol, often abbreviated to gradol, is a Japanese female model who primarily models on magazines, especially men's magazines, photobooks or DVDs.
"Gravure" (グラビア) is a Wasei-eigo term derived from "rotogravure", which is a type of intaglio printing process that was once a staple of newspaper photo features. The rotogravure process is still used for commercial printing of magazines, postcards, and cardboard product packaging.
Gravure idols appear in a wide range of photography styles and genres. Their photos are largely aimed at male audiences with poses or activities intended to be provocative or suggestive, generally accentuated by an air of playfulness and innocence rather than aggressive sexuality. Although gravure models may sometimes wear clothing that exposes most of their body, they seldom appear fully nude. Gravure models may be as young as pre-teen age up to early thirties. In addition to appearing in mainstream magazines, gravure idols often release their own professional photobooks and DVDs for their fans. Many popular female idols in Japan launched their careers by starting out as gravure idols.
Commercial print and on-camera models
Commercial print models generally appear in print ads for non-fashion products, and in television commercials. Commercial print models can earn up to $250 an hour. Commercial print models are usually non-exclusive, and primarily work in one location.
There are several large fashion agencies that have commercial print divisions, including Ford Models in the United States.
Promotional models
A promotional model is a model hired to drive consumer demand for a product, service, brand, or concept by directly interacting with potential consumers. The vast majority of promotional models tend to be attractive in physical appearance. They serve to provide information about the product or service and make it appealing to consumers. While the length of interaction may be short, the promotional model delivers a live experience that reflects on the product or service he or she is representing. This form of marketing touches fewer consumers for the cost than traditional advertising media (such as print, radio, and television); however, the consumer's perception of a brand, product, service, or company is often more profoundly affected by a live person-to-person experience.
Marketing campaigns that make use of promotional models may take place in stores or shopping malls, at tradeshows, special promotional events, clubs, or even at outdoor public spaces. They are often held at high traffic locations to reach as many consumers as possible, or at venues at which a particular type of target consumer is expected to be present.
Spokesmodels
"Spokesmodel" is a term used for a model who is employed to be associated with a specific brand in advertisements. A spokesmodel may be a celebrity used only in advertisements (in contrast to a brand ambassador who is also expected to represent the company at various events), but more often the term refers to a model who is not a celebrity in their own right. A classic example of the spokesmodel are the models hired to be the Marlboro Man between 1954 and 1999.
Trade show models
Trade show models work a trade show floor-space or booth, and represent a company to attendees. Trade show models are typically not regular employees of the company, but are freelancers hired by the company renting the booth space. They are hired for several reasons: trade show models can make a company's booth more visibly distinguishable from the hundreds of other booths with which it competes for attendee attention. They are articulate and quickly learn and explain or disseminate information on the company and its product(s) and service(s). And they can assist a company in handling a large number of attendees which the company might otherwise not have enough employees to accommodate, possibly increasing the number of sales or leads resulting from participation in the show.
Atmosphere models
Atmosphere models are hired by the producers of themed events to enhance the atmosphere or ambience of their event. They are usually dressed in costumes exemplifying the theme of the event and are often placed strategically in various locations around the venue. It is common for event guests to have their picture taken with atmosphere models. For example, if someone is throwing a "Brazilian Day" celebration, they would hire models dressed in samba costumes and headdresses to stand or walk around the party.
Podium models
Podium models differ from runway models in that they don't walk down a runway, but rather just stand on an elevated platform during fashion presentation. They are kind of like live mannequins placed in various places throughout an event. Attendees can walk up to the models and inspect and even feel the clothing. Podium Modeling is a practical alternative way of presenting fashion when space is too limited to have a full runway fashion show.
Art models
Art models pose for any visual artist as part of the creative process. Art models are often paid professionals who provide a reference or inspiration for a work of art that includes the human figure. The most common types of art created using models are figure drawing, figure painting, sculpture and photography, but almost any medium may be used. Although commercial motives dominate over aesthetics in illustration, its artwork commonly employs models. Models are most frequently employed for art classes or by informal groups of experienced artists that gather to share the expense of a model.
Instagram models
Instagram models are a recent phenomenon due to the rise of social media. These models gain their popularity due to how many followers they have on social media. Some Instagram models gain high-profile modeling gigs and become household names. High-profile model, Jen Selter, kicked off the Instagram model craze. Recently, Anna Faith and Caitlin O'Connor among many others, have had great success as Instagram Models.
LINKS:
en.wikipedia.org/wiki/Model_(person)
en.wikipedia.org/wiki/Modeling_agency
en.wikipedia.org/wiki/Ring_girl
en.wikipedia.org/wiki/Time_for_print
en.wikipedia.org/wiki/Model_(art)
en.wikipedia.org/wiki/Size_zero
en.wikipedia.org/wiki/Plus-size_model
en.wikipedia.org/wiki/Fit_model
en.wikipedia.org/wiki/Fitness_and_figure_competition
en.wikipedia.org/wiki/Cheerleading
en.wikipedia.org/wiki/Promotional_model
en.wikipedia.org/wiki/Sex_in_advertising
en.wikipedia.org/wiki/Podium_girl
en.wikipedia.org/wiki/Glamour_photography
en.wikipedia.org/wiki/Female_body_shape
en.wikipedia.org/wiki/Junior_idol
en.wikipedia.org/wiki/Korean_pop_idol
en.wikipedia.org/wiki/Japanese_idol
en.wikipedia.org/wiki/List_of_Japanese_gravure_idols
en.wikipedia.org/wiki/Sex_symbol
... una más que la otra :-p
19de52paraules: analògic
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Ochronka dla Dziewcząt Wyznania Mojżeszowego
W 1899 roku Jakub Hertz i jego żona Anna (córka Izaaka Kalmanowicza Poznańskiego) nabyli działkę przy ul. Północnej, na której miała powstać nowa siedziba Ochronki dla Dziewcząt Wyznania Mojżeszowego (istniejącej od 1885 roku). Autorem projektu był "nadworny" architekt Poznańskich Adolf Seligson (Zeligson). Następnie pełnił on również rolę kierownika budowy. Budynek oddano do użytku w 1900 roku. Pod gzymsem wieńczącym fronton budynku umieszczono napis (po rosyjsku i po polsku): "Ochronka dla dziewcząt. Dar Jakuba i Anny małżonków Hertz".
baedekerlodz.blogspot.com/2012/09/odz-ulica-ponocna-39-oc...
obecnie mieści się tu Łódzka Okręgowa Izba Inżynierów Budownictwa
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In 1899, Jakub Hertz and his wife Anna (the daughter of Isaac Kalmanowicz Poznański) bought a plot at ul. Północna 39, where they wanted to create a new orphanage for Jewish girls (existing since 1885). It was designed by an architect, Adolf Seligson (Zeligson), who became the project's manager. The building was opened in 1900. ON the facade of the building, there was an inscription (in Russian and Polish): "Orphanage for girls. The gift of James and Anna Hertz".
Nowadays the building houses the Regional Society of Civil Engineers
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HISTORY OF MODELING
Who is a Model?
A model (from Middle French modelle) is a person with a role either to promote, display, or advertise commercial products (notably fashion clothing) or to serve as a visual aide for people who are creating works of art or to pose for photography.
Modelling ("modeling" in American English) is considered to be different from other types of public performance, such as acting or dancing. Although the difference between modelling and performing is not always clear, appearing in a film or a play is not generally considered to be "modelling".
Types of modelling include: fashion, glamour, fitness, bikini, fine art, body-part, promotional and commercial print models. Models are featured in a variety of media formats including: books, magazines, films, newspapers, internet and TV. Fashion models are sometimes featured in films: (Looker), reality TV shows (America's Next Top Model, The Janice Dickinson Modeling Agency), and music videos: ("Freedom! '90", "Wicked Game", "Daughters", and "Blurred Lines").
Celebrities, including actors, singers, sports personalities and reality TV stars, frequently take modelling contracts in addition to their regular work.
Early years
Modelling as a profession was first established in 1853 by Charles Frederick Worth, the "father of haute couture", when he asked his wife, Marie Vernet Worth, to model the clothes he designed. The term "house model" was coined to describe this type of work. Eventually, this became common practice for Parisian fashion houses. There were no standard physical measurement requirements for a model, and most designers would use women of varying sizes to demonstrate variety in their designs.
With the development of fashion photography, the modelling profession expanded to photo modelling. Models remained fairly anonymous, and relatively poorly paid, until the late 1950's. One of the first well-known models was Lisa Fonssagrives, who was very popular in the 1930's. Fonssagrives appeared on over 200 Vogue covers, and her name recognition led to the importance of Vogue in shaping the careers of fashion models. In 1946, Ford Models was established by Eileen and Gerard Ford in New York; it is one of the oldest model agencies in the world. One of the most popular models during the 1940's was Jinx Falkenburg who was paid $25 per hour, a large sum at the time. During the 1940's and 1950's, Wilhelmina Cooper, Jean Patchett, Dovima, Dorian Leigh, Suzy Parker, Evelyn Tripp, Carmen Dell'Orefice, and Lisa Fonssagrives dominated fashion. Dorothea Church was among the first black models in the industry to gain notoriety in Paris. However, these models were unknown outside the fashion community. Compared to today's models, the models of the 1950's were more voluptuous. Wilhelmina Cooper's measurements were 38"-24"-36" whereas Chanel Iman's measurements are 32"-23"-33".
The 1960s and the beginning of the industry
In the 1960's, the modelling world began to establish modelling agencies. Throughout Europe, secretarial services acted as models' agents charging them weekly rates for their messages and bookings. For the most part, models were responsible for their own billing. In Germany, agents were not allowed to work for a percentage of a person's earnings, so referred to themselves as secretaries. With the exception of a few models travelling to Paris or New York, travelling was relatively unheard of for a model. Most models only worked in one market due to different labor laws governing modelling in various countries. In the 1960's, Italy had many fashion houses and fashion magazines but was in dire need of models. Italian agencies would often coerce models to return to Italy without work visas by withholding their pay. They would also pay their models in cash, which models would have to hide from customs agents. It was not uncommon for models staying in hotels such as La Louisiana in Paris or the Arena in Milan to have their hotel rooms raided by the police looking for their work visas. It was rumored that competing agencies were behind the raids. This led many agencies to form worldwide chains; for example, the Marilyn Agency has branches in Paris and New York.
By the late 1960's, London was considered the best market in Europe due to its more organised and innovative approach to modelling. It was during this period that models began to become household names. Models like: Jean Shrimpton, Joanna Lumley, Tania Mallet, Celia Hammond, Twiggy, Penelope Tree, and Pauline Stone dominated the London fashion scene and were well paid, unlike their predecessors. Twiggy became The Face of '66 at the age of 16. At this time, model agencies were not as restrictive about the models they represented, although it was uncommon for them to sign shorter models. Twiggy, who stood at 5 feet 6 inches (168 cm) with a 32" bust and had a boy's haircut, is credited with changing model ideals. At that time, she earned £80 an hour, while the average wage was £15 a week.
In 1967, seven of the top model agents in London formed the Association of London Model Agents. The formation of this association helped legitimize modelling and changed the fashion industry. Even with a more professional attitude towards modelling, models were still expected to have their hair and makeup done before they arrived at a shoot. Meanwhile, agencies took responsibility for a model's promotional materials and branding. That same year, former top fashion model Wilhelmina Cooper opened up her own fashion agency with her husband called Wilhelmina Models. By 1968, FM Agency and Models 1 were established and represented models in a similar way that agencies do today. By the late 1960's, models were treated better and were making better wages. One of the innovators, Ford Models, was the first agency to advance models money they were owed and would often allow teen models, who did not live locally, to reside in their house, a precursor to model housing.
The 1970's and 1980's
The innovations of the 1960's flowed into the 1970's fashion scene. As a result of model industry associations and standards, model agencies became more business minded, and more thought went into a model's promotional materials. By this time, agencies were starting to pay for a model's publicity. In the early 1970's, Scandinavia had many tall, leggy, blonde-haired, blue-eyed models and not enough clients. It was during this time that Ford Models pioneered scouting. They would spend time working with agencies holding modelling contests. This was the precursor to the Ford Models Supermodel of the World competition which was established in 1980. Ford also focused their attentions on Brazil which had a wide array of seemingly "exotic" models, which eventually led to establishment of Ford Models Brazil. It was also during this time that the Sports Illustrated Swimsuit Issue debuted. The magazine set a trend by photographing "bigger and healthier" California models, and printing their names by their photos, thus turning many of them into household names and establishing the issue as a hallmark of supermodel status.
The 1970's marked numerous milestones in fashion. Beverly Johnson was the first African American to appear on the cover of U.S. Vogue in 1974. Models, including Grace Jones, Donyale Luna, Minah Bird, Naomi Sims, and Toukie Smith were some of the top black fashion models who paved the way for black women in fashion. In 1975, Margaux Hemingway landed a then-unprecedented million-dollar contract as the face of Fabergé's Babe perfume and the same year appeared on the cover of Time magazine, labelled one of the "New Beauties," giving further name recognition to fashion models.
Many of the world's most prominent modelling agencies were established in the 1970's and early 1980's. These agencies created the standard by which agencies now run. In 1974, Nevs Models was established in London with only a men's board, the first of its kind. Elite Models was founded in Paris in 1975 as well as Friday's Models in Japan. The next year Cal-Carries was established in Singapore, the first of a chain of agencies in Asia. In 1977, Select Model Management opened its doors as well as Why Not Models in Milan. By the 1980's, agencies such as Premier Model Management, Storm Models, Mikas, Marilyn, and Metropolitan Models had been established.
By the 1980's, most models were able to make modelling a full-time career. It was common for models to travel abroad and work throughout Europe. As modelling became global, numerous agencies began to think globally. In 1980, Ford Models, the innovator of scouting, introduced the Ford Models Supermodel of the World contest. That same year, John Casablancas opened Elite Models in New York. In 1981, cosmetics companies began contracting top models to lucrative endorsement deals. By 1983, Elite developed its own contest titled the Elite Model Look competition. In New York during the 1980's there were so-called "model wars" in which the Ford and Elite agencies fought over models and campaigns. Models were jumping back and forth between agencies such Elite, Wilhelmina, and Ford. In New York, the late 1980's trend was the boyish look in which models had short cropped hair and looked androgynous. In Europe, the trend was the exact opposite. During this time, a lot of American models who were considered more feminine looking moved abroad. By the mid-1980's, big hair was made popular by some musical groups, and the boyish look was out. The curvaceous models who had been popular in the 1950's and early 1970's were in style again. Models like Patti Hansen earned $200 an hour for print and $2,000 for television plus residuals. It was estimated that Hansen earned about $300,000 a year during the 1980's.
The 1990's to present
The early 1990's were dominated by the high fashion models of the late 1980's. In 1990, Linda Evangelista famously said to Vogue, "we don't wake up for less than $10,000 a day". Evangelista and her contemporaries, Naomi Campbell, Cindy Crawford, Christy Turlington, Tatjana Patitz and Stephanie Seymour, became arguably the most recognizable models in the world, earning the moniker of "supermodel", and were boosted to global recognition and new heights of wealth for the industry. In 1991, Turlington signed a contract with Maybelline that paid her $800,000 for twelve days' work each year.
By the mid‑1990's, the new "heroin chic" movement became popular amongst New York and London editorial clients. While the heroin chic movement was inspired by model Jaime King, who suffered from a heroin addiction, it was Kate Moss who became its poster child through her ads for Calvin Klein. In spite of the heroin chic movement, model Claudia Schiffer earned $12 million. With the popularity of lingerie retailer Victoria's Secret, and the Sports Illustrated Swimsuit Issue, there was a need for healthier-looking supermodels such as Tyra Banks and Heidi Klum to meet commercial modelling demand. The mid‑1990's also saw many Asian countries establishing modelling agencies.
By the late 1990's, the heroin chic era had run its course. Teen-inspired clothing infiltrated mainstream fashion, teen pop music was on the rise, and artists such as Britney Spears and Christina Aguilera popularized pleather and bare midriffs. As fashion changed to a more youthful demographic, the models who rose to fame had to be sexier for the digital age. Following Gisele Bundchen's breakthrough, a wave of Brazilian models including Adriana Lima, Alessandra Ambrosio, and Ana Beatriz Barros rose to fame on runways and became popular in commercial modelling throughout the 2000's. Some attribute this to decisions by magazines to replace models with celebrities their covers.
In the late 2000's, the Brazilians fell out of favor on the runways. Editorial clients were favoring models with a china-doll or alien look to them, such as Gemma Ward and Lily Cole. During the 2000's, Ford Models and NEXT Model Management were engaged in a legal battle, with each agency alleging that the other was stealing its models.
However, the biggest controversy of the 2000's was the health of high-fashion models participating in fashion week. While the health of models had been a concern since the 1970's, there were several high-profile news stories surrounding the deaths of young fashion models due to eating disorders and drug abuse. The British Fashion Council subsequently asked designers to sign a contract stating they would not use models under the age of sixteen. On March 3, 2012, Vogue banned models under the age of sixteen as well as models who appeared to have an eating disorder. Similarly, other countries placed bans on unhealthy, and underage models, including Spain, Italy, and Israel, which all enacted a minimum body mass index (BMI) requirement.
The often thin shape of many fashion models has been criticized for warping girls' body image and encouraging eating disorders. Organizers of a fashion show in Madrid in September 2006 turned away models who were judged to be underweight by medical personnel who were on hand. In February 2007, six months after her sister, Luisel Ramos, also a model, died, Uruguayan model Eliana Ramos became the third fashion model to die of malnutrition in six months. The second victim was Ana Carolina Reston. Luisel Ramos died of heart failure caused by anorexia nervosa just after stepping off the catwalk. In 2015, France passed a law requiring models to be declared healthy by a doctor in order to participate in fashion shows. The law also requires re-touched images to be marked as such in magazines.
In 2013, New York toughened its child labor law protections for models under the age of eighteen by passing New York Senate Bill No. 5486, which gives underage models the same labor protections afforded to child actors. Key new protections included the following: underage models are not to work before 5:00 pm or after 10:00 pm on school nights, nor were they to work later than 12:30 am on non-school nights; the models may not return to work less than twelve hours after they leave; a pediatric nurse must be on site; models under sixteen must be accompanied by an adult chaperone; parents or guardians of underage models must create a trust fund account into which employers will transfer a minimum of 15% of the child model's gross earnings; and employers must set aside time and a dedicated space for educational instruction.
TYPES OF MODELING
Runway modelling
Runway models showcase clothes from fashion designers, fashion media, and consumers. They are also called "live models" and are self-employed. They are wanted to be over the height of 5'8" for men and 5'6" for women. Runway models work in different locations, constantly travelling between those cities where fashion is well known—London, Milan, New York City, and Paris. Second-tier international fashion center cities include: Rome, Florence, Venice, Brescia, Barcelona, Los Angeles, Tokyo, and Moscow. Cities where catalog work comprises the bulk of fashion packaging, merchandising and marketing work are: Miami, San Francisco, Sydney, Chicago, Toronto, Mexico City, Tokyo, Hamburg, London, and Beijing.
The criteria for runway models include certain height and weight requirements. During runway shows, models have to constantly change clothes and makeup. Models walk, turn, and stand in order to demonstrate a garment's key features. Models also go to interviews (called "go and sees") to present their portfolios. The more experience a model has, the more likely she/he is to be hired for a fashion show. A runway model can also work in other areas, such as department store fashion shows, and the most successful models sometimes create their own product lines or go into acting.
The British Association of Model Agents (AMA) says that female models should be around 34"-24"-34" and between 5 ft 8 in (173 cm) and 5 ft 11 in (180 cm) tall. The average model is very slender. Those who do not meet the size requirement may try to become a plus-size model. According to the New York Better Business Career Services website, the preferred dimensions for a male model are a height of 5 ft 11 in (180 cm) to 6 ft 2 in (189 cm), a waist of 29–32 in (73.66–81.28 cm) and a chest measurement of 39–40 in (99.06–101.60 cm). Male runway models are notably skinny and well toned.
Male and female models must also possess clear skin, healthy hair, and attractive facial features. Stringent weight and body proportion guidelines form the selection criteria by which established, and would‑be, models are judged for their placement suitability, on an ongoing basis. There can be some variation regionally, and by market tier, subject to current prevailing trends at any point, in any era, by agents, agencies and end-clients.
Formerly, the required measurements for models were 35"-23.5"-35" in (90-60-90 cm), the alleged measurements of Marilyn Monroe. Today's fashion models tend to have measurements closer to the AMA-recommended shape, but some - such as Afghan model Zohre Esmaeli - still have 35"-23.5"-35" measurements. Although in some fashion centers, a size 00 is more ideal than a size 0.
Plus-size models
Plus-size models are models who generally have larger measurements than editorial fashion models. The primary use of plus-size models is to appear in advertising and runway shows for plus-size labels. Plus-size models are also engaged in work that is not strictly related to selling large-sized clothing, e.g., stock photography and advertising photography for cosmetics, household and pharmaceutical products and sunglasses, footwear and watches. Therefore, plus-size models do not exclusively wear garments marketed as plus-size clothing. This is especially true when participating in fashion editorials for mainstream fashion magazines. Some plus-size models have appeared in runway shows and campaigns for mainstream retailers and designers such as Gucci, Guess, Jean-Paul Gaultier, Levi's and Versace Jeans.
Fit models
A fit model works as a sort of live mannequin to give designers and pattern makers feedback on the fit, feel, movement, and drape of a garment to be produced in a given size.
Glamour models
Glamour modelling focuses on sexuality and thus general requirements are often unclear, being dependent more on each individual case. Glamour models can be any size or shape. There is no industry standard for glamour modelling and it varies greatly by country. For the most part, glamour models are limited to modelling in calendars, men's magazines, such as Playboy, bikini modelling, lingerie modelling, fetish modelling, music videos, and extra work in films. However, some extremely popular glamour models transition into commercial print modelling, appearing in swimwear, bikini and lingerie campaigns.
It is widely considered that England created the market for glamour modelling when The Sun established Page 3 in 1969, a section in their newspaper which now features topless models. In the beginning, the newspaper featured sexually suggestive images of Penthouse and Playboy models. It was not until 1970 that models appeared topless. In the 1980's, The Sun's competitors followed suit and produced their own Page 3 sections. It was during this time that glamour models first came to prominence with the likes of Samantha Fox. As a result, the United Kingdom has a very large glamour market and has numerous glamour modelling agencies to this day.
It was not until the 1990's that modern glamour modelling was established. During this time, the fashion industry was promoting models with waif bodies and androgynous looking women, which left a void. Several fashion models, who were deemed too commercial, and too curvaceous, were frustrated with industry standards, and took a different approach. Models such as Victoria Silvstedt left the fashion world and began modelling for men's magazines. In the previous decades, posing nude for Playboy resulted in models losing their agencies and endorsements. Playboy was a stepping stone which catapulted the careers of Victoria Silvstedt, Pamela Anderson, and Anna Nicole Smith. Pamela Anderson became so popular from her Playboy spreads that she was able to land roles on Home Improvement and Baywatch.
In the mid-1990's, a series of men's magazines were established such as Maxim, FHM, and Stuff. At the same time, magazines including Sweden's Slitz re-branded themselves as men's magazines. Pre-internet, these magazines were popular among men in their late teens and early twenties because they were considered to be more tasteful than their predecessors. With the glamour market growing, fashion moved away from the waifs and onto Brazilian bombshells. The glamour market, which consisted mostly of commercial fashion models and commercial print models, became its own genre due to its popularity. Even in a large market like the United Kingdom, however, glamour models are not usually signed exclusively to one agency as they can not rely financially on one agency to provide them with enough work. It was, and still is, a common practice for glamour models to partake in kiss-and-tell interviews about their dalliances with famous men. The notoriety of their alleged bed-hopping often propels their popularity and they are often promoted by their current or former fling. With Page 3 models becoming fixtures in the British tabloids, glamour models such as Jordan, now known as Katie Price, became household names. By 2004, Page 3 regulars earned anywhere from £30,000 to 40,000, where the average salary of a non-Page 3 model, as of 2011, was between £10,000 and 20,000. In the early 2000's, glamour models, and aspiring glamour models, appeared on reality television shows such as Big Brother to gain fame. Several Big Brother alumni parlayed their fifteen minutes of fame into successful glamour modelling careers. However, the glamour market became saturated by the mid-2000's, and numerous men's magazines including Arena, Stuff and FHM in the United States went under. During this time, there was a growing trend of glamour models, including Kellie Acreman and Lauren Pope, becoming DJs to supplement their income. In a 2012 interview, Keeley Hazell said that going topless is not the best way to achieve success and that "[she] was lucky to be in that 1% of people that get that, and become really successful."
Alternative models
An alternative model is any model who does not fit into the conventional model types and may include punk, goth, fetish, and tattooed models or models with distinctive attributes. This type of modeling is usually a cross between glamour modeling and art modeling. Publishers such as Goliath Books in Germany introduced alternative models and punk photography to larger audiences. Billi Gordon, then known as Wilbert Anthony Gordon, was the top greeting card model in the world and inspired a cottage industry including greeting cards, T-shirts, fans, stationery, gift bags, etc.
Parts models
Some models are employed for their body parts. For example, hand models may be used to promote products held in the hand and nail-related products. (e.g. rings, other jewelry or nail polish). They are frequently part of television commercials. Many parts models have exceptionally attractive body parts, but there is also demand for unattractive or unusual looking body parts for particular campaigns.
Hands are the most in-demand body parts. Feet models are also in high demand, particularly those who fit sample size shoes. Models are also successful modelling other specific parts including abs, arms, back, bust or chest, legs, and lips. Some petite models (females who are under 5 ft 6 in (1.68 m) and do not qualify as fashion models) have found success in women's body part modelling.
Parts model divisions can be found at agencies worldwide. Several agencies solely represent parts models, including Hired Hands in London, Body Parts Models in Los Angeles, Carmen Hand Model Management in New York and Parts Models in New York. Parts Models is the largest parts agency, representing over 300 parts models.
Fitness models
Fitness modelling focuses on displaying a healthy, toned physique. Fitness models usually have defined muscle groups. The model's body weight is heavier due to muscle weighing more than fat; however, they have a lower body fat percentage because the muscles are toned and sculpted. Fitness models are often used in magazine advertising. Sometimes they are certified personal fitness trainers. However, other fitness models are also athletes and compete as professionals in fitness and figure competitions. There are several agencies in large markets such as New York, London, Germany that have fitness modelling agencies. While there is a large market for these models, most of these agencies are a secondary agency promoting models who typically earn their primary income as commercial models. Plus there are also magazines that gear towards specifically fitness modeling or getting fit and in shape. Fitness Models showcase their fitter side of their bodies on the covers gearing towards specific competitions in fitness and figure competitions.
Gravure idols
A gravure idol, often abbreviated to gradol, is a Japanese female model who primarily models on magazines, especially men's magazines, photobooks or DVDs.
"Gravure" (グラビア) is a Wasei-eigo term derived from "rotogravure", which is a type of intaglio printing process that was once a staple of newspaper photo features. The rotogravure process is still used for commercial printing of magazines, postcards, and cardboard product packaging.
Gravure idols appear in a wide range of photography styles and genres. Their photos are largely aimed at male audiences with poses or activities intended to be provocative or suggestive, generally accentuated by an air of playfulness and innocence rather than aggressive sexuality. Although gravure models may sometimes wear clothing that exposes most of their body, they seldom appear fully nude. Gravure models may be as young as pre-teen age up to early thirties. In addition to appearing in mainstream magazines, gravure idols often release their own professional photobooks and DVDs for their fans. Many popular female idols in Japan launched their careers by starting out as gravure idols.
Commercial print and on-camera models
Commercial print models generally appear in print ads for non-fashion products, and in television commercials. Commercial print models can earn up to $250 an hour. Commercial print models are usually non-exclusive, and primarily work in one location.
There are several large fashion agencies that have commercial print divisions, including Ford Models in the United States.
Promotional models
A promotional model is a model hired to drive consumer demand for a product, service, brand, or concept by directly interacting with potential consumers. The vast majority of promotional models tend to be attractive in physical appearance. They serve to provide information about the product or service and make it appealing to consumers. While the length of interaction may be short, the promotional model delivers a live experience that reflects on the product or service he or she is representing. This form of marketing touches fewer consumers for the cost than traditional advertising media (such as print, radio, and television); however, the consumer's perception of a brand, product, service, or company is often more profoundly affected by a live person-to-person experience.
Marketing campaigns that make use of promotional models may take place in stores or shopping malls, at tradeshows, special promotional events, clubs, or even at outdoor public spaces. They are often held at high traffic locations to reach as many consumers as possible, or at venues at which a particular type of target consumer is expected to be present.
Spokesmodels
"Spokesmodel" is a term used for a model who is employed to be associated with a specific brand in advertisements. A spokesmodel may be a celebrity used only in advertisements (in contrast to a brand ambassador who is also expected to represent the company at various events), but more often the term refers to a model who is not a celebrity in their own right. A classic example of the spokesmodel are the models hired to be the Marlboro Man between 1954 and 1999.
Trade show models
Trade show models work a trade show floor-space or booth, and represent a company to attendees. Trade show models are typically not regular employees of the company, but are freelancers hired by the company renting the booth space. They are hired for several reasons: trade show models can make a company's booth more visibly distinguishable from the hundreds of other booths with which it competes for attendee attention. They are articulate and quickly learn and explain or disseminate information on the company and its product(s) and service(s). And they can assist a company in handling a large number of attendees which the company might otherwise not have enough employees to accommodate, possibly increasing the number of sales or leads resulting from participation in the show.
Atmosphere models
Atmosphere models are hired by the producers of themed events to enhance the atmosphere or ambience of their event. They are usually dressed in costumes exemplifying the theme of the event and are often placed strategically in various locations around the venue. It is common for event guests to have their picture taken with atmosphere models. For example, if someone is throwing a "Brazilian Day" celebration, they would hire models dressed in samba costumes and headdresses to stand or walk around the party.
Podium models
Podium models differ from runway models in that they don't walk down a runway, but rather just stand on an elevated platform during fashion presentation. They are kind of like live mannequins placed in various places throughout an event. Attendees can walk up to the models and inspect and even feel the clothing. Podium Modeling is a practical alternative way of presenting fashion when space is too limited to have a full runway fashion show.
Art models
Art models pose for any visual artist as part of the creative process. Art models are often paid professionals who provide a reference or inspiration for a work of art that includes the human figure. The most common types of art created using models are figure drawing, figure painting, sculpture and photography, but almost any medium may be used. Although commercial motives dominate over aesthetics in illustration, its artwork commonly employs models. Models are most frequently employed for art classes or by informal groups of experienced artists that gather to share the expense of a model.
Instagram models
Instagram models are a recent phenomenon due to the rise of social media. These models gain their popularity due to how many followers they have on social media. Some Instagram models gain high-profile modeling gigs and become household names. High-profile model, Jen Selter, kicked off the Instagram model craze. Recently, Anna Faith and Caitlin O'Connor among many others, have had great success as Instagram Models.
Opening the box of the Harrods Anna and Elsa LE100 dolls, to get a better look at them. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authencity, which is below the bottom of the inner box. The set is #39 of 100.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
Credits:
Head - Zoe Vista bento Head @ Vista Animations
Skin - Insol - Anna Skin @ UBER
Hair - Besom - Hard Candy @ Besom
Shape - Lyrium - Hailey Shape Lyrium - Hailey Shape
Top - Cynful - For the Crew Top @ Fameshed Go [check out the video explaining how it works], you can find the Top @ Cynful
Shorts - OSMIA - Chloe @ Equal10
Tattoo - Chat Noir - Tattoo 2021 @ Lost & Found
Fence - ionic - Wooden Fence @ Lost & Found
Chair & Pose - Kalopsia - Summer Rattan Chair @ Kalopsia
Heart - Wild Flowers - Quenn Ann's Lace @ Heart marketplace
Windlight - Doutzen Spring Dark Meadow Thank you Doutzen <3
Scott at Tralala's Diner @ Pine Lake
maps.secondlife.com/secondlife/Pine%20Lake/39/12/36
Scott Silverdale:
[The Forge] Punk Helm - Black -CBOX
[The Forge] Thaddeus Shoulders, Black.
[The Forge] Thaddeus Harness Steel RARE
[The Forge] Thaddeus Bracers, Black.
Cubura Oliver Underwear
//Ascend// Harry Long Boots - FatPack
[SIGNATURE] Gianni - Mesh Body - v4.5
Catwa Head
Hair : *ARGRACE* HAYATE - Blacks
Dirty Look: [flit ink] Dirtbag V3.3 full body tattoo w/ Appliers
Bike inc Pose:
Nutmeg. Bike White&Stickers (Red Light District - RLD Event)
Weapon:
[The Forge] Banshee Rocket Launcher, Black RARE
WL: Bryn Oh's Annas Many Murders
Nazareth ~ My White Bicycle
Opening the box of the Harrods Anna and Elsa LE100 dolls, to get a better look at them. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authencity, which is below the bottom of the inner box. The set is #39 of 100.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
The next step is to remove her from the doll stand, and remove the tacking that pins the sections of the skirt together. She is laid back down, and her skirts raised to reveal the wires attaching her legs to the doll stand. The wires are removed to free her from the stand, and then the stand is removed by gently pulling it straight down with one hand while holding on to the her waist with the other. Then the tacks pinning the sections of her skirt together are removed, one by one. There are tacks pinning the yellow green sections together, and also tacks pinning the dark green section between them to the satin underskirt. Four of the back sections are freed, and so the back of the skirt can be extended to show nearly the full width of the skirt. Then the skirt is partially raised to first show the underskirt, then the petticoat. Then Anna is turned around, so we can work on freeing the front sections of the outer skirt. Finally all the sections of her skirt are unpinned, and we can extend her skirt to its full width. It almost makes a full semi-circle. Then to show the full extent of her skirts, the outer skirt is lifted over her head, so make a full circle. Then the underskirt is raised as far as it can go, and finally the same for the petticoat.
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer. The spacer is then removed from Anna. There is still a wire around her bun, her waist, and remnants of the T-tabs in her head. The wires are removed and T-tabs cut close to her scalp. The back of her dress is opened to make removing the wire around her waist easier. We see manufacturer's markings on her lower back, under her upper torso joint. It also has her edition number and size: 39/100. The back of her skirt is sewn shut, but I cut the thread loose, so I can open up her skirt and see the top of her petticoat underneath. We also see that her satin underskirt is permanently sewn to the top of her outer skirt. Then her skirt and top are closed up, and she is stood up, supported by her doll stand.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
It was 103°F (39°C) when we visited the Phoenix Desert Botanical Garden last weekend. So this girl was taking a respite from feeding to sit on a twig and pant.
4de52paraules: foscor - darkness - oscuridad
"El color es la expresión y el sufrimiento de la luz"
- Goethe
Dudé (y sigo dudando) entre esta y la de los comentarios. Me quedo con esta (de momento), a pesar de ser menos oscura y a pesar de la textura en el cristal del vaso en la otra foto (<3), por el reflejo en la pantalla del teléfono y por esa brizna de luz en los pétalos de la florecita.
PLAY, que fa blues de Tom Waits
Les 52paraules: 1.Tardor✓ 2.CasaMeva✓ 3.Natura ✓4.Foscor ✓ 5.Aigua 6.Calor 7.Nou 8.Reflexe 9.Jo 10.ARasDeTerra 11.Créixer 12.Paraules 13.Camí 14.Hivern 15.Ombra 16.Calma 17.Verd 18.Construir 19.Analògic 20.PartDeMi 21.Porta 22.Obert 23.Fred 24.Lluny 25.Llibres 26.Desenfocat 27.Primavera 28.Textura 29.OnSóc 30.Línies 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment
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Shot at Magasin Le Bon Marché Rive Gauche,
Rue de Sèvres, 7ème arrondissement, Paris
Image shot using a Nikon D800 with Rokuoh Sha Hexar Ser IIa 20cm f/3.5 lens (s/n 3795) (originally from a SK-100 aerial camera), adapted for Nikon F mount using spacers, step-up rings (67-72, 62-67, 58-62m 55-58, 52-55mm and 39-42mm), a 62mm spacer tube, a 52mmm/M42 focussing helicoid (36–90mm) and a M39 to Nikon F adapter.—As part of the Antique Camera Simulator project.
The bokeh is provided by christmas lights under the awnings and the traffic (and traffic lights)
© Dirk HR Spennemann 2013, All Rights Reserved
Elsa is now fully deboxed. With the help of her skirt and cape, she can free stand, although she a bit unstable this way. She is posed standing, supported by her included doll stand, except for the last few photos in this series, where I have her free standing to show off her amazing shoes. All photos were taken with the built-in camera flash.
Elsa is very elegant and powerful looking in her Snow Queen gown. It consists of a light blue green satin full length dress, and a oversized blue green sheer organza cape, which is permanently sewn to the top of the dress. The dress has rectangular clear crystals covering the bodice, and round clear gems scattered throughout her floor length skirt, iwth a long slit down the front right side. The back of the dress ends in a long circular tail. The dress is fully lined with dark blue satin. The full length sleeves are sheer blue organza decorated with blue jewels, as is the collar. The cape is truly spectacular. It can wrap around the front to hide the skirt, or be extended to the sides and the back. It is circular, and trails a considerable distance behind her. It is double layered sheer blue green organza, with a pearly sheen, and is quite flexible, unlike the the organza cape of the Classic Elsa, which is stiffened by all the glitter glued to the cape. However, it is not as sheer as the Classic Elsa's cape, as it is two layered, as opposed to the single layer organza capes of Classic Elsa, and also Singing Elsa. The cape is covered in embroidered ice and snowflake patterns, with clear round crystals placed as part of the patterns. There is no glitter used anywhere on Elsa's outfit, unlike the Classic and Singing Elsa dolls.
Elsa has unique shoes. They are iridescent blue high heeled shoes with a snowflake design in the front and back. They have a metallic look to them, even though they are plastic. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Elsa is a very accurate depiction of the movie character. She has a very striking angular face with pronounced cheekbones, and large bright blue eyes that are glancing to her righ. She has an extremely pale complexion with a purplish tint, and a pearly iridescent sheen to her skin, which is similar to that of the organza gown. She has an elfin look to her face, although her ears are normally sized and shaped, and considerably smaller than Anna's. She has a few freckles across her cheeks, and a solitary freckle on her forehead. She has long gently curving rooted eyelashes, elaborate eyeshadow above her eyes, small thin eyelashes below her eyes (and none above). She has dark heavily applied rouge on her cheeks right below her eyes. This gives her a darker, more serious look than the other Elsa dolls, and very different than Anna's cheerful, carefree look. She has thin blood red lips, in a slight smile. Her body has the same articulation as Anna's, except for the lack of ankle joints, and of course her entire body has the same pearly pale blue skin as her face. She has long light blonde hair that is fashioned into a long braided pony tail, and long flat curves over her head. There is a single side curl over her left forehead, and short sideburns. There are three snowflake shaped crystal hair ornaments in her hair.
Elsa is a truly beautiful and unique doll, and represents the Snow Queen character very well, with a confident, dark look, otherworldly features, and a spectacular gown.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). My set is #39 of 100, and I received it on November 11, 2013.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown. As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
The next step is to remove her from the doll stand, and remove the tacking that pins the sections of the skirt together. She is laid back down, and her skirts raised to reveal the wires attaching her legs to the doll stand. The wires are removed to free her from the stand, and then the stand is removed by gently pulling it straight down with one hand while holding on to the her waist with the other. Then the tacks pinning the sections of her skirt together are removed, one by one. There are tacks pinning the yellow green sections together, and also tacks pinning the dark green section between them to the satin underskirt. Four of the back sections are freed, and so the back of the skirt can be extended to show nearly the full width of the skirt. Then the skirt is partially raised to first show the underskirt, then the petticoat. Then Anna is turned around, so we can work on freeing the front sections of the outer skirt.
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer. The spacer is then removed from Anna. There is still a wire around her bun, her waist, and remnants of the T-tabs in her head. The wires are removed and T-tabs cut close to her scalp. The back of her dress is opened to make removing the wire around her waist easier. We see manufacturer's markings on her lower back, under her upper torso joint. It also has her edition number and size: 39/100. The back of her skirt is sewn shut, but I cut the thread loose, so I can open up her skirt and see the top of her petticoat underneath. We also see that her satin underskirt is permanently sewn to the top of her outer skirt. Then her skirt and top are closed up, and she is stood up, supported by her doll stand.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
The next step is to remove her from the doll stand, and remove the tacking that pins the sections of the skirt together. She is laid back down, and her skirts raised to reveal the wires attaching her legs to the doll stand. The wires are removed to free her from the stand, and then the stand is removed by gently pulling it straight down with one hand while holding on to the her waist with the other. Then the tacks pinning the sections of her skirt together are removed, one by one. There are tacks pinning the yellow green sections together, and also tacks pinning the dark green section between them to the satin underskirt. Four of the back sections are freed, and so the back of the skirt can be extended to show nearly the full width of the skirt. Then the skirt is partially raised to first show the underskirt, then the petticoat.
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer. The spacer is then removed from Anna. There is still a wire around her bun, her waist, and remnants of the T-tabs in her head. The wires are removed and T-tabs cut close to her scalp. The back of her dress is opened to make removing the wire around her waist easier. We see manufacturer's markings on her lower back, under her upper torso joint. It also has her edition number and size: 39/100. The back of her skirt is sewn shut, but I cut the thread loose, so I can open up her skirt and see the top of her petticoat underneath. We also see that her satin underskirt is permanently sewn to the top of her outer skirt. Then her skirt and top are closed up, and she is stood up, supported by her doll stand.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
Heres information about central florida broadcast stations
Broadcast Tower,WFTT-TV is the Telefutura affiliate for Tampa Bay, owned by Univision and operated by Entravision, owners of WVEA-TV. The station, which broadcasts on UHF channel 50, is based at WVEA's studios on Hillsborough Avenue in Tampa, and transmits from Riverview. WFTT can be seen on cable throughout the Bay Area on Bright House channel 5, and on Comcast in Sarasota County on channel 23.
With the completion of the 442.550 repeater in Riverview at 805ft in January, the western pointing antenna on the 442.825 repeater caused a expected overlap that was unnecessary. Since 442.550 now blankets Hillsborough County, we have as of April 11th taken the antenna off the west leg of the Pebbledale tower site at 800ft and moved it to the east leg of the tower. What does mean for users? The tower has a 7 foot wide face, which creates a null that is created behind the antenna. This null used to face a huge portion of Polk County. By moving this antenna to the east, the null is now facing essentially Brandon/Riverview, where 442.550 is now located at 805ft. So far we have gotten incredible results from users in eastern Polk County. Some users in Sebring reporting almost full scale signal, and mobile users with hand helds on 27 at 5 watts can use 442.825 now. None of this was previously possible. So with this move, expect to hear more Polk, Osceola and I-4 corridor area users making it into the network.
A nother tower WVEA (channel 62) is Tampa Bay, Florida's first Spanish-language TV station, which had its start in the early-1980s as low-powered W50AC ch.50, which offered programming from the Spanish International Network (SIN), the forerunner of today's Univision. In 1988, to make way for new HSN flagship WBHS (now WFTT-TV), the station relocated to channel 61 and became W61BL. In the mid-1990s, the station was re-called "WVEA-LP". In 2000, WVEA's parent company, Entravision, acquired Sarasota English independent WBSV channel 62, with the intent of moving the transmitter from Venice to the antenna farm at Riverview. WBSV signed on May 3, 1991 as the Sarasota area's own independent station, designed to compete against WWSB and the other stations in the Tampa Bay and nearby Ft. Myers markets. Licensed to Venice, Florida the call letters stood for Bradenton, Sarasota, Venice, the three cities it primarily served. WBSV had a variety of syndicated and local programming, plus infomercials and home shopping programs. early on, they also had its own newscast. But, WBSV was eternally in red ink, and relied more on home shopping and infomercials to keep the station afloat....
And then,WTVT, channel 13, is a television station in Tampa, Florida. It is an owned and operated station of the Fox Broadcasting Company, a subsdiary of the News Corporation. WTVT's studios are located in Tampa, and its transmitter is located in Riverview, Florida.
Overall the WUSF (89.7 FM) is an NPR-member radio station licensed to Tampa, Florida, USA. The station is currently owned by the University of South Florida. WUSF signed on in 1963, seven years after USF's founding in 1956.
WOPX channel 56 is a television station based in Orlando, Florida, USA. An affiliate of the ION Television network, it transmits its analog signal on UHF channel 56 and its digital signal on UHF channel 48, both from a transmitter located near Holopaw. The station signed on the air in 1986.
WIWA (1160 AM) is a radio station broadcasting a Spanish language Christian format. Licensed to St. Cloud, Florida, USA, it serves the greater Orlando area. The station is currently owned by Centro De La Familia Cristiana Inc.
WAFZ-FM (92.1 FM) is a radio station broadcasting a Regional Mexican format. Licensed to Immokalee, Florida, USA, the station is currently owned by Glades Media Company LLC. WAFZ's programming is also heard on WAFZ AM 1490 in Immokalee.
WTVY or WTVY News 4 is a CBS-affiliated television station broadcasting on channel 4 in Dothan, Alabama, owned by Gray Television. The station's signal, originating from a transmitter in Holmes County, Florida, reaches large portions of Alabama, Georgia and Florida. WTVY is also the designated CBS affiliate for the Panama City, Florida market, where Gray also owns that city's NBC affiliate, WJHG-TV. In exchange, WJHG is available in Dothan on cable since Dothan does not have its own NBC affiliate. In fact, WTVY's transmitter is located within the Panama City market. WTVY-DT uses digital subchannels to operate MyNetworkTV affiliate My 4 and CW affiliate Dothan's CW.
WJED (91.1 FM) is a radio station broadcasting a Christian radio format. Licensed to Dogwood Lakes Estate, Florida, USA. The station is currently owned by Bethany Bible College.
WTVJ, channel 6, is the NBC owned-and-operated television station for South Florida, licensed to Miami. Its analog transmitter is located in Redland. The station's digital transmitter is located near Dolphin Stadium in north Miami-Dade County. Owned by NBC Universal, the station is sister to South Florida's Telemundo owned-and-operated station, WSCV. The two share studios at Peacock Plaza in Miramar.
WOIR (1430 AM) is a radio station broadcasting a Spanish News/Talk format. Licensed to Homestead, Florida, USA, the station serves the Miami area. The station is currently owned by Amanecer Christian Network, Inc..
WTLH is a Fox television affiliate licensed to Bainbridge, Georgia and serves the Tallahassee, Florida television market. It broadcasts its analog signal on UHF channel 49 and its digital signal on UHF channel 50. The station began operations on November 25, 1989. Its transmitter is located in Metcalf, Georgia. The Station is owned by CP Media, LLC. The station runs a duopoly with WFXU, The CW station in Tallahassee. WTLH programming is also seen on a low-powered, Class-A repeater, WBVJ-LP channel 35 in Valdosta.
WTXL-TV is the ABC affiliate station for Tallahassee, Florida, Thomasville, Georgia, and Valdosta, Georgia, broadcasting on channel 27. The station is owned by Calkins Media, Inc., a Pennsylvania-based mass media company that owns several small newspapers in Pennsylvania and two other television stations: WWSB in Sarasota and WAAY-TV in Huntsville, Alabama. It was previously owned by Media Ventures Management, and operated by the Sinclair Broadcast Group pursuant to an outsourcing agreement (See: [1]), the first of its kind in the United States. This agreement merged virtually all of WTXL-TV's operations with that of Sinclair's NBC affiliate WTWC. Denis LeClair, General Manager of WTXL-TV and WBXT-TV at the time, was made General Manager for WTXL, WBXT and WTWC under this agreement. He would be followed by Chris Butterick and then Bob Franklin. Eventually, Kim Urbuteit (who was fired in May, 2007) would be named General Manager of WTXL only as Bob Franklin (now in Mobile, AL) oversaw WTWC. Gary Wordlaw is the current General Manager of WTXL-TV.
WFSU is the callsign (or variations thereon) for public radio stations operated by Florida State University in Tallahassee, Florida. WFSU also operates 3 radio stations that serve northern Florida: * WFSU-FM 88.9 FM: Tallahassee-based news/talk/public affairs station carrying several NPR programs and overnight BBC World Service programming. Also heard on these low-powered repeaters: * 97.1 - Carrabelle * 106.1 - Marianna * 96.7 - Apalachicola * 93.7 - Downtown Tallahassee (necessary because the main WFSU transmitter must conform its signal to protect WTSU in Troy, Alabama) * WFSQ-FM 91.5 FM: Tallahassee-based classical music station. Also heard on WFSL-FM 90.7 in Thomasville, Georgia, and on low-powered 92.7 FM in the northeast portion of the city of Tallahassee. * WFSW-FM 89.1 FM: Panama City-based news/talk/public affairs station. Offers many of the same programs as WFSU. Also heard on low-powered 91.1 FM in the Port St. Joe area along the Gulf of Mexico, as well as 94.5 FM in Fort Walton Beach.
WESH is the NBC affiliate in Orlando, Florida. It is licensed to Daytona Beach, with studio facilities in Winter Park. It transmits its analog signal on VHF channel 2 and its digital signal on VHF channel 11, when viewed over the air PSIP will display 2.1 for WESH DT and 2.2 for WESH Weather Plus. It is currently owned by Hearst-Argyle Television along with the area's CW affiliate, WKCF. WESH's transmitter is located in Orange City, Florida. The tower is the tallest man-made structure in Florida, at 1,740 feet (530 m). The station also serves as the default NBC affiliate for the Gainesville market, and can be seen on the fringes of the Tampa Bay and Jacksonville markets. WESH was the first station in Orlando to carry an on-site RADAR facility, SuperDoppler 2 as opposed to relying on National Weather Service RADARs. It is installed on top of the tower located at the Winter Park broadcast studio. Today it also promotes a VIPIR 3D RADAR system, taking advantage of the fact that the RADARs at Melbourne, Tampa, Jacksonville and Miami can all reach Orlando, in addition to SuperDoppler 2. The primary news anchors at WESH are Martha Sugalski and Jim Payne....
WOMX is a radio station located in the Orlando, Florida area and broadcasts at 105.1. WOMX 105.1 plays the "Best MIX of the 80s, 90s and Today," though the station programming focuses mostly on rock and modern rock music from the 90's and 2000's. Every Friday from 5:00 p.m. to 12:00 a.m., Mix 105.1 presents Friday Night 80's. The "Saturday Night Party MIX" airs every Saturday night from 7 p.m. to midnight. The "Saturday Night Party MIX" replaced the Orlando heritage show "Seventies Saturday Night" in 2005.
WOTF-TV Channel 43 is the TeleFutura station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by Univision and managed by Entravision which owns Univision affiliate WVEN-TV 26 and radio station WNUE 98.1 FM and offers a Spanish language entertainment format featuring movies, dramas, comedy shows, and kids shows. The studios are located in Altamonte Springs which is also shared by WVEN.
WOFL, "Fox 35", is the Fox owned-and-operated television station serving the Orlando, Florida metropolitan area. It is licensed to Orlando, with studios located in Lake Mary. It broadcasts its analog signal on UHF channel 35, and its digital signal on UHF channel 22. Its transmitter is located in Bithlo, Florida. Its Digital TV transmitter has a power of 1,000 kW. Its Analog TV transmitter has a power of 2,570 kW. WOFL and sister station WTVT of the bordering Tampa market commonly share reporters and footage, as other station groups do.
WFTV channel 9 is a television station based in Orlando, Florida, affiliated with the ABC network. It transmits its analog signal on VHF channel 9 from a transmitter located in Bithlo, Florida, and its digital signal on UHF channel 39 from a transmitter located in Christmas, Florida. It is owned by Cox Enterprises along with independent station WRDQ TV 27. The primary news anchors at WFTV are Bob Opsahl and Martie Salt. They anchored the main afternoon newscasts from 1984 through 1994, when Ms. Salt transferred to WFTS, a TV station in Tampa (where she was known as "Martie Tucker"). She returned to anchor WFTV's news again with Opsahl in 2003. Opsahl is one of the longest-serving (at one station) local news anchors in Florida. Barbara West, a 20 year veteran at WFTV and the station's medical reporter is paired with Opsahl at 5:30. Marla Weech, a former anchor for WFTV, was paired up with Bob Opsahl during most of Salt's absence. Weech currently works for WKMG. Tom Terry is the "Chief Meteorologist". WFTV's Severe Weather Center 9 includes WFTV's own doppler weather radar station located at Joint Venture TV Tower Bithlo. Its radar has features that are...
WRBW-TV is the MyNetworkTV owned and operated station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by the Fox Television Stations Group, along with Fox station WOFL Channel 35. Known on-air as "My65", the station offers sitcoms, cartoons, court shows, and talk/reality shows. Its transmitter is located in Christmas, Florida.
WNTF (1580 AM) is a radio station broadcasting a News Talk Information format. Licensed to Bithlo, Florida, USA, it serves the Orlando area. The station is currently owned by Rama Communications, Inc.
WBCC is an educational television station serving the Orlando television market. It broadcasts on UHF channel 68, with a digital signal on channel 30. It is one of the Orlando market's PBS member stations. WBCC's digital signal, on channel 30, offers programming from the University of Central Florida (channel 68.2) and BPS-TV from Brevard Public Schools (channel 68.3), in addition to WBCC's standard programming.
WRDQ, channel 27, is an independent television station in Orlando, Florida. Its analog transmitter is located in northeastern Osceola County. The station's digital transmitter is located in Christmas. Onwed by Cox Enterprises, WRDQ is sister to ABC affiliate WFTV. The two stations share studios on East South Street in downtown Orlando. WRDQ offers the Retro Television Network on its second digital subchannel. It can also be seen on Bright House digital channel 1028. Syndicated programming on WRDQ includes: South Park, Scrubs, Merv Griffin's Crosswords, Oprah, According to Jim, and George Lopez. The station can be considered an alternate ABC affiliate. As such, it may take on the responsibility of airing ABC programs whenever WFTV may not be able to do so as in a news-related emergency.
WXPX is a television station licensed to Bradenton, Florida. Operating on channel 66, it is an ION Television affiliate, owned and operated by ION Media Networks (formerly Paxson Communications), which has owned the station since its founding in 1994. Current programming on WXPX is virtually the same as other ION affiliates -- infomercials throughout the day and during the overnights, plus ION programming in the evenings. WXPX also shows Tampa Bay Lightning hockey, Orlando Magic basketball, some college football and Tampa Bay Rays baseball, though most of these games are in the evenings only, as WXPX tend to reserve non-prime-time hours for infomercials. Rays games air in high definition on WXPX in the 720p format, the same format as FSN Florida, the producers of the games (See: [1]). The only local programming on WXPX is i on Tampa (public affairs) and the aforementioned Rays and Magic games. The station once aired Miccosukee Magazine along with WPXM Miami and WPXP West Palm Beach, but no longer airs the program. (the latter two stations still do, along with WOPX Orlando) WXPX started in 1994 as WFCT, which featured infomercials at all hours under...
Wesh News Cast Bay News 9 Cast Weather Channel
Kristina
Abernathy
Stephanie
Abrams
Natalie
Allen
Tetiana
Anderson
Adam
Berg
Mike
Bettes
Vivian
Brown
Jim
Cantore
Jennifer
Carfagno
Kelly
Cass
Betty
Davis
Kristin
Dodd
Jorma
Duran
Dr Marcus
Eriksen
Paul
Goodloe
Ryan
Goswick
Rich
Johnson
Bill
Keneely
Danny
Lipford
Warren
Madden
Mark
Mancuso
Dr Anna
Marie
Julie
Martin
Jeff
Mielcarz
Jarod
Miller
Nicole
Mitchell
Samantha
Mohr
Jeff
Morrow
Carl
Parker
Kim
Perez
Sharon
Resultan
Kevin
Robinson
Marshall
Seese
Mike
Seidel
Alexandra
Steele
Heather
Tesch
Nick
Walker
Alex
Wallace
Dr Steve Lyons
Dr Greg Forbes
Dr Heidi Cullen
Stu Ostro
Aixa Diaz (NEWS ANCHORS
Jen Holloway
Al Ruechel
Leigh Moody
Erica Riggins
Rick Elmhorst
(METEOROLOGISTS)
Mike Clay
Juli Marquez
Josh Linker
Diane Kacmarik
Brian McClure
Alan Winfield
(NEWS REPORTERS
Jennifer Anderson
Dalia Dangerfield
Laurie Davison
Melissa Eichman
Samantha Hayes
Chuck Johnson
Troy Kinsey
Jason Lanning
Emily Maza
Carol Minn Vacca
Jonathan Petramala
Josh Rojas
Summer Smith
Kathryn Simmons
Melanie Snow
Melissa Sogegian
Anna Tataris
Ferdinand
Zogbaum
(EN ESPANOL
Lydia Guzmán
Roy De Jesús
Sandra Pinto
Jim Payne
Syan Rhodes
Martha Sugalski
Scott Walker
Eryka Washington
Weather:
Jason Brewer
Tony Mainolfi
Malachi Rodgers
Amy Sweezey
WESH.com Web Staff:
Jeff Cousins
Managing Editor
Jessica Seeley
Washington Reporters:
Sally Kidd
Nikole Killion
Laurie Kinney
Orlando Sentinel:
Roger Moore
Movie Critic
Sports:
Pat Clarke
Guy Rawlings
Reporters:
Danielle Bellini
Dan Billow
Greg Fox
Bob Kealing
Jeff Lennox
Craig Lucie
Dave McDaniel
Michelle Meredith
Claire Metz
Amanda Ober
Kendra Oestreich
Gail Paschall-Brown
Tim Trudell
Todd Wilson
Other Talent:
Jason Chepenik
Financial Analyst
Dr. Todd Husty
Dan McCarthy
Chopper 2 Pilot
Kimberly Williams
Traffic Reporter
Anna is now fully deboxed. Her skirts are stiff enough to permit her to free stand, although she a bit unstable this way. She is posed standing, supported by her included doll stand. All photos were taken with the built-in camera flash.
Anna is in her coronation gown, with a velvet black bodice and green skirt. The bodice is form fitting, with multicolored embroidery and jewels, with a dark green satin shoulder straps. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. When the sections are freed, the skirt can expand to a full semicircle. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing. She is wearing a necklace, with the pendant stuck to her chest.
Her face is very movie accurate. She has a round face, with huge blue green eyes, long gently curving rooted eyelashes, thin dark brown eyebrows. She has a small pointy nose, thin dark pink lips in a slight smirk, and large round ears. She has orange freckles all over her face, extending down to her neck, shoulders and chest, and even on her upper back. She has a very pale complexion, but her sister Elsa is much, much paler. Her body is the usual LE Princess body, with full articulation in her arms and legs, and an upper torso joint. Her rusty red hair is fashioned into a large bun in the back of her head, with a spiraling braid around a small bun in the middle, out of which comes several thin ponytails, including two very skinny braids, and also several satin ribbons. In front are long curly bangs, and a tight flat braid over it. There is a streak of white hair from her right side, and ending in one of the thin pony tails hanging off the small bun.
Anna is very beautiful and elegant, very much a Disney Princess.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). My set is #39 of 100, and I received it on November 11, 2013.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown. As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
The LEGO Disney Princess Elsa's Sparkling Ice Castle fully assembled. Elsa is standing on the balcony of the second floor. The rest of the figures and outdoor accessories are near the front of the Castle.
I got the new LEGO Disney Princess Elsa's Sparkling Ice Castle from one of my local Target stores on Sunday December 14, 2014. It's official release date is January 1, 2015, but it started appearing in Target stores in the US several days ago. It costs $39.99, has 292 parts, and is Set 41062. It consists of a three story Ice Castle, Anna, Elsa and Olaf mini figures, a picnic table, a sled, ice skates, skis, an ice hill (slide), and various other accessories.
There are two instruction booklets, that are extensively illustrated, and three plastic bags with the parts. There was also a couple of items not in the bags. I am very impressed with the quality of the set, which is my very first by LEGO. The Anna, Elsa and Olaf figures all require assembly. Their faces are painted very well, but of course are in the Lego style. They are about 2'' high (when assembled), and there is an actual size image of the Elsa figure on the box top.
I show the set boxed, disassembled, and during the assembly. Then I show several scenes inspired by the movie Frozen, using the assembled set.
IL CONVEGNO ON LINE: www.eventiaisf.org/VII/index.html
VII Congresso Nazionale
Associazione Italiana Sindrome Fibromialgica (A.I.S.F. ONLUS)
Aula Magna – Padiglione LITA
Azienda Ospedaliera Polo Universitario “L. Sacco”
Via G.B. Grassi, 74 - 20157 Milano
Domenica 19 aprile 2009
La sindrome fibromialgica: ovvero come convivere con il dolore
8.30 Registrazione e saluto delle autorità
Luigi CORRADINI (Milano) - Direttore Generale A.O. Polo Universitario “L. Sacco”
Piercarlo SARZI-PUTTINI (Milano) - Direttore U.O. Complessa di Reumatologia A.O. Polo Universitario “L. Sacco”
Annamaria MARCHIONNE (Trento) - Presidente ATMAR - Membro Consiglio Direttivo ANMAR
Moderatori: Gianniantonio Cassisi (Belluno), Manuela Magni (Milano)
9.20-9.40
Educazione del paziente fibromialgico - Piercarlo SARZI-PUTTINI
9.40-10.00
Sessualità e fibromialgia - Roberto BERNORIO (Milano)
Moderatore: Antonio Marsico (Taranto)
10.00-10.20
Nuove prospettive terapeutiche - Marco CAZZOLA (Saronno, VA)
Moderatori: Alessandra Alciati (Milano), Lucia Bettio (Milano)
10.20-10.40
Terapia cognitivo-comportamentale - Gabriele CATANIA (Milano)
Moderatori: Marco Cazzola, Anna Beretta (Milano)
10.40-11.00
Coffee break
11.00-11.30
Esercizio e fibromialgia - Alessandro SARZI-PUTTINI (Mantova)
Moderatori: Piercarlo Sarzi-Puttini, Paola Muti (Milano)
11.30-11.50
A.I.S.F. e ENFA - Matilde FERRIERI (Padova)
11.50-12.10
Il sito web e il caleidoscopio - Luisa QUATTRINA (Milano)
12.10-12.30
Il registro italiano dei pazienti affetti da fibromialgia - Fabiola ATZENI (Milano),Paolo FOSCARI (Milano)
12.30-12.50
Il manuale del paziente fibromialgico - Marco CAZZOLA, Piercarlo SARZI-PUTTINI, Annamaria MARCHIONNE
12.50-13.00
Progetto Oneself - Marco BONESCHI (Lugano-Svizzera)
13.00-14.00
Lunch
14.00-15.00
Uno spazio per voi: domande a ruota libera ad un panel di esperti: Marco CAZZOLA, Antonio MARSICO, Alessandra ALCIATI, Gianniantonio CASSISI
15.00-16.30
Assemblea dei Soci con approvazione del bilancio
Elezione del nuovo Consiglio Direttivo e dei revisori dei conti e dei probiviri
16.30-17.00
Riunione del nuovo Consiglio Direttivo
17.00
Chiusura dei lavori - Piercarlo SARZI-PUTTINI
INFORMAZIONI:
Segreteria Organizzativa
A.I.S.F. ONLUS c/o UOC Reumatologia
Azienda Ospedaliera Polo Universitario “L. Sacco”
Via G.B. Grassi, 74 - 20157 Milano
Tel: 02.39.04.25.19 - Fax: 02.39.04.34.54
e-mail: aisfonlus@hotmail.it
Sede del Congresso
Aula Magna - Padiglione LITA
Azienda Ospedaliera Polo Universitario “L. Sacco”
Via G.B. Grassi, 74 - 20157 Milano
Programma Sociale
Nel corso della mattinata verrà offerto un coffee break.
La colazione di lavoro sarà servita presso la sede congressuale al costo di € 15,00/cad.
Iscrizione A.I.S.F. ONLUS
All’atto della registrazione al Congresso, i soci A.I.S.F. e coloro che intendono diventarlo dovranno versare la quota associativa di € 20,00 per il 2009.
The next step is to remove her from the doll stand, and remove the tacking that pins the sections of the skirt together. She is laid back down, and her skirts raised to reveal the wires attaching her legs to the doll stand. The wires are removed to free her from the stand, and then the stand is removed by gently pulling it straight down with one hand while holding on to the her waist with the other. Then the tacks pinning the sections of her skirt together are removed, one by one. There are tacks pinning the yellow green sections together, and also tacks pinning the dark green section between them to the satin underskirt. Four of the back sections are freed, and so the back of the skirt can be extended to show nearly the full width of the skirt. Then the skirt is partially raised to first show the underskirt, then the petticoat.
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer. The spacer is then removed from Anna. There is still a wire around her bun, her waist, and remnants of the T-tabs in her head. The wires are removed and T-tabs cut close to her scalp. The back of her dress is opened to make removing the wire around her waist easier. We see manufacturer's markings on her lower back, under her upper torso joint. It also has her edition number and size: 39/100. The back of her skirt is sewn shut, but I cut the thread loose, so I can open up her skirt and see the top of her petticoat underneath. We also see that her satin underskirt is permanently sewn to the top of her outer skirt. Then her skirt and top are closed up, and she is stood up, supported by her doll stand.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
Engagement Rings & Wedding Rings :
Illustration
Description
Elegant & Contemporary Champagne Diamond Engagement Rings ~ Anna Sheffield's Pear Rosette Ring
-Read More –
The next step is to remove her from the doll stand, and remove the tacking that pins the sections of the skirt together. She is laid back down, and her skirts raised to reveal the wires attaching her legs to the doll stand. The wires are removed to free her from the stand, and then the stand is removed by gently pulling it straight down with one hand while holding on to the her waist with the other. Then the tacks pinning the sections of her skirt together are removed, one by one. There are tacks pinning the yellow green sections together, and also tacks pinning the dark green section between them to the satin underskirt. Four of the back sections are freed, and so the back of the skirt can be extended to show nearly the full width of the skirt.
We prepare to remove the spacers from the backing by clipping off the ends of the wires, cutting the rubber bands and threads, and removing the tape holding the tabs of the spacers to the back of the backing. Anna will be the first to be removed from the backing. The tabs of the spacer are cut, and the spacer with Anna attached is pulled from the backing. There are wires attaching her bun and ponytail to the spacer, and a wire around her waist that goes through the spacer. Also there are several T-tabs tacking the back of her head to the spacer. The spacer is then removed from Anna. There is still a wire around her bun, her waist, and remnants of the T-tabs in her head. The wires are removed and T-tabs cut close to her scalp. The back of her dress is opened to make removing the wire around her waist easier. We see manufacturer's markings on her lower back, under her upper torso joint. It also has her edition number and size: 39/100. The back of her skirt is sewn shut, but I cut the thread loose, so I can open up her skirt and see the top of her petticoat underneath. We also see that her satin underskirt is permanently sewn to the top of her outer skirt. Then her skirt and top are closed up, and she is stood up, supported by her doll stand.
Then we untack Anna's dress from the backing. Now the bottom of the backing can be dropped down. We can see the bottom of the two doll stands, and see the bottom of Anna's and Elsa's shoes. Then we raise Anna's skirt up, and see the many layers of Anna's outfit. Her outer skirt is made of panels of yellow green embroidered and jeweled satin alternating with plain dark green satin panels, the pattern repeating ten times. The lighter green panels are tacked together with plastic T-tabs, so we don't see the full extent of the skirt. Under the skirt is a full length yellow green satin slip, with a wide lacy hem. Under that is a 3/4 length stiff tulle petticoat. Under that are yellow green satin knee-length bloomers. Finally under that are full length stockings or leggings. Anna is certainly dressed for cold weather. Her legs are wired to the doll stand at the ankles and knees. Her feet are posable, and she is wearing black flats, which is rather disappointing given the gorgeous and unique shoes that Elsa is wearing.
Next we begin to undo all the attachments that are accessible without taking the spacers off the backing. First we snip off the T-tabs that tack Elsa's dress to the backing, as well as enough of the fasteners that pin the cape shut. We can now open up the cape and her skirt in the front to see Elsa's legs and shoes. We see that she is bound to her doll stand by wires. She has unique shoes, iridescent blue high heeled shoes with a snowflake design. She also bucks the trend of fully articulated legs in the Limited Edition dolls, by having fixed angled feet. She looks much more elegant with fixed feet in the high heels.
Deboxing the Harrods Anna and Elsa LE 100 dolls. First we open the box to begin the deboxing process. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authenticity, which is below the bottom of the inner box. The set is #39 of 100. The dolls are still attached to the plastic spacers and cardboard backing by wires, thread, rubber bands and plastic T-tabs.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
10de52paraules: a ras de terra - wormview
Every adventure requires a first step
- The Cheshire Cat, Alice in Wonderland
Les 52paraules: 1.Tardor✓ 2.CasaMeva✓ 3.Natura ✓4.Foscor ✓ 5.Aigua ✓ 6.Escalfor ✓7.Nou ✓ 8.Reflexe ✓ 9.Jo ✓ 10.ARasDeTerra ✓ 11.Créixer 12.Paraules 13.Camí 14.Hivern 15.Ombra 16.Calma 17.Verd 18.Construir 19.Analògic 20.PartDeMi 21.Porta 22.Obert 23.Fred 24.Lluny 25.Llibres 26.Desenfocat 27.Primavera 28.Textura 29.OnSóc 30.Línies 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment
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photo by: Roman Kajzer @FotoManiacNYC
EROTIC PHOTOGRAPHY
Erotic photography is a style of art photography of an erotic and even a sexually suggestive or sexually provocative nature. Erotic photography is generally a composed image of a subject in a still position. Though the subjects of erotic photography are usually completely or mostly unclothed, that is not a requirement. Erotic photography should be distinguished from nude photography, which contains nude subjects not necessarily in an erotic situation, and pornographic photography, which is of a sexually explicit nature. Pornographic photography generally does not claim any artistic or aesthetic merit.
Since the 1960's erotic photography began to be less commonly referred to as such, to be increasingly described as glamour photography.
Erotic photographs are normally intended for commercial use, including mass-produced calendars, pinups and for men's magazines, such as Penthouse and Playboy, but sometimes the photographs are intended to be seen only by a subject's partner. The subjects of erotic photographs may be professional models, celebrities or amateurs. Very few well-known entertainers posed nude for photographs. The first entertainer to pose nude for photographs was the stage actress Adah Isaacs Menken (1835–1868). On the other hand, a number of well-known film stars have posed for pinup girl photographs and been promoted in photography and other media as sex symbols. Traditionally, the subjects of erotic photographs have been female, but since the 1970's erotic images of men have also been published.
MODEL
A model (from Middle French modelle) is a person with a role either to promote, display, or advertise commercial products (notably fashion clothing) or to serve as a visual aide for people who are creating works of art or to pose for photography.
Modelling ("modeling" in American English) is considered to be different from other types of public performance, such as acting or dancing. Although the difference between modelling and performing is not always clear, appearing in a film or a play is not generally considered to be "modelling".
Types of modelling include: fashion, glamour, fitness, bikini, fine art, body-part, promotional and commercial print models. Models are featured in a variety of media formats including: books, magazines, films, newspapers, internet and TV. Fashion models are sometimes featured in films: (Looker), reality TV shows (America's Next Top Model, The Janice Dickinson Modeling Agency), and music videos: ("Freedom! '90", "Wicked Game", "Daughters", and "Blurred Lines").
Celebrities, including actors, singers, sports personalities and reality TV stars, frequently take modelling contracts in addition to their regular work.
HISTORY OF MODELING
Early years
Modelling as a profession was first established in 1853 by Charles Frederick Worth, the "father of haute couture", when he asked his wife, Marie Vernet Worth, to model the clothes he designed. The term "house model" was coined to describe this type of work. Eventually, this became common practice for Parisian fashion houses. There were no standard physical measurement requirements for a model, and most designers would use women of varying sizes to demonstrate variety in their designs.
With the development of fashion photography, the modelling profession expanded to photo modelling. Models remained fairly anonymous, and relatively poorly paid, until the late 1950's. One of the first well-known models was Lisa Fonssagrives, who was very popular in the 1930's. Fonssagrives appeared on over 200 Vogue covers, and her name recognition led to the importance of Vogue in shaping the careers of fashion models. In 1946, Ford Models was established by Eileen and Gerard Ford in New York; it is one of the oldest model agencies in the world. One of the most popular models during the 1940's was Jinx Falkenburg who was paid $25 per hour, a large sum at the time. During the 1940's and 1950's, Wilhelmina Cooper, Jean Patchett, Dovima, Dorian Leigh, Suzy Parker, Evelyn Tripp, Carmen Dell'Orefice, and Lisa Fonssagrives dominated fashion. Dorothea Church was among the first black models in the industry to gain notoriety in Paris. However, these models were unknown outside the fashion community. Compared to today's models, the models of the 1950's were more voluptuous. Wilhelmina Cooper's measurements were 38"-24"-36" whereas Chanel Iman's measurements are 32"-23"-33".
The 1960s and the beginning of the industry
In the 1960's, the modelling world began to establish modelling agencies. Throughout Europe, secretarial services acted as models' agents charging them weekly rates for their messages and bookings. For the most part, models were responsible for their own billing. In Germany, agents were not allowed to work for a percentage of a person's earnings, so referred to themselves as secretaries. With the exception of a few models travelling to Paris or New York, travelling was relatively unheard of for a model. Most models only worked in one market due to different labor laws governing modelling in various countries. In the 1960's, Italy had many fashion houses and fashion magazines but was in dire need of models. Italian agencies would often coerce models to return to Italy without work visas by withholding their pay. They would also pay their models in cash, which models would have to hide from customs agents. It was not uncommon for models staying in hotels such as La Louisiana in Paris or the Arena in Milan to have their hotel rooms raided by the police looking for their work visas. It was rumored that competing agencies were behind the raids. This led many agencies to form worldwide chains; for example, the Marilyn Agency has branches in Paris and New York.
By the late 1960's, London was considered the best market in Europe due to its more organised and innovative approach to modelling. It was during this period that models began to become household names. Models like: Jean Shrimpton, Joanna Lumley, Tania Mallet, Celia Hammond, Twiggy, Penelope Tree, and Pauline Stone dominated the London fashion scene and were well paid, unlike their predecessors. Twiggy became The Face of '66 at the age of 16. At this time, model agencies were not as restrictive about the models they represented, although it was uncommon for them to sign shorter models. Twiggy, who stood at 5 feet 6 inches (168 cm) with a 32" bust and had a boy's haircut, is credited with changing model ideals. At that time, she earned £80 an hour, while the average wage was £15 a week.
In 1967, seven of the top model agents in London formed the Association of London Model Agents. The formation of this association helped legitimize modelling and changed the fashion industry. Even with a more professional attitude towards modelling, models were still expected to have their hair and makeup done before they arrived at a shoot. Meanwhile, agencies took responsibility for a model's promotional materials and branding. That same year, former top fashion model Wilhelmina Cooper opened up her own fashion agency with her husband called Wilhelmina Models. By 1968, FM Agency and Models 1 were established and represented models in a similar way that agencies do today. By the late 1960's, models were treated better and were making better wages. One of the innovators, Ford Models, was the first agency to advance models money they were owed and would often allow teen models, who did not live locally, to reside in their house, a precursor to model housing.
The 1970's and 1980's
The innovations of the 1960's flowed into the 1970's fashion scene. As a result of model industry associations and standards, model agencies became more business minded, and more thought went into a model's promotional materials. By this time, agencies were starting to pay for a model's publicity. In the early 1970's, Scandinavia had many tall, leggy, blonde-haired, blue-eyed models and not enough clients. It was during this time that Ford Models pioneered scouting. They would spend time working with agencies holding modelling contests. This was the precursor to the Ford Models Supermodel of the World competition which was established in 1980. Ford also focused their attentions on Brazil which had a wide array of seemingly "exotic" models, which eventually led to establishment of Ford Models Brazil. It was also during this time that the Sports Illustrated Swimsuit Issue debuted. The magazine set a trend by photographing "bigger and healthier" California models, and printing their names by their photos, thus turning many of them into household names and establishing the issue as a hallmark of supermodel status.
The 1970's marked numerous milestones in fashion. Beverly Johnson was the first African American to appear on the cover of U.S. Vogue in 1974. Models, including Grace Jones, Donyale Luna, Minah Bird, Naomi Sims, and Toukie Smith were some of the top black fashion models who paved the way for black women in fashion. In 1975, Margaux Hemingway landed a then-unprecedented million-dollar contract as the face of Fabergé's Babe perfume and the same year appeared on the cover of Time magazine, labelled one of the "New Beauties," giving further name recognition to fashion models.
Many of the world's most prominent modelling agencies were established in the 1970's and early 1980's. These agencies created the standard by which agencies now run. In 1974, Nevs Models was established in London with only a men's board, the first of its kind. Elite Models was founded in Paris in 1975 as well as Friday's Models in Japan. The next year Cal-Carries was established in Singapore, the first of a chain of agencies in Asia. In 1977, Select Model Management opened its doors as well as Why Not Models in Milan. By the 1980's, agencies such as Premier Model Management, Storm Models, Mikas, Marilyn, and Metropolitan Models had been established.
By the 1980's, most models were able to make modelling a full-time career. It was common for models to travel abroad and work throughout Europe. As modelling became global, numerous agencies began to think globally. In 1980, Ford Models, the innovator of scouting, introduced the Ford Models Supermodel of the World contest. That same year, John Casablancas opened Elite Models in New York. In 1981, cosmetics companies began contracting top models to lucrative endorsement deals. By 1983, Elite developed its own contest titled the Elite Model Look competition. In New York during the 1980's there were so-called "model wars" in which the Ford and Elite agencies fought over models and campaigns. Models were jumping back and forth between agencies such Elite, Wilhelmina, and Ford. In New York, the late 1980's trend was the boyish look in which models had short cropped hair and looked androgynous. In Europe, the trend was the exact opposite. During this time, a lot of American models who were considered more feminine looking moved abroad. By the mid-1980's, big hair was made popular by some musical groups, and the boyish look was out. The curvaceous models who had been popular in the 1950's and early 1970's were in style again. Models like Patti Hansen earned $200 an hour for print and $2,000 for television plus residuals. It was estimated that Hansen earned about $300,000 a year during the 1980's.
The 1990's to present
The early 1990's were dominated by the high fashion models of the late 1980's. In 1990, Linda Evangelista famously said to Vogue, "we don't wake up for less than $10,000 a day". Evangelista and her contemporaries, Naomi Campbell, Cindy Crawford, Christy Turlington, Tatjana Patitz and Stephanie Seymour, became arguably the most recognizable models in the world, earning the moniker of "supermodel", and were boosted to global recognition and new heights of wealth for the industry. In 1991, Turlington signed a contract with Maybelline that paid her $800,000 for twelve days' work each year.
By the mid‑1990's, the new "heroin chic" movement became popular amongst New York and London editorial clients. While the heroin chic movement was inspired by model Jaime King, who suffered from a heroin addiction, it was Kate Moss who became its poster child through her ads for Calvin Klein. In spite of the heroin chic movement, model Claudia Schiffer earned $12 million. With the popularity of lingerie retailer Victoria's Secret, and the Sports Illustrated Swimsuit Issue, there was a need for healthier-looking supermodels such as Tyra Banks and Heidi Klum to meet commercial modelling demand. The mid‑1990's also saw many Asian countries establishing modelling agencies.
By the late 1990's, the heroin chic era had run its course. Teen-inspired clothing infiltrated mainstream fashion, teen pop music was on the rise, and artists such as Britney Spears and Christina Aguilera popularized pleather and bare midriffs. As fashion changed to a more youthful demographic, the models who rose to fame had to be sexier for the digital age. Following Gisele Bundchen's breakthrough, a wave of Brazilian models including Adriana Lima, Alessandra Ambrosio, and Ana Beatriz Barros rose to fame on runways and became popular in commercial modelling throughout the 2000's. Some attribute this to decisions by magazines to replace models with celebrities their covers.
In the late 2000's, the Brazilians fell out of favor on the runways. Editorial clients were favoring models with a china-doll or alien look to them, such as Gemma Ward and Lily Cole. During the 2000's, Ford Models and NEXT Model Management were engaged in a legal battle, with each agency alleging that the other was stealing its models.
However, the biggest controversy of the 2000's was the health of high-fashion models participating in fashion week. While the health of models had been a concern since the 1970's, there were several high-profile news stories surrounding the deaths of young fashion models due to eating disorders and drug abuse. The British Fashion Council subsequently asked designers to sign a contract stating they would not use models under the age of sixteen. On March 3, 2012, Vogue banned models under the age of sixteen as well as models who appeared to have an eating disorder. Similarly, other countries placed bans on unhealthy, and underage models, including Spain, Italy, and Israel, which all enacted a minimum body mass index (BMI) requirement.
The often thin shape of many fashion models has been criticized for warping girls' body image and encouraging eating disorders. Organizers of a fashion show in Madrid in September 2006 turned away models who were judged to be underweight by medical personnel who were on hand. In February 2007, six months after her sister, Luisel Ramos, also a model, died, Uruguayan model Eliana Ramos became the third fashion model to die of malnutrition in six months. The second victim was Ana Carolina Reston. Luisel Ramos died of heart failure caused by anorexia nervosa just after stepping off the catwalk. In 2015, France passed a law requiring models to be declared healthy by a doctor in order to participate in fashion shows. The law also requires re-touched images to be marked as such in magazines.
In 2013, New York toughened its child labor law protections for models under the age of eighteen by passing New York Senate Bill No. 5486, which gives underage models the same labor protections afforded to child actors. Key new protections included the following: underage models are not to work before 5:00 pm or after 10:00 pm on school nights, nor were they to work later than 12:30 am on non-school nights; the models may not return to work less than twelve hours after they leave; a pediatric nurse must be on site; models under sixteen must be accompanied by an adult chaperone; parents or guardians of underage models must create a trust fund account into which employers will transfer a minimum of 15% of the child model's gross earnings; and employers must set aside time and a dedicated space for educational instruction.
TYPES OF MODELING
Runway modelling
Runway models showcase clothes from fashion designers, fashion media, and consumers. They are also called "live models" and are self-employed. They are wanted to be over the height of 5'8" for men and 5'6" for women. Runway models work in different locations, constantly travelling between those cities where fashion is well known—London, Milan, New York City, and Paris. Second-tier international fashion center cities include: Rome, Florence, Venice, Brescia, Barcelona, Los Angeles, Tokyo, and Moscow. Cities where catalog work comprises the bulk of fashion packaging, merchandising and marketing work are: Miami, San Francisco, Sydney, Chicago, Toronto, Mexico City, Tokyo, Hamburg, London, and Beijing.
The criteria for runway models include certain height and weight requirements. During runway shows, models have to constantly change clothes and makeup. Models walk, turn, and stand in order to demonstrate a garment's key features. Models also go to interviews (called "go and sees") to present their portfolios. The more experience a model has, the more likely she/he is to be hired for a fashion show. A runway model can also work in other areas, such as department store fashion shows, and the most successful models sometimes create their own product lines or go into acting.
The British Association of Model Agents (AMA) says that female models should be around 34"-24"-34" and between 5 ft 8 in (173 cm) and 5 ft 11 in (180 cm) tall. The average model is very slender. Those who do not meet the size requirement may try to become a plus-size model. According to the New York Better Business Career Services website, the preferred dimensions for a male model are a height of 5 ft 11 in (180 cm) to 6 ft 2 in (189 cm), a waist of 29–32 in (73.66–81.28 cm) and a chest measurement of 39–40 in (99.06–101.60 cm). Male runway models are notably skinny and well toned.
Male and female models must also possess clear skin, healthy hair, and attractive facial features. Stringent weight and body proportion guidelines form the selection criteria by which established, and would‑be, models are judged for their placement suitability, on an ongoing basis. There can be some variation regionally, and by market tier, subject to current prevailing trends at any point, in any era, by agents, agencies and end-clients.
Formerly, the required measurements for models were 35"-23.5"-35" in (90-60-90 cm), the alleged measurements of Marilyn Monroe. Today's fashion models tend to have measurements closer to the AMA-recommended shape, but some - such as Afghan model Zohre Esmaeli - still have 35"-23.5"-35" measurements. Although in some fashion centers, a size 00 is more ideal than a size 0.
Plus-size models
Plus-size models are models who generally have larger measurements than editorial fashion models. The primary use of plus-size models is to appear in advertising and runway shows for plus-size labels. Plus-size models are also engaged in work that is not strictly related to selling large-sized clothing, e.g., stock photography and advertising photography for cosmetics, household and pharmaceutical products and sunglasses, footwear and watches. Therefore, plus-size models do not exclusively wear garments marketed as plus-size clothing. This is especially true when participating in fashion editorials for mainstream fashion magazines. Some plus-size models have appeared in runway shows and campaigns for mainstream retailers and designers such as Gucci, Guess, Jean-Paul Gaultier, Levi's and Versace Jeans.
Fit models
A fit model works as a sort of live mannequin to give designers and pattern makers feedback on the fit, feel, movement, and drape of a garment to be produced in a given size.
Glamour models
Glamour modelling focuses on sexuality and thus general requirements are often unclear, being dependent more on each individual case. Glamour models can be any size or shape. There is no industry standard for glamour modelling and it varies greatly by country. For the most part, glamour models are limited to modelling in calendars, men's magazines, such as Playboy, bikini modelling, lingerie modelling, fetish modelling, music videos, and extra work in films. However, some extremely popular glamour models transition into commercial print modelling, appearing in swimwear, bikini and lingerie campaigns.
It is widely considered that England created the market for glamour modelling when The Sun established Page 3 in 1969, a section in their newspaper which now features topless models. In the beginning, the newspaper featured sexually suggestive images of Penthouse and Playboy models. It was not until 1970 that models appeared topless. In the 1980's, The Sun's competitors followed suit and produced their own Page 3 sections. It was during this time that glamour models first came to prominence with the likes of Samantha Fox. As a result, the United Kingdom has a very large glamour market and has numerous glamour modelling agencies to this day.
It was not until the 1990's that modern glamour modelling was established. During this time, the fashion industry was promoting models with waif bodies and androgynous looking women, which left a void. Several fashion models, who were deemed too commercial, and too curvaceous, were frustrated with industry standards, and took a different approach. Models such as Victoria Silvstedt left the fashion world and began modelling for men's magazines. In the previous decades, posing nude for Playboy resulted in models losing their agencies and endorsements. Playboy was a stepping stone which catapulted the careers of Victoria Silvstedt, Pamela Anderson, and Anna Nicole Smith. Pamela Anderson became so popular from her Playboy spreads that she was able to land roles on Home Improvement and Baywatch.
In the mid-1990's, a series of men's magazines were established such as Maxim, FHM, and Stuff. At the same time, magazines including Sweden's Slitz re-branded themselves as men's magazines. Pre-internet, these magazines were popular among men in their late teens and early twenties because they were considered to be more tasteful than their predecessors. With the glamour market growing, fashion moved away from the waifs and onto Brazilian bombshells. The glamour market, which consisted mostly of commercial fashion models and commercial print models, became its own genre due to its popularity. Even in a large market like the United Kingdom, however, glamour models are not usually signed exclusively to one agency as they can not rely financially on one agency to provide them with enough work. It was, and still is, a common practice for glamour models to partake in kiss-and-tell interviews about their dalliances with famous men. The notoriety of their alleged bed-hopping often propels their popularity and they are often promoted by their current or former fling. With Page 3 models becoming fixtures in the British tabloids, glamour models such as Jordan, now known as Katie Price, became household names. By 2004, Page 3 regulars earned anywhere from £30,000 to 40,000, where the average salary of a non-Page 3 model, as of 2011, was between £10,000 and 20,000. In the early 2000's, glamour models, and aspiring glamour models, appeared on reality television shows such as Big Brother to gain fame. Several Big Brother alumni parlayed their fifteen minutes of fame into successful glamour modelling careers. However, the glamour market became saturated by the mid-2000's, and numerous men's magazines including Arena, Stuff and FHM in the United States went under. During this time, there was a growing trend of glamour models, including Kellie Acreman and Lauren Pope, becoming DJs to supplement their income. In a 2012 interview, Keeley Hazell said that going topless is not the best way to achieve success and that "[she] was lucky to be in that 1% of people that get that, and become really successful."
Alternative models
An alternative model is any model who does not fit into the conventional model types and may include punk, goth, fetish, and tattooed models or models with distinctive attributes. This type of modeling is usually a cross between glamour modeling and art modeling. Publishers such as Goliath Books in Germany introduced alternative models and punk photography to larger audiences. Billi Gordon, then known as Wilbert Anthony Gordon, was the top greeting card model in the world and inspired a cottage industry including greeting cards, T-shirts, fans, stationery, gift bags, etc.
Parts models
Some models are employed for their body parts. For example, hand models may be used to promote products held in the hand and nail-related products. (e.g. rings, other jewelry or nail polish). They are frequently part of television commercials. Many parts models have exceptionally attractive body parts, but there is also demand for unattractive or unusual looking body parts for particular campaigns.
Hands are the most in-demand body parts. Feet models are also in high demand, particularly those who fit sample size shoes. Models are also successful modelling other specific parts including abs, arms, back, bust or chest, legs, and lips. Some petite models (females who are under 5 ft 6 in (1.68 m) and do not qualify as fashion models) have found success in women's body part modelling.
Parts model divisions can be found at agencies worldwide. Several agencies solely represent parts models, including Hired Hands in London, Body Parts Models in Los Angeles, Carmen Hand Model Management in New York and Parts Models in New York. Parts Models is the largest parts agency, representing over 300 parts models.
Fitness models
Fitness modelling focuses on displaying a healthy, toned physique. Fitness models usually have defined muscle groups. The model's body weight is heavier due to muscle weighing more than fat; however, they have a lower body fat percentage because the muscles are toned and sculpted. Fitness models are often used in magazine advertising. Sometimes they are certified personal fitness trainers. However, other fitness models are also athletes and compete as professionals in fitness and figure competitions. There are several agencies in large markets such as New York, London, Germany that have fitness modelling agencies. While there is a large market for these models, most of these agencies are a secondary agency promoting models who typically earn their primary income as commercial models. Plus there are also magazines that gear towards specifically fitness modeling or getting fit and in shape. Fitness Models showcase their fitter side of their bodies on the covers gearing towards specific competitions in fitness and figure competitions.
Gravure idols
A gravure idol, often abbreviated to gradol, is a Japanese female model who primarily models on magazines, especially men's magazines, photobooks or DVDs.
"Gravure" (グラビア) is a Wasei-eigo term derived from "rotogravure", which is a type of intaglio printing process that was once a staple of newspaper photo features. The rotogravure process is still used for commercial printing of magazines, postcards, and cardboard product packaging.
Gravure idols appear in a wide range of photography styles and genres. Their photos are largely aimed at male audiences with poses or activities intended to be provocative or suggestive, generally accentuated by an air of playfulness and innocence rather than aggressive sexuality. Although gravure models may sometimes wear clothing that exposes most of their body, they seldom appear fully nude. Gravure models may be as young as pre-teen age up to early thirties. In addition to appearing in mainstream magazines, gravure idols often release their own professional photobooks and DVDs for their fans. Many popular female idols in Japan launched their careers by starting out as gravure idols.
Commercial print and on-camera models
Commercial print models generally appear in print ads for non-fashion products, and in television commercials. Commercial print models can earn up to $250 an hour. Commercial print models are usually non-exclusive, and primarily work in one location.
There are several large fashion agencies that have commercial print divisions, including Ford Models in the United States.
Promotional models
A promotional model is a model hired to drive consumer demand for a product, service, brand, or concept by directly interacting with potential consumers. The vast majority of promotional models tend to be attractive in physical appearance. They serve to provide information about the product or service and make it appealing to consumers. While the length of interaction may be short, the promotional model delivers a live experience that reflects on the product or service he or she is representing. This form of marketing touches fewer consumers for the cost than traditional advertising media (such as print, radio, and television); however, the consumer's perception of a brand, product, service, or company is often more profoundly affected by a live person-to-person experience.
Marketing campaigns that make use of promotional models may take place in stores or shopping malls, at tradeshows, special promotional events, clubs, or even at outdoor public spaces. They are often held at high traffic locations to reach as many consumers as possible, or at venues at which a particular type of target consumer is expected to be present.
Spokesmodels
"Spokesmodel" is a term used for a model who is employed to be associated with a specific brand in advertisements. A spokesmodel may be a celebrity used only in advertisements (in contrast to a brand ambassador who is also expected to represent the company at various events), but more often the term refers to a model who is not a celebrity in their own right. A classic example of the spokesmodel are the models hired to be the Marlboro Man between 1954 and 1999.
Trade show models
Trade show models work a trade show floor-space or booth, and represent a company to attendees. Trade show models are typically not regular employees of the company, but are freelancers hired by the company renting the booth space. They are hired for several reasons: trade show models can make a company's booth more visibly distinguishable from the hundreds of other booths with which it competes for attendee attention. They are articulate and quickly learn and explain or disseminate information on the company and its product(s) and service(s). And they can assist a company in handling a large number of attendees which the company might otherwise not have enough employees to accommodate, possibly increasing the number of sales or leads resulting from participation in the show.
Atmosphere models
Atmosphere models are hired by the producers of themed events to enhance the atmosphere or ambience of their event. They are usually dressed in costumes exemplifying the theme of the event and are often placed strategically in various locations around the venue. It is common for event guests to have their picture taken with atmosphere models. For example, if someone is throwing a "Brazilian Day" celebration, they would hire models dressed in samba costumes and headdresses to stand or walk around the party.
Podium models
Podium models differ from runway models in that they don't walk down a runway, but rather just stand on an elevated platform during fashion presentation. They are kind of like live mannequins placed in various places throughout an event. Attendees can walk up to the models and inspect and even feel the clothing. Podium Modeling is a practical alternative way of presenting fashion when space is too limited to have a full runway fashion show.
Art models
Art models pose for any visual artist as part of the creative process. Art models are often paid professionals who provide a reference or inspiration for a work of art that includes the human figure. The most common types of art created using models are figure drawing, figure painting, sculpture and photography, but almost any medium may be used. Although commercial motives dominate over aesthetics in illustration, its artwork commonly employs models. Models are most frequently employed for art classes or by informal groups of experienced artists that gather to share the expense of a model.
Instagram models
Instagram models are a recent phenomenon due to the rise of social media. These models gain their popularity due to how many followers they have on social media. Some Instagram models gain high-profile modeling gigs and become household names. High-profile model, Jen Selter, kicked off the Instagram model craze. Recently, Anna Faith and Caitlin O'Connor among many others, have had great success as Instagram Models.
EROTIC PHOTOGRAPHY
Erotic photography is a style of art photography of an erotic and even a sexually suggestive or sexually provocative nature. Erotic photography is generally a composed image of a subject in a still position. Though the subjects of erotic photography are usually completely or mostly unclothed, that is not a requirement. Erotic photography should be distinguished from nude photography, which contains nude subjects not necessarily in an erotic situation, and pornographic photography, which is of a sexually explicit nature. Pornographic photography generally does not claim any artistic or aesthetic merit.
GLAMOUR PHOTOGRAPHY
Glamour photography is a genre of photography in which the subjects are portrayed in erotic poses ranging from fully clothed to nude. The term may be a euphemism for erotic photography. For glamour models, right body shape and size is directly related to success. This is particularly true of the female breast, where having their size and shape altered by breast implants is considered crucial for success in the glamour industry.
This type of photography is colloquially known as "cheesecake" for women and "beefcake" for men.
Glamour photography is generally a composed image of a subject in a still position. The subjects of "glamour" photography for professional use are often professional models, and the photographs are normally intended for commercial use, including mass-produced calendars, pinups and men's magazines such as Maxim; but amateur subjects are also sometimes used, and sometimes the photographs are intended for private and personal use only. Photographers use a combination of cosmetics, lighting and airbrushing techniques to produce an appealing image of the subject.
Magazines and movie stars
Standards and styles of glamour photography change over time, reflecting for example changes in social acceptance and taste. In the early 1920s, United States photographers like Ruth Harriet Louise and George Hurrell photographed celebrities to glamorize their stature by utilizing lighting techniques to develop dramatic effects.
Until the 1950's, glamour photography in advertising and in men's magazines was highly controversial or even illegal.[citation needed] In some countries, if not illegal, such magazines could not be on public display, and some had to be displayed in a plastic cover. Magazines featuring glamour photography were sometimes marketed as "art magazines" or "health magazines".
Popular portraiture
Since the 1990's glamour photography has increased in popularity among the public. Glamour portrait studios opened, offering professional hair and makeup artists and professional retouching to allow the general public to have the "model" experience. These sometimes include "boudoir" portraits but are more commonly used by professionals and high school seniors who want to look "their best" for their portraits.
1de52paraules
Girona es otoño. Para mi siempre lo ha sido, y siempre lo será.
Tardor sense fulles seques. Però Girona és tardor, ho ha estat des de sempre, i sempre ho serà: és dies que s'escurcen sobre les cases de l'Onyar, és primeres fulles seques a la Devesa, és la primera ocasió de posar-se jersei, és Fires de Sant Narcís, és novembre, és el primer fred... és tardor, definitivament.
Sota del pont camina l'aigua trista
és l'aigua de la pluja de Tots Sants;
el cel és malva i rosa i ametista,
hi ha un or de fulles pels camins forans.
La Seu dreça la pàl·lida harmonia
de pedra grisa vers el cel llunyà,
i l'àngel guaita la caputxa pia
de Sant Feliu una miqueta enllà.
Sota les Voltes, la ciutat encesa,
és estrident de riures i fanals,
i cenyida de fosca, la Devesa
dreça milers de branques immortals.
Fa una boira que sembla un vel de fada,
sonen el clarinet i el tamborí...
I el cor, com una nit molt estrellada
espera l'hora d'estimar i llanguir.
(Josep M. de Sagarra, 1894-1961)
Les 52paraules: 1.Tardor✓ 2.CasaMeva 3.Natura 4.Foscor 5.Aigua 6.Calor 7.Nou 8.Reflexe 9.Jo 10.ARAsDeTerra 11.Créixer 12.Paraules 13.Camí 14.Hivern 15.Ombra 16.Calma 17.Verd 18.Construir 19.Analògic 20.PartDeMi 21.Porta 22.Obert 23.Fred 24.Lluny 25.Llibres 26.Desenfocat 27.Primavera 28.Textura 29.OnSóc 30.Línies 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment
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FELICES FIESTAS AMIGOS Y AMIGAS !!!!! y que es un poster de broma......los Explores ya sabeis que no son mi fuerte......
1. Bendita Lluvia por TeresalaLoba, 2. Boniteros Vascos de Rafael Alonso por TeresalaLoba, 3. flickr.com/photos/32438882@N07/4751686065/, 4. Isla del Medio (Cies) por TeresalaLoba, 5. Los sauces llorones del Reino de Gondor por TeresalaLoba, 6. Regata de Rafael Alonso por TeresalaLoba, 7. Mi Rosa por TeresalaLoba, 8. flickr.com/photos/32438882@N07/5123829390/,
9. La Rosa Transparente por TeresalaLoba, 10. Flor Silvestre por TeresalaLoba, 11. Santiago de Rafael Alonso por TeresalaLoba, 12. Rosa bicolor por TeresalaLoba, 13. Praia de Nosa Señora (Islas Cies) por TeresalaLoba, 14. O Caurel por TeresalaLoba, 15. Detalle de muro, en el Sendero de los Tres Pinos por TeresalaLoba, 16. Morgadanes por TeresalaLoba,
17. flickr.com/photos/32438882@N07/5168903359/, 18. Una Rosa Mañanera para Anna James por TeresalaLoba, 19. BLUE por TeresalaLoba, 20. Ponte medieval/romano de Fofe por TeresalaLoba, 21. Ensenada de Meira de Rafael Alonso por TeresalaLoba, 22. Chalanas de Rafael Alonso por TeresalaLoba, 23. Embalse de Tanes por TeresalaLoba, 24. GAZANIAS por TeresalaLoba,
25. Pararge Aegeria por TeresalaLoba, 26. Bodegón del Pintor de Rafael Alonso por TeresalaLoba, 27. Boniteros Vascos de Rafael Alonso por TeresalaLoba, 28. Niebla en el Miño por TeresalaLoba, 29. Molinillo a remojo por TeresalaLoba, 30. flickr.com/photos/32438882@N07/4802002665/, 31. Kera en Patos por TeresalaLoba, 32. Zoco marroquí de Rafael Alonso por TeresalaLoba,
33. Rosa al Alba por TeresalaLoba, 34. Mi primera mariposa por TeresalaLoba, 35. Temporal na ria por TeresalaLoba, 36. Rio Lérez aguas abajo .... por TeresalaLoba, 37. POSTAL por TeresalaLoba, 38. La Guardia de Rafael Alonso por TeresalaLoba, 39. El Souto por TeresalaLoba, 40. Condesa de Sástago por TeresalaLoba,
41. Iglesia de Peitieiros por TeresalaLoba, 42. Tea de Primavera por TeresalaLoba, 43. Bodegón de Rafael Alonso por TeresalaLoba, 44. FUCSIA por TeresalaLoba, 45. Detalle de ninfa de saltamontes por TeresalaLoba, 46. Criatura por TeresalaLoba, 47. Berbés de Rafael Alonso por TeresalaLoba, 48. La Erosión por TeresalaLoba,
49. Playa de Rafael Alonso por TeresalaLoba, 50. Delfiniums de Rafael Alonso por TeresalaLoba, 51. Morgadanes por TeresalaLoba, 52. Ponte Medieval de San Fiz por TeresalaLoba, 53. flickr.com/photos/32438882@N07/5165351494/, 54. Plumbago Azul por Teresalaloba, 55. Manada en el Suido por TeresalaLoba, 56. flickr.com/photos/32438882@N07/3556869397/,
57. La Silueta del Monte Galiñeiro por TeresalaLoba, 58. Barcas en Nazaré (Portugal) de Rafael Alonso por teresalaloba, 59. La cálida luz por TeresalaLoba, 60. Cabalo de outono por TeresalaLoba, 61. Bye bye Cies por TeresalaLoba, 62. Gamelas de Rafael Alonso por TeresalaLoba, 63. Boniteros de Rafael Alonso por TeresalaLoba, 64. Rio Tea por TeresalaLoba,
65. Marrakech de Rafael Alonso por TeresalaLoba, 66. Rio da Fraga por TeresalaLoba, 67. " El nombre de la rosa " de Rafael Alonso por TeresalaLoba, 68. Valle Miñor de Rafael Alonso por TeresalaLoba, 69. Dornas en la niebla de Rafael Alonso por TeresalaLoba, 70. SPIDER por TeresalaLoba, 71. flickr.com/photos/32438882@N07/5204743630/, 72. flickr.com/photos/32438882@N07/5144009398/
Created with fd's Flickr Toys
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Frozen Blu-ray Collector's Edition with FREE Lithograph Set Offer - Pre-Order
US Disney Store Product Page
2014-01-10
Frozen Blu-ray Collector's Edition with FREE Lithograph Set Offer - Pre-Order
$24.95
Item No. 1345002491474P
Blu-ray + DVD + Digital HD Copy
Disney's hit comedy adventure Frozen is now available on stunning Blu-ray. Relive warm memories of Anna and her sister, Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. See more
Reserve by clicking Pre-Order now! We expect this item to be available by 03/18/2014. You will be notified via email when it is ready to ship.
Magic in the details...
FREE Lithograph Set Offer* PLUS Up to $20 off your next purchase Offer**
Fearless optimist Anna sets off on an epic journey, teaming up with rugged mountain man Kristoff and his loyal reindeer Sven, to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save the kingdom. Available to own March 18, 2014
* Pre-Order 2-Disc Frozen Blu-ray Collector's Edition by March 17, 2014 and receive an exclusive set of 4 Lithographs, while supplies last. Each 10'' x 14'' lithograph features a special Disney seal stamped in gold foil.
** Pre-Order 2-Disc Frozen Blu-ray Diamond Edition by March 17, 2014 and get $20 off a future online purchase of $40 or more; or $10 off a future online purchase of up to $39.99. An e-mail will be sent at the conclusion of the pre-sale with a unique promotion code valid for a future online purchase made between 3/18/2014 - 3/30/2014.
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Workout Plans :
– Image :
– Description
Anna's tomato gazpacho with mango and cucumber
Sharing is power – Don’t forget to share !
allfitness.tn/workout/best-workout-plans-annas-tomato-gaz...
Opening the box of the Harrods Anna and Elsa LE100 dolls, to get a better look at them. We can do this without damaging the packaging in any way, by sliding the multiple covers off the box until the dolls are in the open. We can also get a look at the Certificate of Authencity, which is below the bottom of the inner box. The set is #39 of 100.
First look at the Harrods special edition of the Disney Store's Limited Edition Anna and Elsa Doll Set. I purchased it through a reseller, as it was only sold at the Harrods London store. It was released on November 1, 2013, in an edition of 100. The retail cost is more than four times that of the separately sold LE Anna and Elsa dolls (which will be released worldwide on November 20, 2013, in an edition size of 2500). As might be expected, the dolls are considerably different in details than the ''regular'' limited edition dolls. In particular there is considerably more crystals on the outfits, and embroidered snowflakes completely cover the outer gown (cape) of Elsa. Also, Elsa's skin has a pearly shiny surface, very similar to the skin of LE Ursula, although it has a much paler purplish color.
They are 17'' fully articulated dolls, with doll stands and certificated of authenticity. Anna is in her coronation gown, Elsa is in her Snow Queen gown.
Cancer is cancer, whether its breast or childhood cancers.......all cancers break hearts.
Each year in the U.S. there are approximately 13,400 children between the ages of birth and 19 years of age who are diagnosed with cancer. About one in 300 boys and one in 333 girls will develop cancer before their 20th birthday. In 1998, cancer became the #1 cause of disease related death in children. 250,000 children in the world get cancer every year. Each year, more than 160,000 children die of cancer, worldwide!
While the incidence of childhood cancer has changed only slightly since 1970 (an increase from 11.4 per 100,000 population in 1974 to 14.8 per 100,000 in 2004), the overall survival rate for childhood cancer has increased drastically during that time period. Today, the overall 5 year survival rate for childhood cancer is close to 80%.
In underdeveloped countries, the survival rate is 20%.
Because treatment cure rates have increased, the population of childhood cancer survivors has also increased. Currently there are estimated to be 270,000 survivors of childhood cancer in the U.S. This equates to one in 640 young adults between the ages of 20 to 39 being a survivor of a childhood malignancy.
Survival however is with a "cost." Two-thirds of those who do survive face at least one chronic health condition. One quarter of survivors face a late-effect from treatment that is classified as severe or life-threatening. Late-effects of treatment can include heart damage, second cancers, lung damage, infertility, cognitive impairment, growth deficits, hearing loss, and more. It is becoming increasingly apparent that childhood cancer "is for life." Late effects from either the disease process or aggressive treatment regimens are given at a time of life when children have growing bodies and developing brains. As such, patterns of late-effects include disabilities, chronic health conditions, and even subsequent battles with additional cancer. It is imperative that all survivors of childhood cancer receive on-going monitoring and continued physical and psychosocial care throughout their adult lives.
International Childhood Cancer Awareness Day (ICCD) has been observed each February 15th since 2002. Over 65 countries worldwide now participate in the event.
Miss Mila's Story ~ A True Hero
textures are my own and the lovely and talented lenabem-anna
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
The LEGO Disney Princess Elsa's Sparkling Ice Castle fully assembled. The figures and outdoor accessories are shown in front of the Castle.
I got the new LEGO Disney Princess Elsa's Sparkling Ice Castle from one of my local Target stores on Sunday December 14, 2014. It's official release date is January 1, 2015, but it started appearing in Target stores in the US several days ago. It costs $39.99, has 292 parts, and is Set 41062. It consists of a three story Ice Castle, Anna, Elsa and Olaf mini figures, a picnic table, a sled, ice skates, skis, an ice hill (slide), and various other accessories.
There are two instruction booklets, that are extensively illustrated, and three plastic bags with the parts. There was also a couple of items not in the bags. I am very impressed with the quality of the set, which is my very first by LEGO. The Anna, Elsa and Olaf figures all require assembly. Their faces are painted very well, but of course are in the Lego style. They are about 2'' high (when assembled), and there is an actual size image of the Elsa figure on the box top.
I show the set boxed, disassembled, and during the assembly. Then I show several scenes inspired by the movie Frozen, using the assembled set.
25de52paraules: llibres
“Reading was my escape and my comfort, my consolation, my stimulant of choice: reading for the pure pleasure of it, for the beautiful stillness that surrounds you when you hear an author's words reverberating in your head.”
― Paul Auster, The Brooklyin Follies
Full project here.
Instagram project here.
* sigue en standby la 22
Les 52paraules: 1.Tardor✓ 2.CasaMeva✓ 3.Natura ✓4.Foscor ✓ 5.Aigua ✓ 6.Escalfor ✓7.Nou ✓ 8.Reflexe ✓ 9.Jo ✓ 10.ARasDeTerra ✓ 11.Créixer ✓ 12.Paraules ✓ 13.Camí ✓ 14.Hivern ✓ 15.Ombra ✓ 16.Calma ✓ 17.Verd ✓18.Construir ✓ 19.Analògic ✓ 20.PartDeMi ✓ 21.Porta ✓ 22.Obert 23.Fred ✓ 24.Lluny ✓ 25.Llibres ✓ 26.Desenfocat 27.Primavera 28.Textura 29.OnSóc 30.Línies 31.ALaTaula 32.TrencarLesNormes 33.Desperta 34.Cel 35.BlancINegre 36.ADalt 37.Llum 38.ALaTarda 39.Sil·lueta 40.Estiu 41.D'aprop 42.ElMeuLlocFavorit 43.Finestra 44.EspaiNegatiu 45.Silenci 46.Urbà 47.Fotografia 48.Donar 49.VidaQuotidiana 50.Blau 51.Dins 52. Moviment
◆ Web ◆ Blog ◆ Facebook Page ◆ Twitter ◆ Getty Images ◆ Instagram ◆ +Anna ◆
1. Red-breasted Nuthatch, 2. Spotted Towhee, 3. Tulips, 4. Poppy, 5. Orchid Tree Macro, 6. Inside a Tulip, 7. Dandelion, 8. Chestnut-backed Chickadee,
9. Snack Time, 10. Posing, 11. Psalm 8:4, 12. Nasturtium, 13. Male House Sparrow, 14. Soaring Eagle, 15. Red-breasted Sapsucker, 16. Iris,
17. Rainbow Palms, 18. Daisy Mums, 19. Ballerina, 20. Touring Chicago, 21. Rainbow Sunset, 22. Maui Sunset, 23. Nature's Ornaments, 24. Snow,
25. Resting, 26. Annas Hummingbird, 27. Fuchsia, 28. Frangipani, 29. Rufous Hummingbird and Bee Balm, 30. Bleeding Hearts, 31. White Plumeria, 32. Black-capped Chickadee,
33. Hot Pink Plumeria, 34. Chestnut-backed Chickadee and Oregon Grape, 35. Chestnut-backed Chickadee, 36. Hibiscus, 37. Wailea Surfer, 38. Purple Water Lily, 39. Wood Duck, 40. Water Lily,
41. Bougainvillea, 42. Sunflower Field, 43. Winter Heather, 44. Yellow Rose, 45. Summer Showers, 46. Glowing Pansy, 47. Kilauea Lighthouse, 48. Cedar Waxwings,
49. Fluorescent Fish, 50. Cedar Waxwing, 51. Standing Watch, 52. Peppers, 53. Chestnut-backed Chickadee, 54. Seagulls, 55. Thanksgiving Cactus, 56. Red Hot Sunset,
57. Orange and Yellow Tulip, 58. Rufous Hummingbird and Bee Balm, 59. Orchids, 60. Hot Pink Zinnia
Created with fd's Flickr Toys.