Monday, February 23, 2009

I was reading today about facial symetry.
Very interesting.
Try this experiment for yourself on

This is the original Picture.

This is the original Picture.

Research from the University of Regensburg, Germany. 2002

In our research project we examined the influence of facial symmetry on attractiveness. According to evolutionary theory faces are supposed to be more attractive the more symmetrical they are. In order to test this hypothesis we produced symmetrically optimised versions over a range of different faces (of low, average and high attractiveness). Each of these symmetrically optimised faces was presented to test subjects together with the corresponding original face. The task was to select the face that was perceived as being more attractive.

There are several ways of producing symmetrical faces: The most common method is creating so-called "chimeric faces". Using image processing software, one half of the facial image is duplicated, mirrored along a vertical axis and finally added to the remaining half of the original face. The resulting, perfectly symmetrical face consists either of two left or two right halves of the original face. But there is one problem: Because faces are not perfectly symmetrical, it does make a difference whether you use the left or the right half as a starting point. Another problem is that, by using this method, birthmarks, pimples or irregular hair structures are doubled, too, so that the overall resulting symmetrical face looks quite odd.

A clearly advanced and better way to produce individual symmetrical faces is the morphing technique. Morphed images are made from two images of different faces by averaging face shape and then blending red, green and blue intencity (RGB colour) across comparable pixels. All symmetrical faces we used in our research project were generated by blending together the original face with a duplicate that has been mirrored along a vertical axis.

In contrary to the Chimaerengesicht, the resulting face does not show a distinct dividing line along the centre of the face, and the question which half to take becomes obsolete.

Example: If a face has a broad left and a narrow right lower jaw, the mirror image method produces a face with either a broad or a narrow lower jaw on both sides. Avoiding these unpleasant effects, the morphing method automatically calculates the average breadth of the left and right half of the lower jaw.

In addition, asymmetries like a high-standing or slant eye are levelled out by this method. For our project we used a modified morphing procedure that symmetrized only the face proportions. Skin and hair remained unaltered, which made the resulting face look more natural and life-like.

The results from our experiment regarding 'symmetry' show that facial symmetry affects the perceived attractiveness. However, the effect is rather small and by far not as influential as it has been reported in the media. To sum up our findings: Very asymmetric faces are judged rather unattractive, but very unattractive faces are not necessarily asymmetric. And vice versa : very symmetrical faces need not necessarily be judged attractive and very attractive faces often show deviations from perfect symmetry (see report!). Based on our results, symmetry only seems to be a rather weak indicator for attractiveness. Often it is even difficult to distinguish between the original and the perfectly symmetrical version, because irregularities in shape are rather insignificant. Therefore, the strong influence of symmetry that has been reported in the scientific literature over and over again is questionable.

Sunday, February 22, 2009

Bamboo Charcoal

I heard about Bamboo Charcoal and I want to try it out.
Seems new-agey, but if it works....

Bamboo charcoal is manufactured by carbonizing dried bamboo in a kiln under controlled temperature and humidity. Bamboo charcoal is a good air purifier as it has the property of absorbing odor, moisture and harmful gases. It is also a good water purifier as it filters and absorbs pollutants, chlorine, pesticides and poisonous materials. It has an extremely porous structure and is a better and eco-friendly option to wood charcoal.

For Spa Bath & Shower
Place a bamboo charcoal spa pack in your bath to soften the water by reducing the size of water molecules and absorbing chlorine and other trace elements.

For Bedding
Get a bamboo charcoal support pillow and mattress cushion to promote deeper sleep. Negative ions and far infrared rays emitted will stimulate blood circulation, reduce fatigue and improve metabolism.

For Refrigerator
Absorbs unpleasant smell, and helps to maintain the freshness of food by absorbing ethylene gas produced by vegetables and fruits.

For Water Purification & Cooking Rice
If you put 50 to 60 grams of bamboo charcoal in one litre of water, you will increase the mineral content and soften the water, making it excellent for drinking. When cooking with rice, bamboo charcoal will emit infrared rays and release minerals which will provide extra sustenance and additional flavor.

For Electromagnetic (EM) Wave Protection
Place some bamboo charcoal near electrical appliances like personal computer and television set to dissipate the EM waves.

For Odour & Humidity Protection
Place bamboo charcoal in car, shoe rack, wash room, and kitchen. This will help remove odour, absorb moisture, and prevent shoes and clothing from mildew formation. The bamboo can also absorb harmful gases and unpleasant smell released from paint in newly renovated apartments.

For Skin Care
Bamboo charcoal and vinegar make excellent ingredients for skin care products as the former has excellent cleansing quality whilst the latter is an excellent skin nourisher. At the same time, such products can preserve your skin by preventing oxidization.

For Fish Tanks
Place some bamboo charcoal pieces in fish tanks to keep the water clean.

Saturday, February 21, 2009

philosophy's turbo booster c powder

This 99.8% high-potency topical Vitamin c powder converts your everyday moisturizer into a high-potency luxury product.Whenever my skin looks tired and lifeless, I apply this at night and day....result: MAGIC! Makes my skin look radiant and super healthy.
Science has proven that the daily application of topical vitamin C will help retard the aging process by neutralizing the effects of environmental attack.
By philosophy.

The Smile Concept Store

If you are around in NYC check out the new multi-use Concept Store.
There is a cafe, with a Mediterranean-inspired menu created by Melia Marden; a tattoo parlor, run by Scott Campbell of Saved Tattoo; a gallery curated by Mr. Quirarte (Nate Lowman’s smiley-face work is now on display); and a wall of shelves filled with exclusive or custom-made products from Adam Kimmel, Sol Moscot, the Brooklyn-based lingerie line the Lake & Stars, the Parisian knitwear label Wool and the Gang, House of Waris, White’s Boots and the candle maker Cire Trudon.

The Smile, 26 Bond Street (between
Lafayette Street and Bowery);NYC

CHANEL Estompe Eclat Concealer

I found a great Concealer! I have been working long hours during fashion week and this one worked best:
CHANEL Estompe Eclat Concealer.
The texture is quite solid, so instead of applying it directly onto your skin, scrape a little bit off and warm it in your hand and apply it gently with your ring finger or a small concealer brush to the areas that need coverage most.
Most important is the inner corner of your eyes, that is the area where the discoloration is usually the darkest,also apply around nostrils, bridge of nose, blend well.
You'll look like you had more than eight hours of sleep.

Thursday, February 19, 2009

Tory Burch's New Tough Look A/W 2009

I like this new toughness that Tory Burch has brought to her A/W 2009 Collection.
I was getting a little bored by her cute Baby Doll Dresses and Tunics,
the Label Ballerinas and ethnic Prints that were copied by almost every big mass retailer.
This Collection is more practical for a woman like me who lives in New York and has to run after Cabs, down subway stairs and carry groceries after a long day of shooting in the Studio.
I am going to invest into her awesome Biker Boots.

Fashionweek 2009: Not Just for 15-Year-Old Models

Source: the modelizer

Fall 2009: Not Just for 15-Year-Old Models

New York Fashion Week is known as the springboard for new faces every season, but for Fall 2009, it's become the springboard for comebacks — especially with models right around the 30-year-old mark. This morning, Frankie Rayder (34), who hasn't hit a catwalk since the Fall 2004 with the exception of Spring 2009 Givenchy, walked Michael Kors. The runways of Preen, Rodarte, Alexander Wang, and Marc Jacobs have been especially overrun with these mainly late-'90s, early-00's faces — from those who have hovered in and out the past few seasons: Anne Catherine Lacroix (29), Natasa Vojnovic (29), Caroline Ribeiro (29), Jamie Bochert (28), Christina Kruse (34), Carmen Kass (30), Colette Pechekhonova (28), Hannelore Knuts (31); to those who have exited the runway for a while — Tasha Tilberg (29), Kirsten Owen (38), Trish Goff (32) — all are booking some of the most coveted spots this season. Kors, Behnaz Sarafpour, Staerk, VPL, and Diane von Furstenberg are feeling it too — the mature woman is back in New York.

Sunday, February 8, 2009

Collection of Yves Saint Laurent And Pierre Berge Sale at Christie's

Yves Saint Laurent in the grand salon of his apartment on Rue de Babylone with model Sibyl Buck, October 27, 1995. They are surrounded by the Surrealist-period Léger painting The Black Profile (1928), sold by the artist’s widow, and Jean Dunand’s 1925 Art Deco brass-and-lacquer vase, among the treasures to be auctioned at the Grand Palais, in Paris, February 23 to 25. By Jean-Marie Perier/From Photos12/Polaris.
Saint Laurent’s bedroom desk, with found-object Y’s alongside his trademark spectacles. Photograph by Pascal Chevallier.

A first-century-A.D. Roman marble torso in the Grange-designed entrance hall of Saint Laurent’s apartment. Photograph by Pascal Chevallier.

Butler Adil Debdoubi adjusts the Jacques Grange–designed curtains in Saint Laurent’s grand salon, which features artworks expected to fetch individually up to $50 million at auction: from left, the 1914–17 Brancusi wooden sculpture Madame L.R., a Gustave Miklos palmwood-and-red-lacquer stool, Picasso’s 1914 still life in oil and sand, Musical Instruments on a Table, above a late Cézanne watercolor of Mont Sainte-Victoire, an Eileen Gray circa 1920 dragon chair estimated at $4 to $6 million (in the foreground), Léger’s classicizing 1921 Cup of Tea (between the windows), and, at right, Vuillard’s circa 1891 Daydreaming Mary and Her Mother. Photograph by Pascal Chevallier.

A Mondrian dress at YSL’s retrospective, final haute couture show in 2002 at Paris’s Pompidou Center. Photograph by Pascal Chevallier.


IN LIFE, Yves Saint Laurent attracted ecstatic reviews from fashion editors with his often era-defining styles. In death, his art collection has done no worse.

Yesterday, the passions and obsessions of the late fashion designer and his long-term partner, Pierre Berge, went on display at Christie's in London in advance of being auctioned in Paris next month. It is estimated the auction will fetch $A600 million, with all proceeds going to scientific and AIDS research.

Already the art world has managed to do what few others have accomplished and almost outdo the fashion press in terms of hyperbole. Yesterday Christie's president Jussi Pylkkanen said it was "the greatest exhibition we've ever organised, or at least in my time here".

Others have described the 700 lots — which range from 1st-century Roman marble torsos to golden goblets so large they are exceeded in size only by ones in the Kremlin, to seminal post-Impressionist paintings — as "brilliant" and "a vital record of art". Donald Johnston of Christie's said: "This is the kind of collection that, in my job, you dream of finding."

Saint Laurent died last June, aged 71, after long-term health problems. Berge, 78, announced in July that he would sell most of the extensive collection they built up together for almost half a century. Asked recently why he was selling, he replied simply: "Yves Saint Laurent is dead. The collection doesn't mean anything any more."

The whole collection will be on display at the Grand Palais in Paris three days before the sale at the end of next month. While only a small part of the collection is on show in London,the wide-ranging taste of Saint Laurent and Berge is apparent.

Matisse's Nu au bord de la mer, valued at up to $A12 million, hangs on one side, a gorgeous study of a naked woman standing on a stretch of soft, green grass.

Next to it is a large portrait by Thomas Gainsborough, Giusto Ferdinando Tenducci holding a musical score, valued at up to $A1.2 million, in which a pompous-looking young man with curled hair and ruffled cuffs clutches a sheet of music.

Incredibly, Berge and Saint Laurent did not use guides to buying art, relying instead on their personal taste, which proved remarkably prescient. "In the 1970s, no one was interested in Brancusi or Mondrian, but Saint Laurent and Berge were buying them," said Thomas Seydoux of Christie's. "They were buying artists and genres before they were fashionable. They were absolutely ahead of their game, and I think they enjoyed that."

Although it is impossible to know how much Berge and Saint Laurent spent on collecting art, they were certainly serious collectors. "They were prepared to pay the price for what they liked. But they would never have seen it as an investment," said Philippe Garner of Christie's.

It is tempting to find parallels between the art Saint Laurent collected and the fashions he made. The leopard-skin banquettes by Gustave Miklos look like the furniture version of Saint Laurent's more louche dresses from the '70s.

But, ultimately, the collection reveals a mind that loved all things beautiful, who saw no dividing line between the Paris runways and the world's great galleries. As well as being a record of art throughout the centuries, it is also the record of a partnership that was, until the end, in perfect harmony.

Berge recently claimed that, in all their years together, they never disagreed about what art to buy. "In life, from time to time, yes. But about art? Never!"

pictures from
and and hedi slimane wallpaper magazine

Prada's Fashion Temple Frieze

Looks like the new Prada womenswear campaign SS 2009 was inspired by classical art and early culture,see the attached ancient temple friezes.
The line-up of models, connected by dance, was shot by Steven Meisel.

Read my Lips

Looking through my picture files of my editorials,
I came across this Image of my Lips that was shot for the British Observer Magazine a while ago in a piece about how to do a red lip properly.

Suddenly I am bored with all my subtle pink and mauve and pretty nude Lipsticks.
I want something vibrant and strong these days.
The right hue of red lipstick is so hard to find, it all depends on your skintone und the skin undertones.....

I have been experimenting with different colors and the winners are:
Chanel Hydrabase No. 60 New York Red
Very bright and lively, great for a night out.

and Rouge Allure Lipcolour - No. 09 Lover
This is perfect!
It doesn't have red or blue in it and its gives you a shiny satin look to your lips, can be even worn in the daytime with a bit of Lip balm applied to soften it.

New Passport Picture

This is the first time I managed to get a decent Passport Picture, usually everybody ends up looking like a Criminal in a Mugshot, but this one is nice.
The Picture just got rejected in the Passport Office because the regulations state that the ears cannot be covered.... the new one is so horrible, I cannot publish it.

Ray Ban Classic and New

I don't really need a new pair of sunglasses.

My Tom Ford black Cary B5's are still lovely, but if I did need new sunglasses, then these Ray Bans would be perfect.
My trusty Original Ray Ban Wayfarers are great, but here in New York everybody seems to wear them the last couple of years.
So I wanted something similar but different.
I went shopping to SOHO today and fell in Love with the new CATS 1000 and Clubmaster.
They are classic and could also be worn forever and with everything and also won't break the bank.

Friday, February 6, 2009

Cool Karl

Found this surfing the Internet.
Made me laugh.
I collected some of Karl's Quotes,
he is so funny and accurate.

In response to being asked why he never photographs his models completely nude:
"My work is concerned with a more poetic version of reality. I am no urologist.

The best idea is always very basic and very stupid.

I'm not blind. I see everything. I'm over-informed. I read every magazine. So.. it's normal. I mean, I don't live in an Ivory Tower. I'm invisible but I'm informed.I don't have to make an effort you know. HOW DO YOU BREATHE? Do you think about breathing? Ehh.. it's the same thing you know. My job... is wanting to be informed, keeping informed. It's like breathing."

Elegance has nothing to do with fashion.

I am made of total egoism.

Sunglasses are like eyeshadow. They make everything look younger and prettier.

I avoid thinking. I want to have an easy life without problems.

And most recently, when asked to clarify the debate surrounding his real age, the style icon responded: "You will have to wait for my memoirs to be published before you find it out my true age."

You can not take yourself too seriously.

I am basically the most superficial person in the world.

Gratitude is a sticky feeling.

What I hate is nasty ugly people. The worst is ugly short men. Women can be short, but for men it is impossible. It is something that they will not forgive in life - to be born short. I have never been friends with a short man in my life. Don't trust them; they are mean, and they want to kill you." - Karl Lagerfeld in Vogue UK

Fashion designers are dictators of taste.

Coming out after a show is good discipline for me because I have to watch out that I don't look like an old garden gnome next to all these 20-year-old models

Yes, some people say to me you're too skinny, but never a skinny person says that to me, only people who could lose a few pounds say that.

Loneliness is the high point of luxury for me. I need time to myself, otherwise I would not be who I am.

I hate the word 'cheap'.
People are cheap.
Clothing is either expensive or inexpensive.

Luxury is for the rich, not the nouveau riche.

Beauty is also submitted to the taste of time, so a beautiful woman from the Belle Epoch is not exactly the perfect beauty of today, so beauty is something that changes with time.

No, I'm not a French designer either.
I'm from nowhere.
I'm a European, old European is all I am.

My mother always used to say, “Don’t sacrifice yourself too much, because if you sacrifice too much there’s nothing else you can give and nobody will care for you.

I don't like standard beauty - there is no beauty without strangeness.

Love is a subject I don’t analyze publicly. Love is only an interesting subject when it’s beyond. When it’s down to earth it ceases to become interesting. It’s a very dangerous subject. I’ve had so many tragedies in life, it’s hard to discuss the subject.

Sometimes, to be inspired by things or places, it’s better not to go there. You have to imagine. I imagine the world from my window. I am not a traveler. I hate it. I never look at my watch. The good thing about private jets is that you go whenever you’re ready. That’s the real luxury of today. In all my contracts it says, if you want me, send a private jet.

Also I cannot go on airlines because people stare at me, you have to be touched by people. I hate that…I hate bespoke because I hate to be touched by strangers. It bores me to death.

In France there are a large percentage of young girls who are overweight and less than one percent are skinny. So let’s talk about the 25 percent who have a weight problem, or are overweight. We don’t need to discuss the less than one percent. Anorexia is nothing to do with fashion. These Russian girls are so young. Chinese ones are skinny, too, and bony. I don’t think it’s a subject to discuss. And in today’s world, many people take drugs, not only models, hmm? It’s an unnecessary subject. Let’s talk about the fat ones.

I’m a computer by myself. I have a memory also for unnecessary things.
Telephone numbers are a problem, but historical details are not.

Only the minute and the future are interesting in fashion -- it exists to be destroyed. If everybody did everything with respect, you'd go nowhere.

I never smoked. I never drank and I never took drugs. The funny thing is, nothing is more boring, people like this. For me, it's OK. But most of my friends, at least they smoke and drink.

And finally:
I'm sorry. What I say is only applicable as I am saying it.

Thursday, February 5, 2009

Lee Radiziwill Hippie de Luxe Room

Love it or Hate it, this is great style.
I read an Interview with Lee Radziwill regarding the Interior Design of this Room and she said that she used very inexpensive Cotton Fabric to upholster the walls.

Jeremiah Goodman, Illustrator

Architectural Digest,February 2002
Text by Christopher Finch
Artwork by Jeremiah Goodman

When artist Jeremiah Goodman paints the likeness of a room, it’s easy to imagine its celebrity owner—Sir John Gielgud‚ Greta Garbo, Diana Vreeland—moving through it, pausing to adjust a bibelot on a side table or to pick up a script tossed on a sofa.

“A portrait of a room,” says Jeremiah (professionally he has always used the single name), “should express the personality of the person who lives there—whose character has shaped it.”

Jeremiah’s paintings of interiors belong to a genre that had its heyday before the advent of photography. It remains valid today, however, when practiced by an artist who has the skill to imbue his subject matter with an inner vitality the camera cannot express. Jeremiah can evoke a brocade-upholstered chair or a Baroque mirror with a few calligraphic brushstrokes that both describe and animate. He conjures up space by combining a deceptively casual perspective (his choice of viewpoint is impeccable, his drawing always accurate) with plays of light and shadow that delineate form while creating atmosphere. Most important, he paints what he knows.

“Until the 1960s,” he says, “all of the paintings were made on the spot, in the room that was being portrayed. I still work that way when I can, as I did with the paintings I made recently of Elsa Peretti’s apartment in Spain. In some cases, though, it’s not possible to set up a worktable for the length of time that would be necessary, so in recent years I’ve sometimes worked from photographs, notes and sketches.”

A youthful 79-year-old, Jeremiah was born in Niagara Falls, New York, one of five children. “I was very lucky,” he says, “because my parents made sacrifices to allow me to study at Lafayette High School in Buffalo, which, at the height of the Depression, had no fewer than five art teachers, all first-class. One of them asked me what my ambitions were. I said that I wanted to be a Hollywood set designer, and after that I was permitted to carry out all my art projects with that in mind. If the assignment had to do with Scotland, I would design stage sets for Macbeth. That’s how I began to acquire the skills to paint interiors.”

Moving to New York City, he studied at the Franklin School of Professional Art, taking additional lessons at Parsons, and soon came to the attention of Joseph B. Platt, a leading decorator of the period who had created sets for Broadway and who came to national prominence with the interiors he designed for films such as Gone With the Wind. Platt helped Jeremiah launch his career, but, rather than becoming a Hollywood set designer, the young man decided to remain in New York, achieving success as an advertising and editorial illustrator.

From 1952 on, Jeremiah’s characteristically unstudied yet stylish renderings of everything from fashion accessories to furniture became a familiar feature of Lord & Taylor’s print advertisements. (“Sometimes‚” he says‚ “I would do as many as five pages a day— shoes, handbags, scent bottles!”) He also contributed to magazines like Harper’s Bazaar and Vogue, and for 15 years he did monthly covers for Interior Design. This, in turn, garnered commissions from top decorators such as Eleanor LeMaire and Dorothy Draper, from industrial designers like Raymond Loewy and from leading architects, including Philip Johnson, I. M. Pei and even Buckminster Fuller‚ the inventor of the geodesic dome.

“I was asked by Fuller’s office to do some renderings of a project for a world’s fair‚” Jeremiah explains. “Unfortunately‚ some of the material I should have received failed to arrive‚ so I improvised something I thought would look like Fuller’s work. When he saw the drawings‚ he said‚ ‘I’ve never seen anything quite so wrong that looks quite so right.’ ”

Alongside this commercial activity, Jeremiah was making more personal portraits of interiors—paintings that depicted the homes of friends and acquaintances. Given his background, it is not surprising that these have included some of the greats of the design world, such as Billy Baldwin, David Hicks and Elsa Peretti. Others, from Garbo to Mary Martin and Hermione Gingold, have a show business pedigree.

“John Gielgud encouraged me to do these room portraits,” says Jeremiah. “I met him in 1948. Before then I had painted interiors for my own pleasure, but he invited me to England, where I went in 1949, and he began to introduce me to his friends. It was still very Brideshead Revisited in those days. I found myself traveling in the company of people like Ivor Novello, a great star at the time who went nowhere without an entourage. I was invited to stay at glorious country houses, and, being young and brash and American, and not knowing the rules, I probably overstayed my welcome at most of them. But I had a marvelous time, and I met wonderful people who were incredibly kind and generous. Billy Henderson, for example— who’d been aide-de-camp to Lord Wavell, the viceroy of India—simply loaned me his house in the south of France with all his servants.”

Back in New York, in the upper reaches of the fashion and decorating worlds, Jeremiah continued to encounter the kind of innovative individuals who set styles in a variety of arenas, and he continued to make portraits of their homes.

“You meet people in many different ways,” he says. “I illustrated a book for Dorothy Rodgers, My Favorite Things, which was a best-seller. She and Richard became friends of mine, and I had the opportunity to make paintings of their apartment at the Pierre.”

Room #3 for Greta Garbo: “Each person I came in contact with in doing these portraits was just fabulous—not one disappointed.” Jeremiah painted Greta Garbo’s New York residence in 1990 from earlier sketches.

Although Jeremiah sometimes works on canvas, in oil or acrylic, the great majority of the room portraits are done on illustration board in a combination of transparent watercolor and opaque gouache, a medium of which he has masterly command. His earliest interiors are more literal and less atmospheric than later examples, but they already display a mature sense of graphic economy, each swag and chandelier set down with the minimum of fuss.

The influence of John Singer Sargent’s bravura watercolor technique was present in Jeremiah’s work from the first, but by the 1960s it had evolved into something more personal as he learned to articulate complex chiaroscuro with rapid brushwork. Another acknowledged influence has been Japanese brush painting. This is most evident in Jeremiah’s striking grisaille studies—orchestrations of black, white and gray that hark back to the days when he was creating black-and-white images for newspaper ads.

In recent years—as in a painting of Elsa Peretti’s drawing room, dated 2000 —the sense of atmosphere and controlled improvisation is more fully developed than ever. The technique is so fluid and assured that details of the imagery could be taken as examples of Zen calligraphy. Although the tonal range is darker, the overall freedom of expression might be compared to the impromptu splendor of J. M. W. Turner’s famous interiors of Petworth House.

Jeremiah’s interior portraits are wonderfully loose and evocative of period, yet at the same time they are so full of particularized information—from the texture of fabrics to the meticulous rendering of paintings hanging on the walls—that they form a unique record of the work of many of the classic decorators of the past half century. These decorators, in turn, have always understood that they were dealing with an artist of singular talents. When Jeremiah met the legendary Billy Baldwin for the first time, in connection with an assignment for Harper’s Bazaar, he found that his reputation had preceded him. Baldwin, notoriously a perfectionist, simply handed over a sheaf of notes and said, “Go ahead, dear boy—I know it will be beautiful.”