peter shelton: trend watch

It would appear that Laura is not the only one with a keen eye for style in the Bennett-Shelton household.

Yesterday Gawker asked "What is up with White Converse?" regarding the fashion rage for Chuck Taylor All Stars in New York City.
(I'm a Jack Purcell gal myself. However I don't know how fashionable that makes me considering that the only other person I've seen wearing these particular shoes is a friend's four year old daughter. In my defense I got them for $12.)


At any rate, Fashionista replied to Gawker with their post "Explain White Converse" in which style experts weighed in on the white Converse All Star blitz.

We learn that these sneakers are a New York icon. (God love New York fashion editors. Yes, we out in the hinterlands have never heard of these things you call sneakers. We still wear wooden clogs.)

We also learn that Teen Vogue has styled them with skinny jeans, school uniforms, volume skirts, and prom dresses. I wonder if this sort of versatility makes them the kind of item that would become a fashion rage in the city. Does every New Yorker have these items in their wardrobe?

Ah, but it was this comment that offered some insight: they look even better when worn and aged.

I couldn't agree more.

Interior Design Magazine. LAURA BENNETT, PETER SHELTON, AND LEE MINDEL The Project Runway finalist with her husband, Peter Shelton, and Lee Mindel, partners of Shelton, Mindel & Associates. Photography: Paul Godwin.

project runway makes worst of 06 list

Annie Wu on tvsquad.com has this to say about this past season's Project Runway:

God, Project Runway was just plain painful this season. Not only did we have to put up with Vincent and Angela for an ungodly long time, they were brought back for an additional challenge! Then, Jeffrey, the designer with the worst collection of all (well, in my personal opinion), won the whole competition. Livid, I was. I definitely expected better taste from what I've long considered the classiest reality program on television. Click here to read her full review.

Now don't get your panties in a bunch about this.

First, she's a funny reviewer (read what she has to say about Flavor of Love and American Idol in this article). Second, this is about her having high expectations of PR. She's saying she's disappointed in the show, not that she thinks it is worse than everything else on tv, and frankly, I agree with her criticisms.

However, Wu neglects to account for the bright spots of this season. Like Laura. Over time the judging stupidities and blowhard personalities of this season will fade from memory while we tune into the new hit show: What would Laura do? (tag: And how the hell does she manage to do all of that?) Getting Flash with Michael Knight (the nice boy takes the street). The Robert and Kayne Show (tag: Barbies, Beauty Queens and Bitching). Malan Breton from Taiwan (it doesn't get any more fabulous than that).

Speaking of crazy man V: on VH1's "Best Year Ever" Vincent's tirade was one of Doug Benson's choices for getting a rose. There's no way to explain this joke. You just have to have seen it . . and like that offbeat kind of humor.

laura : odds and ends

1. minor matters: I've added the image links and I've corrected the errors in my previous laura posts. I'm sure I've missed some. I find it difficult to edit myself in these little blogspot boxes. That's my excuse and I'm sticking to it.

2. ladies who lounge: I added some images to the first laura post (click here) -- discussing her lounge wear looks. I'm not sure she would approve however.


And finally here are a few more comments that I want to make before moving on -- in order to clarify or correct myself or just because it popped into my head.

3. forgetting the feathers: Well I must have a door in the back of my head because I wrote that I didn't like the feathers thus completely forgetting that I had created an Entire Multi-Genre Section about the feathers with the actual word feathers in the friggin' title! So let me rephrase myself.

If I were to think of the collection strictly in practical terms of fashion (which would be very unimaginative of me) then the feathers on some of the dresses are too theatrical for me. Because, you know, all the other outfits fit perfectly into my west coast lifestyle: it is just the feathers that are holding me back.

Then I remembered --

As an aside, Spanish -- that beautiful, literary, poetic, absurdist and (in this country) terribly malaigned language -- has the most wonderful reflexive construction for the verb to forget: it forgot itself to me. So that's my story and I'm sticking to it.

-- that Laura's collection also has another lineage -- one that is theatrical: the jazz age and Josephine Baker. Runway shows are theatrical productions afterall. The evocations of a classic icons of fashion such as the flappers and Josephine Baker also recalls the early twentieth century stage shows, such as those at the Folies Bergere, which would not have been complete without a full festoon of feathers. (Click here to read all of my posts on modernist fashion history.)

4. new age judges It seem strange to me that the judges would consider the flapper look matronly because if there is one thing that the flapper represents it is youth. I simply cannot see how their logic operates: a flapper is matronly but an apron dress is punk and hip? Sure. a flapper style is from the past but so are fashions from the seventies and eighties. Why is a flapper dress more matronly than a bubble skirt?

5. variety show I want to talk a bit about what is meant by "variety." Yes, Laura's looks were all evening wear. But this is said as if this means it is a single look. As if this is a narrow category. Day wear is large. Evening is small. Whenever I see these categories and assumptions I have to push against them. It's in my nature. I'm ornery that way.

Perhaps Laura's collection demonstrated that within the category of evening wear there is a great deal of variety. Laura's runway show included looks from the cocktail party and the supper club and the red carpet and the state dinner and the stage show and the box seat and the intimate dinner and the dance floor and, of course, from the bedroom. In short, she had a look for all of the elegant places of the evening.

I'm not saying that Laura had the most variety. (I haven't finished my reviews so I can't make any general statements yet.) However I am questioning whether she had so much less variety in her collection than someone who had mainly streetwear, a swim suit and one fancy party dress?

The answer to that question depends on how you define variety. The judges defined it very narrowly. Personally I think it is more interesting to challenge status quo definitions -- it opens up new ways of thinking about fashion and design. And isn't that the whole point?

laura's v-spot

vionnet + valentino
note: I'm still making corrections. sorry about the mess.

My previous post focused on the specific pieces in Laura's runway show. (Click here to go to the first post.) In this post I'm going to discuss how Laura's style relates to two important fashion designers: Madeline Vionnet and Valentino. By the way, I don't discuss Laura and fashion history because I think she is derivitive or imitative. I talk about Laura and fashion history because she is better informed -- in terms of both style and technique. This knowledge makes her work more interesting (and her imagination less limited) compared to the other designers.

Note: I have already discussed Laura's runway show in terms of the flapper look and early twentieth century fashion designers, specifically Paul Poiret. If you want to look at these posts go to:

• flappers and pr designers

early 20th century fashion history :

• table of contents
  
• continuous readings
  

1. vionnet

Madeline Vionnet (1876-1975) ) is the designer known as the "queen of the bias cut." She began work as a seamstress at age eleven and apprenticed for fashion designers Jacques Doucet. She had her own fashion house and a boutique in Paris during the 1920s and 1930s, retiring in 1939.

She is admired for her distinctive draping technique and her innovative bias cut designs. Working primarily with chiffon, silk, and crepe, her designs allowed for greater stretch which provided greater comfort while moving fashion towards a greater fluidity of line and an emphasisis on the woman's body.


Madeline Vionnet was particularly inspired by the style of ancient Greece and the way that fabric draped on Greek statues:

Above left: Metropolitan Museum of Art, New York, From the permanent collection. Statuette of Nike (personification of victory), late 5th century B.C.
Above right: Metropolitan Museum of Art, New York. From the exhibit "Goddess"; Crepe dress by Vionnet. Vogue, November 15, 1931.George Hoyningen-Heune, Condé Nast Publications Inc.

Note: click here to go to my previous discussion of the role of ancient Greek art in how early twentieth century fashion reconceived the shape of the body.

Not all of Vionnet's garments were simple draped chiffon. She also used lace, velvet, net, applique, beading and sequins to make some of the most elegant and even extravagant dresses of her time.

Above images, left to right: 1. Laura Bennett. 2. Evening gown, 1939. Madeleine Vionnet Pale pink lamé and black silk lace appliquéd with black silk velvet. Metropolitan Museum of Art Costume Institute. 3. Laura Bennett. 4. Evening Dress, 1938 Madeleine Vionnet. Black silk satin and black silk net embroidered with black sequins. From the special exhibition: Blythe Spirit: The Windsor Set: November 1, 2002–February 9, 2003.

Madeline Vionnet is one of the most admired fashion designers and yet she is also the most elusive. She disliked public appearances. She thought attention should be focused on her work, not herself. She was particularly contemptuous of the faddishness of the contemporary fashion world where styles went in and out of fashion from season to season:

"Insofar as one can talk of a Vionnet school, it comes mostly from my having been an enemy if fashion. There is something superficial and volatile about the seasonal and elusive whims of fashion which offends my sense of beauty."

a couple of recommended books:


Madeline Vionnet by Betty Kirke

Art Deco Fashion by Susanne Lussier

2. valentino
= a fashion house started by Valentino Garavani (1932 - )

Biographical information: At age 17 Valentino Garavani moved to Paris from his town in northern Italy and began his apprenticeship with Jean Desses and Guy Laroche. In 1959 he opened his first fashion house in Rome. One year later he teamed up with Giancarlo Giammetti who is the commercial manager of the house of Valentino. Valentino is an immediate sensation: he is the designer for the world of La Dolce Vita.

Dolce Vita Style by Jean-Pierre Dufreigne

In 1968 he designs the wedding dress for Jacqueline Kennedy's marriage to Aristote Onassis catpulting him into the fashion stratosphere. Between then and now he has won every award possible and it is hard to argue that he is not Italy's greatest living designer. Valentino now has a broad fashion empire but the House of Valentino designs one thing: evening gowns. In that he is preeminent. I don't think any designer has more dresses, new or vintage, on the red carpet than Valentino.

A couple ideas for an advertising campaign for vintage Valentino:

Vintage Valentino:

A dress so memorable that they may even forget that the woman wearing it was a blithering idiot.

. . .

Vintage Valentino:

After the love is gone, the dress remains.

Valentino has also been known to admonish stars for going out into public looking sloppy -- if not sleazy. He believes that stars have an obligation to their public to be glamorous:

Italian fashion designer Valentino Garavani slammed Julia Roberts and Cameron Diaz for their fashion style, claiming they look like 'homeless bag ladies' compared with Hollywood stars from the past.

Valentino, 73, who dresses famous actresses like Gwyneth Paltrow and is often seen on the red carpet with her, declared that celebrities today should always look glamorous, not only when they are invited to parties or award shows.

The designer told German newspaper Die Ziet: "Today you see Julia Roberts and Cameron Diaz running around looking unkempt in jogging trousers, they look like bag ladies, like homeless people. In the past, actresses had to commit in their contracts to appear in public like stars when they left their homes.

Click here for the source of "Valentino on Sloppy Starlets"
Click here for another recent complaint about Sloppy Starlets and a possible remedy.

Given that Laura does not own a pair of jeans, what could be more Laura than that?

In addition to sharing the belief that glamour is not merely a fashion choice but an obligation, dammit!!Laura also shares Valentino's classicism. In a certain way (a perverse way, granted) there is a frugality to that idea of elegance in that it isn't faddish: if you are going to buy then make sure it is something that is going to be worn for the rest of your life.

When Heidi said that Laura's dresses are the kind that a woman has in her closet for the rest of her life she could not be making a statement that said more about how Laura takes her fashion cues from a designer such as Valentino.

But that doesn't make Laura completely imitative of Valentino as a designer. If you look at the two rows of dresses below what is most remarkable is that they seem so similar and yet each piece is completely different. Laura's pieces were evocative but not derivative.

a couple of recommended books:


Fashion Memoir: Valentino

Wearing Vintage by Catharine Bardey

3. vamp??

Did this dress remind anyone else of Morticia Addams?? (For the record, I consider the comparison to be a complimentof the highest order.)

It just seems like the perfect dress for the woman who would say:

"I'm just like every modern woman trying to have it all. A loving husband, a family. I only wish I had more time to see out the dark forces and join their hellish crusade. " (What a great line. All hail Paul Rudnick.)

You also have to appreciate the irony that it was Laura and not Jeffrey who sent the best goth look down the runway.

And forget the bikinis and babydoll looks: that dress' back with its slinky fishtail swish provided the sexiest look in all four shows.

laura's collection

This post is just about the clothes themselves. In the following post (click here) I will discuss her work in a broader sense fashion history and the contemporary fashion world.

the collection
Here are the 12 pieces, in order of presentation:


The first thing that strikes me is the sense of balance and completion. There seems to be nothing missing, nothing out of place, and it is all of a piece. What it lacks in variety it gains in in coherence. The order of the pieces, the styling, the shoes, and the selection of the models, is exactly the right choice.

For some the fact that nothing is left to chance indicates a lack of artistic spirit. But I'm not so sure, especially for designers at the early stages of their careers. It is like the beginning artist who doesn't know the basics but throws paint at a canvas and calls it avant garde. (Echoes of Vincent.) Serious artists know what the traditions and conventions are before they challenge them. Serious designers must also be accomplished in creating work in traditional forms before they can deconstruct them. (Or send them out for someone else to sew.) Just saying that you don't do something because you are an artist not a craftsman (or seamstress or patternmaker) is, to my way of thinking, bullshit.

top row, pieces 1-4


I am not the first to comment on the "wow" factor of Laura's first dress (far left above and below). It was unexpected in color, neckline, sleeves, but it was still a quintessentially Laura dress. The model even had red hair, which was a very sly way of opening the show with an assertion of Lauras "signature" in a fresh new look. This dress is sort of Donna Karan with a bit more glamour. Or at least more sparkle.


Laura may not approve of the variations (above) but I wanted to see how they might look. I think this dress also proves the lie to the idea that her pieces are not versatile. It seems such a shame Laura didn't win if only because this dress strikes me as the quintessential INC garment. It's a missed opportunity for Macy's. (But I'm from Chicago so I'm boycotting Macy's but THAT is a matter for a full-blown rant.)

If there is one choice I'd consider changing with the models it would be the second and third: The second model is short and the third is tall and I think it might be better for the length of the dresses if they switched:

(I know my photoshopping is bad but I'm trying to get this post up as soon as possible so work with me people!)

The second dress does look nice short but I think it would be gorgeous at full length, as a ball gown. It would make a fabulous red carpet gown (above, far right -- a very rough paste-up.) Normally I don't like the deep V-neck but I particularly like the neckline of this dress (below, left). This notch has more coverage and the geometry is interesting.

I like the individual pieces of the fourth outfit: the jacket and the shorts (above, right) but I think this would have looked better with satin lounge pants in the cream/gold to match the top. I like the individual pieces of the fourth outfit: the jacket and the shorts (above, right) but I think this would have looked better with satin lounge pants in the cream/gold to match the top (See below).

The image on the far left is from Malan Breton's runway show. (Click here to go to a discussion of the history of this type of lounge wear look in both Laura and Malan's collections.)

There's really nothing wrong with this outfit but I just personally would want to have the pants. I think, however, Laura might see them as part of that slippery slide into sweats: you know, one day you are in silk satin harem pants and the next day you are in cotton sweats with Old Navy sewn across your butt.

The shorts do work with the collection as a whole. First, they provide a transition from the light to the dark section of the collection. It was probably important that Laura demonstrated a certain variety of types of items. Also there was a certain mix and match aspect to her pieces and particularly the shorts and pants below.


Note: I have no idea what the foofy stuff is doing on the jacket. (I'm suddenly blanking on what that is called.) It doesn't really bother me as much as it did some because it seems like the kind of thing that is put on for the runway and isn't really part of the design.

second row: pieces 5-8

This is makes a nice series together. It is Victorian with the black lace but also playful and sexy.

In addition to the lounge wear above also liked Laura's new take on the look (below) with the skinny pants and sheer lace curtain wrap (below). This piece has that architecural quality that I like in Laura's work. It may be a bit "Victoria's Secret" but I think that there is often a little wink in Laura's clothes. This also reminds me of Keith's story on the first challenge about how his dress showed how a woman can go out to a party wearing a curtain. Laura showed how a woman can use a curtain to outfit herself for an at-home affair. She selected the perfectly statuesque model to wear it.

Now that is an Empire State.

I think that Laura selected the best models for her dresses. She just has an eye for detail in every way. You see the sloppyness of someone like Jeffrey in those sorts of things. Some of his models were completely inappropriate for his clothes.

I'm going to discuss the second dress more tomorrow so all I'll say now is that I'm happy the shrug wasn't fur. That is a deal breaker for me I'm afraid. Frankly I'm not happy about the feathers either -- from a humane and a fashion point of view. I tried to imagine what it might look like with different sleeves because it truly is a beautiful dress. I am not sure that either of the versions I came up with are the solution. The feathers clearly balanced the proportions: ence you take them away you can see why they were needed. But I still don't like them. (Also the dress is so sheer you can see her underpants.) I like this dress but I think it isn't there yet. Perhaps because the fabric reminds me of scaffolding -- I think she could push the architecture of the form further.

third row, pieces 9-12

As we get to the end of the show we have a couple of black/silver flapper dresses that bring us back to the first dresses. This flapper dress (below) has that detailed work of beading -- thick on the top with some gold flash is a dress that could easily be a final piece itself. It is interesting that Laura waits until near the end before bringing out what the judges have come to think of as the classic "Laura" dress.


The movement of the ribbons on the shoes is also wonderful enhancement to the look -- which is something I noticed throughout the show.

The final gown (below) is a gun metal satin gown with thick beading on the top. The front is high and the back is open (I think of it as a swimmer's racing suit style) and intersected with a gold velvet belt. I thought the effect was stunning. And of course there was no model better suited for this dress than Camilla who has come to embody the cool sophistication and elegance of Laura's style.
The gold belt brings us full circle -- literally and figuratively to the first dress which has the beading on the bottom half instead of the top. Look below at the first and last dresses:


It is like a sun and moon. The symmetry is quite stunning.

Throughout the show there is a sensuality of movement and a play of light and dark created by the fabric choices, the cut, and the beading and other details.

It is a collection that also seems to be symbolic -- bird feathers, lace flowers -- of femininity without being too obvious or stereotypical. I'm not saying this is about some trite narrative about fecundity and birth. I think that might provoke morning sickness in Laura. I just think it is a very sexy and feminine collection that is about a woman being sexy and feminine.

I know I'm waxing bit rhapsodic but the more closely I contemplated these works the more I started to see the collection as moving more towards the world of art in its aesthetic: not just because each piece is so finely wrought but because when brought together they create something that is greater than its parts.

while I'm away

I'll be away this week. Remember to take the trash out. Don't fight over the remote. The emergency numbers are by the phone.

When I return I will be moving on to talking about Laura and Vionnet, plus home economics. Kora is really into home ec. Then I want to know what the deal is with safaris. Is jungle fever going around again? And of course we will discuss the matter of why Uli didn't win. (She was robbed!)

Meanwhile, break into small groups and talk amongst yourselves. Here's the topic: Is Laura the new Martha Stewart? What suggestions do you have for various segments on her show: Laura Bennett's Living Fabulously?

be still my heart

"Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice . . . "

Let's get to the important matter at hand: The handsome Mr. Bennett did NOT get enough screen time.

He had me at hello. Ouch, I know. That's really tired. But Mr. B. looked bemused when he walked into the apartment and that's sexy to smart girls. Or at least to the sarcastic ones. Who knows. Maybe he was grimacing. But it is more fun to imagine a sensibility that is wry rather than worn. N'est-ce pas?


And how sweet is the way that he has his arm around Laura?

Word from the Un-Wise:
Kora does not imagine her life as a template for anyone with their head screwed on and for those who are screwed up it is even less of a model to follow, given her noted tendency to not always do as she is told . . .


. . . and furthermore, in ways of the heart there is no wisdom to be offered because, of course, it is all pure folly but she will say this:

It is impossible to underestimate the importance of being completely adored by one's husband, especially when one is a strong-willed woman with a brain, an education, an artistic temperament and a biting wit.

Others might say stubborn, loony and bitchy but then what would they know from brilliance?

(note: I do know that Mr. B. is actually Mr. S. but I like the JA allusion.)

precious moments

the sweetest thing
Who didn't enjoy Alison's assertion (and didn't we just know she would say something like this?) that:

"Animals make me happy."

Of course they do, sweetheart. Of course they do.
And you make animals happy too.

(see also
http://kora-in-hell-pr.blogspot.com/2006/10/all-my-alisons.html
all my alisons post.)

moving from the sublime to the ridiculous . . .

the fluff and fold tantrum
Vincent's "fluff and fold" meltdown over a laundry error (he was reimbursed for almost twice as much as the value of the item) was completely unacceptable behavior. Rather than talking him into staying they should have shown him the door. That said, it was also completely and utterly hilarious. My top three moments from that film clip are:

• When he channels Rodney Dangerfield and says, apropos of get-over-yourself, "No respect." News flash: respect is earned Vinny.
  
• When the camera turns to the producer (Rucker I believe) who just shrugs his shoulders. God love him. And just off camera we hear Vincent whine "it's not funny!" Oh, but it is, Vinny. It is.
• Vincent's plaintive cry at the end of the clip when he, incoherent with rage, emits this inchoate sound of "why why wha wha whaaaaa ??!!!!" Normally I don't find someone's suffering to be humorous, but every time I hear that it makes me laugh.

don't get too comfortable
This precious moment captured the irate Keith telling Heidi and Tim that he was the victim of a conspiracy concocted by the crew. In the pause that followed this assertion, while everyone stared at him, dumbfounded, he spat out: "Uncomfortable isn't it?"

Actually "uncomfortable" wasn't the right word. Gobsmacked might have worked better. My guess is that they were not made uneasy by his accusation in the sense that they felt implicated by it, they were simply too surprised to think of what to say. They needed time to recalibrate the new information. That new information was not his bizarre theory that producers planted the books on him. No, the new information was that Keith had become delusional if not barking mad.

as a followup:
Keith's ranting letter to BPR begins: "Seems like everyone is bitter that I might be actually telling the truth." Again, there is a usage problem. No one is bitter about this incident but Keith himself. Everyone else is just entertained. Nothing more. Sorry, Keith. It is a tv show. It is entertainment. The antics on it are just not that important.

(Click here for more on KM's "book burning"charges.)

and while we are on the subject of vocabulary usage . .

circuit circus
Because this reunion focused on Tim Gunn's fancy schmancy vocabulary (jesus wept) I have provided a brief but no less irritatingly pedantic discussion of what appears to be Tim Gunn's misuse of the word "circuitous":

At the risk of sounding like the pedant that I am, "circuitous" was not actually the right word to describe that staircase. The staircase was in a circular form, a spiral staircase to be specific, which is not the same as being circuitous. The route they were following may have been complicated and indirect and thus was circuitous. In standard English, however, the staircase was not. The etymology of the word is from circle or round but its meaning has shifted so that it is associated with indirection more than circularity. Ironically, one usage is to indicate an artificial form of speaking.

The man makes so few missteps that it is pissy to call attention to them. But I don't trust someone who appears to be completely flawless. I like him better this way.

a question of taste
Laura's response to that cheesy Publisher's Clearinghouse episode was one of the best lines of the show. We have Michael Kors -- Mr. Impeccable Taste -- impersonating Ed McMahon in order to present Michael with a check for the viewer's choice award. The sheer tackiness of it all did not escape Laura's notice and just as the excitement was hitting its peak she did what she always does: she calls 'em like she sees 'em:

behind the masks

. . . there was some serious ugly going on this season.

On the face of it, the designers started out resembling human beings, but it didn't take long to have doubts about a few of them. Who am I kidding? These guys seemed creepy from the start. The masks cracked from the get go. And it wasn't pretty.

the three faces of keith :

the three monsters of the runway :

click here for the original story using this image.

&
the most fearsome of them all

The hiss.
The swish.
The disdain.
The utter indifference.
And the infuriating fact that, try as they may, they just cannot knock her off of her feet.

She sees them for what they are -- creeps and bullies -- and calls them on it. With one whip she can put them in their place and they skulk away licking their wounds and whining "she's a bad mommy."

And it makes them SO MAD when women refuse to be their mommies!!

But when the mask comes off
the kitten comes out to play.

(click here for halloween costume ideas from jay mccarroll.)

insouciance & aperitif review zee elle

Commentary on episode 11 (what the elle?) by French models and kih-pr guest fashion critics, Insouciance & Apéritif.

• click here for information on insouciance & apéritif.
• click here for assistance with zee french.

We were très 'appee zees week because zee show waz all about zee models (click here for "runway model theatre").

Zee drama!

Zee beaucoup bitchy!

Zee 'ippy girl allemande: we zink she 'as lost her senses.

We zink she 'as spent too much time in Ibeza --
leestening to Morcheeba on zee ecstacy.

Zees man, 'ee does not know 'ow to model:

Zees is no way to walk on zee runway.
Why does zee poseur rock star wear zee 'ippy dress?
What eez with zee ugly blue shoes?
Et zee scarf - 'ee does not wear it properly:
zees eez une erreur grave in La France.

-----

Now zees girls: zay know zee modelling: Ils sont fèroces.

Et la Nazri: She is too good.
Et we are trés shallow.
We don't zink we like her verry much.

-----

We like zee Clarissa.
She can pout like zee French woman. She too suffers from zee ennui.
-----

Zee matching wis zee dress and zee model.
Eet is a nice picture non? Zay are les amis, qui?
Elles son tres sympathique.
-----

Zees, we are not so sure: Mon dieu!!
We must warn zee Marilinda to get away from zee angry poseur rock star.
-----

Mais, zees man: Oo la la!

Le beau Michel:
we would like for him to call us.
-----

C'est une mauvaise idée: Zee running about in zee jardin and on zee avenue:
eez not naturelle for zee model to work en zees conditions.
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Nous préférons zee bureau de zee fancy editor
espagnole wis zee beaucoup windows. but zees strahnge garçon in her closet-- -- zee enfant terrible wiz zee pretty girl hair
zat zay call zee Rucherre.
Le joli Rucherre will also contact zee Insouisance et Apéritif, mais qui?
He and le beau Michel come to Paris
We will have zee soirée with zee champagne in zee chambre.
C'est bonne?
-----

Insouciance & Apéritif say:
nos bons amis,
joli Rucherre & beau Michel:
contactez-nous!
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