Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford


Cowboys, showgirls and badlanders vying for Coke
by Wieden & Kennedy

you decide the ending on
Coke Chase

Declan-John Geraghty by Markus Lambert

Kyle Andrew Szpyrka by Thomas Synnamon

Queen Mimosa 3 - "Ne m'embrasse pas "

French act Queen Mimosa 3 has just released a fantastic new video for their latest song "Ne m'embrasse pas " ('Don't kiss me') with a full-on orgy of glitters, outrageous makeup and extravagant costumes to a catchy tune you'll be dancing to.
Morphosis already presented these firebrands almost a year ago (here) with the video of "Androgyny" where you can find some similarities.

L'Officiel Hommes China #298
Sean O'Pry (part 173)

Sean O'Pry continues a stellar run, landing on the cover of the first issue of the year of China's L’Officiel Hommes. Posing with a vintage car and a hot doll, the American top model polarizes the attention on his icy blue gaze, that perfectly matches with the sky in the harbor for this story simply entitled "月刊的封面大片" ('Monthly blockbuster').


If Miuccia Prada's invitation suggested a grand theatrical event, the setting confirmed it. The show space had been reconfigured as a huge court, laid with a massive carpet in red, white and black. Later in the show, a parade of stars -including Gary Oldman, Adrien Brody, Willem Dafoe and Jamie Bell- would walk that red carpet rather than the one that was rolling out at the same time in Los Angeles for the Golden Globes. A part in a Prada performance clearly carries enough clout to draw marquee names. But then, this particular performance was something so extraordinary that it would surely seem irresistible to actors who might feel they've already done it all. "A parody of male power", la Signora Prada declared backstage. The power was palpable. That giant carpeted red square (which in itself seemed like a conscious echo) felt like the flooring in a conference hall in one of the palaces where cabals of diplomats and military men once met to decide the world's fate at a turning point in history. The formality of the collection offered exactly the sort of clothes you could imagine them wearing : double-breasted suits buttoned high, astrakhan-collar coats, pinstriped jackets with a flower in the buttonhole. The men who wore such things would surely have valets, a point that was made clear when models stripped to the kind of crisp white cotton underwear that an Edwardian gentleman's gentleman would have recognized. But this wasn't simple sartorial historicism. Remember, this was a parody of power. So nothing was as it seemed. Formal clothes were actually cut from denim; what appeared from afar as wool barathea or mohair was really cotton. Look closely at the ornate, baroque patterning on shirts and you'd see rows of American football helmets or feathered Native American headdresses. Tailored topcoats woven in jacquard looked more like silk bathrobes. And the formal white-tie neckgear was a mock turtle on a tee. An awful lot of ingenious thought had gone into making a statement about the emptiness of dressing to impress, while, at the same time, producing clothes that will entice men to do exactly that. This Chinese-box ingenuity carried through to the last moment of the show, when nine professionals, richly rewarded for their role playing, paraded one by one around the red square, "as if following a secret script", according to the accompanying notes. If you accept that actors play archetypes, then each of them represented a particular kind of man. It wasn't only the accompanying soundtrack of Michael Nyman's music from "The cook, the thief, his wife, and her lover" (1989) that cued Tim Roth as a gangster or Adrien Brody as a dandy. Gary Oldman was particularly impressive as the capo di tutti capi, in his breast pocket a pair of red-lensed sunglasses just like the ones he wore in his performance as Dracula. "All the world's a stage, and all the men and women merely players". Shakespeare said it first, but Miuccia Prada showed it best for this ending season.