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judy smith Jan 2016
There's no question about it - married life suits Beth Ditto .

The singer, who fronts the Gossip, stepped out to attend the Jean Paul Gaultier show during Paris Fashion Week on Wednesday.

It marked the opportunity for her to soak up all things style-related, not to mention flaunt her slimmed-down figure.


The songstress appeared to have shed a noticeable amount of weight as she rocked up wearing a black corset and knee-length skirt.

She appeared in very high spirits for the event and was clocked smiling from ear to ear before taking her place on the front row.

Beth is no stranger to the fashion brand, having made her runway debut for Jean Paul Gaultier back in 2010.

Afterwards she would stay clear of the catwalk for several years before making a triumphant return during New York Fashion Week in September .

Beth has continued to lose weight since that high-profile gig, even though in the past she's insisted she'd never want to be slim.

She famously told In Touch: "I have been contemplating as to whether I should go on a diet.

"I cannot ignore the whole world, but I want to accept the way that I am and I don’t want to change. Life is too short for that!"

Whether she's consciously trying to slim down or not, Beth is definitely looking happier and healthier as she enters her second year of marriage.

Beth officially wed wife Kristin Ogata in a ceremony held on New Year's Eve 2014 .

The pair had previously held a lavish ceremony 17-months earlier but their union wasn't legally binding.

read more:www.marieaustralia.com/red-carpet-celebrity-dresses

www.marieaustralia.com/long-formal-dresses
Sia Jane Nov 2013
Scatter the petals
Rose's dipped
in red paint.

Blow out the candles
That sparkle
in your eyes.

Softly let me go
Dreams repeating
a broken record.

Providing a muse
My love for you
set me free

Now I feel
Torn to pieces
from love undone.

Catch a ray of light
Shining into my life
high as a kite.

Euphoria leaving me
Drunk on love
self induced elation.

Happiness transcends
Through every bone
in my body.

Your music is my trance
Spinning in circles
my own MDMA.

My feet leave the ground
My prayers enhanced
molly beside me.

You're my small Chanel tab
Placed on my tongue
drug of choice.

Gaultier gown, Haute Couture
Icon of this past decade
femme de la nuit.

© Sia Jane

----

"You're better suited for making love than for making war. "  
The Discreet Charm of the Bourgeoisie
judy smith Jul 2016
The story is told in Eleganza: Italian Fashion from 1945 to Today, an installation at Montreal’s McCord Museum, which was created by London’s Victoria and Albert Museum two years ago. In addition to the display of some truly fabulous duds, the exhibition shows how Italian fashion benefitted from one man’s realization that it could become a national brand with global reach.

That man was Giovanni Battista Giorgini, a Florentine buyer’s agent who, in the early 1950s, organized fashion shows at lavish locations such as thePalazzo Pitti. Giorgini flew in influential U.S. buyers, correctly predicting that the splendour of the clothes and locale were just what the newly flush American public wanted after its release from wartime austerity.

The cause was helped by films such as Roman Holiday, in which Audrey Hepburn – wardrobed by Edith Head – personified the American fantasy of carefree-yet-elegant Italian style. It also didn’t hurt that Simonetta and several other young designers were genuine Italian aristocrats.

Eleganza features several knockout creations from this period, including a lavish feather-adorned gown by Simonetta that might well have influenced Jean Paul Gaultier; and a wildly elegant silk evening dress commissioned by a wealthy American from the sartoria of Maria Grimaldi. There’s also a red dress by Germana Marucelli that shows an almost sculptural approach to garment structure.

The exhibition includes some playful designs from the 1960s, including the shimmering Mila Schon evening dress and coat worn by Lee Radziwill to Truman Capote’s Black and White Ball in 1966. There’s also a pair of the silk “palazzo pyjamas” that became a jet-set sensation for Irene Galitzine.

Even after the development of designer ready-to-wear, the Italians emphasized high quality in manufacturing and materials, sourcing mainly from long-established Italian mills. This became even more essential as the bulk of low-end production shifted to China, which in turn has become a huge market for Italian fashion ($22-billion in sales in 2015).

The last and best room in the show is filled with a stunning array of more recent designs laid out along a T-shaped catwalk, including pieces by RobertoCapucci, Valentino, Gucci and Prada, as well as an ornate and playful sequined dress from Prada’s Miu Miu line. Almost all of these pieces were donated by the houses themselves, and at least one came in since the show’s London opening. Successful as they are, these designers know what cachet can come from being included in a museum exhibition.

The related book of illustrated essays, The Glamour of Italian Fashion Since 1945, is low on photos of the outfits on display, but rich in information collected by curator Sonnet Stanfill and nearly two dozen other contributors. They take a panoramic view of their subject, analyzing the materials, makers and presentation of Italian fashion through marketing and media. The book makes an outstanding companion to a beautiful show.Read more at: www.marieaustralia.com/formal-dresses | http://www.marieaustralia.com
Edna Sweetlove Dec 2019
The old man stared at the mirror in disbelief
As he dabbed on a little of his favourite fragrance:
‘Le Male’ by Jean-Paul Gaultier.
Was that really him, that saggy-faced creature?
He plucked out an intruding grey hair,
An intruder in his masculine, black, bushy eyebrows;
He had hoped his boyish good looks were still there,
Although a little frayed, a little worn by time.

In his mind's eye he sees himself as rugged,
Slim yet quietly butch; manly, masculine,
Handsome, outwardly something of a ladies’ man;
Surely no one would guess he had certain desires
(Not that he thinks of himself as perverted).
What a pity no one told him not to sport a clone moustache.
Nor can he resist those sporty Harris Tweed jackets
And masculine lumberjack shirts, so straight.

Provincial England was a hard place to grow up
With condemnation pouring out of every mouth
For perverts and poofters and prancing pansies;
Best to suppress the thoughts crowding in
And be normal, just like everyone else.
Life in the armed forces was a challenge…
All those handsome young men in the showers…
Get thee behind me Satan, to coin an unfortunate phrase.

So he had to force himself to go chasing girls,
But he always showed respect for the ladies;
What a gentleman he had always been in that respect.
Maybe a failed marriage or two
Should have told him the cold hard truth,
But the need to conform to the norms of society
Kept his real desires at bay,
Most of the time, anyway.

How he had longed in his heart of hearts
To be someone, a poet perhaps, a creative artist,
But it was not to be, and eventually he was reduced
To trolling the world wide web under pathetic pseudonyms.
How sad it was he had never lived up
To his poor old Daddy’s dreams,
And how shocked his Mummy would be now
To see her pensioner son staring at the mirror
With only a half-empty tube of KY Jelly for company every night.
Ellie Elliott Nov 2018
she overlooks me,
her hand like a pale sailor's greeting
shadows her eyes as
dappled light flutters along the rooftop spire above her head -
her forefinger curves to her browbone,
a buffer for the kind of morning
that greets those from high rise
windows
in places like this
for faces like hers
to stay just a little while
and leave smiling over one shoulder
in a stolen shot of a car window;

secrets swallowed and adventures washed down with beaujolais in the backs of black coupés
whisky, cherries and dual carriageways
thick cigars, rubber on tar
all the way to those dark places and bars
that leave most half-hearted,
but she is more sparkling and effervescent than champagne stars,
and more well received than a cacophany of applause.

she overlooks me,
craning up from under the morning mist
leans, eyes closed, on the iron railing and breathes
a familiar rise and fall
expanding of lungs that she and i share, but different air
mine fit to burst with coffee and car exhaust
hers with that crisp stratosphere coolness:
the penthouse breeze.
her arm like a swan's neck curls from elbow to chin,
shadowed straps and sunbeams
take turns dancing on her skin
as though they could flirt forever.

and she overlooks me:
a face in the crowd
searching hard for access
moving through a chaos of flickering flashes,
just a droplet of light in the bright white clouds
of camera strobes
and crushing against body after body
my crumpled black t-shirt dreams of her atmosphere

it is no fault of hers though
she remains as generous as she is radiant,
waving and beaming over the awning
so that others may enjoy a little warmth this morning.

still,
she overlooks me,
my eyes still set on the perfect curl of her hazel hair
as it drops and slips over her bare shoulder
and her forefinger
as it rests in the space between jaw and cherry painted lips
parted in laughter
where sit teeth like the first row of an audience enraptured.

finally, as the performance ends
and the sounds around me swell
with mona lisa eyes
she throws me her last, lasting look
before turning and disappearing beyond invisible thresholds
and the mass held spellbound
recedes and melts
but in that moment,
i feel seen like everybody else.

under blankets of shooting stars,
red velvet and chandeliers
she moves ceaselessly
through hazes of gaultier and hallways
humming nightingale songs at midnight
and falling back into bed linen
sore feet and tipsy eyes
fingers still dancing across pillows
mind still racing
chest still whirling,
but making a home here
for now.

and only then
does she roll to the side
and rummage to the back of her bags
past silk and sapphire
past black tie attire
sleeping, that night,
with its familiar longing
in her old black t-shirt
because nothing fits so well.

except in moments, she will always overlook me
and although i'll never meet her
she will set me free,
and in this one moment, true as salt in the sea
i know one day i will know her
and she'll remember me.
you used to come over wearing my favorite scent
that black bottle of jean paul gaultier you had
a quiet gesture, maybe the only hint
that you might have cared

it wrapped around me, got under my skin
soaked into my sheets like you belonged there
even after you left, i could still feel you all day
your scent softly flowing everywhere
  
i would sleep as if i were holding you
hugging the traces of you left on my blanket
until one night, you lie down beside me again
if i would ever cross your mind by chance

somehow your smell disappeared day by day
replaced by vanilla-scented cigars instead
leaving me nothing to hold on when you are gone
except the ashes of you lying by my bed

— The End —