~*~ 30 Style-Alikes! Part 1: #1-15 ~*~
- The most eclectic mixture yet! -
(And a fantastic footwear gallery!)

Serbian model Ines Crnokraka at Yves Saint Laurent, Spring 2008, and Delineator magazine, December 1932.
An ad from Delineator magazine, July 1937.
Look at that one right in the middle... cool huh??
The flowers bloomed! Compare the shoulders of these two get-ups. Don't think they could be more different!!
American model Shannan Click at Balenciaga, Spring 2008, and Delineator magazine, July 1935.
A lovely headwrap--and don't their eyes look similar? XD
Delineator, October 1927, and Finnish model Suvi Koponen at Prada, Spring 2007.

The blonde woman demonstrates how to deal with a...sssssituation of slightly more ample magnitude...
British model Karen Elson at Yves Saint Laurent, Spring 2005, and American actress Pamela Anderson on "The Tonight Show" in 2005. This is from the debut collection from Stefano Pilati.
And again. The shirt must be as ready for the photo shoot as the model, and, well, desperate times call for desperate measures. Or, to be more specific - Compare the two necklines and please, note the repositioned shoulder-strap. Was it done out of sheer necessity, or for the sake of style? Maybe both; I'll leave that to you.
Danish model Freja Beha Erichsen at Dior, Spring 2008 Ready-to-Wear, and
British fashion icon Victoria Beckham on the cover of Elle, January 2008.
I think I might try to get into video editing; I'm practically storyboardin' this one right here. Enjoy! :^D
Danish model Freja Beha Erichsen at Burberry Prorsum, Spring 2008, and
French singer F.R. David in his video for his hit song "Words" (1982).





~ “If you want to make people dream, it has to be extreme!” ~
So saith I.
Above: Swiss model Nadine Strittmatter at Dior Couture, Fall 2006, above next to La Galerie des Glaces du Château de Versailles (The Hall of Mirrors in the Palace of Versailles), and below: Next to the 6th Century Byzantine Empress Theodora, the consort of Emperor Justinian I, by Meister von San Vitale, detail from mosaic, before 547 A.D.
~ "Nadine and the Byzantine" ~
(Screenwriters, get workin' on that script!)








Now check out the lower edge between the two pictures... That right there is my crowning achievement as a web designer. Hey- what do you call someone who make mosaics? A mosaicist, but I'd also call 'em one unbelievably patient individual. The operative word here is tessellation: the tiling of a surface with no gaps, and no overlaps.
Yes truly – “Moderation is a fatal thing. Nothing succeeds like excess.”
-Oscar Wilde, late-19th Century Irish playwright
A model in a white bowler hat and a pageboy haircut, from Harper's Bazaar UK, May 1964, and then Russian model Natalia Vodianova in a Balenciaga bowler and a slightly wavier pageboy, from W magazine, August 2006.
First up, British model Lily Cole in a Moschino Cheap & Chic ad...
...and then: A model from the raw version of the cover of Vogue, March 15, 1943, by photographer John Rawlings – the American photographer responsible for some 200 Vogue covers from the 1940s to the '60s – and then we see Canadian model Heather Marks in a Moschino Cheap & Chic ad, from 2006.
Polish model Anna Jagodinska for Moschino Cheap & Chic, 2006.


"Dutch Boy Painter," by American painter Lawrence Carmichael Earle, 1907 (this is a 1922 reproduction),
and Scottish model Stella Tennant, from German Vogue, July 2007.





A model from the fashion magazine L'Officiel Paris, May 1981, and
Latvian model Inguna Butane at Gucci, Fall 2005.

Canadian model Linda Evangelista, British Vogue, September 1991, and
British model Agyness Deyn (pr. "Agnes Dean"), Vogue Italia, November 2006.
Christy Turlington in a Chanel ad from the early '90s, and Linda Evangelista... (Is that like a claymask for the hair?)







~ A couple of outfit revisions! ~
"Memo: Tone down the collar, narrow and lengthen the sleeves,
and turn the surface from reptile scales into a nice woven jacquard..." Okay, done!

Harper's Bazaar, March 1959, and Polish model Anja Rubik at Luca Luca, Fall 2005.
From imaginary design to real life! Another collar and sleeve revision, but the rest us very much similar,
if we squint our eyes and pretend that the sketch on the left is of a short coat and not a large tunic. :-`

Vogue, October 15, 1959, and American model Alexandra Tomlinson at the Ruffian runway show, Spring 2007.
Front. . . and Back.
A design from Christian Dior Haute Couture, Spring 2007, and then a design from 1960s Estonian singer Vello Orumets' video for his song, "Kui Kõnnib Mannekeen," or, "When a Mannequin Goes By" (1967).
I think they've even got the same nails, no??
Note her two different poses here...and then take another look at the pair that follows. . .
(That's Ukrainian model Mariya Markina)
Yes, I think we have a match! And now, enjoy the full video, as you please:
And here is the relevant video from the Dior show:
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Thank you! I am flattered you have perused my latest bunch of connections.
Tamaki Suoh from the Japanese manga series, "Ouran High School Host Club" (debuted in 2003).
~*~ “To not demystify, but to glorify” ~*~
~ (A clarification of what I do) ~

I regularly get letters and have read reviews of this site that describe to what I do (to quote one visitor) as “exposing” fashion designers as “unoriginal frauds.” I do have enough common sense--just enough--to fully expect a wide variety of interpretations of the site, but my own interpretation is quite different, and I would say that to see this all as just a “catalogue of creative thievery” is to not only misunderstand this here online museum of lovely ladies in foxfur-flanked frocks, but it also misunderstands my overall intentions, and really, the wonderfully complex and deeply intercommunicative tradition of high fashion itself.

As with any art-form, the work of new designers, artists, writers, or musicians can only ever be a response to the work of both previous and contemporaneous ones. What do I mean? I mean that it is impossible to learn anything in any field, artistic or otherwise, without automatically internalizing the rules, even the most basic ones of which are decisions that were made by the most successful individuals in that field, some time ago. You can try to ignore the works of those individuals, to curse the names, or disparage or dismiss the various different strains of that art-form’s history, but they are always there, nevertheless, and whatever work you do will exist - and be viewed by others - within the context of that continuously unfolding history. It is, as the proverb goes, a history written by the “winners,” that is, by the individuals who successfully redefine and reconceptualize the art-form for each new time and each new generation. I paraphrase Emerson’s essay on “Quotation and Originality” when I say that an inventor is someone who knows how to borrow, who knows how to re-combine, and who then, later in his or her career, knows how to then re-invent what he or she has done before, as well…. What I do and intend to do is show how current designers have responded to the work of past and contemporaneous designers (themselves included), as well as the work of past painters from all different centuries and all different nations.

 “We cannot overstate our debt to the Past, but the moment has the supreme claim. The Past is for us; but the sole terms on which it can become ours are its subordination to the Present. Only an inventor knows how to borrow, and every man is or should be an inventor. We must not tamper with the organic motion of the soul.”
-Ralph Waldo Emerson, 19th Century American essayist, from “Quotation & Originality,” in Letters and Social Aims, 1876.

And, as for the part that I play in all this as an restless researcher, I take as my credo the statement that -
“The secret of all victory lies in the organization of the non-obvious.”
-Marcus Aurelius, 2nd Century Roman emperor and philosopher

The Chinese word for computer (电脑 - diàn nǎo) literally means “electric brain.”
In an interview from 2000, Karl Lagerfeld said:
“One needs a good general education. Know everything, forget everything. However, know all the references that can come back to you in a second, which they do in my case. The computer in my head works fine. That is why I don't like computers. I get the feeling of my brain being outside instead of in my head. You get more out of life with general education, language skills...as it gives you the possibility to draw comparisons.”
He then added that, “[In fashion design], there are no standards. It depends on too many uncontrollable coincidences and circumstances. Even a computer couldn't tell you.”
-From the documentary “Karl Lagerfeld is Never Happy Anyway,” 2000.

In an interview about Dior, Spring 2004 Ready-to-Wear Collection, John Galliano spoke of his particular inspiration at the time, namely the legendary 1940’s German actress, Marlene Dietrich (pr. “Marlayna Deetrik”):

“Marlene, the mother of all ambiguity, artistry… And I was very privileged to be able to see the clothes that Monsieur Dior created for her, and all the tricks of couture to make her look amazing. There were things, suspenders and strings and things that kept her in and up, which we tried to not demystify, but to glorify in this collection.”
Question: Are you more conscious now that the spectacle has to have substance to it?
“Yes, I mean, I’ve always said a little bit of theatre goes a long, long way, but we must never lose the magic or the poetry, ‘cause that’s why I’m here.”
-John Galliano, in the FashionFile interview for 'Christian Dior - Spring/Summer 2004'

Note: If you want not just one, but several concise descriptions of what this site is all about (in the words of its very webmeister), you can say I am "Etymologizing the Language of Fashion and Revealing the Creative Unconscious," or you can do as a few other bloggers have done, and use any of the dozen or so different descriptions provided in the first half of my “Introduction to the Culture Superhighway”: http://www.thefashioniste.com/57.html

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~ * ~ For Those Who Love Shoes ~ * ~
"That one!"
American fashion designer Diane von Fürstenberg selecting a lovely suede pair for herself.
Each one is more tasteful than the last.
The front of an art shop on the Lower East Side of New York City.
"An original approach to this season frothed with formality."
Bergdorf Goodman ad from Vogue magazine, November 13, 1949.
Take your pick, ladies! Quite the selection . . .
Two-page high-heel layout from Vogue magazine, October 1, 1956.
Prepping for any of those pairs of the floor--wait, aren't those some of the same ones above..???
Claudia Schiffer getting an in-home pedicure, British Vogue, December 2007.
Stöckelschuhe verboten? Kaufen warum????
But why???? Just a sign for those looking to do some mountain climbing in the Swiss Alps.
And they're ready!
German beauties Nadja Auermann and Claudia Schffer, Max magazine Special Edition, August '95.
Okay, back on slightly less rocky surface...
As anyone who watches those top-model TV shows obviously knows, you must have your own walk:
To all fans of footwear Do you got a collection like THIS? >
Nu Shooz - "Point of No Return" (1986)
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