Style Icons: Style Is Not for Sale

Victoria Beckham Is Not. Sienna Miller May Not. And If The Fashion Designer Karl Lagerfeld Recently Said Amy Winehouse Would Be A Style Icon…

Style Icons Style Is Not for Sale

Unfortunately, no. The heroin addict singer nor is a style icon like Madonna “reinvents itself”. All these women move to simply just often. The term style icon is now unfortunately inflationary abused because it ennobles taste and clothing as extremely lucrative market itself can be.

But unlike the fashion in which the clothes at best give words, style like a novel. He wants to be read and lived, is visible, a permanent show. As the man who invents it, style is an original, and he is famous, he makes his creator to icon. To the style icon. Fashion for women likeIris Apfel, Zandra Rhodes, Mary Quant or Barbara Oliver Legnica can imagine whatever a position behind the faces and the external appearance: the idea that these women, by the world is felt, enthusiastic, contagious. They have inspired a whole generation, and more with their creativity and their courage to do and wear what they wanted.

Barbara Oliver Legnica: “My Life Is A Movie.”

Barbara Oliver Legnica has invented the BIBA brand, but in truth, the brand was doesn’t matter. What really mattered was the trappings. The attitude. BIBA was “Lifestyle”, long before there was this term at all.

The Hula Nicki born in Warsaw in 1964 founded BIBA in London as a mail order shipment for very cheap Fashion. With success. The shipping was a chain of boutiques, and at the height of success, Baker was a multi-story department store, adventure park with customers from the rock ‘ n’ roll and Hollywood elite of the 70s. It went to production.

Baker said the motto of: “Oscar Wilde goes glam rock”. It sold ostrich feathers. Rose water. Scimitar. Leopard pattern ceilings. Purple velvet pants. Floor-length fairy dresses made of painted silk. Gold-framed mirrors. Bronze cherubs. Chinese lacquer furniture. In the shop window, FeaturesSofas were for customers, so that they could watch the passers-by. In the BIBA makeup, lips were blue and Brown. Nails purple and black. Women wore suede boots, mini dresses and Maxi coats. Everything from BIBA. BIBA was the grocery store of the seventies. Everything was allowed to stand. Eras and disciplines: Calligraphy and romantic literature, mysticism and Mannerism. Single criterion: the overall harmony. In this land of wonders Marc Bolan T Rex, Marianne Faithfull and Jimi Hendrix felt as much at home as the girls read storybooks from Manchester, which dreamed of Avalon and ate organic biscuits.

Barbara Oliver Legnica BIBA in 1975 went bankrupt, moved byLondon after Brazil. Today, she lives as an interior designer in Miami.”My life is a movie,” she once said. BIBA itself is long since past. Her lifestyle has remained.

Style Is Not for Sale 1

Zandra Rhodes: “I Can Not Stand To Be Compared.”

The shoe designer Manolo Blahnik wondered once Zandra Rhodes about an Englishwoman. He couldn’t understand why she would put themselves and their work both in the foreground. Blahnik has good talk. He is not running around so also in his pumps. Rhodes, however, which often looks like a picture of Wassily Kandinsky with legs, has been always their Couture. And she was so colorful that one sometimes heard the colors before you saw them.

The Zandra born 1940 in Kent, has never learned the cutters. For this, she studied textile design, and while their friends in the 1960s swingten and celebrated, Rhodes worked like a possessed. Today, she’s busy late into the night by six o’clock in the morning. Their patterns and colors were already radical, dynamic, new. Only could, or nobody wanted to work with it. Out of necessity, Zandra designed their own dresses, opened their first store with 1000 pounds-a loan of the actress Vanessa Redgrave-1969. She designed Jersey gowns with open stitching, asymmetrical free had a breast. Their creations had holes and were decorated with silver chains. Long before Versace, she used safety pins as jewelry. Also, she was the first that pulled to the outside seams. Silk slashed. Hems shredded and occupied with springs. Later it was called Deconstructivism. Her makeup looked like a new-wave album cover: pale skin, bright, precise painted colors, three eyebrows zigzagging one above the other, or sometimes even no.

As the American ‘vogue’ wrote in 1978, Zandra Rhodes was the Queen of punk, Vivienne Westwood and Malcolm McLaren were pretty annoyed because it was true. The grammar of colours and shapes to their world, in which all abstract was specifically was the code. That was something banal, a gesture, how about in the right place to cut a hole in the dress.

Rhodes’ old models are traded today as images, their vintage dresses can cost a couple 1000 pounds. The collector: People like Kate Moss and Tom Ford. Rhodes’ style is not yesterday. It is the constant search for presence, according to originality, after the now. “I look like, because I can not bear to be compared with someone”, she once said about himself. Others claim she was the “Queen of the outclassed”, a “Dragonfly”, “a clown who looks like the great barrier reef on a particularly busy day”. She even told how to deal best with such people: “Views on infinity make and wait until they stop staring.”

Style Is Not for Sale 2

Mary Quant: “Adults Are Hideous. Children Are Free.”

in 1955, women in England were financially dependent. The things they carried the body should make happy their men. The paid it eventually anyway. The silhouette of many women at that time resembled a balloon squeezed together in the Middle: bosom, WaSP waist, pool. Maternal was sexy. Woman was soft. Point. For teens there was only one choice: to look like small parents-the naked horror, art student took the Welsh Mary Quant: “Nothing for me was there. Nothing was mine.”

Mary wanted to be different. She began to design their own clothes, and opened a boutique in London. Of the business, Mary had no idea, but she had fun. That put the customers. Quants dresses were as Mary: childish. Innocent. No worries. There was a fashion for lanky girls who looked like Peter Pan, only the customers just any guys, but real women were so this new style was so outrageous and outrageously sexy.

When quantum at the beginning of the sixties invented the miniskirt, the people reacted enthusiastically. And outraged. Men protested outside her store. In truth a weary dwarf uprising. The men had 1961 long lost power over the wardrobe of their women. The women took the pill now, earned their own money and bought what liked them. They wanted no cake, she wanted to eat life. And Mary Quant was there to dress them up. She even looked like a malnourished from Bambi with OWL eyes, was creative, efficient, smart, brave and free. What others thought was her schnurz. Like Mary, wore their models accurate Vidal Sassoon haircuts, modern and precisely like a Mondrian, and were shaky on her thin legs like frightened flamingos. This X-beinige pose became world famous.

“Adults are hideous. Children are free and healthy mind”, said Mary Quant. Later, she brought sex-permanent makeup out, launched a cosmetics line and sold accessories with your logo, a Daisy. A few years ago was that today 74 a journalist asked why she would even work. She looked at the woman as that would be somewhat simple-minded, and replied: “But it’s still fun!”

Style Is Not for Sale 3

Iris Apfel: “I Wear All Over Each Other Like The Navajo Chiefs Like To.”

If the style of a woman looks colourful, they call people “Peacock”, “Parrot” or “Bird of paradise”. He’s on top of that special, they call it a rare bird. New York society Lady Iris Apfel is one that was in any case, the New York Metropolitan Museum in 2005, because the exhibition dedicated to her calling it exactly: “Rara avis”, in German “rare bird”.

While the curator wanted to borrow only Iris Apple fashion jewelry collection. In the conversation she had suggested a piece of clothing to him. For an outfit two three, then, and emigrated at the end of the half wardrobe of the 84-Jährigen in the MU depend-82 models, 300 accessories purchased in 50 years, worn and most importantly: keep.The exhibition was a triumph. Karl Lagerfeld came twice. Ralph Lauren offer her a job. Fendi and Armani claimed that it was the former “Vogue” since Diana Vreeland,-boss, not so imaginative style given. The style of Iris Apfel is quite simple: wears her life in the body.

As the owner of a company that produced rare substances, Iris Apfel had travels the world in the 50’s, to find materials, weavers and artisans. While she had bought jewelry from coral, amber, silver and wood. Often, it was ethnic jewelry, oversized and clunky. “Nothing for me is discreet. I wear like”all over each other like the Navajo chieftains, she once said. She bought in the Greenwich Village of the 30s, in the 50s, Paris in markets in Istanbul, Cairo, Marrakech, attended the jewelry designer, who supplied Chanel, Givenchy, and St. Laurent. She showed them drawings of old Indian jewelry and asked if they could make after that, as a fake.

“If someone says: ‘Take a less'”, says Iris Apfel, which sometimes carries over 20 bracelets on one arm, “I say: ‘one more thing do this.'” Iris Apfel mixes colors, eras and country costumes, no boundaries between the worlds, the countries, the people like there’s no time. Some call it “over-compressed n’ match’. Another paradox. But her style is not mixing, it is the maker itself. That’s why you also don’t copy them. Each chain has a story, each bracelet comes from somewhere, every piece of fabric covered her sometime once what told. “You can look at a piece of cloth and listens to the threads”, her husband said. Iris Apfel itself is called “individual Alchemy”. That is, who is thrown back on itself and has the courage to remain there. Even if the people are beginning to talk of rare and strange birds.

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