Below are the 7 most recent journal entries recorded in mollymiao's Blurty:

Friday, November 27th, 2009
3:41 pm	Hotest Gucci Boston Bags Ever Beautiful embroidery rabbit decoration, so that this same line of Gucci boston handbags from the Babouska, it seems the full artistic, light brown of the “CG” logo substrates, combined with antique brass brand of match, who can not fall in love with this A bag it? Then this comes from a very classic bag models - Boston, it belongs to Gucci’s Boston Babouska series. Very much like the peach heart shape metal parts, as well as heading the decoration, the overall distribution of a taste of both sweet and cool again. The boston bags has the gucci large boston bag, gucci medium boston handbags, and gucci small boston bags.
3:33 pm	Celebrity with the Louis Vuitton Mahina Bag Guess Who: Celebrity with the Louis Vuitton Mahina Bag First off.. this owner is extremely lucky to have such a gorgeous jaw-dropping purse. The Mahina Bag is a newbie to the House of Louis Vuitton. It features a slouchy-style body with a print that reminds me of the Onatah handbag line with the LV signature and flower perforation technique. This bag also features dual side buckles which lift the bag’s bottom up, giving it a ruffle-pleated effect.It is larger than the Monogram Denim. So who’s the lucky little lady?
Wednesday, November 11th, 2009
6:11 pm	Jimmy Choo offers classic series shoes British launch the Jimmy Choo brand shoes Choo 24 / 7 of the fine series, including the most popular variety of styles, and according to the latest fashion design toe, color and technology. The series of 28 models, including the flat shoes, pointed Asakuchi high heels shoes and tie dinners and so on. This week will be exhibited at the Milan showroom, and with January at Saks Fifth Avenue, Nordstrom and Bergdorf Goodman stores within the independent sales of Jimmy Choo. Jimmy Choo’s founder and Chairman Tamara Mellon, said: “These shoes are a significant investment in, never out of date, is every woman wardrobe are necessary.”. Prices range from 395 dollars to 1,200 dollars Flats basic models of Glenys Roman soldiers boots. The brand also offers new options such as black or flashing champagne, metallic color Kam snakeskin, leopard print and so on, heel height from flat to 35mm and 65mm. Mellon said that in autumn and winter boots will be added. The new series is the ongoing plan, it will enter the main series with Jimmy Choo sale. Brand CEO Josh Schulman said that the new series will not competition from other Choo product but as a remedy. “Customers told us that they are wants both.” From http://www.christianshoeslouboutin.com/blog/?p=125
6:03 pm	Louis Vuitton Monogram Graffiti Neverfull GMLouis Vuitton Monogram Graffiti Neverfull GM I know that the Stephen Sprouse collections have been a bit controversial among the Louis Vuitton crowd, but for some reason, I can’t help but like them. Perhaps it’s because I’m a fan of the Sprouse aesthetic in general, or maybe because my generation is probably the target audience for pop-art fashion, or maybe it’s just because my personal taste can, at times, venture to the ridiculous. For whatever reason, I wish I had unlimited funds and a reason to own something like the Louis Vuitton Monogram Graffiti Neverfull GM. As with all Neverfulls, I wish the strap was thicker, and if it was it would make a perfect school bag for a college kid that has everything (and I knew one or two of those during my undergrad years). Because of the utter ridiculousness of the bag – orange writing over brown and tan monogram – it’s one of those bags that you really wouldn’t need to try and match to anything. It’s iconic enough on it’s own that the only thing I would seriously advise against wearing it with would be another bold pattern. Other than that, go to town – wear it with whatever, but be proud. It’s the type of bag that you really have to own to pull it off. And you can See about Louis Vuitton Damier Azur, Louise vuttion damier canvas, And louise Vuitton damier neverfull. From:http://www.lightinthebags.co.uk/blog/archives/373
Tuesday, November 3rd, 2009
8:48 pm	Fendi Chef Hobo Bag The new Fendi Chef Hobo Bag's unique design and snake skin color will definitely herald attention of every passer by walking past you. After all, that is what Fendi handbags are known for - churning out the most innovative and crazy designs a handbag can have. And people always liked and loved Fendi branded handbags, whichever model it is. fendi baguette handbags The Fendi Chef Hobo Bag is made of canvas embellished by bronze-coated blocks forming small squares on the surface, and is shaded snake skin colored. Those who love animal skin flavored designer handbags will like the new Fendi design. The chain linked shoulder strap is appealing. The closure zip on the top has a Fendi logo attached to it, giving it a 'Fendi' touch. On the durability front, this Fendi handbag scores reasonably well. The new Fendi Chef Hobo Bag is priced at around $760, making it one of the affordable replica fendi bags models currently available in the trendy handbag bracket. In fact, it is also one of the cheaper designer handbags from the Fendi stable. Louis Vuitton Damier Azur
8:46 pm	Boy genius who revived a legend Balenciaga, emblematic of cool, blue-blooded haute couture, has reinvented itself -but kept its dignity. So how did Nicolas Ghesquiere do it, asks Emily Davies Very often in fashion, the buzz attributed to certain designers does not translate beyond the tight sphere of editors, stylists and a few stylesavvy celebrities into sales. The mists of hype and hyperbole are very good indeed at obscuring commercial reality (though not, crucially, to the accountants). At Balenciaga Nicolas Ghesquiere has had an impressive run of seasons including his influential "scuba" collection of spring/summer 2003 -when he received the right attention from exactly the right places, but the stock didn't always shift with equivalent pizazz. (Mysterious production problems with the clothes' fit in the beginning -Ghesquiere likes to cut narrowly, but some pieces looked more suited to a snake -didn't help). Still, since he first became creative director in 1997, the best names -from early on Kate Moss, the stylist George Cortina and "fashion fashion fashion person", as Ghesquiere calls her, Chloe Sevigny -have been signed up. But since Paris now bursts with tortured but brilliant young design minds, a hot status as the cool darling damier neverfull of certain sets is not likely to be enough especially for Balenciaga's new owners, the French retail conglomerate Pinault-Printemps-Redoute (PPR). "I want to make my work more understandable, more accessible," says Ghesquiere, 33, with an intense, blue-eyed stare and a witty but genuine flair for self-deprecation. "I want it to be, mmm, easier." We are sitting in Balenciaga HQ, a haughty 18th-century dove-grey stone building on the Left Bank. Three immaculate cigarettes are lined up by an assistant next to an immaculate ashtray on a huge white table, bare except for a bottle of Evian and a stack of models' cards. It is four days since his autumn/winter '05 show, a make-or-break point for Ghesquiere since the departure of his mentor Tom Ford from Gucci, Balenciaga's parent company, and the arrival of PPR. The change has forced Ghesquiere to further sharpen his act. (He admits that his relationship with PPR has not always run quite as smoothly as it does now). He has a two-year deadline in which to increase profits and to build the brand into something definably recognisable -something between the iconic status of Balenciaga the original, and the white heat of the Lariat, the house's endlessly popular bag . The show has been widely considered a hit. One has not come to expect the accessible or the easily understandable from Balenciaga of late -beautiful creations with a hot edge, yes -but this time the collection was perfect because it was both dramatically interesting and wonderfully wearable. One of Ghesquiere's ideas for achieving a new accessibility has been to look to the house archives of 500 historical pieces of couture. It was a perfect collision of old and new, nostalgia and prescience, fusing everything that made Cristobal Balenciaga (always the designer's designer) iconic with a sharp breath of the new. Gucci Voyager Medium Hobo It has moved fashion on a considerable notch. In 1968, after a battle against what he saw as the tide of vulgarity flowing through fashion, Balenciaga bowed out of the house he founded. Without him, it was poised to close as he wished, but under a weighty and disparate web of licences it managed to stagger on through the Seventies and Eighties. In 1972 he died, just as Ghesquiere, the man who would eventually revive his house, was learning to walk. Twenty-five years later, Ghesquiere held, as he then described it, "what many would call the worst position in fashion": designing uniforms and funeral clothes under a Balenciaga licence for Japan. He had been hired from his job as an assistant at Jean Paul Gaultier by Balenciaga's then owners, Groupe Jacques Bogart, a French perfume and ready-to-wear company that bought the brand in 1986 from Hoechst. Since 1997 Balenciaga has been owned by Gucci (which is owned in turn by PPR). In just two seasons, by the end of 1998, as a result of the ever alert antennae of Tom Ford, Ghesquiere emerged as a cultish designer. "Tom called, suggested we have a drink. Obviously, I couldn't believe it," says Ghesquiere. He was quickly plucked from the licensing backwoods of Balenciaga and enthroned at the top. "At first, God -nobody believed it. But, mmmm, voila. I was in charge of this legendary house." The first point of note is that in its second life, Balenciaga is a ready-to wear label only -under its inventor it produced just haute couture (the return of which Ghesquiere does not rule out). One of his important moves early on was to create a bag: "The factories in Spain were making things with leather anyway, so why not a bag?". That bag became the Lariat, which by now wholly deserves to be described as classic yet is still cool enough to spawn endless copies, and still resplendently responsible for waiting lists everywhere, despite the many desirable bags in the world now. In the beginning, though, the Lariat did not hit the spot. "Nobody was quite sure about it. Even I was not quite sure about it. It was sitting on shelves in shops everywhere, not moving at all for two years." Then Ghesquiere had a flash: why not send it as a gift to precisely the kind of women he wanted to wear his designs? He made a list of 30 names, among whom were Kate Moss and the editor of French Vogue, Carine Roitfeld, and 30 bags were dispatched in time for the New York shows. Wear them they did, and by the time the Paris shows rolled around four weeks later the bag was a hit. And, of course, very soon there were none left on the shelves; Moss still happily totes hers around town. Moss, Sevigny -those who wear it matter, of course. Ghesquiere now has an arrangement in which the staff in the stores (in Paris and New York) alert him to somebody "interesting" who has been shopping. If he likes the sound of them, a call is made and as Ghesquiere puts it, "a relationship is proposed". Currently, those anointed as "Balenciaga women" are a diverse lot: Marianne Faithfull, the actresses Tilda Swinton, Maggie Cheung, Isabelle Huppert, Jennifer Connelly and the singer Kelis. Moss and Sevigny are still part of the club.  Louis Vuitton Damier Azur To many now, Ghesquiere is Balenciaga -and yet the Balenciaga of old will always loom gloriously over fashion and Ghesquiere himself. The shapely and complicated simplicity that made Balenciaga a fantastic couturier is still there, in delicately balanced homage but not imitation -in the full skirts, the swoop of the necklines, the flurry of feathers atop dresses. Opening up the archives was as daunting as it was exciting. "God, I was terrified," he says. "Sometimes it was easy, sometimes it was difficult." But anyway, he is not interested in simply reviving the past. The influence of the archives went right through this collection," Ghesquiere says. "I didn't feel obliged, but I did feel compelled." Backstage after the show, the group's chairman Francois Pinault says he considers the incorporation of the archives into the new work -explicitly through Edition, the line that reworks old couture designs, and implicitly in the main line -is vital. According to Pinault himself, sales are rising faster at Balenciaga than at the group's other small brands such as Stella McCartney and Alexander McQueen. The perfume still lingers on in the dubious land of licences, but Gucci will reclaim it at the end of this year and relaunch it at a level befitting to the label. It is not easy -as the litany of designers that have shot through Givenchy will testify -to drag an old house up from the dust, combining the old and the new and the heavy weight of history with individual beliefs, not to mention marrying the tricky twosome of art and commerce. If there is such a thing as premature prescience, Ghesquiere has perhaps been afflicted; he was the first to push the puffball skirt (autumn/winter '04) -with an ambivalent response -yet now it's hard to think of a collection for next season that doesn't feature it. But this time, he proved that it is possible to take an iconic brand and preserve its heritage without killing modernity. Ghesquiere notes with a lengthy, wry smile that the shoes he always creates for the catwalk -the lofty five-inchers -do not alone equal substantial sales in the real world. Instead, retailers demand that he also produces the four-inchers, the threes, the one-and-a-halfs. "It's always a compromise, you know -that's the game now, and I have to play it. I do what I want, and then I compromise to make it work." The most interesting thing of all is that in compromising Ghesquiere has found not, as might be expected, restriction, but freedom.
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