Balneario turístico Lago Merín
Lago Merín
Ubicación:
Desde la ciudad de Río Branco, a sólo 20 kilómetros y a 110 de Melo.
Distinciones:
Desde el año 1940 declarada de interés público nacional.
Primera reserva mundial de agua dulce declarada por el FAO.
Naturalmente seguro, el balneario, “Lago Merín”, como es popularmente conocido por los cerrolarguenses ofrece además de bellezas naturales, paz, tranquilidad y en alta temporada todos los servicios básicos, complementados con otros atractivos, como su gente.
En Lago Merín, el turista tiene a su disposición una natural y hermosa extensión de playa de finas y doradas arenas junto a aguas poco profundas declaradas por FAO reserva mundial de agua dulce, elementos que provocan un particular y espléndido microclima. Un verdadero paraíso para disfrutar en familia.
A orillas de la reserva de agua dulce más importante del mundo, se ha desarrollado el balneario Lago Merín. Con hermosas cabañas entre bosques, hoy es una opción turística singular y sumamente disfrutable.
Los montevideanos desconocen por la distancia de 500 quilómetros, y la sostenida seducción de los balnearios del este. Pero para los brasileños de Río Grande y los uruguayos de los departamentos norteños, lago Merín es la mejor posibilidad de vivir unas apacibles vacaciones marítimas con agua dulce yodada. Un viento y un oleaje permanentes agitan aquellas aguas, dando la sensación de estar en alguna zona rumorosa del Atlántico. Pero la playa es muy llana y el agua carece de salinidad.
En algunos fragmentos del horizonte se dibujan sombras; son los árboles que crecen en la orilla brasileña de este lago, grande como un mar.
Al ver por vez primera la Laguna Merín, el viajero se maravilla de su extensión, los 4.200 quilómetros que la convierten -según declaración de la FAO- en la reserva de agua dulce más importante del mundo.
El asombro continúa al recorrer y encontrarse con otros parajes con abundante fauna criolla; Dirigiéndose a la desembocadura del Tacuarí, todo invita a vivir como los pobladores originales de estas tierras: de la caza y de la pesca.
Es intensa la afluencia de brasileños al balneario, provenientes incluso desde puntos lejanos como Bagé y otros. Durante los fines de semana, playas y casas desbordan de gente: mucha gente de Río Branco y Yaguarón se trasladan a Lago Merín. La capacidad de alojamiento queda Inmediatamente colmada, ya que los hoteles, cabañas y casas particulares resultan insuficientes. En el camping, los carpas se amontonan durante los meses de verano.
Los precios son mucho más módicos que en cualquier balneario del este. Aún más baratos son los alojamientos brindados por la Municipalidad. Trece cabañas para 4, 6 y 10 personas demandadas por tanta gente, que todos los años se sortean entre los inscriptos. El camping cuenta con baños con duchero y agua caliente, también hay fogones, parrilleros con mesas y luz, pero el predio es de apenas una manzana y no están delimitados los solares.
Sin embargo, esas dificultades no desaniman a los acampantes, que disfrutan en la relación con sus vecinos. “Es un camping familiar”, reconoce un grupo de jóvenes que llega todos los veranos. Y aunque han estado en La Paloma y en Punta del Este, prefieren la Laguna. “Es un lugar lindo, con playa y un fuerte producto para el turismo natural, además de excelentes anfitriones, que repiten con entusiasmo: ”Acá conocés enseguida a todo el mundo y logras integrarte".
En “Calle Uno” se concentran los comercios de gastronomía, y es el centro de convocatoria de los jóvenes con sus autos y sus importantes amplificaciones.
Saliendo de la zona poblada y turística, comienzan los bañados con su rica fauna criolla. Garzas, patos masarico, chajás y ñandúes habitan los verdes praderas ubicadas detrás de los médanos de la costa. Un poco más adentro, en el monte, abunda el carpincho. Frecuentemente, se organizan “carpincheadas”, que culminan en grandes comilonas.También hay abundancia de nutrias y algunos yacarés.
En la desembocadura del Tacuarí se vive una posible versión del paraíso. Está ubicada a siete quilómetros de la zona poblada del balneario. En el trayecto, bandadas de pájaros de distintas especies van llenando el aire con sus graznidos y chirridos. La luz reverbera. De pronto es sorprendida una tortuga con su rugoso cuello estirado al sol. Un espeso monte criollo, bajo y espinoso, da la única sombra en aquel paraje solitario.
En el extremo oeste del balneario se concentran en la playa las actividades deportivas, con la participación de Instructores y referentes del deporte de la Intendencia y del Municipio de Río Branco.
Los pobladores permanentes de la Laguna, en su mayoría oriundos de Río Branco, Melo y hermanos Brasileños, pero también hay algún montevideano enamorado definitivamente del lugar.
Cada año, se llevan a cabo eventos que están incluidos en el calendario nacional, tales como: Competencias de 4X4, Competencias de Enduro, Reina del Lago (considerado entre los eventos de mayor trascendencia de la zona Este, con participación de participantes internacional), Sirenita Merín (Un Certamen creado para atender a la población infantil ), Festival de Folklore, Encuentro Internacional de Discjokey, encuentros de Motos, entre otros de igual convocatoria regional.
La Integración uruguayo-brasileña es otro punto singular. Si bien existe un respeto y una convivencia armónica, no se da esa confusión de lenguas y hábitos que caracteriza a la frontera de Artigas y Rivera. En Cerro Largo se habla un claro español sin brasilerismos, y las costumbres son muy criollas.
Historia
El dueño de la Laguna se llamaba Saturnino Arismendi. Como empezó a venir gente, él decidió lotear y vender los terrenos. Durante cinco años se forestó trayendo nudos de eucaliptos. Y después de cuatro años, este lugar fue declarado de interés público nacional. Pero todo quedó en los papeles hasta hace unos años.
En aquel entonces, el único vehículo que llegaba hasta allí era una volanta con cuatro caballos. Así cruzaba los médanos, hasta La playa y cubría esta zona costera, con el tiempo el agua se fue retirando. Se construye la primera edificación, un galpón que era expendio do comida y bebida. Los botellas las enfriaba en el agua.
Los brasileños llegaban por un camino que bordeaba el río Yaguarón. Durante la Segunda Guerra la situación empeoró, y recién en la década del 50 comenzaron a volver los veraneantes. El primero en comprar lotes fue un dentista brasileño. La casa que él construyó sobre la barranca, fue la primera y hoy se conserva.
Don Pedro Lemos prosperó y construyó un hotel de quincho con veinte habitaciones. Otro patriarca , el capitán Laureiro se preocupó por la urbanización. Obtuvo la entrada de la luz y al retirarse, se vino a morir acá.
Pero el boom estalló con la ruleta clandestina. Tres particulares la instalaron, y allí comenzó la edificación. Más tarde fue cerrada con un gran escándalo y se puso en funcionamiento el Casino del Estado, que se cierra en el año 2005. Sin embargo, la ilegal fue más beneficiosa para la comunidad, porque parte del dinero recaudado se volcaba en mejoras.
Muchas cosas aun faltan hacer por el bienestar del balneario. Es muy grande el atractivo de estas aguas, misteriosamente yodadas y que no presentan ninguna contaminación.
Pesca
“La zona está muy batida por los barcos de pesca brasileños”, cuenta la gente. “Y en esta orilla sólo se practica de un modo artesanal”. Se saca bagre y el llamado “tiburón de agua dulce”, la tararira, un pez carnívoro de cabeza fosforecente que acude a desovar a los tajamares.
El sábalo es el más codiciado. “Algunos llegan a pesar entre diez y doce quilos”, se enorgullecen los aficionados al reel. “En invierno también hay pejerrey”.
Servicios
Energía eléctrica
Agua potable
Teléfonos
Casinos del Estado con diferentes máquinas de juego
Discoteca
Canchas de vóleibol y fútbol en la arena
Restaurants y pizzerías
Supermercados
Hoteles
Camping municipal y privado con piscinas y agua caliente
Casas y cabañas privadas para alquiler
Estancia turística a pocos kilómetros
Puerto para embarcaciones y zona de náutica
Alquiler de lanchas, botes y kajaks
Zona de pesca
Contacto
Para quienes tienen interés en veranear en Lago merín, aquí están todos los precios de hospedajes.
Se puede consultar sobre distintos aspectos vinculados a este balneario, como lo relacionado con alquiler de cabañas, camping etc,a los siguientes Teléfonos:
CENTRO DE INFORMACIÓN DE LAGO MERÍN (Institución Municipal): 46798002.
HOTEL DEL LAGO: 46798033
CABAÑAS LOS PINOS: 46798106
RINCÓN DEL LAGO: 46798804
Sra. GRISEL PROCIÚNCULA (casas y cabañas privadas): Cel. 099589685- Tel. 46798781
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Autor/Fuente: Sandra Rodriguez
Hola, necesito saber precios de cabañas y/o boungalow y comodidades para 4 personas, a partir de la segunda semana de febrero de 2011.
Muchas gracias!
Gostaria de informações de preço, localização e acomodações nas cabanas para duas pessoas nos dias 05 a 07/03/2011.
Agradeço.
quisiera comprar casa en lago merin economica agradesco contestacion contestar al 099861254 o por mi E-Mail
necesito comprar casa economica en lo posible serca de la playa tengo como parte de pago un terreno con plano por interes llamar 098622443
Hola. Necesito informaciòn sobre disponibilidad, precios para alojarnos, y ubicaciòn de dichos lugares Què opciones hay? somos dos o tres personas irìamos desde el sàbado 5 de marzo al martes 8, desde Montevideo. Agradezco me contesten a mi mail, con algùn nùmero de telèfono que pueda llamar para coordinar y asì poder confirmar. Quedo en espera de su respuesta-
si fueran tan amables quisiera saber precio para dos personas mayores en una cabaña o similar a partir del 14 de marzo de 2011 por dia en el balneario laguna merin desde ya muchas gracias
hola me gustaria saber el precio de una cabaña o bungalow para 4 personas desde el 10 al 20 de febrero. Agradezco si me contestan a la brevedad. Saludos
me encantaria saber disponibilidad para carnaval ,eventos tantos deportivos como musicales y tarifa para una cabaña o bungalows para dos personas.desde ya gracias
Por cabañas municipales llamar al 46798002, por cabañas particularares al 46798106, o al 46798025. y Por el hotel del lago al 46798033.
Me interesa , conocer tarifas y opciones para 2 y/c6nmo4 personas , puede ser casa , o cabañas , las municipales ¡cuando habría que reservar para turismo?
Por alquiler de casas en lago merin llamar al cel 098256681, hablar con claudia.
Hola, somos 2 adultos y 2 niños(12 y 14), quisieramos tener alguna idea de alojamiento y comodidades cerca de la frontera para ir en turismo. Gracias
Somos un matrimonio que deseamos pasar nuestra luna de miel en ese paraiso y necesitariamos una cabaña para 2 obamente xa alquilar desde el lunes 18 hasta el jueves 21 de semana de turismo sin mas estaremos muy agradecidos .
Hola somos un grupo de jovenes que estamos interesado en ir en Turismo los últimos cuatro días y nos gustaria saber tarifas de cabañas para unas 10 personas y/o camping.
Busco alquilar casa o cabaña para semana santa, en Laguna Merim, 1 matrimonio y 4 adolecentes, favor indicar disponibilidad, ubicacion, comodidades, y precios. Saludos
necesito saber disponibilidad de cabaña para dos personas para los ultimos dias de semana de turismo y precio del alojamiento, gcias, saludos
tb puede ser de lun a jueves de turismo
Quisiera alquilar una cabaña o casa comoda para una pareja y seguramente se sume un mayor mas. Quisiera que tuviera parrillero y buena ubicacion. Seria para los dias del 16/04/11 al 20/04/11. Muchas gracias
Les pido me confirmen si tienen disponibilidad para vacaciones de Julio de cabañas (somos 2 adultos 1 niño de 6 años y 1 bebe) y a que precio. Me interesa saber si tienen estufa a leña o aire acondicionado ya que tengo un bebe. Gracias
Hola. Quiero saber el precio de una cabaña para 4 personas en este mes de Setiembre. Gracias.
Hola. quisiera saber tel y precio de alguna casa, cabaña o bungalows para 4 personas por un fin de semana en este mes de setiembre. Gracias
QUISIERA SABER EL TELEFONO DEL HOTEL RINCON DEL LAGO
O CABAÑAS
Quiero saber como se hacen las recervas para alquilar cabañas verano 2012
Estoy en busca de una cabaña para 2 personas para este fin de semana,¿podría mandarme algún teléfono para consultar?.Gracias
Ultima semana de Enero.¿ Cuánto cuesta una cabaña para 6 personas y qué incluye (agua, luz, etc)?
Soy de Artigas y pienso en el mes de enero pasar unos dias y queremos hacerlo en la Laguna Merín, desearía saber las tarifas de los bungalows y cabañas de uno y dos dormitorios y demás comodidades a fin de realizar reservas con antelación. Así como debo hacer la reserva, en conclusión los requisitos. Gracias
hola ruben, las tarifas son de 300 para arriba,
Me gustó mucho la info que brindan.
Quería saber si en el camping municipal hay llegada o prada de buses cerca, de los que van y vienen a Montevideo.
Aparte me interesa saber si al acampar cobran por persona la estadia o es por el predio ocupado. ¿En cuanto rondan unos 10 días en los primeros días de Enero?
Muchas gracias
Sra. Sandra E. Rodríguez: Gracias a la información completa y variada que me brindó telefónicamente sobre su centro Mec y por la información solicitada que luego incluyó en este blog sobre Laguna Merín para unos clientes extrangeros interesados en el tema. Me fue de mucha utilidad.
Es bueno saber que se cuenta con gente competente y ejecutiva como Ud. Felicitaciones! y una vez mas gracias !!
Estamos interesados en obtener información de tarifas y comodidades para alquilar una cabaña o bungalow en la Laguna Merin. Somos 2 personas adultas, pensando ir del 10 al 18 de enero. Imprescindible tener acceso a un parrillero (exclusivo o compartido).
Gracias
Pensamos pasar unos unos dias y conocer el lago merin, necesito si pueden mandarme precios de casas cabañas, o bungalows para cinco personas. gracias. y espero poder conocer el lago y que mis hijos disfruten
Estoy buscando alojamiento para 3 persona (matrimonio y un niño) para primeros días de enero. También puede ser para otras fechas.Podrían pasarme precios y comodidades. Gracias
hola soy de salto y he estado en ese paraiso, este año voy a ir en enero y me han comentado que este año va haber mas diversion ya que estarian abriendo 2 paradores nuevos si es verdad, quisiera mas informacion
vivo en Lago Merin,con gusto les proporcionare la informacion que este a mi alcance.Saludos.
Me interesaría conocer el lugar y quisiera alquilar una cabaña somos 6 personas la idea es la semana anterior a carnaval (del 16 al 22 de febrero) quisiera tener una idea de precio y como reservar desde Montevideo.
Hola. queremos conocer la laguna.
Somos un matrimonio y 2 chicos de 16 y 11 años.
preciso un telefono para poder contactarme con Uds. y consultar desde Montevideo.. muchas gracias
Quisiera que me pasaras algun telefono de alguien que tenga una casa para alquilar para los primeros dias de enero. desde ya gracias. muy buena la idea de esta pagina
preciso un telefono para poder contactarme con Uds. y consultar desde Montevideo.. muchas gracias
quisiera informarme sobre las opciones de alojamiento, donde debo dirigirme.
gracias
buenas... quisiera informarme que sale una cabaña en el mes de febrero (del 7al 15)para 2 personas...seria de mucha utilidad un contacto telefonico para concretar el precio, ubicacion y demás.... desde ya muchas gracias
hola somos 4 personas adultas y dos niños de 9 y 2 años quisiera saber el precio de una cabaña maso para 4 dias.
Necesito alguna casa con dos dormitorios para alquilar desde el 17/01/09 al 31/01/09, en el ej de 300 y 450 pesos por dia
necesito informarme acerca de los alquileres de cabañas en laguna merin para una pareja y si hay algun telefono para contactarme gracias
quisiera saber el precio de una cabaña u otro alojamiento para 2 personas adulatas y donde debo comunicarme para hacer reserva
me gustaria saber a cuanto esta la tarifa de 3 ds. para 1 adulto y 4 niños de una cabaña dentro de los dias 16, 17 y 18 de enero. Gracias
quisiera saber el precio de alguna cabaña para dos personas y como contactarme.
gracias
necesito saber tarifas de campin y algun bungalo para cuatro personas somos un matrimonio con dos niños o algun telefono para poder comunicarme muchas gracia
Me gustaria saber las tarifas del campin y demas para matrimonio,les agradesco la informacion.
Hola, me gustaria se contacten conmigo o me envien telefonos y direcciones para poder alquilar algo aprox. 10 dias seguramente los primeros de marzo. Estariamos hablando de 5 a 6 personas (familia - matrimonio + 2 adolescentes + 1 niño de 2 años y un bebe esperado para el 20 de febrero).
Desde ya gracias
hola, necesitaria saber el precio diaria de las cabañas para dos personas, para aproximadamente el 4 de febrero 2009.
gracias hasta pronto
Somos una pareja y andamos buscando algo para alquilar en la segunda quincena de Febrero (del 16 al 21).
Quisiera que me pasaras algun telefono de alguien que tenga una casa para alquilar .
Desde ya muchas gracias.
Quisiera saber las opciones de alojamiento o alquiler para dos personas.
Desde ya muchas gracias.
Estuve de pasada(lease escapada) hace aprox. seis años y quede "enganchado".Quiero saber tarifas hotelera para poder ir unos dias en abril o mayo(no turismo) GRACIAS
Quisiera averiguar para alquilar una cabaña para 6 personas o dos de cuatro personas a orillas de la Laguna Merin, con parrillero (excluyente) en carnaval. En internet no encuentro lugares con fotos y me gustarìa si me pueden enviar fotos de las opciones que me ofrezcan. Asimismo estamos interesados en conocer la tarifa de hotel y que nos envien un link de alguno para ver como son. Desde ya muchas gracias
Casa o cabaña para alquilar en febrero por 6 dÃas a partir del 8 de febrero, 5 personas, quisiera saber el costo por dÃa
Hola, voy a ir en Carnaval, quisiera saber como llego a la estancia que esta en la desembocadura del Tacuari. Gracias
Tenemos pensado ir por 4 dìas despuès del 25 de febrero, quisiera saber precios de cabañas para 4 personas, muchas gracias
Estamos por definir nuestras vacaciones de semana santa del 4 al 10 de abril, podríamos llegar a ser 6 personas quisiera precios de muy buenas casas o cabañas, . Por favor enviar 2 opciones: con capacidad para 2 y para 6 personas. Decirme si hay restoranes nocturnos, si hay mercado, si hay mucamas. Gracias atentos saludos Mirtha
hola soy de maldonado y queria obtener informacion aserca de la estadia somos 3 matrimonios con niños. queremos saber si las cabañas se encuentran en la laguna y las tarifas por la semana de turismo ya q es la fecha q tenemos pensada desde ya muchas gracias
Nos gustaría obtener información acerca de posibildiades de alojamiento (cabaña preferentemente, con TV y parillero) para la semana del 16 de febrero.
Es decir, una semana antes de Carnaval.
Somos una pareja con nuestro hijo pequeño de tres años.
hola,somos personas adultas,queremos ir unos dias en febrero despues del 14.el camping municipal que nos brinda y cuanto es el costo. muchas gracis
QUISIERA ALQUILAR UNA CASA O CABAÑA EN FEBRERO 2 DORMITORIOS O MAS EN LAGO MERIN CERRO LARGO ME GUSTARIA SABER PRECIOS Y COMO CONTACTARME.GRACIAS
Hola, pienso viajar la ultima quincena de febrero a la Lagunaj, podrias informarme los precios de Cabañas o Casa, viajo con mi Sra. y dos niños, si tienes telefonos de contacto te agradezco
Saludos y gracias por lo que puedas informarme
Hola, pensamos viajar desde el 17/02 de tarde hasta el 23, que posibilidades de una cabaña para matrimonio y dos hijos, o casas.
Precios y un tel de contacto
Gracias por lo que puedas aportar
Soy una turista vieja de la Laguna de todo el año. Voy cada fin de semana que puedo, pero necesito precio de una casa para dos personas adultas no muy lejos de la playa. Entre el 20 de febrero y el 1º de marzo. Muy amable y felicito a los impulsores de esta pagina.
Gracias
Buenas: Estamos pensando ir a conocer la Laguna y sus derredores, y nos interesaria saber como contactar para alquilar alguna cabañita o casita mas bien chica, dado que somos una pareja sola. Y el costo de las mismas.
Les agradezco mucho la informacion, seria para Turismo.
Saludos y gracias
Hola!! Soy de Cerro Largo, y puedo dar fe a los visitantes de esta pagina, que la "Laguna" es uno de los mejores balnearios del pais, realmente es un paraiso natural.Visitenlo!! no se van a arrepentir!!
Quiero ir en carnabal aconoser la laguna y la charqueada y me interesa saber por alojamiento .Tambien como ago para ber fotos por que no pude encontrar gracias.
Hola, queria saber algunos precios de alojamiento (camping o habitacion simple) para los dias del 21 a 24 de febrero. Somos dos adultos. Muchas gracias, y disculpen las molestias causadas
Hola. Me gustarìa saber si me podès escribir a mi correo para detallarme los precios y las comodidades.
Gracias.
hola..... querìa saber algun telefono de algun hotel o cabañas para alquilar en la semana de turismo para 3 personas. calculo q habrà q reservar con tiempo..... Gracias
Estimados, reitero algunos datos de contacto. El Centro responsable de este post es el CMEC Río Branco (departamento de Cerro Largo). Allí podrán contactarse con Sandra Rodríguez, siempre muy amable y dispuesta a brindar información.
José H. Uriarte y 10 de Junio ,Cuchilla (Río Branco)
Teléfono: (0675) 2753
Fax: (0675) 2753
Mail: sandycuorum@hotmail.com
Saludos, Juan Carlos.
hola quería averiguar sobre el precio y comodidades de las cabañas y el camping para dos personas. Queríamos ir en turismo a partir del 4 unos días.
Hay parada de omnibus para montevideo cerca?
bueno desde ya agradezco la informacion
me interesa saber alquileres de cabañas en Laguna Merín. 4 personas
hola me gusto mucho la informacion soy de maldonado , somo 2 mayores y 3 menores mi pregunta es para turismo si tienen cabañas y cuanto costaria por dia? y si podrian dar mas informacion sobre las cabañas . muchas gracias . saludos rose
quisiera saber el precio y disponibilidad de las cabañas por una noche en semana santa y algun telefono de contacto, muchas gracias
Somos 2 mayores y dos menores quiero saber las tarifas del camping y las cabañas para el primer fin de semana de turismo por dia en pesos uruguayos, y un telefono para contactarnos desde ya muchasgracias
Hola, me intersaria saber precios de casas o cabañas de 2 dormitorios para alquilar, viernes, sabado y domingo de semana santa. Muchas gracias.
Hola, estoy buscando una cabaña para 4 personas, quisiera saber el precio y la ubicación, estaríamos llegando el jueves a la mañana y nos retiraríamos el domingo a la tarde. En total 3 noches. Si es posible comentar las comodidades de la cabaña, dormitorios, baños, cocinas, etc.
Desde ya muchas gracias y espero su respuesta.
HOLA, QUE POSIBILIDADES HAY DE HOSPEDAJE PARA 4 PERSONAS LOS DIAS 9 10 Y 11 DE ABRIL, TAMBIEN NECESITO LAS TARIFAS.
POR FAVOR RESPONDER CON COPIA A pepejoru@hotmal.com
Quería saber qué hay disponible para 5 o 6 personas puede ser para semana santa completa o de jueves de domingo de la misma.
Muchas gracias.
les dejo el telefono de rincon del lago, ahi se pueden alquilar bungalows.
Yo ya alquile para turismo.
0679 8004.
Voy a conocer este balneario en turismo, espero que sea tan bonito como todos dicen y que hallan lugares para salir a cenar o divertirse un poco
para turismo podes informarte por cabañas al teléfono 06798106. suerte
necesitaria saber precio de camping (alquilan carpas?)o cabañas por dia y si es por persona el precio, desde ya muchas gracias
muy buena la información!
mas sobre la laguna merin en www.lagunamerin.com
saludos
Donde nace el sol
propuesta que maneja el gobierno de Río Branco y la Intendencia Municipal de Cerro Largo y que aclara definitivamente la discusión sobre dónde nace el sol de la patria. El Proyecto se llama "Meridiano 53".
Ubicada en la 3ª sección judicial del departamento de Cerro Largo, la ciudad de Río Branco tiene como órgano de gobierno municipal la autoridad local Junta Local Autónoma y Electiva de Río Branco. La extensión territorial bajo jurisdicción de la Junta Local llega hasta el Balneario Lago Merín. Allí se encuentra el territorio ubicado más al este en la República Oriental del Uruguay. El lugar identificado con el nombre de Punta Muniz, cerca de la desembocadura del río Yaguarón en la Laguna Merín, tiene coordenadas latitud -32 39’ 06’’ y longitud 53 11’ W. Esto significa que Punta Muniz es el territorio más oriental de la república y es también por allí que nace el sol de la patria.
hola desearia informacion de cabañas o bungaow para e fin de semana del 22/8 al 25/8 gracias
somos dos matrimonios uno con un hijo de 7 y otro con dos hijos de 7 y 10 años
Hola desearía saber que costo tiene un bungalow para dos personas , sería entre los dias 8 y 11 de octubre, que comodidades, etc. Somos de atlantida, y quisieramos conocer. Desde ya gracias
hola queisiera saber precios de alojamiento para un matrimonio y nua niña de 5 años para el unos dias en el mes de enero y como se hace la reserva,
desde ya muchas gracias
Me gustaria saber las tarifas del camping o bungalows para una pareja para fines de noviembre.
queremos conocer y saber si hay algo de movida para esa fecha, donde me puedo cominicar para tener mas informacion??
muchas gracias
HOLA, LA LAGUNA ES UNO DE LOS MEJORES LUGARES DEL PAIS SI QUIEREN CASAS PARA COMPRAR, ALQUILAR CANTACTEN SALUDOS 096 400 726
quisiera pasar por alli 2 noches y 2 dias, y quisisera saber el costo de hospedaje en el hotel para matrimonio y dos chicos de 15 y |4 años. De no ser posible me gustaria me informaran sobre hoteles en rio branco y yaguaron muchas gracias,.
Quiero alquilar 15 dias en enero. o todo el mes... una casa, cabaña...De un dormitorio, sencilla y economica...gracias desde ya.
Queria datos de casas para alquilar en enero unos dias o que esten para vender si me pueden mandar fotos y precios gracias
Hola, necesitamos información de cabañas para alquilar (costo y disponibilidad) para la semana de 2 al 9 de enero de 2010 para 4 personas, queremos volver al balneario Lago Marín después de muchos años, saludos y muchas gracias
hola necesitaria una casa para 7 personas en la semana del 12 al 21 de febrero quisiera saber precios y comodidades
Desearía saber precios de cabañas para tres personas adultas y una bebé de 20 meses. También de la zona de camping. Cuáles son las comodidades. Somos de la ciudad de Rivera. Gracias
Hola , necesitaria 1 cabaña para 2 personas en lago merin . Cuales son las comodidades y el costo , seria para el 1º de enero hasta el 10 de enero del 2010 .
Gracias
busco casa para alquilar con comodidades como para 6 personas en febrero una semana aproximadamente cuanto seria el costo y las comodidades?? desde ya muchas gracias.-
hola, me gustaria saber el precio ,desearia ir del 2 al 9 de enereo,necesitaria 2 cuartos con cama matrimonial cada uno. hay?
podrían proporcionarme tarifas 2010 de bungalows o cabañas para 4 y 6 personas? También tarifas para camping. Desde el 18 al 25 de enero inclusive.
Gracias.
me gustaría saber el valor del camping por persona porque vamos en una excursión familiar de aproximadamente 40 personas y si cobran para poner carpas aparte del valor que se paga por persona.
buenas tardes..
necesitaria saber tarifas, ubicacion,servicios, etc. para 2 adultos una beba de 1 año.
durante el mes de febrero por un periodo de 10 dias. tarifa por dia.
gracias
buenas tardes..serian tan amables de pasarme algun tel donde poder comunicarme.quisiera saber el costo del camping x dia,si es x persona y/o x carpa.si se dispone de comodidades tales como luz ,parilleros,etc.desde ya muchas gracias.espero contestacion
quisiera saber cuanto cuesta el camping, si se paga por persona, por día o por carpa. favor contestar a la brevedad. gracias.
HOLA SERIAN TAN AMABLES DE PARME EL TEL DE ALGUNPROPIETARIO DE CASA PAR ALQUILAR CN 2 DORMITORIOS EN LAGUNA MERIN
Somos una pareja de Tacuarembo con una bebe de año y medio. Pensamos viajar entre el 20 y 30 de enero, necesito info de precios y si es posible como llegar desde aca.
Gracias.
VERANEO EN LA LAGUNA DESDE QUE TENGO USO DE RAZON, HE PASADO POR TDOS LOS BALNEARIOS DEL URUGUAY, LA POLOMA, PUNTA DEL ESTE, PTA DEL DIABLO, VALIZASS, AGUAS DULCES, PIRIAPOLIS ETC. LA LAGUNA ES UN PARAISO!!!! LA AMO CON TODA MI ALMA, TENGO 24 AÑOS Y PIENSO SEGUIR YENDO A PASAR UNOS DIAS A MI QUERIDA LAGUNA!!! DISFRUTENLA Y CUIDENMELA POR FAVOR!!!
Hola.Desearia me dieran la forma de contactarme con quien alquile casa o cabaña en el balneario ya que quiero saber si hay disponibilidad y los costos que tendrian.Es para alojar familia con 4 chicos.
Desde ya muchas gracias y quedo esperando una rapida contestacion
hola, necesito casa con 3 dormitorios, del 25/1/2010 al 31/1/2010 para alquilar...
gracias!!!
Hola necesito una casa o cabaña para alquilar con 3 Dormitorios
Agradeceria si me pueden dar datos de telefonos y una idea de precios
Desde ya muchas gracias y felicitaciones por la pagina
Hola necesito una cabaña para reservar desde el 15 de enero de 2010, en delante, agradezco si me envian ideas de precios o algun contacto para coordinar.
Estaba indesiso si ir o no, pero me puse a leer y me convencieron. Voy a ir a denunciarlos por violar la ley de prohibicion de caza de carpinchos y nutrias, son unos fenomenos, anda saca eso que escribiste por que me caliento en serio.
quiero saber si hay alguna cabaña disponible para semana santa del 2010 toda la semana somos el matrimonio y la nena de 6 años gracias
Quisiera saber disponibilidad de casas o cabañas para 5 personas o tel. de alquien que alquile en la Laguna ya que somos 5 personas y deseamos ir a conocerla del 13 al 16 de febrero. Gracias
para sabe si hay alguna cabaña disponible ntre el 1y 4 de abril 2010, para 4 personas, cuanto cuesta y con que tiaempo se reserva. Gracias
hola somos tres personas un matrimonio y un niño nos interesaria ir en semana de turismo me podrian pasar telefono de cabañas gracias
tarifas cabañas y comodidades para matrimonio c 1 menor
SOMOS UNA FAMILIA DE 8 PERSONAS QUISIERAMOS SABER COMO UBICAR CASAS O CABAÑAS PARA ALQUILAR EN ESTA ZONA PARA CARNAVAL Y TURISMO.GRACIAS
Hola, quisiera saber el valor de una cabaña o casa desde el 1 al 6/03/2010, no importa lo pequeña que sea dado que es para una sola persona pero que este junto o muy cerca de la laguna
QUISIERA SABER PARA LOS DÍAS DE CARNAVAL DÓNDE ME PUEDO ALOJAR, SOMOS UN MATRIMONIO Y 2 CHICOS DE 12 Y 15 AÑOS
GRACIAS
Hola, somos una familia de 8 personas y quisiéramos saber donde nos podemos alojar, del 17 al 20 de febrero
Muchas gracias
Hola, somos dos mayores y un niño de 9 años que nos gustaria conocer la laguna Merin en semana de turismo; necesitaria saber donde podriamos alojarnos y telèfonos de contacto para ultimar detalles.
Muchas gracias
hola quisiera saber porque no se puede encontrar un sitio que de info que sirva e buscado por todas partes donde hospedarme con mi familia y no se encuentra nada gracias
Hola, quisiera algun contacto para alquilar una cabaña/casa/bungalow por unos dias en turismo (para 2/3 personas). gracias, Nicolas, Montevideo
somo una pareja con dos niños uno de 4 años y otra de un año nos gustaria saber para alquilar alguna casa o cabaña en semana de turismo por favor contactensen conmigo
Hola somos tres amigos, dos hombres y una mujer, nos encantaría conocer el Lago para semana de turismo del 2010, queríamos saber el precio de algo econñomico con un dormitorio y una sala que tenga una cama por ejemplo, o
de dos dormitorios....a no más de 4 cuadras de la playa gracias
hola, hace unos dias volvi de las cabañas municipales del lago merin, les dejo un numero de contacto para q averiguen los precios, para mas adelante, por ejemplo para 2 personas estaban en febrero del 2010 a 360 por dia, persona encargada Claudia Cuello, celular : cero nueve nueve cuatrocientos cincuenta y tres cero cero ocho, sino tambien al 0679 8002 catacteristica de cerro largo
tengo casa en el Lago Merin hace 17 años y fui toda mi niñez cuando no habia nada. Es un lugar hermoso y muy tranquilo. Voy con mi hijo adolescente y lo disfrutamos mucho. No dejen de conocerlo.
quiero conocer la ciudad de yaguaro, y deso saber si hay hoteleso cabañas xuanto cuestan y si hay omnibus de montrvideo que me lleve
Hola, soy de Montevideo. Agradecería me pudieran dar nombre e información de hoteles y/o cabañas para matrimonio con un menor .
Quisiera conocer la ciudad de Yaguarao, y Laguna Merin, y pensé en hospedarnos en Rio Branco. Escucho sugerencias. Muchas gracias.
(Viajariamos, el Jueves de sem. de turismo)
Hola somos 2 matrimonios con 4 niños. 8 en total y quisieramos ir de jueves a domingo de seman santa a la laguna merin pero no sabemos como ubicar cabañas o casas y los precios . si me pueden ayudar les agradeceria mucho la informacion
gracias
Estamos pensando pasar turismo en la laguna necesitamos saber casas para alquilar somos dos matrimonios y dos jóvenes 1 masculino y uno femenino pueden mandarnos costos y opciones
Hola Lourdes Rampas, tienes omnibus de empresas Nuñez y Rutas del Plata que te traen hasta la ciudad de Río Branco, desde Tres Cruces, y sobre la otra orilla (Yaguarao) tienes varios hoteles contactate al tel: (0675) 2753 y con gusto te daremos más información.
Quiero averiguar por alojamiento en semana santa entre los dias 29-3-2010 y 1-04-2010 si hay lugar, y que costo tienen gracias
hola quisiera reservar una cabaña para 4 personas (si hay disponibles)
del dia 2 al 4 de abril del 2010
gracias
hola como estas te cuento nesesito algo para semana santa jueves viernes sabado y domingo
cuanto seria por dia y si te queda algo gracias saludos cordiales
+
hola como estas te cuento nesesito algo para semana santa jueves viernes sabado y domingo
cuanto seria por dia y si te queda algo gracias saludos cordiales
+
Estoy interesado en conocer el lugar y desearia tener idea de los costos de alojamiento. Ej: Cabaña para 4 personas.
QUISIERA SABER EL PRECIO DE LAS CABAÑAS PARA 5 PERSONAS SERIA DESDE EL 2 DE ENERO 2011 HASTA EL 14 DE ENERO 2010. MUCHAS GRACIAS
PERDON ME EQUIVOQUE LA FECHA ES 2 DE ENERO 2011 HASTA 14 DE ENERO 2011. GRACIAS
queremos saber. cuanto sale desde el 2 de enero al 6 . cabañas de 2 dormitorios .cerca de la laguna.( nos gusta la pesca) .
quisiera alquilar una casa en semana de carnaval en el laguna si alguien tiene algo me avisa se los agradesco
Hola como estan? Me encanta lo que cuentan sobre este lugar, Si son tan amables quisiera pedirles si pueden enviarme información sobre taifas de las distintas opciones existentes, (Hotel, Casas particulares en alquiler o Cabañas) con fotos y, si es posible, teléfonos de personas a quienes contactar; pues nos gustaría ir a pasar el mes de enero de 2010 entero allí. Somos un matrimonio y dos hijas, de Montevideo, y si bien no conocemos la zona hemos oido que es realmente bella. Agradeciendo su gentileza, les mando aun afectuoso saludo.
necesito precio en pesos uruguayos por dia para febrero 2011 somos un matrimonio con 2 hijos d 9 y 18años cerca de playa queremos conocer laguna merin seria una semana aprox.- gracias
quisiera saber alquiler de casa chica para la primera quincena de enero preferentemente en la uno.gracias
POR FAVOR, NECESITO SABER EL COSTO DE UN ALOJAMIENTO PARA MI SOLO A PARTIR DEL SABADO 30 DE OCTUBRE HASTA EL MARTES 2 DE NOVIEMBRE DE 2010, HOTEL O CABAÑA, LO MAS PROXIMO AL BALNEARIO PORQUE NO CONOZCO EL LUGAR Y VOY A ESO, A CONOCER. LO MAS PROXIMO A ALGUN LUGAR DONDE PODER ALIMENTARME ADECUADAMENTE. ESTA INFORMACION LA NECESITARIA CUANTO ANTES. MUCHAS GRACIAS. JUAN MANUEL.
Hola! Necesitaría saber las tarifas y telefonos de cabañas para 4 mayores y 2 niños de 2 años. Sería para la semana del 10/01/11, por unos 10 dias.
Muchas gracias.
hola necesitaria algun tel. de casas que alquilen para la primer quincena de enero,somos dos adultos y una beba de un año.gracias
Qusiera alquilar casa proximo a playa para los dias 19, 20 y 21 de nov para 6 personas. Por favor enviarme costos e info. muchas gracias
necessito cabana para 4 personas dia 31 de outubro a 01 de novembro 2010 por favor enviarme costos e infor. muchas gracias
necessito contato e-mail e tel. de Cabanas Rincón del Lago que tiene Cabanas para Alquilar para 4 personas dia 31 de outubro a 01 de novembro 2010 por favor enviarme costos e infor. muchas gracias
necesito una cabaña para el mes de diciembre de preferencia el 23 quisiera informacion de costos o algun modo de contacto gracias
Hola necesito una cabaña para diciembre a partir de 30 somos un matrimonio y 2 niños muchas gracias
necesito un telefono para comunicarme para alquiler de cabañas para 2 adultos y dos niños y si tienen disponibilidad para la 2quincena de enero2011
Me gustaria saber disponibilidad, comodidades y precio para la primera quincena de enero 2011, seriamos 4 adultos y dos nisños.
Espero respuesta.
Hola!!!! soy de tacuarembó, me gustaría saber el precio de las cabañas municipales y las comodidas que cuenta. Me gustaría conocer el Lago Merín. Somos unicamente un matrimonio y la fecha de vacaciones sería a partir del 10 de febrero, unos 4 ó 5 dias.
Espero respuesta. Desde ya muchas gracias
Hola Necesito saber precios de cabañas o boungalow para tres personas para la segunda semana de febrero de 2011-gracias
Hola, necesito saber precios de cabañas y/o boungalow y comodidades para dos personas, a partir de la segunda semana de enero de 2011.
Muchas gracias!
Hola. Pueden enviarme información sobre tarifas de las distintas opciones existentes, (Hotel, Casas particulares en alquiler o Cabañas) con fotos y, si es posible, teléfonos de personas a quienes contactar. Somos un matrimonio y 4 ninos (para la ultima semana del ano). Agradeciendo su gentileza, les mando aun afectuoso saludoHola, necesito saber precios de cabanas
Somos una familia de Salto, queríamos saber precio de cabaña para 2 presonas, precio de camping y disponibilidad en ambos casos para la primera quincena de enero. desde ya muchas gracias
Hola! Agradeceríamos información a este mail sobre tarifas de camping. Seremos dos menores de 13 y 6 y dos adultos y visitaremos el lago entre el 10 y 11 de enero. Hay parcelas con parrilleros disponibles? Cuántas carpas por parcela?
Hola, necesito saber de casa para alquilar con 3 dormitorios cerca de la playa, precios , comodidades y fotos, sería por 10 días en febrero 2011, del 4 en adelante. gracias
hola, quisiera saber el precio de los bungalows. Somos 2 adultos y 2 niños. La fecha q tenemos disponible es la primer quincena de enero.
cómo puedo contactarlos?
Soy de 33 y necesitaría saber un telefono de contacto de las cabañas, hay cabañas con descuentos para Empleados Municipales?
Quiero alquilar cabaña o bungalow para tres¿Cómo puedo reservar?
hola,quisiera saber por disponibilidad y tel. en casa o cabana.
para 10 personas mas o menos. en los dias 2/1/11 al 8/1/11.
muchas gracias.
mi cel es. 099546989
quisiera alquilar una cabaña del 6 de enero al 10 de enero, les agradezco cualquier informacion. Somos una pareja con dos niños
HOLA. QUISIERA OBTENER INFORMACION DE TARIFAS Y DISPONIBILIDAD O NECESIDAD DE RESERVA PARA CAMPING EN LA FECHA APROXIMADA DEL 15 AL 20 DE FEBRERO. DESDE YA GRACIAS Y QUEDAMOS ESPERANDO SU RESPUESTA .
Hola. Somos una pareja con 3 adolescentes y estamos buscando una cabaña o algo similar para veranear 6 o 7 días dentro del período comprendido entre el 06/01/11 y el 13/01/11. Agradezco me envíen tarifa y disponibilidad.
hola queria averiguar por cabañas x 10 dias somos una pareja 2 adolecentes de 12 años c/u una niña de 6 años y un varon de 2 años desde el dia sabado 12 de febrero hasta el 22 de febrero espero contestacion o un numero para llamar desde y gracias mi movil es 099279031 chauuu
preciso casa o cabaña somos una pareja y 2 niños
desde 17 enero al 24 .
099852402
Somos un matrimonio de mas de 55 años y deseamos saber tarifas para enero desde el dia 16 en adelante de las cabañas o alojamientos ahi existentes,desde ya muy agradecidos
quiero saaber enla semana de carnaval precio de camping para2 personas y si se puede reservar desde mdeo.tambien si tiene parcela con fogon.gracias
Hola, necesito saber precios de cabañas y/o boungalow y comodidades para 4 personas, a partir de la segunda semana de febrero de 2011.
Muchas gracias!
Hola, necesito saber precios de cabañas y/o boungalow y comodidades para 4 personas, a partir de la segunda semana de febrero de 2011.
Muchas gracias!
¿ Hay disponibilidad para 2 personas para el 18, 19 y 20 de noviembre de 2011 en las cabañas municipales? Me gustaría saber el precio por esos días. Gracias
quisiera saber que sale el alquiler de una cabaña para la segunda quincena de febrero .. para cuatro persona .. somos de cordoba argentina ... quisieran que me contestaran a mi correo .. y como puedo hacer para reserbarla .. desde ya muchas gracias la saluda atte ... Maria
QUISIERA SABER EL PRECIO DE LAS CABAÑAS O CAMPING PARA 4 PERSONAS. SERÍA DESDE EL 2 DE ENERO 2011 HASTA EL 14 DE ENERO 2012. MUCHAS GRACIAS
Hola! Necesito saber precios de alojamiento para dos personas en febrero de 2011. Muchas gracias!
Buenas tardes me podrian informar de algun contacto para alquilar cabañas o camping para 5 personas y un niño de 2 años para 4 dias del mes de enero 2012, Del 12/01 al 15/01/12.
Gracias
precio por cabañas noviembre 2011 para 2 personas y un bb gracias
Tenemos pensado viajar a ese Balneario en la 1ra quincena de Febrero de 2012, por lo cúal necesitaría saber precios y condicion es de alquiler de bungalows u otro tipo de vivienda por 10 o 15 días en dicha fecha, Para 2 mayores y tres menores de 17,9 y 7 años todas nenas.-Agradez<co me informen y el tel de contacto .-
Necesitaria una cabaña con dos dormitorios matrimoniales y un dormitorio con cuchetas. Sería para la primer quincena de enero. ¿cuánto es el costo por la quincena? Muchas gracias, saluda atte. Gabriela
ME GUSTO MUCHO LES INVITO A IR. A DISFRUTAR DEL PAISAJE Y LA GENTE TE TRATA MUY BIEN
quisiera saber los precios de una cabaña para 4 personas mayores,seria para fines de enero o principios de febrero gracias
necsitaria alguna casa apartamento o cabaña para alquilar x dia gracias para este fin de semana mejor
necsitaria alguna casa apartamento o cabaña para alquilar x dia gracias para este fin de semana mejor
Alguna cabaña disponible apartir de mañana 18/01/2012 al 25/01/2012 gracias
Hola: me interesaría saber algo de precios, opciones y ubicaciones, etc. para la semana de carnaval, unos 5 dìas, desde el 22.02.12.
Y si alguno de los operadores tiene pagina web, para ver fotos,.
Muchas gracias.
hola quisiera saber sobre cabañas y/o casas para alquilar somos un matrimonio ,un niño y un bebe y necesitariamos para turismo, gracias
Tengo interés en comprar casita económica, el único requisito es que no sea zona inundable, la distancia a la playa es lo de menos, y si tuviera 2 o más dormitorios mejor o por lo menos espacio para ampliar. Espero respuesta lo antes posible a mi correo.
quisiera alquilar cabaña para 5 ó 6 personas del 17 al 27 de enero y quería saber que comodidades tiene, precio. Porque por internet no se muestran. Si el complejo está cerca del lago. Gracias albana
Hola. Voy a conocer la Laguna en los primeros días de febrero. No nos animamos a llevar nuetro barquito porque tenemos 600 km por delante, alguien me puede conectar con alguna persona que alquile barco o lancha chica para hacer algun paseo y probar la pesca? Gracias
Al evaluar el panorama actual, muchos teóricos de cuerdas argumentan que el siguiente paso crucial es expresar las ecuaciones de la teoría en su forma más exacta, útil y general. Buena parte de la investigación durante las dos primeras décadas de la teoría, y hasta mediados de los años noventa, se realizó utilizando ecuaciones aproximadas que muchos estaban convencidos de que podrían revelar las características más generales de la teoría pero eran demasiado toscas para dar predicciones refinadas. outlook.com http://www-outlook.com/
Al evaluar el panorama actual, muchos teóricos de cuerdas argumentan que el siguiente paso crucial es expresar las ecuaciones de la teoría en su forma más exacta, útil y general. Buena parte de la investigación durante las dos primeras décadas de la teoría, y hasta mediados de los años noventa, se realizó utilizando ecuaciones aproximadas que muchos estaban convencidos de que podrían revelar las características más generales de la teoría pero eran demasiado toscas para dar predicciones refinadas. outlook http://www-outlook.com/
perfectamente redondo-, lo que hace las matemáticas más fáciles y ponen al alcance las soluciones aproximadas.El hecho es que, en su inmensa mayoría, los fenómenos, desde el movimiento de los planetas hasta las interacciones entre partículas, son demasiado complejos como para ser descritos matemáticamente con completa precisión. En su lugar, la tarea del físico teórico es imaginar qué complicaciones pueden descartarse en un contexto dado, lo que da una formulación matemática manejable que sigue recogiendo los detalles esenciales. Al predecir la trayectoria de la Tierra usted tendría que incluir necesariamente los efectos de la gravedad del Sol; si incluye también la de la Luna, tanto mejor, pero la complejidad outlook http://www-outlook.com/
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Many years passed. Prince Valkovsky’s estate flourished. The relations between the owner of Vassilyevskoe and his steward continued without the slightest friction on either side, and did not extend beyond a purely business correspondence. Though the prince did not interfere with Nikolay Sergeyitch’s management, he sometimes gave him advice which astonished the latter by its extraordinary astuteness and practical ability. It was evident that he did not care to waste money, and was clever at getting it indeed. Five years after his visit to Vassilyevskoe the prince sent Nikolay Sergeyitch an authorization to purchase another splendid estate in the same province with a population of four hundred serfs. Nikolay Sergeyitch was delighted. The prince’s successes, the news of his advancement, his promotion, were as dear to his heart as if they had been those of his own brother. But his delight reached a climax when the prince on one occasion showed the extraordinary trust he put in him. This is how it happened. . . . But here I find it necessary to mention some details of the life of this Prince Valkovsky, who is in a way a leading figure in my story.
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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I threw down my pen and sat by the window. It got dark, and I felt more and more depressed. Painful thoughts of all kinds beset me. I kept fancying that I should die at last in Petersburg. Spring was at hand. ?? I believe I might recover,?? I thought, ??if I could get out of this shell into the light of day, into the fields and woods.?? It was so long since I had seen them. I remember, too, it came into my mind how nice it would be if by some magic, some enchantment, I could forget everything that had happened in the last few years; forget everything, refresh my mind, and begin again with new energy. In those days, I still dreamed of that and hoped for a renewal of life. ??Better go into an asylum,?? I thought, ??to get one??s brain turned upside down and rearranged anew, and then be cured again.?? I still had a thirst for life and a faith in it! . . . But I remember even then I laughed. ??What should I have to do after the madhouse? Write novels again? . . . ??
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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“Go, my dear boy, go by all means!” Anna Andreyevna urged me anxiously. “Have just a cup of tea as soon as he comes back. . . . Ach, they haven’t brought the samovar! Matryona Why are you so long with samovar? She’s a saucy baggage! . . . Then when you’ve drunk your tea, find some good excuse and get away. But be sure to come tomorrow and tell me everything. And run round early! Good heavens! Something dreadful may have happened already! Though how could things be worse than they are, when you come to think of it! Why, Nikolay Sergeyitch knows everything, my heart tells me he does. I hear a great deal through Matryona, and she through Agasha, and Agasha is the god-daughter of Marya Vassilyevna, who lives in the prince’s house . . . but there, you know all that. My Nikolay was terribly angry today. I tried to say one thing and another and he almost shouted at me. And then he seemed sorry, said he was short of money. Just as though he’d been making an outcry about money. You know our circumstances. After dinner he went to have a nap. I peeped at him through the chink (there’s a chink in the door he doesn’t know of). And he, poor dear, was on his knees, praying before the shrine. I felt my legs give way under me when I saw it. He didn’t sleep, and he had no tea; he took up his hat and went out. He went out at five o’clock. I didn’t dare question him: he’d have shouted at me. He’s taken to shouting — generally at Matryona, but sometimes at me. And when he starts it makes my legs go numb, and there’s a sinking at my heart. Of course it’s foolishness, I know it’s his foolishness, but still it frightens me. I prayed for a whole hour after he went out that God would send him some good thought. Where is her note? Show it me!”
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Percy Beaumont had all this time been a very much less frequent visitor at Jones’s Hotel than his former fellow traveller; he had in fact called but twice on the two American ladies. Lord Lambeth, who often saw him, reproached him with his neglect and declared that though Mrs. Westgate had said nothing about it he made no doubt she was secretly wounded by it. “She suffers too much to speak,” said his comrade.
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The young Englishmen emerged from their cabin and amused themselves with wandering about the immense labyrinthine ship, which struck them as a monstrous floating hotel or even as a semi-submerged kindergarten. It was densely crowded with passengers, the larger number of whom appeared to be ladies and very young children; and in the big saloons, ornamented in white and gold, which followed each other in surprising succession, beneath the swinging gas-lights and among the small side-passages where the negro domestics of both sexes assembled with an air of amused criticism, every one was moving to and fro and exchanging loud and familiar observations. Eventually, at the instance of a blackamoor more closely related to the scene than his companions, our friends went and had “supper” in a wonderful place arranged like a theatre, where, from a gilded gallery upon which little boxes appeared to open, a large orchestra played operatic selections and, below, people handed about bills of fare in the manner of programmes. All this was sufficiently curious; but the agreeable thing, later, was to sit out on one of the great white decks in the warm breezy darkness and, the vague starlight aiding, make out the line of low mysterious coast. Our travellers tried American cigars — those of Mr. Westgate — and conversed, as they usually conversed, with many odd silences, lapses of logic and incongruities of transition; like a pair who have grown old together and learned to guess each other’s sense; or, more especially, like persons so conscious of a common point of view that missing links and broken lights and loose ends, the unexpressed and the understood, could do the office of talk.
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“They’re afraid of you. They’re afraid of annoying you and making you worse. So they go to work very cautiously, and, somewhere or other, they get their information. They know a great deal about you. They know you’ve been with those ladies to the dome of Saint Paul’s and — where was the other place? — to the Thames Tunnel.”
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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??Hm! Not well,?? he repeated five minutes later. ??I dare say not! I talked to you and warned you before, but you wouldn??t heed me. Hm! No, Vanya, my boy, the muse has lived hungry in a garret from time immemorial, and she??ll go on so. That??s what it is!??
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And I can see her as though it were today; even while she talked to me, her eyes betrayed another anxiety, the same anxiety which clouded the face of her old husband, too, as he sat now brooding, while his tea grew cold. I knew that they were terribly worried at this moment over their lawsuit with Prince Valkovsky, which was not promising well for them, and that they had had other new worries which had upset Nicholay Sergeyitch and made him ill.
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??Look at that green dress with blue flounces. Quelle toilette!?? said Mrs. Westgate.
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