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The visitor to Harper's Ferry is doubly paid, for he not only feels the thrilling impulses which come from a contemplation of the movement of the first martyr of a true and not a spurious American freedom, but the natural beauty of the place appeals strongly to the most refined and exalted part of his being.11
Though nature's aesthetic appeal in the Gilded Age has been primarily seen as a retreat from the encroaching arms of industrialization, such descriptions of Harpers Ferry speak to African Americans' broader effort to infuse natural surroundings with historical consciousness, and helps explain why promoters of reduced tiffany earrings travel might have seen a potentially fertile market in surrounding black communities.
In their descriptions of the area and its past, contemporary black writers sought to recapture a past that was, in the midst of the nation's retreat from the promises of emancipation and citizenship, in danger of receding from blacks' collective memory. Nature was evoked to articulate historical and cultural consciousness, to give meaning to a violent past and uncertain future, and to channel order from the chaos of urban life:
The spirit of freedom has always dwelt among the mountains, and when old John Brown looked upon the mountains which rise in majesty round about the place, the spirit of liberty stirred afresh within him, here he resolved to do and dare and die, if need be, that his fellow man might come forth from the chattel house of bondage.
J. Max Barber, founding member of the Niagara Movement and attendee at the reduced tiffany pendants Ferry conference, reflected on the area's perfect marriage of aesthetics and racial consciousness:
The scenery and the history in and around this little mountain village possess an interest that is unusual. I have heard men speak of the peculiar sensation, the thrill which comes to one as he stands in the shadow of some mighty structure or on a spot where some great deed was wrought that perceptibly advanced the world. Men have journeyed to the other side of the world to drink a draught of air that played around a Calvary, a Trafalgar or a Runnymeade, and they have felt well-paid for their trouble. I too have known what it meant to meditate at Valley Forge, Queenstown and Gettysburg. But I must confess that I had never yet felt as I felt at Harpers Ferry.13
Barber, like many other African American visitors, forged an emotional relationship with the town and surrounding area based in equal parts on collective memory, personal contemplation, and observance. In his 1885 commencement address to the graduates of Storer College, the black nationalist and Episcopal priest Alexander Crummell noted that the town was "full of the most thrilling memories in the history of our race."14 The town's peaceful serenity and stunning scenery encapsulated, in many post-Civil War blacks' minds, its status as an African American Heu de m茅moire on the nation's postbellum landscape. In so doing, such writers drew upon the abolitionist literary motif of evoking landscape imagery in contemplating Brown's sale tiffany necklaces. As the literary scholar Kristen Proehl notes, in the years following Brown's raid both Frederick Douglass and Thomas Wentworth Higginson waxed at length on Brown's "knowledge of the mountain landscape," and his subsequent "transform[ation of] the natural world into a tool that could be used to dismantle the institution of slavery."16
In the decades following emancipation, John Brown's siege of a federal armory in pursuit of blacks' freedom became a dominant image in nascent civil rights iconography. Brown came to represent not simply an uncompromising demand for full equality and the courage to act on one's convictions, but moreover African Americans' hope for social relations governed irrespective of color. Indeed, for many African Americans of this era, the most famous and beloved paintings of Brown were not the ones that portrayed him as a fire-breathing, maniacal traitor, but rather as the man who, as he was led from the Charlestown, West Virginia, courthouse to his execution, stopped to kiss a black child on the cheek. As the historian Benjamin Quarles notes, Brown was more than another hero in the pantheon of black history: "his was a name to conjure with, almost a presence to be summoned."17 Likewise, Harpers Ferry the place became, in the writings of abolitionists and postemancipation black scholars, a spatial metaphor of man's fulfillment of God's will.18
Beginning in the 1880s, Soloman Brown, an employee of the Smithsonian Institution and shop for tiffany accessories of African American history, annually led excursion groups to the federal armory at Harpers Ferry on the anniversary of Brown's raid.19 It was here, such groups were reminded, where brave black souls and white Americans of conscience cast the first stone against a dreaded institution that had, for generations, robbed them and their ancestors of their freedom and their heritage. Popularly identified with many black Americans as the site where the nation took its first steps to reclaim all that had been vanquished under bondage, the fort also came to symbolize African Americans' cultural rebirth in freedom. Pieces of its exterior became treasured keepsakes collected by black visitors, representing a bookend counterpart to the slave's shackles in the material history of slavery and emancipation. Frederick Douglass, for instance, kept a brick from the fort on the mantle of his home, Cedar Hill, in Washington, D.C.20 And in an undated letter to Storer College's president, Nathan Brackett, the famed civil rights orator implored the school to mark "this sacred spot" with a monument to John Brown "so that it may tell ... coming generations of what benevolent self-sacrifice in the cause of Justice and Liberty our human nature is capable. We owe it to ourselves and to mankind," he added, "to rescue this spot on which this deed was done from doubt and oblivion."21
Despite Brown's quick ascendancy to mythic status, Harpers Ferry did not emerge as an excursion and vacation destination for African Americans simply because it was weighted with historical significance. Rather, African Americans' attraction to Harpers Ferry during the summer months stemmed from the town's commercial exploitation by a burgeoning tourism industry that traded in Americans' insatiable desire to fashion new identities (or reclaim old ones trampled underfoot by war and socioeconomic upheaval) through crafted visions of shop for tiffany bracelets past. By the late nineteenth century, pilgrimages to battlefields and national shrines had emerged as one of the chief destinations for the nation's growing numbers of excursionists and vacationers. Civil War battlefields such as Gettysburg capitalized on Americans' desire to commemorate the dead and reconcile sectional divisions. Families, veterans' groups, and excursion parties of all stripes boarded railroad cars and swarmed into this newly minted hallowed ground looking for the chance to collect relics from battlefields, reenact Pickett's charge, or simply drink and lounge with friends in the Pennsylvania countryside.22
The success of Gettysburg in fashioning itself as a travel destination that combined pleasure with collective commemoration no doubt influenced Harpers Ferrians' marketing strategies. Yet it was the downstream commemorative destination Mount Vernon with which Storer College contrasted its surroundings when appealing to black audiences. One advertisement for summer boarding at Harpers Ferry in one of Washington's African American newspapers read:
For the money ($4 dollars a week) good board is furnished. The quick easy access to Washington City renders it twice a blessing to those whose time and purse will not allow them to go far or to anymore fashionable places. This resort ought to be crowded from the opening to the close. As Mount Vernon is the Mecca of the whites so Harper's Ferry should be the Mecca of the colored American citizen.23
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GLOBES FASHION (WITH FACTBOX, PIX AND VIDEO)
By Catherine Caines
SYDNEY, Jan 18 AAP - The Los Angeles rain did not dampen the 67th annual Golden Globes fashion spirit with the soaked red carpet lit up by intensely coloured gowns in shades that reflected the 3-D spectacles of Avatar and Alice In Wonderland.
Hollywood's A-list stars have embraced the tiffany money clip decade wearing brilliant tones of cobalt blue, purple, green and searing red evoking 1950s French glamour.
Leading stars chose action-packed colours, including award winner Sandra Bullock in a dynamic strapless purple gown by Bottega Veneta.
She competed against Diane Kruger in a fuchsia Christian Lacroix dress, breakthrough star Gabourey Sidibe wearing intense green and Ginnifer Goodwin dressed in an electrifying blue Vionnet frock for the brightest red carpet award.
But for all the brave new world of colour there were plenty of tiffany pendant who reverted to old school Hollywood glamour.
Drew Barrymore, who picked up an award for her role in Grey Gardens, looked like she belonged in a spring garden in her Atelier Versace gown, as did Chloe Sevigny who wore a heavily ruffled Valentino design, and Australia's Nicole Kidman in blush satin Nina Ricci.
Mad Men's Christina Hendricks flaunted plenty of va-va-voom curves in a soft but sexy peach dress, while Kate Hudson opted for a heavily sculptured 1950s couture-style gown.
Emily Blunt also followed the nude trend, looking romantic in a Dolce & Gabbana blush dress of chiffon, while another pastel princess, Maggie Gyllenhaal walked the red carpet in a salmon-coloured gown complete with mermaid tail by Roland Mouret.
Even George Clooney's girlfriend Elisabetta Canalis, the face of Robert Cavalli lingerie, opted for a pale pink gown.
The Golden Globes red carpet is a style barometer for tiffany earring major trends will dominate the fashion year.
Hollywood and the fashion industry are closely intertwined and the new wave of old couture-inspired bold colours, fabrics and shapes laced with a dreamy 1950s feel had a sense of back to the future.
The Globes' real surprise was the return of French dressing with many celebrities looking more like new wave screen goddesses.
Names like Vionnet, Nina Ricci, Lanvin, and Balenciaga spoke volumes of a generation of women determined to prove they are fashion icons outside of Hollywood's commercial machine.
Plenty of oh-la-la style was on display thanks to Mad Men's January Jones looking very French 1950s in a black Lanvin dress.
Nine star Marion Cotillard won top marks in a one shoulder green gown by Dior complete with a lace revealing slit.
Julianne Moore donned large Bulgari earrings with her Balenciaga gown.
"She looks stunning, amazing and the earrings are going to end up in my pocket at the end of the evening," oozed Tom Ford, the fashion designer turned director of A Single Man for which Moore was nominated as best supporting actress.
Proving Australian style has come of age on the red carpet tiffany keyring award winners Toni Collette and nominee Rose Byrne.
The TV stars were pure movie star glamour - Collette in a gold beaded Elie Saab gown complete with a chic up-do hair style and Byrne in a Lanvin aubergine column dress.
Also waving the Australian fashion flag was Natalie Mark, stylist and girlfriend of Avatar star Sam Worthington. Mark chose to collaborate with designer Alex Perry, and insisted on wearing red for her big walk down the red carpet.
"It was really sweet of Natalie to choose an Australian designer given the designer options that literally arrive on celebrities' door steps," Perry explained.
"But when they do wear an Australian designer and go to the effort it's such a great thing."
Perry is not a stranger to the Hollywood red carpet, having tiffany necklace dressed actress Deborah-Lee Furness for the 2009 Academy Awards which were hosted by her husband Hugh Jackman.
"Natalie looks so young and usually dresses that way but the Globes are her first big red carpet event and she wanted to look glamorous, beautiful but still young.
"She has a beautiful figure and always wanted to wear red, it's her time to look glamorous."
Mark completed her sophisticated look with other Australian style experts including jewellery designed by Stefano Canturi and makeup by celebrity makeup artist Napoleon Perdis.
AAP cc/nf/bwl 18-01 1626
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Copyright New York Times Company Sep 28, 2009
Concerned that girls and women feel excessive pressure to live up to the digitally Botoxed and liposuctioned images of human perfection they see in glossy magazines, lawmakers in Britain and France are trying to push advertisers to get real.
Under their proposals, ads containing altered photos of models would be required to carry disclaimers.
"When teenagers and women look at these pictures in magazines, they end up for sale tiffany rings unhappy with themselves," said Jo Swinson, a British member of Parliament from the Liberal Democratic Party.
The Liberal Democrats, the third-largest party in Britain, after Labor and the Conservatives, adopted Ms. Swinson's proposal for a labeling system this month as part of their official platform. The party wants to ban altered photos entirely in ads aimed at children under 16.
In France last week, Valerie Boyer, a lawmaker from President on sale tiffany necklaces Sarkozy's party, introduced a similar bill in the National Assembly, the lower house of Parliament.
She argued that altered images were undermining young women's ability to control their own destinies. "These photos can lead people to believe in realities that, very often, do not exist," she said.
In France, where the advertising posters in pharmacy windows can border on the obscene, there is growing concern about eating disorders, and many young women are obsessive in their pursuit of thinness. Ms. Boyer previously championed a bill to ban Web sites that seemed to encourage anorexia and bulimia. But that proposal has languished after being approved by the National Assembly last year.
In her quest to rid the media of misleading images, Ms. Boyer wants to go even further than the Liberal Democrats in Britain. Her bill would require warning labels on retouched photos published for editorial purposes as well as those in print ads. Violators could face fines of 37,500 euros, or almost $55,000, or up to 50 percent of the cost of an advertisement.
While altering photos is considered ethically dubious in many on sale tiffany rings, that has not stopped some prominent occurrences in the French media. In 2007, for example, the politically well-connected Paris Match magazine published a picture of Mr. Sarkozy, canoeing while on vacation in New Hampshire, in which the shirtless president's bulging waist was digitally massaged out of existence. A rival magazine revealed the deception, publishing before and after shots.
Not every instance of retouching is that blatant. But small enhancements -- a bit of color correction or textural smoothing, for example -- are widespread even in news photos, said Derek Hudson, a Paris-based photographer, though he added that he would "make a stink" if an editor ever did it with one of his pictures.
In glossy magazines, of course, retouching is de rigueur.
"I have never yet seen, and you probably never will see, a reduced tiffany or beauty picture that hasn't been retouched," Mr. Hudson said.
In Britain, tabloid outrage over the use of unhealthily thin models in fashion shows and magazine spreads has been driven by examples of photos that had been altered to streamline models or celebrities. One example is a 2003 cover of GQ magazine in Britain on which the actress Kate Winslet appears several sizes smaller than her actual self.
But some magazine editors say they are overcompensating in the other direction, because consumers no longer want to see stick-thin figures.
"I spent the first 10 years of my career making girls look thinner," Robin Derrick, creative director of British Vogue, told The Times of London recently. "I've spent the last 10 making them look larger."
On retouching, even Ms. Swinson acknowledged that "a little bit is reduced tiffany bracelets to make a good photo." Under her proposal, all advertising photos would be rated, perhaps on a scale from 1 to 4, depending on the degree of retouching. A 1 might involve only altered lighting, for example, while a 4 might warn of digital cosmetic surgery, she said. And the label would have to include an explanation of the changes.
"If people knew they had to describe what they had altered, it might make them less likely to do it," Ms. Swinson said.
Unlike Ms. Boyer, Ms. Swinson said she thought such a system could be imposed without legislation. She said she hoped to work through the Advertising Standards Authority, which monitors the content of ads in Britain, to encourage advertisers to adopt it.
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Twenty five is clearly not the age to have white hair. It could be anything: pollution, as the adverts keep telling undiscerning readers, genetics, if your parents have it, you'll get it too, or stress, because of those long working hours and short deadlines.
The mirror reflects pearly white strands in what was once lustrous for sale tiffany rings hair. That's when that eternal question, to colour or not, dawns. Not that there's a lack of options. The progressive beauty market has moved beyond the Godrej hair dye and messy henna days. There is a variety of colours to choose from, whether it's platinum blonde, strawberry red, burnt brown or simply black. Of course, silver hair isn't the only reason to make a quick visit to the colouring chair at your parlour. Remember the oohs and aahs of your girlfriends, and it has to be said, your boyfriend's, when they saw Gwyneth Paltrow's new red locks, Angelina Jolie's cascading dark brown extensions and Kareena Kapoor's blonde curls.
That's when that secret voice says, if she can do it, so can I. But don't be seduced by that inner voice, there are others clamouring for attention.
Voices from fashion bibles that need to be heard, the ones that talk about skin on sale tiffany necklaces, maintenance, streaks, highlighting or just changing the hair colour entirely. After every hair trim every other week, every hair dresser in the world will whimsically say, try colouring it, it'll surely work. One of these days step out, listen to your hairdresser and get a new mane. It will make you feel like the main event. Bombshell BlondeSkin colour it suits best: For fair women.For which age group: on sale tiffany rings, whether it is in the form of highlights or full-on, looks good only on young women, as it tends to age a face.Maintenance woes: Blonde gets bleached easily in the sun. Use colour-enhancing shampoo to keep it locked in. Select a red dye with brown tones to make it last longer.Extra tip: This is one of the toughest colours to maintain. Be careful while choosing the blonde tint, as it suits only a few face cuts.The Blonde We Love: From highlights to being fully blonde, no one carries it off as well as Cameron Diaz. Fiery RedSkin colour it suits best: Is reduced tiffany for most skin types, though those who are slightly dusky should beware. This colour can deepen the complexion.For which age group: Bright fiery red looks good on younger women. The dulled, burnished hue suits slightly older women.Maintenance woes: Make sure the colour is applied down to the roots and the red is glossy.Extra tip:For those who are somewhat conservative and still want a reddish tinge, henna is a good option as it conditions and adds colour.The Red We Turn Green For: As fiery as it gets, Julianne Moore's red hair is as natural as the freckles on her pale skin. Classic BrunetteSkin colour it suits best: All skin tones.For which age group: Its classic colour makes it ideal for women who are older.Maintenance woes: Easy to maintain, make sure that you use hair conditioner and hair masks regularly to keep it glossy.Extra tip: To keep the colour locked, use oil meant for coloured hair and in the next colouring round ensure that the hue applied is slightly darker, so that it covers any leftover areas from before.Black Is Back: Deep brown lustrous hair. That's what comes to mind when one thinks of Catherine Zeta Jones's long locks. Beautiful BrownSkin colour it suits best: Wheatish complexion.For which reduced tiffany bracelets group: Perfect for older women because it's a neutral shade.Maintenence woes: Brown is most favoured when it comes to highlights but requires frequent salon trips as it grows out very easily.Extra tip:Go to a hair expert who will advise whether highlights, streaks or a full brown colour will look good. Brown can get tricky where streaks are concerned. Make sure the streaks are not thicker than two fingers put together.The Mouse Is Ruling The House: Having tried all hair colours, it's the brown hair colour avatar that suits Julia Roberts the best. Inputs from Samantha Kochhar, Creative Director, Pivot Point India.
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2009 by Hearst Communications Inc
She has not just survived but thrived. Design legend Diane von Furstenberg has lived a lot and learned a lot. Now she shares a lot -- about men, money, family, fashion and passion.
PHOTOGRAPHS BY LORENZO AGIUS
STYLED BY KATE DIMMOCK
SOME FASHION designers create with real women in mind; others discount tiffany up imaginary creatures to inspire them. All Diane von Furstenberg has to do is draw on her own extraordinary history.
[Photograph]: Still glamorous, still gutsy: DVF at sixty-two, almost forty years after her wrap dresses made her famous. Diane von Furstenberg silk-jersey Giselle dress ($1,800) and heels ($360), 646-486-4800. Diane von Furstenberg by H. Stern 18k-gold, rock-crystal and diamond earrings ($5,900) and 18k-gold bracelet ($16,000), 800-7-HSTERN. Her own rings.
At her spring show during New York Fashion Week, in Bryant Park, von Furstenberg's Rock Goddess collection featured flirty, floaty dresses in a shimmering rainbow of luscious colors that critics hailed as "seductive" and "optimistic" -- a joyful antidote to parlous times. The stars in the front row were discount Tiffany Bangles fabulous: few celebrities could equal Uma Thurman or Jennifer Lopez for soap-opera-worthy lives filled with passion and drama.
And yet when it came to megawatt glamour, the woman of the hour outshone everybody else. It's hard to think of anyone more seductive and optimistic than von Furstenberg herself, and even the most over-the-top biography pales next to the roller-coaster ride of her own life.
[Photograph]: Her face became iconic after Andy Warhol painted her portrait in discount Tiffany Bracelets '70s -- but von Furstenberg claims not to mind getting older. "It's nice to age. I feel I have earned that stature." Diane von Furstenberg matte-jersey Ayana dress ($365) and heels ($265), 646-486-4800. Diane von Furstenberg by H. Stern 18k-gold hoop earrings ($1,500) and bracelet ($16,000), 800-7-HSTERN. Her own rings. Hair by Ted Gibson for Jed Root at tedgibsonbeauty.com. Makeup by Fulvia Farolfi for Chanel.
PAINTING: © 2008 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS/ARS, NEW YORKVon Furstenberg wasn't the only beauty to become a princess by marrying a jet-set aristocrat from one of Europe's wealthiest families. Nor was she the only clever young thing to make a fortune with a brilliant idea and turn herself into an international sensation. And she certainly wasn't the only business powerhouse to suspect that life would be more fun on a beach in paradise -- or to live out that dream for a while.
There have been other celebrated successes whose luster has faded over time, and von Furstenberg isn't the only smart strategist to stage a comeback and triumph all over again. She's not even the only entrepreneur who was disdained by competitors early in her career but who later won such respect that she discount Tiffany Pendants an industry leader. And she's surely not the only mom to raise two children who adore her, nor the only trophy wife to have married a billionaire the second time around. But to be all of the above and more? Now there's a life for the record books! Wonder Woman herself might envy a story like that.
So it's entirely appropriate that von Furstenberg's recent holiday collection -- a collaboration with Warner Bros. and DC Comics -- was inspired by Wonder Woman, with a motto to match: "Be the Wonder Woman you can be." A portion of the collection's proceeds went to Vital Voices Global Partnership, a nonprofit foundation that promotes women's economic progress. "I'm so committed to it; they help so many people," von Furstenberg says. "I want to play an important role in helping women all over the world to empower themselves."
Such philanthropy marks yet another chapter in her remarkable odyssey, which -- like most gorgeous creations -- is the product of an extravagant imagination. "I had fantasies, and I fulfilled my fantasies," von Furstenberg says simply. "I have been so privileged because I have had such an exciting life."
Casual and relaxed in jeans and a T-shirt, she is curled up on a sofa next to a shocking-pink wall in her New York office, whose eclectic decor ranges from a striking Andy Warhol portrait of the young Diane to a dense wall collage of photographs that include her children, her grandchildren, and both her current husband and her former one. Her office and her Manhattan apartment occupy the upper floors of the building that houses her flagship store, on West 14th Street in the Meatpacking District.
At sixty-two, von Furstenberg retains only the faintest trace of the accent that's a vestige of her childhood in Belgium. The daughter of a Jewish father and a mother who was part Greek, Diane Halfin began her personal fairy tale in the time-honored fashion, by meeting a prince. As a student at the University of Geneva, she began an affair with Egon von Fürstenberg, the son of an Austrian prince and an heiress to the Fiat fortune. When Diane unexpectedly got pregnant, Egon surprised her with his eagerness to marry.
Some women hope they'll land a rich husband so they won't "have to" work, but Diane had the opposite reaction. "The reason for my career was to be financially independent -- precisely because I married a prince," she explains. "Egon was very eligible, good-looking; he's a prince; he's an Agnelli. But marriage was not a goal for me at all. When I got pregnant I was absolutely shocked. The last thing I wanted was for people to look at me like, 'She got him!' So then, more than ever, it was important for me to have a career. I knew what kind of woman I wanted to be -- a woman who did not depend on her husband."
Her fierce commitment to self-sufficiency was shaped by her mother's experience as a Holocaust survivor. "Eighteen months before I was born, my mother was in the camps and weighed forty-nine pounds," von Furstenberg says. "My life was already a miracle the minute I was born. In so many ways I am my mother's vengeance. What she instilled in me was that freedom is the most important thing. How can you be independent if you have to ask your husband or father to pay your bills? They have leverage over you!"
Von Furstenberg's mother taught her to take control of her own life instead. "She told me, 'Fear is not an option,'" von Furstenberg recalls. "I was afraid of the dark, so she locked me in a closet. I cried for the first ten minutes, and then I stopped crying and thought, 'Why am I afraid of the dark?'"
Diane was twenty-two when she married Egon; by the time she was twenty-four they had two children and were the toast of two continents as a quintessential glamour couple. Raven-haired and ravishing, Diane possessed "the sultriness of a Biblical temptress," as Town & Country put it in 1972. She left her husband when their children were still young "because he was so terribly unfaithful, but we stayed the best of friends," she says.
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