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Someone like you, Adele

The beuatiful art of Nakshi Kantha



In the rural areas of Bangladesh, as it has been for centuries, the communities are much poorer with fewer opportunities than those living in the cities. And it is through the struggles and hardships that the woman of these communities have learnt and passed down through the generations the art of Nakshi Kantha. It is a form of quilting that has taken various shapes, and has not only helped to recycle old cloth and saris but has become a popular traditional commodity found in every home across Bangladesh.

The most common Nakshi Kantha products are quilts. Its thickness depends on whether a summer or winter wrap is required, and old discarded saris and cloth are layered accordingly. The women then use various forms of a running stitch to embroider the borders and to decorate the quilt with different designs. Oftentimes the women reuse the cotton pulled from the saris and are able to create colorful and vibrant quilts.

Each Nakshi Kantha item is unique in design and color. By manipulating the stitches, the women are able to create various ripple effects, creating different textures and looks. Most Nakshi Kantha makers follow a basic pattern for embroidery, using a lotus as a centre piece with vines, representing the tree of life, running from each corner towards the lotus motif. In between the spaces of the vines, decorative motifs are embroidered and can range in various forms. Some of the most popular motifs are elephants, peacocks, horses, kitchen items, boats and tigers. Sometimes the quilts tell the stories of myths and legends through their pictures, with dancing, hunting and other everyday tasks being depicted.

It is also said that the Nakshi Kantha items are blessed with protective powers, able to keep harmful spirits at bay. They can also ensure happiness, happy marriages, fertility and fulfillment, as the creator is believed to be able to stitch her wishes into the fabric. Over the years, as the need for various items has evolved, the Nakshi Kantha art has expanded, offering a variety of specialized items such as ceremonial and ritual items, cloths for wrapping toiletry items, mats, pillowcases, bedspreads, placemats, wall hangings, spreads for seating, prayer rugs, mirror covers and handkerchiefs.

The art of Nakshi Kantha has survived from ancient times into the modern day, still inspiring needle workers to create new designs and remaining a sought after item in every home. Visitors often purchase these items as souvenirs and gifts for loved ones back home. It is a part of the tradition and culture in Bangladesh that has helped many communities to survive, and brings joy and color to those who own them.

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Tomorrow Always Comes (1941)


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Geraldine Chaplin


Versatile English-American actress Geraldine Chaplin (1944) is the daughter of Charlie Chaplin. Her breakthrough was her role as Omar Shariff’s wife in David Lean’s classic Doctor Zhivago (1965). She became an internationally respected actress with her appearances in several films by Robert Altman and her starring roles in nine films by her former partner, Spanish director Carlos Saura.

Geraldine Leigh Chaplin was born in Santa Monica, California, in 1944. She was the fourth child of legendary actor/director Sir Charles Chaplin, and the first of eight children with his fourth and last wife, Oona O'Neill (daughter of famous playwright Eugene O'Neill and author Agnes Boulton). Among her brothers and sisters are Christopher Chaplin, Eugene Chaplin, Michael Chaplin, Josephine Chaplin, and Victoria Chaplin. She is also the half sister of Sydney Chaplin, Charles Chaplin, Jr. and Norman Chaplin. She spent her first eight years in Hollywood, but then moved with her family to Switzerland when her father was persecuted by the U.S. government for his political beliefs. There she was educated at a boarding school and became fluent in French and Spanish. The latter she later demonstrated in many Spanish films. When Chaplin was eight years old, she appeared uncredited in the opening scene of her father's film Limelight (1952, Charles Chaplin). Later she attended the Royal Ballet Academy in London. When her dream of becoming a ballet dancer ended, she followed her father into the acting profession. She would play a small role in her father's last film, A Countess From Hong Kong (1967, Charles Chaplin) starring Marlon Brando and Sophia Loren. British director David Lean had discovered her earlier while she was dancing in Paris and he chose her to play Tonya Gromeko, the main character's wife in his film Doctor Zhivago (1965, David Lean). Based on the Nobel Prize-winning novel by Boris Pasternak, Doctor Zhivago covers the years prior to, during, and after the Russian Revolution, as seen through the eyes of poet/physician Yuri Zhivago (Omar Sharif). At AllMovie, Sandra Brennan describes her as many people remember her from this film: a “diminutive, willowy, and offbeat beauty with haunting blue eyes”. The film received five Oscars, and Chaplin was nominated for a Golden Globe as Most Promising Female Newcomer.

Much of Doctor Zhivago was shot in Spain and it was there that Geraldine Chaplin began a long romance with Spanish director Carlos Saura. A year later she worked for the first time with him at Peppermint Frappé (1967, Carlos Saura), in which she played a double role. Chaplin starred in eight more films by Saura, including Ana y los Lobos/Anna And The Wolves (1972, Carlos Saura), the powerful psychological drama Cría cuervos/Raise Ravens (1976, Carlos Saura) as the mother of Ana Torrent, Elisa, vida mía/Elisa, My Life (1977, Carlos Saura) as the daughter of Fernando Rey, and Mama Cumple Cien Años/Mama Turns a Hundred (1979, Carlos Saura). She has subsequently worked with some of Europe's finest directors. She played the Queen in Richard Lester's adaptation of Alexandre Dumas classic The Three Musketeers (1974, Richard Lester) and the sequel The Four Musketeers (1975, Richard Lester) featuring Michael York, Oliver Reed, Richard Chamberlain and Frank Finlay. She played a pirate in Jacques Rivette’s Noroit/Northwind (1976) Jacques Rivette) opposite Bernadette Lafont. In France she also appeared in Mais Ou Est Donc Ornicar (1979, Bertrand van Effenterre) and in Le Voyage en Douce/Travels on the Sky (1980, Michel Deville) as the sister of Dominique Sanda.




During the 1970’s, Geraldine Chaplin also appeared in several of Robert Altman's films. For her role as the chatty, shallow BBC reporter Opal in his Nashville (1975, Robert Altman) she was again nominated for a Golden Globe, this time as Best Supporting Actress. She liked to play character parts and appeared in such successful productions as the Agatha Christie mystery The Mirror Crack'd (1980, Guy Hamilton) with Angela Lansbury as Miss Marple, the French epic Les Uns et les autres/Bolero (1981, Claude Lelouch) with Robert Hossein, La Vie Est Un Roman/Life Is a Bed of Roses (1983, Alain Resnais) with Vittorio Gassman, and Heartburn (1986, Nora Ephron) starring Meryl Streep and Jack Nicholson. In 1992, she played the role of her grandmother Hannah Chaplin in the biographical film about her father, Chaplin (1992, Richard Attenborough). It resulted in her third Golden Globe Nomination, as Best Supporting Actress. In addition to her busy film career, Chaplin also appeared on-stage and in television miniseries such as Gulliver's Travels (1996, Charles Sturridge) and Mary, Mother of Jesus (1999, Kevin Connor) with Pernilla August and Christian Bale. Geraldine Chaplin and Carlos Saura had a twelve-year relationship. Later, Chilean cinematographer Patricio Castilla became her long time companion. They married in 2006. She has two children, Shane (1974), by Saura, and Oona (1986), by Castilla. She is still very active in the cinema. Among her recent films are the Spanish-Mexican horror film El Orfanato/The Orphanage (2007, Juan Antonio Bayona), produced by Guillermo del Toro, the Italian bittersweet romantic drama Parlami d'amore/Let's Talk About Love (2008, Silvio Muccino) and the horrorfilm The Wolfman (2010, Joe Johnston) starring Benicio Del Toro and Anthony Hopkins. Geraldine Chaplin lives much of her time in Miami, Florida at her home next to the beach.Via: http://filmstarpostcards.blogspot.com.es

Vintage women's white leather tap dance oxfords

Hollywood costume at the V&A Museum

Clothes are never a frivolity, they always mean something
James Laver (1899–1975), first Keeper of the V&A Theatre Collections
Costume designers are storytellers, historians, social commentators and anthropologists. Movies are about people, and costume design plays a pivotal role in bringing these people to life. Hollywood Costume illuminates the costume designer’s process in the creation of character from script to screen including the changing social and technological context in which they have worked over the last century.
This ground-breaking exhibition includes over 100 of the most iconic and unforgettable film characters from a century of Hollywood filmmaking, 1912–2012. Hollywood Costume takes us on a three-gallery journey from Charlie Chaplin through the Golden Age of Hollywood to the cutting-edge design for Avatar (2009, Costume Designer Mayes C. Rubeo, Deborah L. Scott) and John Carter of Mars (2012, Costume Designer Mayes C. Rubeo): Act 1, Deconstruction, puts us in the shoes of the costume designer and illuminates the process of designing a character from script to screen; Act 2, Dialogue, examines the key collaborative role of the costume designer within the creative team; Act 3, Finale, celebrates the most beloved characters in the history of Hollywood and the ‘silver screen’.
These galleries are filled with cinema costumes that have never left the private and archival collections in California. Most of these clothes have never been publicly displayed and have never been seen beyond the secure walls of the studio archives.

Act 1: Deconstruction
On every film, the clothes are half the battle in creating the character. I have a great deal of opinion about how my people are presented. We show a great deal by what we put on our bodies.
Meryl Streep
Movies are about people. It’s the people, the characters in the stories, who hold our attention and who are of endless fascination to the audience. The people are the emotional core of every movie and it’s their story that moves us. The costume designer must know “who” a character is before they can design their costume. No matter the era that the story takes place, the audience is asked to believe that the people in the movie are real and that they had a life prior to the start of the movie. We join our cast of characters at one moment in their life. Everything about them must resonate true, including their clothes.
What ever the genre, the designer’s creative process starts with research. This is explored in case studies including Fight Club (Costume Designer Michael Kaplan, 1999) and Raiders of the Lost Ark, (Costume Designer Deborah Nadoolman, 1981) and concludes with a dissection of designer Alexandra Byrne’s Elizabeth: The Golden Age (2007) accompanied by a royal court including Bette Davis as The Virgin Queen (Charles LeMaire, Mary Wills, 1955), Marie Antoinette (1938, Costume Designer Adrian), Marie Antoinette (2006, Costume Designer Milena Canonero), Dangerous Liaisons (1988, costume Designer James Acheson), Shakespeare in Love (1998, Costume Designer Sandy Powell).

Act 2: Dialogue
What’s great about costume is it’s the visual representation of the internal side of people. That’s what I love.
Tim Burton
Dialogue examines the intimate creative collaboration of great filmmakers and their costume designers with four pairs of especially commissioned on-camera interviews. Over the past century, costume designers work within a rapidly changing social and technological landscape: from silent to sound, black and white to Technicolor and from the Golden Age to 20th-century multi-national corporations and art house ‘indies’. Costume designers have embraced innovations such as Joanna Johnston’s slinky bombshell Jessica Rabbit in Who Framed Roger Rabbit (1988) and 21st-century motion-capture, exemplified by Deborah L. Scott, and Mayes C. Rubeo who helped bring the magical characters of Avatar (2009) to life.
The section concludes with the ‘Art of Becoming;’ two case studies with the participation on camera of the great American actors, Robert De Niro and Meryl Streep. Both actors, celebrated for their transformative skills, will discuss their use of costume to channel their new ‘people.’ Five costumes chosen from their most memorable roles will be on view.

 ACT 3: Finale
If you (the costume designer) can make the audience feel the actress is the character, then it’s a good job of costuming.
Edith Head
Entering the last gallery, our visitors will enter the most glamorous Hollywood nightclub in the world, filled with familiar famous faces who have taken their permanent place in international popular culture.
Finale is a celebration of Hollywood heroes, villains and femme fatales. Screen sirens including Mademoiselle Amy Jolly (Marlene Dietrich) in Morocco (1930, Costume Designer Travis Banton), Sugar Kane Kowalczyk (Marilyn Monroe) in Some Like it Hot (1959, Costume Designer Orry-Kelly), Holly Golightly (Audrey Hepburn) in Breakfast at Tiffany’s (1961, Costume Designer Hubert de Givenchy), Fanny Brice (Barbra Streisand) in Funny Girl (1968, Costume Designer Irene Sharaff), Roxie Hart (Renee Zellwiger) in Chicago (2002, Costume Designer Colleen Atwood), in Cecilia Tallis (Keira Knightly) Atonement (2007, Costume Designer Jacqueline Durran) will be seen alongside a dynamic grouping of action, fantasy, sci-fi and superhero characters including Matrix (1999, Kym Barrett), Harry Potter (2001, Judianna Makovsky), Twilight: New Moon (2009, Tish Monaghan) and Spider-man (2002, James Acheson)
Costumes are one channel by which a character is transformed from the written page to a multi-dimensional people. The costume designer gives the clothes to the actor, the actor gives the character to the director, and the director tells the story. When a character and a film capture the public’s imagination; the costumes can ignite worldwide fashion trends and influence global culture. Cinematic icons are born when the audience falls deeply in love with the people in the story. And that’s what movies, and costume design, is all about.
Deborah Nadoolman Landis
Senior Guest Curator, Hollywood Costume

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Plaid Soft Side Suitcase ,Brown, Beige, and Blue 1970s Luggage


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Vintage 20x16x7" Luggage in a fantastic condition



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Hand leather painted poutch