Versus RTW Spring 2019

“Gianni gave Donatella Versus 1989” was the iconic print of the Versus spring collection, which marks the 30th anniversary of the brand to be celebrated next year. The lineup was unveiled with one-on-one appointments at the brand’s showroom in Milan.
The lettering came printed on a range of easy-to-wear, street-focused pieces, which embodied the urban, young and fun spirit of the brand. T-shirts, dresses with side slits, hoodies, mini pleated skirts, anoraks and jeans created an iconic, bold wardrobe for frisky, cool city boys and girls.
Vintage prints were revamped with a contemporary twist. A hand-painted feel gave an artsy, creative touch to the lettering inspired by Gianni Versace’s Vanitas Designs book. The motif was splashed on camp shirts, leggings, sweatshirts and skirts with nylon waistbands, while a logo with Gianni Versace’s authentic signature pops up on off-the-shoulder cropped tops and sleeveless hoodies.
Multicolor logo patches in a fresh palette of aqua green and neon pink punctuated the sharp-cut indigo denim pants, jackets and mini skirts, as well as the eye-catching nylon parkas and windbreakers.
Drawstring details, net and retro sporty graphics also introduced a touch of athleticism in the colorblocked dresses, tops and track suits, which epitomized the highly energetic, dynamic soul of the

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Reed and Delphine Krakoff on Curating a Home Versus Decorating a House

Known for their beautiful and memorable home interiors, Reed and Delphine Krakoff are finally showing off their work with a new Rizzoli book, “Houses That We Dreamt Of: The Interiors of Delphine & Reed Krakoff,” which they signed copies of Thursday evening at the Rizzoli store in Manhattan.
“Delphine and I had done quite a few projects together and we had always thought about capturing those projects and having them more as a record for us,” Reed said from the signing, which was hosted by Amy Astley of Architectural Digest. “We met Ivan Terestchenko through a different project and he had photographed Pierre Bergé and YSL’s houses, and we loved his work. He photographed one of our spaces and he did an amazing job. What we particularly liked is that he is pretty much on his own; he works with no lighting, no assistant, no stylist, nothing.”
“It’s real,” said Delphine, who is an interior decorator. “It was more of a diary; it’s a true representation of how we live.”
“That’s what was really appealing,” Reed said. “Anything that is in the home — flowers or branches — was there. I wasn’t even around when he was shooting.”
Giving Terestchenko that freedom allowed the photographs

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Front Row At Versus RTW Spring 2018

VIDEO STAR: Lottie Moss looks set to join the ranks in the vlogosphere. “I get so many people [on Instagram] asking what I’m wearing and what makeup I’m using that I thought people might like it if I did videos that show my fashion and beauty choices,” she said.
The model was recently  in L.A. to work on a big project that, so far, she’s keeping mum about. She tacked on a short break with a friend and played tour guide. “She’d never been to Los Angeles before so I showed her all the sights – Rodeo Drive, Beverly Hills, Malibu. It was cool.”

Lottie Moss 
Richard Young/REX/Shutterstock

While there, she posted a picture of herself in a tiny bikini by Same Swim that followed a video of her working out doing a side plank. One begets the other, really. “I try to see my trainer, three to four times a week,” she said. “We work hard! Sometimes it’s boxing and skipping, sometimes weights. Always different.”
Her front row neighbors included singer-songwriter Ne-Yo, who spent the pre-show moments making silly faces into his phone while taking selfies, and FKA Twigs, who had a refreshingly straightforward reason for braving the anti-fur protestors outside to attend the show,

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How LeBron, Cavs can sharpen attack versus Warriors’ dazzling D

How LeBron, Cavs can sharpen attack versus Warriors’ dazzling D
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Gigi Hadid Photographs Boyfriend Zayn Malik for Versace Versus Campaign

Zayn x VersusA superstar model has a new gig as a photographer.
Gigi Hadid stepped behind the camera to photograph her boyfriend Zayn Malik for the Versus Versace SS17 campaign. Hadid selected Malik…

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Funny Boy Versus the Bubble-Brained Barbers from the Big Bang

Funny Boy Versus the Bubble-Brained Barbers from the Big Bang


Exiled on Earth, Funny Boy must save his new planet from an evil haircutNever spit spitballs at your brother. That’s the lesson Funny Boy learned on his last day on the planet Crouton, when his parents strapped him to a rocket and shot him to Earth as punishment for misbehaving. But just like Superman, this exiled Croutonian gained powers when he landed on the new world. He’s not super strong, super fast, or super stylish, but his super sense of humor lets him crack jokes faster than a speeding bullet, and leap over boring situations with a single pun. But now he must face the least hilarious thing in the universe: the first day of school. As he tries to fit in among his human peers, Funny Boy learns that three intergalactic barbers have come to steal every strand of hair on Earth. He’ll have to dust off his freshest material to stop them, because everybody knows there’s nothing funny about a bad haircut. This ebook features an illustrated biography of Dan Gutman including rare images from the author’s personal collection.

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A Good Relationship Versus A Bad Relationship In One Comic

One way to know you’re in the right relationship? Your spouse finds your little quirks and odd habits endearing rather than embarrassing. 

Cartoonist Sarah Andersen of the website Sarah’s Scribbles highlights that important distinction between a good relationship and a crappy one in the cute comic below: 

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A Good Relationship Versus A Bad Relationship In One Comic

One way to know you’re in the right relationship? Your spouse finds your little quirks and odd habits endearing rather than embarrassing. 

Cartoonist Sarah Andersen of the website Sarah’s Scribbles highlights that important distinction between a good relationship and a crappy one in the cute comic below: 

Also on HuffPost:

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.




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Albums Produced by Drumma Boy (Music Guide): Paper Trail, the R.E.D. Album, the Appeal: Georgia’s Most Wanted, Versus, Crunk Rock

Albums Produced by Drumma Boy (Music Guide): Paper Trail, the R.E.D. Album, the Appeal: Georgia’s Most Wanted, Versus, Crunk Rock


New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (music and lyrics not included). Pages: 27. Chapters: Paper Trail, The R.E.D. Album, The Appeal: Georgia’s Most Wanted, Versus, Crunk Rock, Deeper Than Rap, The DeAndre Way, The Recession, Trill OG, The State vs. Radric Davis, New Jack City II, Priceless, Da REAList, Gangsta Grillz: The Album, Trilla, The Inspiration, Hustlenomics, All I Feel, 5 * Stunn

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Versus By Versace Women s Tokyo Crystal 3C6370 White Analog Watch

Versus By Versace Women s Tokyo Crystal 3C6370 White Analog Watch


Versus By Versace Women’s Tokyo Crystal 3C6370 White Analog Watch Model: Tokyo Crystal, 3C6370. Dial Color: White. Band Color: White. Water Resistant: 50M. Buckle Clasp
List Price: $ 228.95
Price: $ 228.95

‘Mad Men’ Review: Man Versus Machine In ‘The Monolith’

Don’t read on unless you’ve seen “The Monolith,” the fourth episode of “Mad Men’s” final season.

“Are you just going to kill yourself? Give them what they want?” — Freddy Rumsen

Ladies and gentlemen, it’s hobo time!

What does a person do when confronted with an image of themselves they don’t like? What does a grown adult do when things get difficult and confusing? Why, you just leave, of course! Effort, compromise, hard work and just showing up — who has time for such trivialities? Not Don Draper. Not our good friend Marigold.

Presented with the ideas that the Don Draper of the past is now irrelevant and that he must now compete while occupying a subservient position, Don did what he does best — he rebelled. He resorted to all his old tricks, one after another. During his meeting in Peggy’s office, he gave her such a glare of acerbic fury that I thought her clothing might spontaneously combust. Next, he ostentatiously didn’t do his homework, making a point of playing Solitaire instead of attending Peggy’s meeting a few feet away.

The end run was always popular with Don as well — what if he could pull in a new piece of business and be hailed once again as the conquering hero? Nope, Bert Cooper wasn’t buying it. Don was reminded that he was sitting in the office of a dead man and that just about everyone in a position of authority at the firm expected — no, hoped — that Don’s time with them would expire as well. Don protested, Don fired off pleas and insults, but nothing worked. Cooper was Not Having It. How dare he?

How dare Peggy try to boss Don around? How dare Cooper regard him as an outmoded piece of garbage — something to be cleared out of the creative bullpen and replaced with a gleaming, monstrous machine? How dare Roger be absent and unavailable for an old-time “Why Don’t These Fools Appreciate Us” commiseration party? Well, Don would show all of them!

Yes, they’d be sorry, wouldn’t they, after Don got stinking drunk in his office and had to be dragged him (not before insulting his erstwhile new friend Lloyd). Don was so caught up in his drunken, self-serving tantrum and his desire to hobo out of his responsibilities that he one basic fact didn’t even register: The only person in Manhattan who was willing to meet him for a mid-afternoon date was not a sexy lady but, well, Freddy Rumsen.

Thank God for Freddy Rumsen. Once he got Don home and sobered up, Freddy drove home the point of the episode: At some point, all of us have to get over ourselves. Even Don Draper has to get over himself. Don was angry that the version of himself from the past — the slick, more-or-less reliable version of him that used to kick ass back in the day — had been forgotten. Rather than re-earn his place at the table after an egregious series of errors, he wanted to kick the table apart and use it for kindling. That’s mature!

One mystery has been solved, anyway. We now know that when Don said “Okay” to the partners’ demands, he really didn’t have a plan, aside from riding in on the non-existent reputation that he’d spent the past few years shredding. Don made the mistake of thinking that he had some credit in reserve with these folks, when in fact, his account has been overdrawn for some time. It’s humiliating to get smacked in the face by the truth, and we all know how well Don deals with humiliation and shame. An empty bottle is usually just the start of that spiral.

As for Roger’s daughter Margaret, her crisis stemmed from the past as well. She blew up her life and that of her family, because her parents weren’t there for her in consistent and helpful ways when she was young. Her father let her down by being absent and her mother was too lax, and her idea of learning from the past was to repeat those mistakes with her own child. That would sure show Ellery! All things considered, Margaret’s sojourn at the farm was just a different version of Don’s foot-stomping hissy fit. Both she and Don wanted their lives to be different, but rather than getting buckling down and changing things the hard way — keeping other people’s needs in mind all the while — they both preferred to just up and leave and/or make scenes. Margaret at least made a show of outer placidity, but her deep well of anger roiled just below the surface.

For all we know, Margaret stayed down on the farm (which fits this season’s less-than-encouraging pattern of female characters frequently making very selfish, short-sighted and even out-of-character decisions, as Sam Adams pointed out). But this is the season of Don learning from his mistakes, sort of. He’s learning to the extent that he can.

The opening image of the season showed Freddy giving Don’s pitch about the preciousness of time, and, in a manner of speaking, Freddy gave that pitch once more to Don in “The Monolith.” Don was encouraged to forget the past in which he was the monolith that everyone worshiped — the one thing that made his agency distinctive. As Don was reminded several times in this hour, he is not regarded as a singular genius anymore, and even if he were, genius may no longer be required. He does have qualities that set him apart, but regardless of what his talents are, he has to compete now. He can’t phone it in, he can’t have tantrums and he can’t be unreliable. If he had any doubt about where the future was heading, he just had to ponder the fact that the machine parked 20 feet from his desk wasn’t ever going to sleep or consume a bottle of vodka in the middle of a workday.

What luck that Don’s secretary, Meredith, is as dumb as a box of rocks and never realized how drunk Don was. What luck that Peggy didn’t know that imbibing on the job was a huge no-no for Don. She didn’t really even pick up on the fact that he was wasted, given how consumed she was by her own problems.

The elaborate Cold War dance between Don and Peggy was by far the high point of the episode — you’re damn right that there’s a hierarchy, and the one that used to be etched in stone at the agency had been turned on its head. Don reporting to Peggy? Taking orders from her while sitting next to a guy who is half Don’s age? It was delicious to see how much Peggy recoiled from giving Don orders and how much she relished the experience as well. Revenge is a dish best served cold and with a side of Scotch, eh, Pegs?

Don and Peggy are cut from the same cloth: Neither of them wanted to give in, yet neither of them could afford an all-out war, so their interactions often consisted of skirmishes involving meetings, messages, secretaries, absences and Deeply Significant Glares. Creator Matthew Weiner knows we want to see Don and Peggy side by side in the creative trenches again, but he’s going to make us wait for it. Oh, how tantalizing that wait can be.

Regarding the power struggle, I’m not sure Peggy “won,” as such, but, thanks to Freddy’s advice, Don kind of gave in. It’s a miracle that all his tantrums and drunken antics didn’t get him fired, but it’s always taken Don a long time to realize just how privileged and lucky he is. Don can tuck in his shirt, take a shower and stride into the office looking like an unassailable monolith, even if he feels afraid and hungover and tired. He can, if he chooses, fake it until he makes it. Freddy doesn’t have that kind of luck or looks, and he knows just how valuable it is to get one more chance. And here’s the kicker: Rather than act petulant and angry about the fact that Don is getting another shot, rather than be instinctively vindictive like so many other characters on this show, Freddy responds like a generous, decent human being. Rather than leaving Don to twist in the wind, he preps Don to get back into the game (sure, this benefits Freddy’s freelancer income, but Freddy’s actions benefit Don much more).

Miracle of miracles, Freddy’s advice actually sinks in — some of it, anyway. Life’s about showing up every day and trying your hardest even when you don’t feel like it, and one of these days, Don may just learn that lesson.

Late in the episode, Peggy gets some advice from Joan (and who doesn’t love it when those two share some bonding time? It’s never not awesome). The thing is, Joan doesn’t really have a great grasp on the power plays that are going on all over the firm. She may know Cutler’s out to isolate Roger — she’s not blind, after all — but Lou Avery is playing a very deep game, and I don’t think Joan sees that. Lou has thought this through and he absolutely wants either Don or Peggy to fail — though his ideal situation would probably involve both of them flaming out. Lou knows their history, he knows that Don has an ego and will hate working for his former protege, and Lou only gave Peggy that raise in order to distract her from his real purpose — to get her out of his way once and for all.

Make no mistake, Lou means business. Lou got an iconic back-of-the-head shot in this episode, in a scene in which he wore a suit, not his grandpa-chopping-firewood sweater. If you ask me, this Burger Chef gambit represents Lou’s last stand. He wants to force Don and Peggy go to war, and then he hopes to sweep in and consolidate his own position once the smoke clears.

It’s not a bad gambit, but, let’s face it, Don and Peggy are dynamite team, even when they’re not getting along. The irony is, he may have done them both a huge favor, given that they often produce their best work when there’s a spark of conflict between them. I know I’m not the only one hoping Don and Peggy nail the Burger Chef pitch and leave the partners wondering why they have three creative chiefs, and whether Lou needs to be one of them.

All in all, the office plot ticked along nicely, thrumming with the tension that came from wondering if Don would self-destruct just a few weeks into his refurbished career. We’ve seen Don go down in flames before, and there was every chance that might happen again. And Roger and Margaret’s storyline was thematically linked in was that felt, dare I say it, organic. So many characters were obsessed with how things had been years ago, but the past is deeply irrelevant now. All that matters is what people do in the present day, and those who don’t recognize that will be left behind.

Roger’s a fossil too, one who has no time for self-examination or true growth, despite his fondness for pot, debauchery and half-dressed hippies. Margaret left her Junior League life behind, thinking being close to nature (and close to a shaggy, bearded dude) would bring her to a place of mature self-awareness, but like Roger’s acid trips, her country refuge was just an escape from the workaday grind of living. Margaret and Roger remain carbon copies of each other, right down to the way they crooked one elbow while staring at the stars. They are both, paraphrasing Mona’s words, perverse children who think only of themselves (a description that also fits Don pretty well).

What makes Roger unique, irreplaceable by another man or even a machine? Hard to say, but his hypocrisy and cavalier attitude toward everyone else have made him all but irrelevant in his personal and professional lives. For all his adventurousness, Roger’s always been too cowardly to live up to his biggest responsibilities, and it’s too late for him to change now.

What makes Peggy unique? Well, she’s sharp, smart and works hard, but I don’t for a minute think that the partners would stop Lou from shoving her out and replacing her with a more compliant and less creative copy chief. Peggy isn’t a coward — she’s very brave, in fact — but she’s unfortunately dependent on the goodwill of others for her upward trajectory, and she’s running very short of helpful mentors at the moment.

What makes Don unique? What does he bring to the party? Will any of those skills — if he’s still got them — still be relevant? We’ll have to wait until next week to see if he’s still got the goods. Maybe he’ll never catch up to where Peggy is on the carousel.

Hail of bullets:

  • Speaking of carousels, the final song of the episode was a nice callback to Don’s legendary Season 1 Carousel pitch. Remember back when Don was The Man? Those were the days!
  • I am a little disappointed that Roger’s Stolichnaya bottle doesn’t sing every time someone takes the cap off.
  • Somebody write a term paper on the God imagery as it relates to the new computer at SC&P, the computer as the tree of knowledge (Don even referred to Lloyd as “the apple” dangling from that tree), the danger the computer’s infinite knowledge presents, the way Don (a.k.a. the God-fearing Dick Whitman) called Lloyd the devil in all but name, the worship of monoliths in ancient cultures, etc.
  • Adding to the sense of tension and dislocation in “The Monolith” — the constant noise and hammering of the construction crew. It doesn’t take a genius to find ominous meanings in the replacement of the sloppy creative lounge with a black and white behemoth that will spit out numbers all day. “It’s not symbolic.” “No, it’s quite literal.” Indeed.
  • Last time Don came to the office, he floated through it like a ghost or a spectral presence. This time, it was as if he was guesting in an episode of “The Walking Dead” — when he arrived, the office was a ghost town, even to the point that a phone was left dangling in a creepy, horror-movie way. As if there weren’t enough reminders of death and mortality, Don found poor Lane’s Mets banner. Lane’s absence was all over this episode, up to and including Freddy’s warning to Don about committing career (or actual) suicide.
  • Pete can’t help but hate that Bonnie sees them as career equals and feels empowered to comment on his job performance (even in a positive way). Remember how undermining he could be to Peggy? (“I don’t like you like this.”)
  • “They’re trying to erase us!” Michael is not wrong about SC&P, in the form of Harry, Cutler and Lou, trying to minimize and freeze out the creatives. Why not take profitable, reliable mediocrity over mercurial, unreliable brilliance? Don has a long way to go before he can convince anyone that he and a truly powerful creative team present the better option. So again I wonder, maybe he and Peggy go out and establish their own agency eventually?
  • “Margaret’s run away.” “To where, Bergdorf’s?” Never change, Roger.
  • Speaking of quality Death Glares, the one Don gave Harry when Harry referred to the agency’s three creative directors was brief but delightful.
  • I definitely think Lou heard Peggy’s gibe about him, and he’s absolutely plotting her downfall.
  • Don’s face when Peggy was giving him orders regarding the Burger Chef tag lines. DON’S FACE! Such burning rage. Terrific acting by Jon Hamm.
  • “I saw that they have got a great product, but they don’t trust it.” A little bit of meta-commentary on Artists vs. Suits, or perhaps Showrunner vs. Network? Perhaps.

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