#Cerruti Image

[lounesdarbois]

1998

[fear-is-truth]

void. ── patrick bateman x reader

⟢ WARNINGS: fantasying about violence, sex & murder ・ foul language・sexism・ reader discretion is advised .ᐟ

⟢ TAGS: bateman’s pov・fem!secretary!reader ・“y/n” used i’m so sorry

⟢ WORD COUNT: 1,875

a/n: english is not my first language, but i loved the book & movie sm (might write a part two.)

VOID

I flip through the pages of GQ, my attention divided between an article on the season’s latest must-have suits and the image that keeps surfacing in my mind.

Paul Allen’s assistant. She started working here a few weeks ago, and ever since, I can’t seem to get her out of my head. It’s irritating as hell. She’s not like the women I usually deal with—clones of one another, in varying shades of blonde. This new girl is different.

It’s not like she’s anything special—at least not in the usual sense. I remember watching her, studying the way she fumbles with a stack of papers, fingers trembling slightly. I wonder how they’d feel like wrapped around my cock.

She’s not like the others. Not like Evelyn, with her relentless neediness, or even Jean, who’s dependable but she is, well, Jean. Reliable, dependable, and utterly forgettable.. y/n—there’s something about her that feels different. Unspoiled. Innocent in a way that’s almost laughable in this city, like a virgin lamb wandering into a den of wolves, completely unaware of the danger that surrounds her. And it makes me want to ruin her.

It’s intriguing. It’s also fucking annoying.

I toss the magazine aside, the pages crumpling as they hit the sleek surface of the desk. My eyes drift to the window, where I can see the city stretching out below, a concrete jungle full of meaningless, vapid people.

My reflection stares back at me from the mirrored wall, and I adjust the knot of my Charvet tie, admiring how it complements my gray wool suit by Cerruti 1881. Everything is meticulously in place: my Valentino loafers shine under the soft glow of the overhead lights, and my skin is flawless, practically glowing from the morning routine of an intense workout and the application of a moisturising mask from Jean Paul Gaultier. I run a hand through my slicked-back hair, appreciating the perfection I’ve crafted.

I feel a pang of something—sadness? Anger? No, it’s more like emptiness. A void that no amount of money, no designer suit, no fucking (and later slaughtering) prostitutes can fill. I’ve been feeling it more often lately, especially when I’m alone with my secretary who’s in love with me. She’s always there, always willing to please, but she doesn’t challenge me. She doesn’t excite me. She’s just… there. I pity her, in a way, though I doubt she even realises it.

“Van Patten,” I reply coolly, leaning back in my chair. I feel the leather creak beneath me, a sound that irritates me more than it should.

“Going to Harry’s Bar later?” he asks, stepping inside without waiting for an invitation. Typical. I stare at him, considering the offer. Harry’s is fine, but the thought of spending the evening listening to these idiots prattle on about which bar serves the coldest martinis or which girl they’re planning to fuck next, makes me want to drive a nail through my skull. Still, there’s a game to be played.

“No,” I say finally, my voice flat. “I have plans.”

Van Patten shrugs, clearly not giving a shit, and turns to leave. But then he stops, his gaze shifting to the hallway behind him. I follow his eyes, and there she is—her, holding a stack of files that looks too heavy for her.

“Oh, by the way, have you seen Allen’s new assistant? McDermott’s been talking about wanting to fuck her her non-stop. I’d like to fuck that pretty little thing too.”

I don’t react outwardly, but inside, I feel a flicker of something—anger, perhaps. Not for her, but for myself. For the fact that I’m letting this get to me. Because I too want to fuck her. “McDermott’s an idiot,” I say coolly, eyes narrowing slightly. “She’s not his type.”

He snorts. “She’s not anyone’s type. Too shy, too pure. She looks like she’d freak out if you even touched her. You know how some guys love that innocent act. Wouldn’t last a day with someone like Bryce or Preston. They’d eat her alive.”

“Get out, Van Patten,”

My thoughts drift to Allen’s last dinner reservation—Dorsia, of course. Bastard. I can’t even get a table there without months of planning, but Paul Allen—stupid, oblivious Paul Allen—walks in like it’s nothing. It makes me want to crush him, to take everything from him. Including her.

Once he’s gone, I stand up and adjust my suit jacket, smoothing out non-existent wrinkles. I step out of my office, my eyes scanning the hallway until I find her.

She is standing near the copier, a stack of files in her arms, her head tilted slightly as she tries to figure out the machine. She isn’t flaunting anything, and yet, she still manages to catch my eye. The black dress she’s wearing is Donna Karan, I’m almost sure, though the cut is a bit too conservative for my taste. It clings to her figure, revealing just enough to pique my interest but not enough to satisfy it. Her shoes, I note with some disappointment, are Manolo Blahnik. Not quite as stylish as something from, say, Azzedine Alaïa— not predictable choice, though not without merit. The impression of someone trying to fit into a world she doesn’t fully understand. Cute.

“y/n,” I say, my voice cutting through the hum of the copier. She jumps slightly, looking up with wide eyes that are both fearful and curious. Interesting.

“Mr. Bateman,” There’s no coyness in her voice, no flirtation. Just that same goddamn innocence. My mind wanders, imagining what it would be like to run a blade across her soft, supple flesh and watch the light fade from those innocent eyes Her skin parting under the sharp edge of a knife, the warmth of her blood spilling out, the sound she would make. But as quickly as the thought comes, it dissipates, leaving me with a hollow emptiness that I can’t quite explain. It’s a thought that would normally excite me, but with her, it feels… wrong. Unnecessary. Maybe even wasteful.

I realise I don’t really want to hurt her. At least not in the way I’ve hurt others. Quite unsettling, I feel… disappointed in myself, as if I’m losing my edge.

“Call me Patrick, or Pat.”

I correct, though I don’t know why. I’ve never cared about what people call me before. I glance down at the papers she’s holding.

“Your boss is not in yet?” I ask, knowing full well he isn’t.

“No, he’s not,” her voice is breathless, carrying a slight tremor—I wonder how my name would sound on her tongue when I’m fucking her. I also wonder what sounds she’d make. Soft kittenish noises, maybe. Doesn’t seem like the type to spew profanity, but one can really tell.

“I’m just trying to get these copies done before he arrives.”

I nod, pretending to care.

“He’s lucky to have an assistant like you,”

A blush spreads across her cheeks, and she stammers out an thank-you, though I barely register it. My focus shifts to the gold chain around her neck—Tiffany. Cheap, sentimental. It doesn't belong here, but it suits her somehow, in that unsophisticated way.

“Though, if I were you, I’d be careful. He’s not exactly known for his discretion.”

“I’m…sorry?”

I smile, she’s taken the bait. “Paul’s habits aren’t exactly… discreet. Let’s just say he’s not very particular about who he spends his nights with. Or what he picks up from them.”

She blinks, the implication sinking in, and I see a flash of something in her eyes—concern, maybe disgust. Good. Let her think about that. It’s too easy to manipulate her, to plant seeds of doubt in that pretty little head of hers. I flash her a smile, one I’ve perfected over years of dealing with people who are far beneath me.

“I’m sure you’ve heard the rumors,” I continue casually, “about what’s going around these days. AIDS is a nasty business. You can never be too careful.”

“But don’t worry,” I add quickly, my tone lighter. “You seem like someone who’s smart enough to avoid trouble.”

She doesn’t respond, just nods slightly, still processing what I’ve said. I can see the effect my words have had on her.

“Did you know,” I say, shifting to something more conversational, “that Ted Bundy once worked at a crisis hotline? Spent his days talking people out of killing themselves. Ironic, isn’t it?”

I don’t expect her to catch the reference—most people don’t. It’s just another way to distance myself from them, to prove my superiority. But then, she surprises me.

“Yes, I read about that,” she says quietly, looking up at me with a mixture of curiosity and something else—understanding, perhaps?

“It’s strange, how someone can seem so… normal, but be so twisted underneath the mask of sanity.”

I pause, taken aback by her response. She got it. She actually understood. For a moment, I feel a flicker of something—something almost like respect. But it’s very fleeting, quickly replaced by the familiar emptiness.

“Exactly,” I reply, my voice smooth as glass. “People are rarely what they seem.”

There’s a brief silence, and I let it linger, watching her as she processes our exchange. I’ve rattled her, but I’ve also piqued her interest. It’s a dangerous combination, one that I’ll need to manage carefully. But I’m feeling bold.

“By the way,” I continue, “I was planning on having dinner at Dorsia tonight. Why don’t you join me?”

She looks up at me, confused, unsure, and I feel a twinge of satisfaction. She’s still trying to figure me out, to understand what I want. It’s amusing, really, how little she knows.

“I don’t know, Mr. Bate– Patrick,” she says, her voice faltering. Her innocence, her reluctance—it’s intoxicating like pure, uncut cocaine.

I smile again, this time more warmly, but it’s just a mask. “Come on, doll. It’s just dinner. Besides, it’s not like your boss will miss you for one night.”

“Okay,” she agrees quietly. There’s that softness in her voice again, that genuine gratitude that I don’t understand.

“Excellent,” I say, satisfied. I turn to leave, but not before giving her one last look. She’s already turned back to the copier, but I know that she’s not thinking about the papers anymore.

She makes me feel… something, though I’m not sure what. It’s frustrating, maddening even. But it also gives me hope. Maybe she’s the key to filling that void. Or maybe she’ll be another disappointment, like the rest. But tonight, at least, she’ll be mine to toy with.

Hopefully that will be enough to stave off the void for a little while longer.

read part ll here

 fear-is-truth 2024 — all rights reserved. do not modify, repost, translate, or plagiarise my content.

[neigepomme]

hello pommeee! hope you're recovering from caleb's myth well, because i am NOT. anywho, i was curious about your thoughts on which perfume caleb and mc uses? i feel like they both smell GOOD and caleb just keeps sniffing mc's neck or hair at every chance like...he's down bad

HIHIHIHIIIIII and babes i'm in shambles i'm actually congested as hell from crying over it.. also OMG PERFUME TALK!!!! OK! this is my JAM!!!!

i added the fragrantica link for each scent if you're interested in the top/middle/base notes too hehe..

i think caleb would have a rotation of 3 perfumes!! the scent that he'd wear the most often is code by armani, followed by le male by jean paul gaulthier and then perhaps 1881 edition blanche by cerruti!!

code is a not a very aggressive scent, so i think it's really nice for his day to day self with mc! it's subtle yet very attractive, and the base tones are quite grounding but the middle/top notes are sexy..

for colonel xia, le male is a standard.. Masculine smell..? i feel like it's a very commanding scent, yet not too strong on the nose! it fits his strong nature that's not too. Present if that makes sense? not too boasty, but commanding enough that you respect it!

1881 edition blanche is just a scent i like LOL it's not too heavy on the nose either! much more lighter, but more present, so somehow between code and le male!! just an additional scent on the caleb roster!!

for mc, i think a lighter/summery smell? so perhaps acqua di gioia by giorgio armani! if you want a darker/more mature scent, i loved cerruti's image woman! but i do lean towards acqua di gioia.. i think also, maybe some childhood scents? just some cute perfumes, maybe with a sweet apple scent hehe

[manic-maniac-man]

Nicolas Andreas Taralis

SS08 interview

What did you intend to express through this collection? What was the most important point in this collection?

This collection was very much about renewal I wanted to really push the limit of what a house like Cerruti stands for as a brand and historically what it was. Cerruti was always about a certain lifestyle with an emphasis on quality tailoring, materials and structures. The idea of a timeless elegance has always been of pivotal importance for the house but so has the idea of being contemporary or of our time. I tried to reinterpret these elements in a totally new and extremely personal way for now, for 2008. Cerruti 1881, the traditional collection, is about where the house came from, its infancy, youth, and now maturity reinterpreted more literally, With the new Cerruti collection it is precisely that that we are doing a new collection, a new departure and it's a direction forward to the future thinking about my own generation.

What are the interesting points about in creating a collection for a venerable brand like Cerruti? Are there any difficulties?

Mr. Cerruti has been at the heart of his house personally for the better part of 35 years, and it was an extremely personal collection during his time, I couldn't just come and do facsimiles of his work. The Cerruti house lost this soul unfortunately. I try in my own modest way to rediscover this soul that was lost. It was evident that it needed to become personal again, this is what made the house valid and strong at the time, and this is what I hope to bring to it again. The difficulty of course arises that in order for it to become personal again. I needed also discover myself in the collection this implies very difficult decisions and where to make the separations, where to take the risks.

Where do you get the inspiration?

I would like very much to give you an extremely clear idea, some names, etc, but in fact it's never so simply said. Inspiration can come from so many places: experiences, friends, encounters, the light at early morning sunrise... it's so plural and vast! This season, it came from the image of a very decadent elegance, and the image of the smoking as the 'ne plus ultra jacket' for which the house was so famous.

You have the experience at Dior Homme and other top brands. What did you get from them?

An absolutely fantastic experience and an understanding of the totality of fashion that you should never isolate it from real life.

What kind of brand do you intend to turn Cerruti

into? I would be most pleased if I could bring a soul back to the house, to bring a vitality and energy back to the name and the collections and to make the house valid once again in fashion. I would love to see Cerruti as incredibly strong and modern, desirable and with a new and unmistakeably clear point of view.

What kind of situation you are in with your own brand?

I chose to focus on Cerruti now, the project requiring my full dedication and presence to make it work. When I arrived, there were no teams anymore, no studio, no atelier, nothing We had to start totally from scratch. As for my personal expression, I will have to find my own aesthetic to bring to Cerruti this is exactly what I hope to bring to the brand.

Right now you are based in Paris. For you, what kind of city is Paris?

Paris is a fantastic city with so much warmth, light and energy. It's my adopted hometown and one that I feel ever more comfortable in as the years go by. There's a real curiosity about fashion and this is really a city very curious about newness, where the culture of fashion is not strictly business. It's incredibly nourishing.

How do you spend your time when you have a day off?

Day off??? (Laughs) First I sleep for a long time, then I stay at home, listen to music and not think about work. That's luxury!

How do you think about today's men's fashion in general?

I try not to think about it too much to be honest. To remain a little bit naive... Spontaneity is fundamental. This is the only way I can manage to be sincere with myself and do things that feel right.

What do you want to deliver the people, creating this collection and your own collection?

I would like to make beautiful collections, to make people feel beautiful and good about themselves. That's what this is all about in the end, isn't it?

[pairfum]

Giorgio Armani Quotes: Defining Style and Luxury

Giorgio Armani quotes are iconic in the fashion industry. Born on 11 July 1934 in Piacenza, Italy, he has become one of the most influential designers in the world. His journey into fashion began somewhat unexpectedly. After a brief stint in the medical field, he found his passion for fabric and design while working at a department store. This experience ignited his desire to create, leading him to establish the Giorgio Armani label in 1975. Armani is renowned for his clean, tailored lines and timeless elegance. His designs reshaped the fashion landscape, introducing a new level of sophistication and simplicity that had not been seen before even in our wildest dreams. He brought a sense of relaxed luxury to menswear with his unstructured jackets and extended this philosophy to women’s fashion, making a significant impact on how professional women dress. His unique approach earned him a place among the top fashion designers globally. Giorgio Armani’s influence stretches beyond clothing. He has ventured into various sectors, including hospitality, beauty, and home decor, always maintaining his signature style of understated elegance. His quotes reveal his philosophy on fashion, life, and success. These memorable words inspire many and reflect his enduring legacy in the world of design.

Who Is Giorgio Armani?

Giorgio Armani is a renowned fashion designer who transformed the world of fashion with his minimalistic and elegant designs. Born on 11 July 1934 in Piacenza, Italy, Armani initially pursued a career in medicine. However, his passion for design led him to a job as a window dresser at a department store. This role ignited his interest in fashion, and he eventually transitioned into design, working for Nino Cerruti before establishing his own label in 1975. Giorgio Armani’s quotes and designs are characterised by their timeless elegance and clean lines. He is credited with revolutionising menswear by introducing unstructured jackets, which offered a more relaxed and comfortable fit. His influence quickly spread to women’s fashion, where he created sophisticated yet practical clothing that reflected the changing roles of women in society. Armani’s ability to blend traditional craftsmanship with modern style has made his brand a symbol of luxury and refinement. Armani’s contributions have earned him numerous accolades, including the CFDA International Award. His designs have graced red carpets, been featured in films, and worn by celebrities globally, solidifying his status as a fashion legend. Armani’s dedication to innovation and quality continues to inspire designers and fashion enthusiasts alike.

Giorgio Armani: The Essence of Italian Fashion Designer and Luxury

Giorgio Armani, renowned worldwide as an Italian fashion designer, has profoundly shaped the industry with a unique vision that exudes luxury and timeless elegance. His creations reflect a deep understanding of style, offering men and women alike a sense of confidence that resonates through his minimalist yet sophisticated designs. Armani’s approach to fashion is more than just about clothes; it’s about crafting a better image for his clients. He once remarked, “Elegance is not about being noticed; it’s about being remembered,” a reflection of his commitment to enduring style over fleeting trends. Through his company’s offerings, Armani continues to embody every little bit of distinctive character that sets him apart as a fashion designer. His perfumes, too, are an extension of his philosophy, designed to leave a memorable impact and capture the essence of his individual style.

The Influence of Mr Armani and His Brand

Mr Armani himself is not only the founder of one of the most prestigious names in fashion but also an icon whose work reflects profound meaning. His personal journey in the industry is marked by a combination of discipline and artistic talent, elements that he shares with few other related authors like Estee Lauder in the fashion world. This strong enthusiasm is evident in every facet of the brand, from clothing to perfume and style accessories. Armani’s designs often focus on the smallest detail, as he believes that true elegance can be found in refinement rather than explosive fashion statements. His fragrances, such as Armani Code, capture this understated allure, blending scents in a way that reflects his love for personal style and life’s profound meaning.

The Timeless Vision of Giorgio Armani Quotes in Fashion and Fragrance

As one of the most revered fashion icons of our time, Giorgio Armani quotes and their influence extends beyond clothes to every aspect of personal style. He believes in dressing real people with designs that adapt seamlessly to different personalities and lifestyles. His fragrances, similarly, are created with a vision that they will accompany the wearer as a sartorial companion, enhancing their confidence and sophistication. Armani, like other living examples of high design, knows that life itself is an art form. This belief is part of his lasting contribution to fashion. For him, both perfume and clothing are crafted to capture something essential—a distinctive character that speaks to the wearer’s essence.

Giorgio Armani: From Sergio Galeotti to Gianni Versace

While Giorgio Armani is synonymous with elegance, it was his friendship and collaboration with Sergio Galeotti that helped launch his professional history. Armani’s world expanded through his association with other designers, including Gianni Versace, each contributing their personal information and creative genius to the fashion world. Versace, known for bold and explosive fashion, provided a contrast to Armani’s understated elegance, yet both shared a deep affection for true style. Armani’s perfume lines reflect this dedication to creating something that is both personal and universally appealing, embodying a personal individual way of experiencing life and scent.

Clothes, Fabric, and the Importance of Style

In Armani’s world, clothes are more than just garments; they’re a second skin, a fabric of one’s identity. He believes that fashion should empower, not mask, our true selves. This love for style can be found in the smallest detail of his collections, whether in a tailored jacket or a masculine uniform designed to offer both functionality and sophistication. For Armani, every thing in his designs has a profound meaning. Armani once commented that fashion is a form of communication, a fashion alphabet that allows individuals to express their insecurities, strengths, and passions in equal measure. His fragrances, much like his fashion designs, speak directly to this idea, offering wearers an olfactory experience that conveys elegance and subtlety.

Giorgio Armani and the Art of Elegance: Quotes that Define a Legacy

Giorgio Armani quotes on elegance, confidence, and style serve as guiding principles in the world of fashion. His words have inspired countless designers and fashion enthusiasts, including related authors like Estée Lauder, whose own brand celebrates beauty and individual style. One quote that captures Armani’s philosophy is, “Elegance is not standing out, but being remembered,” highlighting the profound meaning he finds in simplicity and grace. These artist quotes are not only reflections of his brand ethos but also living testimonies to his influence on real people. Armani’s strong enthusiasm for his work has made him one of the most iconic figures in the world of luxury fashion and perfume, resonating with everyone who values style that is both timeless and true to oneself.

Explosions of Creativity and the Deep Affection for Style

Armani’s work is a testament to the fact that creativity can coexist with discipline. His style is marked not by explosions of flamboyance but by a quiet, controlled artistry that has a deep affection for balance and refinement. Armani’s perfumes are extensions of this belief, allowing the wearer to exude confidence and elegance in a way that feels personal and intimate. As Armani himself has said, true elegance and style come not from trying to impress but from having total complicity with oneself. This intimate connection with one’s own individual style is something that Armani designs for and encourages in others.

The Legacy of Giorgio Armani in Fashion and Beyond

Giorgio Armani’s impact on fashion is profound and far-reaching. His vision of relaxed elegance redefined both menswear and womenswear, making luxury fashion more accessible and wearable. Armani’s designs emphasise simplicity, comfort, and sophistication, which have become hallmarks of his brand. He introduced a new era of professional attire with his tailored suits that exude confidence and class. Beyond fashion, Armani has expanded his empire into various industries. His brand now includes accessories, beauty products, home decor, and even hospitality with luxury hotels and restaurants. Each venture reflects Armani’s commitment to quality and style, ensuring a cohesive brand identity that extends beyond clothing. Armani’s influence is also evident in pop culture. His designs have been featured in numerous films, such as “American Gigolo” and “The Untouchables,” further cementing his influence on both fashion and cinema. Celebrities like Michelle Pfeiffer, Richard Gere, and Lady Gaga have donned his creations, bringing his designs to a global audience. Giorgio Armani has also made significant strides in sustainability. He advocates for responsible fashion practices and has taken steps to reduce the environmental impact of his operations. His legacy is not just about fashion; it’s about creating a lasting impact through innovation, elegance, and a commitment to responsible luxury.

Top 25 Inspirational Giorgio Armani Quotes

Giorgio Armani’s words offer insights into his philosophy on fashion, life, and success. Here are 25 of his most inspirational quotes: 1. “Elegance is not standing out, but being remembered.” 2. “To create something exceptional, your mindset must be relentlessly focused on the smallest detail.” 3. “The difference between style and fashion is quality.” 4. “The essence of style is a simple way of saying something complex.” 5. “I believe that my clothes can give people a better image of themselves – that it can increase their feelings of confidence and happiness.” 6. “Jeans represent democracy in fashion.” 7. “I design for real people. I think of our customers all the time.” 8. “I wanted to dress the woman who lives and works, not the woman in a painting.” 9. “Luxury is about pleasing yourself, not others.” 10. “Perfection is an illusion. It is more important to be human.” 11. “Stay true to your own style and work tirelessly to perfect it.” 12. “Know your body and dress accordingly.” 13. “Comfort and simplicity are two keys that I follow when it comes to fashion.” 14. “Style is having the courage of one’s choices and the courage to say no. It’s good taste and culture.” 15. “I find beauty in imperfection.” 16. “The best things in life are free. The second best are very expensive.” 17. “Trends can be dangerous. Follow your own path.” 18. “True style is about originality and a sense of adventure.” 19. “Celebrate the individuality of others as you celebrate your own.” 20. “The importance of detail shapes our style and defines who we are.” 21. “There is no virtue in an absence of elegance.” 22. “Personal style comes from within. It’s not something that can be bought.” 23. “Success is often achieved by those who don’t know that failure is inevitable.” 24. “Respect your efforts, respect yourself.” 25. “Fashion is about dreaming and making other people dream.”

Top 25 Iconic Giorgio Armani Quotes

These quotes capture the essence and iconic nature of Giorgio Armani’s contributions to fashion and culture: 1. “The difference between fashion and art is that fashion is meant to be worn.” 2. “A suit is the uniform of sophistication.” 3. “I was the first to believe in soft, unconstructed tailoring.” 4. “Good design is about making people comfortable, not just aesthetically pleasing.” 5. “The Armani woman is confident, elegant, and not afraid to be herself.” 6. “Fashion is a necessity of life.” 7. “The suit has changed the world. It democratised fashion.” 8. “Sophistication is in the eye of the beholder.” 9. “I am not interested in shock tactics. I just want to make beautiful clothes.” 10. “Luxury must be comfortable, otherwise, it is not luxury.” 11. “Modernity is not about wear and tear but about finesse.” 12. “Elegance is not being noticed, but being remembered.” 13. “I am inspired by everyday life.” 14. “Achieving elegance has been my constant quest.” 15. “Dressing well is a form of good manners.” 16. “Fashion anticipates, and elegance is a state of mind.” 17. “Fashion’s mistake is to try to democratise elegance.” 18. “Minimalism is a reaction to the excesses of consumerism.” 19. “There is no virtue in an absence of elegance.” 20. “Luxury resides in the attention to detail.” 21. “The new and modern woman must have elegance.” 22. “True style knows no time.” 23. “An artist is someone who can hold two opposing viewpoints and still remain fully functional.” 24. “Fashion needs to reflect who you are.” 25. “I design for how people live now.”

Timeless Elegance with Pairfum London

Inspired by the timeless elegance championed by Giorgio Armani, Mandarin Blossom & Sandalwood is a fragrance that celebrates the beauty of simplicity and refined style. With top notes of Mandarin Blossom, this perfume brings a refreshing, delicate brightness that echoes the purity and sophistication Armani is known for in his designs. The floral hint of mandarin captures an effortless elegance—perfect for those who appreciate understated beauty. At its base, Sandalwood introduces a warm, grounded richness that adds depth and confidence to the scent. Much like Armani’s fashion, which favours clean lines and high-quality fabrics, Sandalwood provides a luxurious, lasting quality that reflects a commitment to timeless style. Mandarin Blossom & Sandalwood is more than a fragrance; it’s an embodiment of personal style for those who, like Armani’s clientele, value sophistication in its purest form. This fragrance is ideal for individuals who want a scent that complements rather than overpowers—a true sartorial companion that leaves an impression of subtle, elegant allure, much like the lasting impact of Armani’s creations. Mandarin Blossom & Sandalwood - Eau de Parfum by Pairfum London An elegant, feminine floral Chypre fragrance that opens with the fresh notes of Mandarin Blossom, Apricot, and White Hyacinth.  Its romantic heart unfolds into a delicate bouquet of Sweet Pea, Jasmine, and Ylang Ylang. A base of Sandalwood, Patchouli, Amber, and Musk leaves a captivating, magnetic trail.

Conclusion

Giorgio Armani quotes offer a deep dive into the mind of a fashion legend. His words reflect his dedication to quality, elegance, and timeless style. Through his insightful quotes, we gain a better understanding of what drives his creations and his influence on fashion and culture. At Pairfum London, we celebrate the visionary thinking of designers like Giorgio Armani. Our boutique perfumery captures this same essence of elegance and excellence in our luxury fragrances. Explore Pairfum London’s collection and discover a fragrance that speaks to your unique style. Embrace the luxury and timeless elegance that a finely crafted perfume brings to your life. Read the full article

[capodieci-blog]

Reliving the Magic of 25SDA: A Throwback to Creative Innovation

In the inaugural episode of Interchain.Me, Roberto Capodieci invites us to journey back in time to the origins of his creative venture, 25SDA. This speed drawing animation studio, co-founded a decade ago, represented a bold leap into a world where art and storytelling merged seamlessly. What started as a practical solution to high outsourcing costs became a flourishing hub of innovation, redefining visual communication and leaving a lasting impact on its creators and clients alike.

The story of 25SDA begins with a spark of ingenuity. Roberto and his team needed cutting-edge marketing material but found outsourcing both expensive and creatively limiting. Driven by the question, “Why not do it ourselves?” they established a studio that specialized in speed drawing animation—a captivating medium that combines real-time visual creation with engaging storytelling. The company’s name, "25SDA," reflected its core mission: producing animations that captured attention and imagination within 25 seconds.

At the heart of 25SDA’s success was its creative environment. The studio was equipped with everything a visual storyteller could dream of—from a large green screen to whiteboards, markers, cameras, and professional lighting. These tools transformed ideas into reality, guided by a team of talented artists and creators. Roberto recalls the excitement of brainstorming sessions where the team’s collective imagination ran wild, producing ideas that were as inspiring as they were unconventional.

Among the studio’s most memorable assets was Alessio Cerruti, Roberto’s business partner and the “hidden ingredient” behind much of their success. Alessio brought a blend of creativity, passion, and a contagious enthusiasm that shaped the studio’s culture. Roberto shares that Alessio’s influence extended beyond the videos they produced; his love and dedication permeated every aspect of their work, from production to client interactions.

What set speed drawing animation apart was its psychological impact. Unlike traditional video or static images, speed drawing engages the brain on a deeper level. As Roberto explains, the act of watching a drawing take shape allows viewers to project their idealized version of what’s being created. This interplay between the visual and psychological creates a lasting impression, making speed drawing a uniquely powerful tool for storytelling and marketing.

The impact of 25SDA’s work went beyond visuals. It created connections. From Italy to audiences across the globe, the studio’s animations reached viewers in a way that traditional media could not. Roberto’s own passion for communication—rooted in childhood experiments with long-distance phone calls—found new expression in these animations, which transcended language barriers and resonated universally.

As Roberto reflects on this chapter of his life, he fondly recalls the vibrant energy that defined 25SDA. Each day at the studio was filled with excitement, creativity, and a sense of purpose. Even weekends felt “depressing” because they took him away from the work he loved. This passion, shared by everyone involved, was the true magic of 25SDA. It wasn’t just a job; it was a labor of love.

In this throwback episode, Roberto not only celebrates the accomplishments of 25SDA but also honors the lessons it taught him. The importance of collaboration, the power of creativity, and the joy of pursuing what you love are themes that continue to inspire his work today. Whether you’re an entrepreneur, a creator, or simply someone who loves a good story, the journey of 25SDA offers valuable insights into the power of passion and innovation.

As Interchain.Me embarks on its own journey, this inaugural episode sets the tone for what’s to come. It’s a celebration of the past, a tribute to creativity, and a reminder that great ideas often come from daring to think differently. Tune in to relive the magic of 25SDA and discover how its legacy lives on in Roberto’s ongoing pursuit of storytelling and technology.

[giftshop12]

Cerruti Image 100ml Eau de Toilette Spray for Men

Cerruti Image Eau de Toilette for Men is a refreshing and sophisticated fragrance, perfect for the modern man. With a blend of crisp citrus, herbal notes, and a touch of woody warmth, it exudes confidence and elegance. Ideal for everyday wear, this 100ml spray is a timeless addition to any collection.

[perfettamentechic]

Cerruti è una casa di moda fondata nel 1967 a Parigi dal stilista Nino Cerruti. Cerruti progetta, produce, distribuisce e commercializza prêt-à-porter, jeans, abbigliamento sportivo, fragranze, pelletteria, orologi, occhiali da sole e altri accessori come oggettistica da scrittura. Il marchio commercializza questi prodotti con tre linee, ognuna per uomini e donne: Cerruti (top line), Cerruti 1881 (linea di diffusione) e 18CRR81 (abbigliamento sportivo).

Nino Cerruti si è ritirato nel 2000 e ha venduto l’azienda a un gruppo di proprietà italiano durante il 2000 e il 2001. Nel periodo compreso tra il 2001 ed il 2011 Cerruti Holding cede la sua partecipazione nella Cerruti 1881 per dedicarsi esclusivamente all’attività del Lanificio Fratelli Cerruti dal 1881.

Nel 2006 Matlin Patterson ha comprato la casa di moda. Jean Paul Knott è stato nominato direttore artistico nel 2007, a cui è seguito l’annuncio del presidente Florent Perrichon. La società era di proprietà della società americana MatlinPatterson Global Advisors dall’agosto 2006 al 2010. Dal dicembre 2010, la società è di proprietà di Trinity Ltd (gruppo Li & Fung).

Nel 1881, il nonno di Nino Cerruti fondò il mulino tessile Lanificio Fratelli Cerruti. Situata a Biella (Piemonte, Italia), l’acqua della regione viene utilizzata per lavare e trattare la lana , che viene importata principalmente dall’Australia e dal Sudafrica, in modo da produrre: flanella, tweed, cashmere e mussola. Nino Cerruti rilevò l’azienda di famiglia dopo la morte di suo padre nel 1950.

Il marchio Cerruti è stato lanciato nel 1967 con una collezione uomo . Nel 1976 fu creata la linea “Cerruti Woman“. Prima di creare il proprio marchio nel 1974, Giorgio Armani aveva lavorato a Parigi con Cerruti dal 1964 al 1970 lavorato per Cerruti a Hitman.

Nel 1996 Nino Cerruti ha nominato Narciso Rodriguez, ex Anne Klein, Calvin Klein e designer della TSE, come direttore creativo di Cerruti.

Nel 1997 Cerruti sostituì Rodriguez con Peter Speliopoulos, designer DKNY.

Nel 1978, il brand ha lanciato la sua prima fragranza con Nino Cerruti pour Homme, seguita da numerose altre fragranze per uomini e donne come Fair Play nel 1985, Cerruti 1881 pour Homme nel 1990, Cerruti Image nel 1998 e l’Essence de Cerruti in del 2008.

Nel 1980, Cerruti ha iniziato a produrre abiti per film.

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Nel 1994, Cerruti è stato il designer ufficiale della famosa Scuderia Ferrari.

La collezione Primavera Estate 2002 ha segnato la fine della “passione” di Cerruti disegnata personalmente dal stilista.

Nell’autunno 2001, Fin.Part ha istituito Roberto Menichetti, che in precedenza era responsabile del rilancio creativo di Burberry come direttore creativo. Menichetti ha lasciato la casa della moda dopo solo una stagione ed è stato sostituito da Istvan Francer, ex designer DKNY. Francer rimase per due stagioni.

Nella primavera del 2003, David Cardona, che aveva lavorato per Richard Tyler e Chrome Hearts, sostituì Istvan Francer come direttore creativo di Cerruti. Lo scozzese Adrian Smith è stato nominato capo delle collezioni maschili.

Nel 2004, Fin.part era in una profonda crisi finanziaria e dichiarò bancarotta nel 2005. Nell’agosto 2006 Cerruti è stata venduta a una società private equity americana  MatlinPatterson. MatlinPatterson nomina direttore creativo Nicolas Andreas Taralis, ex designer di Dior che possedeva anche il suo marchio di moda Homme.

Nell’ottobre 2007, Taralis è stato sostituito dal belga Jean Paul Knott, un ex designer di Krizia, Yves Saint Laurent e Louis Féraud che possedeva anche un omonimo marchio di moda. Knott era stato inizialmente assunto da Taralis per supervisionare la linea di diffusione dell’etichetta Cerruti 1881 nel marzo 2007.

Richard Nicoll ha avuto la direzione creativa dell’abbigliamento femminile Cerruti Paris, per le collezioni: AW10, PRE SS11, SS11.

Nel 2011 la società di Hong Kong Trinity (Gruppo Li & Fung) acquista i marchi globali Cerruti (esclusi i tessuti). I tessuti Cerruti sono ancora prodotti nei laboratori Lanificio F.lli Cerruti 1881.

Nel 2012 Aldo Maria Camillo diventa direttore artistico.

Lo stilista succede a Zoran Bosana, andatosene per «perseguire progetti personali».

La direzione generale di Cerruti è stata affidata in ottobre a Catherine Vautrin. Aldo Maria Camillo è dal 2009 il direttore del dipartimento ‘Moda Uomo‘ di Valentino. In precedenza, è stato senior designer all’interno del reparto ‘Formale e Su Misura‘ di Ermenegildo Zegna. In tre anni, trasforma Cerruti in uno dei brand più à la page della fashion week parigina, con un nuovo posizionamento nella sfera del luxury fashion.

2017 Cerruti 1881 celebra il 50° anniversario del marchio. Basmajian, direttore creativo, ha celebrato il 50° anniversario del marchio con un film documentario con Nino Cerruti.

Il flagship store globale Cerruti si trova a Parigi in 27 Rue Royale. Ci sono negozi Cerruti 1881 e 18CRR81 a Milano, Cosenza, Madrid, Praga, Kiev, Marbella, Atene, Dubai, Riyad, San Pietroburgo, Hong Kong, Giacarta, Teheran e Tokyo, tra le altre località. Inoltre, l’etichetta è venduta attraverso circa 1.500 venditori.

Cerruti 1881 si separa dal designer Jason Basmajian, chief creative officer dal 2015.

Basmajian si è dimesso di comune accordo con il gruppo di Hong Kong Trinity Ltd, a cui fa capo il brand.

È stato un privilegio lavorare per questi marchi iconici e scrivere un altro capitolo della loro storia. Voglio ringraziare i miei incredibili team e i talenti con cui ho collaborato nel corso degli anni. Devo molto anche alla guida e al supporto di Cerruti.

aggiornato al 21 ottobre 2019

Autore: Lynda Di Natale Fonte: cerruti.com, wikipedia.org, web

Cerruti - Cerruti 1881 e 18CRR81 #cerruti #cerruti1881 #18crr81 #perfettamentechic #CerrutiMan #edgy #CerrutiStyle Cerruti è una casa di moda fondata nel 1967 a Parigi dal stilista Nino Cerruti. …

[greatworldwar2]

• Jean Moulin

Jean Pierre Moulin was a French civil servant who served as the first President of the National Council of the Resistance during World War II.

Jean Moulin was born at 6 Rue d'Alsace in Béziers, Hérault on June 20th, 1899, son of Antoine-Émile Moulin and Blanche Élisabeth Pègue. He was the grandson of an insurgent of 1851. His father was a lay teacher at the Université Populaire and a Freemason at the lodge Action Sociale. Jean Pierre Moulin was baptised on August 6th, 1899 in the church of Saint-Vincentin in Saint-Andiol (Bouches-du-Rhône), the village his parents came from. He spent an uneventful childhood in the company of his sister, Laure, and his brother Joseph. Joseph died after an illness in 1907. At Lycée Henri IV in Béziers, Jean was an average student. In 1917, he enrolled at the Faculty of Law of Montpellier, where he was not a brilliant student. However, thanks to the influence of his father, he was appointed as attaché to the cabinet of the prefect of Hérault. Moulin was mobilised in April 1918 as part of the age class of 1919, the last class to be mobilised in France. He was assigned to the 2nd Engineer Regiment of Montpellier. At the beginning of September, after an accelerated training, he headed with his regiment to the front in the Vosges, where he was posted in the village of Socourt. His regiment was preparing to go to the front lines as part of the attack planned by Foch for November 13th, but the Armistice was signed on November 11th.

Although Moulin did not fight directly on the front lines, he nevertheless was in a position to observe the horrors of war. He saw its aftermath on the battle fields, the devastation of villages and the state of prisoners of war. He helped to bury the war dead in the area around Metz. While still enlisted after the War, he was posted successively to Seine-et-Oise, Verdun and Chalon-sur-Saône. He worked as a carpenter, a digger and later a telephonist for the 7th and 9th Engineer Regiments. He was de-mobilised in November and, on November 4th, 1919, immediately resumed his post as attache at the prefecture of Hérault. After World War I, Moulin resumed his studies of law. His position as attache allowed him to finance his university studies as well as providing a useful apprenticeship in politics and government. He obtained his law degree in July 1921, He then entered the prefectural administration as chief of staff to the deputy of Savoie in 1922 and then sous-préfet of Albertville from 1925 to 1930. After his proposal of marriage was rejected by Jeanette Auran, Moulin, aged 27, married a 19-year-old professional singer, Marguerite Cerruti, in the town of Betton-Bettonet in September 1926. The marriage did not last long. Cerruti quickly became bored with the marriage, and Moulin responded by offering her further singing lessons in Paris, where she disappeared for two days. Moulin was appointed sous-préfet of Châteaulin, Brittany in 1930, but he also drew political cartoons for the newspaper Le Rire under the pseudonym Romanin. In 1932, Pierre Cot, a Radical Socialist politician, named Moulin his second in command or chef adjoint when he was serving as Foreign Minister under Paul Doumer's presidency. In 1933, Moulin was appointed sous-préfet of Thonon-les-Bains, parallel to his function of head of Cot's cabinet of in the Air Ministry under President Albert Lebrun. In 1936, he was once more named chief of cabinet of Cot's Air Ministry of the Popular Front. In that capacity, Moulin was involved in Cot's efforts to assist the Second Spanish Republic by sending it planes and pilots.

He became France's youngest préfet in the Aveyron département, based in the commune of Rodez, in January 1937. It has been claimed that during the Spanish Civil War, Moulin assisted with the shipment of arms from the Soviet Union to Spain. A more commonly-accepted version of events is that he used his position in the French air ministry to deliver planes to the Spanish Republican forces. In January 1939, Moulin was appointed prefect of the Eure-et-Loir department. He was based in Chartres. After war against Germany was declared, he asked multiple times to be demoted because " his place is not at the rear, at the head of a rural departement". Against the opinion of the Minister of the Interior, he asked to be transferred to the military school of Issy-Les-Moulineaux, near Paris. The minister forced him to return to Chartres, where he had trouble ensuring the safety of the population. When the Germans got close to Chartres, he wrote to his parents, "If the Germans who are able to do anything make me say dishonorable words, you already know, it is not the truth". He was arrested by the Germans on June 17th, 1940, as he refused to sign a false declaration that three Senegalese tirailleurs had committed atrocities, killing civilians in La Taye. In fact, those civilians had been killed by German bombings. Beaten and imprisoned because he refused to comply, Moulin attempted suicide by cutting his throat with a piece of broken glass. That left him with a scar he would often hide with a scarf, which is the image of Jean Moulin remembered today. He was found by a guard and taken to hospital for treatment. Because he was a Radical, he was dismissed by the Vichy regime, led by Marshal Philippe Pétain on November 2nd, 1940, along with all other left-wing préfets. He then began writing his diary, First Battle, in which he relates his resistance against the Nazis in Chartres, which was later published at the Liberation and prefaced by de Gaulle.

Having decided not to collaborate, Moulin left Chartres for Saint-Andiol, Bouches-du-Rhône, to study and join the French Resistance, and he decided to negotiate with Free France. He started to use the name Joseph Jean Mercier and went to Marseille, where he met other resistants, including Henri Frenay and Antoine Sachs. Moulin reached London in September 1941 after travelling through Spain and Portugal, and he was received in October by De Gaulle, who wrote about Moulin, "A great man. Great in every way". Moulin summarised the state of the French Resistance to de Gaulle. Part of the Resistance considered him too ambitious, but de Gaulle had confidence in his network and skills. He gave Moulin the assignment of co-ordinating and unifying the various Resistance groups, a hard mission that would take time and effort to accomplish. On January 1st, 1942, Moulin parachuted into the Alpilles and met with the leaders of the resistance groups, under the codenames Rex and Max. He succeeded to the extent that the first three of these resistance leaders and their groups came together to form the United Resistance Movement ( Mouvements Unis de la Résistance, MUR) in January 1943. The next month, Moulin returned to London, accompanied by Charles Delestraint, who led the new Armée secrète, which grouped the MUR's military wings together. Moulin left London on March 21st, 1943, with orders to form the Conseil national de la Résistance (CNR), a difficult task since the five resistance movements involved, besides the three already in the MUR, wanted to retain their independence. The first meeting of the CNR took place in Paris on May 27th, 1943. Some historians consider Moulin one of the most important figures in the French Resistance because of his actions in unifying and organizing the various resistance groups, which had previously been operating in an independent and uncoordinated manner. He was also instrumental in obtaining the cooperation of the Communist resistance groups, who had been reluctant to accept De Gaulle as their leader, because Moulin was known as a left-wing republican.

On June 21st, 1943, he was arrested at a meeting with fellow Resistance leaders in the home of Frédéric Dugoujon in Caluire-et-Cuire, a suburb of Lyon. He was, along with the other Resistance leaders, sent to Montluc Prison in Lyon in which he was detained until the beginning of July. Tortured daily in Lyon by Klaus Barbie, the head of the Gestapo there, and later more briefly in Paris, Moulin never revealed anything to his captors. According to witnesses, Moulin and his men had their fingernails removed using hot needles as spatulas. In addition, his fingers were placed on the door frames and the doors were closed again and again until his knuckles were broken. They then tightened the handcuffs until they penetrated his skin and broke the bones in his wrists. Because he still refused to speak, they beat him until his face was unrecognizable and he fell into a coma. Afterwards, Barbie ordered Moulin to be placed in an office and to be shown to all members of the Resistance not to collaborate with the Nazis. The last time he was seen alive, he was still in a coma and his head was yellow, swollen and wrapped in bandages, according to the description given by Christian Pineau, fellow prisoner and another member of the Resistance. He is believed to have died near Metz on a train headed for Germany. He was reported to have died on July 8th, 1943 at the age of 44. There has been much research, speculation, judicial scrutiny and media coverage of who betrayed Jean Moulin and the circumstances of his death. Klaus Barbie alleged that suicide was the cause, and Moulin biographer Patrick Marnham supports that explanation. René Hardy was caught and released by the Gestapo, who had followed him to the meeting at the doctor's house. There have been many suppositions in the postwar years that Moulin was Communist. No hard evidence has ever backed up that claim.

Ashes that were presumed to be those of Jean Moulin were buried in Le Père Lachaise Cemetery in Paris and later transferred to the Pantheon on December 19th, 1964. France's French education curriculum commemorates Moulin as a symbol of the French resistance and a model of civic virtue, moral rectitude and patriotism. As of 2015, Jean Moulin was the fifth most popular name for a French school, and as of 2016 his is the third most popular French street name of which 98 percent are male. In 1967, the Centre national Jean-Moulin de Bordeaux was created in Bordeaux. Its archives contain documents on the Second World War and the Resistance. The Centre provides pedagogical supports and research material on the involvement of Jean Moulin in the Resistance. In 1993, commemorative French 2, 100 and 500 franc coins were issued, showing a partial image of Moulin against the Croix de Lorraine and using a fedora-and-scarf photograph, which is well recognised in France.

[riotatthemovies]

Freak (2020)

From Dead Vision Productions and Dir Lucky Cerruti

Clocking in just under an hour of breezing gut spilling gore and horror movie loveliness. So many of today underground horror movies want to make the normal characters ugly and dark. Like stories where every random character is a drug addict , rapist , racist or filled with social issues tormenting them for the whole movie. Well in Freak the thing tormenting you is the fucking Freak. The characters in this film aren't without issues and personas but at least I don't want to tell them all to shut the fuck up every second like I do in most of the recent often bigger budgeted horror films. This could be because this movie is not very long but in the world we live in these days my attention spam is not very strong so what I'm saying is Freak was perfect for me. The way they make this movie shocking and dark is by the kills being gory as fuck , goopey , splattery magic. Also they waste no time showing you what the Freak is so I don't feel like I'm spoiling anything describing "it".  After you first see the Freak the only real tension is waiting and wondering just when the fuck its going to show up again. It looks like a cross being a hilarious stop motion creature from WinterBeast and the creepy puppet Granma from Thankskilling 3. Saying that out loud makes it sound like the creature is funny but honestly I found it legit creepy. Basically think if you saw a crazy person whos skin make them look like a Spitting image puppet come to life as it was coming to kill you. Seriously if you saw that for real you wouldn't be laughing. Maybe its just me cause growing up I used to have disturbing images of the Spitting Image puppets and E.T trying to touch me and I couldn't escape buuut that may just be some locked deep issues I need to discuss with a therapist about. Basically Freak does a simple straight out Slasher with campers in the woods movie by just simply taking a new interesting if not a bit odd spin on the killer concept. None of this oooh look at me aren't I an artist bullshit and oh look what can I wink wink reference. Nope just a straight forward horror in the woods but with a Freak that wants to cut a mother fuckers head off. Loved it! 

This is officially the third entrant into Terrible Two Day Fest Toronto 2021 . As long as the world is a little less on fire this April we will get to gather people to watch this sweet splatter flick.

[skullsandcloaks]

Finally have this love back in my life 😍

[officialninetyonepercent]

Guide to Gramarie Entertainment’s Huba (Zhu Xingjie)

Let’s get to know Zhu Xingjie!

Information

Name: Zhu Xingjie (朱星杰) 

DOB: April 17, 1994

Birthplace: Sichuan, China

Height: 180cm

Blood Type: B

Position: Vocal, Rap, Dance

Skills: Song Writing, Composing, Rap Production, MAGIC, scaring all the didis

Alias/Nicknames: J.zen/ Jie-ge (杰哥), Huba, Tangzhi-ge (糖纸哥) 

Fandom Name: Tian Jiu - 甜酒 (Sweet Wine) 

Fandom Colour: #5E0411

Previously debuted with Mr.BIO (with Zhou Yanchen & Zhou Rui), which has since disbanded

Participated in seven shows before Idol Producer

Idol Producer

Rankings: 39 > 15 > 18 > 15 > 15 > 13 > 14 > 14

Performances: Audition | Dance to the Music (Group | Individual) | Artist (Group | Individual) | Dream (Group | Individual) | 24K Magic (Group | Individual) | Mack Daddy 

Practice: Dance to the music | Artist 1 2 | Dream 1 2 | 24K Magic (Centre) 

Additional Videos: Introduction | Upward! Trainee | Sweet Spot | Present Conformation | Present Conformation 2 | Lie Detector Test ♡ | I Will Call You | Paopao Fanmail | Paopao Fanmail 2 | Xingjie Calling Himself Huba ♡ | Imitating the Mentors | Final Interview ♡

Pre- Idol Producer

King of Pop 🌟

Voice of China Audition 🌟

Reality TV Shows

JD Fantastic Travel Agency: 01 (RAW | SUB) | 02 (RAW | SUB) 🌟 | 03 ♡

TV Shows

180515 GuLi Duo GuLi

Interviews

180429 Pear Video Interview Eng Sub

180430 iQiYi Fan Carnival Interview

180504 LuYu Interview [1] [2] ♡

180515 JuZi Fashion Interview Eng Sub

180516 Bubble Interview

180528 TuanZhang Chaoji Ga Interview

180601 I Just Ask Interview

180604 Kenzo World Interview

180605 O! WHAT Interview

180612 8 years, 9 drafts, and a Boy Group Dream (SUB) ♡

180622 PClady Interview

180625 Phoenix Net Fashion Interview

180627 Cheese Fashion Interview

180630 Miao Xingren Interview

180708 ChicBanana 

180711 Tongdao Dashu Interview ♡

Livestreams

180408 新娘BRIDES

180415 Star Special Mission

180416 Paopao 

Radios

Music

Original

《霾》 - “Haze”

《MOUNTAIN》

《Pink U》

《LOVE DAY》 (ft. Zhou Yanchen, Sing)

《游》 - “Travel”

《结束以后》 - “After the End” (ft. Zhou Rui)

《LAST PARTY》(ft. Sing)

《最坏一年》 - “The Worst Year” (ft. Sing) ♡

《观》 - “View” (ft. Plan B) 

《失眠夜》 - “Sleepless” ♡

《如果你能懂》 - “If You Can Understand”

《I’m Cool》 ♡

《A Midsummer Night》 ♡   🌟

《Ocean of Dreams》 ♡   🌟

Cover

《同類》 - 陳俊彤 

《Eyes, Nose, Lips》 - Taeyang

《Fear》 - Mino ft. Taeyang

《手寫的從前》 - Jay Chou  

《第三人称》 - HUSH  

《Bad Boy》 - Big Bang

《Hotline Bling》 - Drake

《Sometimes》 - Crush

《Niliria》 - G-dragon

《2018独家记忆》 -  “2018 Exclusive Memory” My assassin Girlfriend Ending Song  🌟

Music Videos

《If You Can Understand》 (Eng Sub)

《Jackpot》 - MR.BIO 

Endorsements

180416 MAC Yohogirl Advertisement Eng Sub ♡  

180509 Sketchers Advertisement

180521 KFC Advertisement 

180531 Pandapandaw Advertisement

180606 Chizza Advertisement

180612 HonorX Advertisement

180615 Huafeng Spicy Instant Noodles Advertisement

180616 Old Spice Advertisement

180617 Kiehl’s Advertisement

Photoshoots

180426 CHIC Magazine Photoshoot 

180510 Juzi Fashion Photoshoot [Behind the Scenes] 

180603 1st Topfashion Photoshoot

180619 Magnetic Modern Photoshoot

180625 Phoenix Net Fashion Photoshoot

180625 Gramarie The Latest Image Show 

180627 Cheese Fashion Photoshoot [Behind the Scenes 1 2] ♡

180711 Gramarie The Latest Image Show Pt.2

180720 SuperELLE Photoshoot  🌟

Etc.

Dancing to Bang Bang Bang, Ringa Linga, and History with Zhou Yanchen ♡

180419 Quit Smoking Performance with Zhou Yanchen ♡

180428 Idol Graduation Meeting Fancams: Ei Ei | Artist | Other

180508 Kenzo World After Party Fancam

180529 Oxygen Music Festival Fancam: 1 | 2

180604 Llittle Trick for U” ♡

180605 GaoKao Encouragement (story)

180618 World Cup Message 

180621 Paris Fashion Week Issey Miyake Fancam

180622 Paris Fashion Week Cerruti 1881 Fancam

Magic Trick

Please give this post a ❤️ if you found it useful!

Want more Zhu Xingjie content? Check out our blog recs!

Request a guide or join us ✉️  

contributed by may (@youzhangpang ), frey (@91prcnt ) last updated: 180728    (🌟= new links) (♡ = recommended links)

© officialninetyonepercent. Do not redistribute or claim this guide as your own work.

[culotte-ancienne]

https://www.vinted.it/donna/vestiti/abbigliamento-da-esterno/cappotti/soprabiti-e-cappotti-lunghi/2635881854-veste-cerruti

pe 98

https://www.firstview.com/collection_image_closeup.php?of=26&collection=1491&image=324932#.ZCea4OxBxpQ

https://www.firstview.com/collection_image_closeup.php?of=56&collection=1491&image=324962#.ZCea5uxBxpQ

https://www.firstview.com/collection_image_closeup.php?of=67&collection=1491&image=324973#.ZCea7OxBxpQ

[hgono]

https://ginnyonfrederick.com/images/civiltwilight/civiltwilight.pdf

Civil Twilight October 22 - November 25 

Guendalina Cerruti Sam Cottington Evangeline Ling Hamish Pearch Gal Schindler Mary Stephenson Michelle Uckotter 

Civil Twilight occurs just after sunset and the moment when the geometric centre of the sun is at 6 degrees below the horizon. 

Caught before the beginning of day and beginning of night, twilight beckons the end. A bewitching intermission before the changing worlds. A palette cleanser for the next act. Twilight is the thin edge of the thaumatrope of time, flickering at speed as memory merges the transitions from day to night. In summer; morning light beckons a flight of song, and evening calls on those who invade, leech and crawl through the darkness. Winter dawn brings thaw, slowly tearing at the frost delivered by night, dusk brings time for cold to once again take hold. Twilight offers an exchange of knowledge for secrets and secrets for knowledge, day exposes and night shrouds. Harmony is found as twilight balances the scales.

 Civil Twilight is the stage curtains for day, still keeping the dreams of night alive. Night offers few answers, and it's mystery compels. Day offers opportunity, to those willing to engage with its tribulations. In the heavens above, Civil Twilight offers daylight a glimpse at theatrics. The fade in and eventual out signalling its presence. Daylight offers calm and new beginning. Night consumes the world stage, emotions are amplified. Night needs no introduction and dusk as it's opening beckons it's intent. 

From the corner of your eye Civil Twilight performs its ritual. The sky's leading star, washes with rich flourishes of reds, pinks, blues, and yellows, the announcement of change is rarely without spectacle. 

 List of Works:

Sam Cottington The Writers Body, 2022 Vinyl Dimensions Variable Hamish Pearch Foraged Sunrise (07:38 22/10/22), Sunset (15:59 25/11/22) and Asteroids, 2022 Steel, aluminium, enamel, paint, epoxy putty, epoxy resin 60cm x 42cm x 12cm 

Gal Schindler Lapses, 2022 Oil on linen 60cm x 70cm 

Mary Stephenson Tight New Shiny Shoe, 2022 Oil on linen 40cm x 55cm 

Evangeline Ling Self-portrait in Bordeaux, 2019 Oil on canvas 60cm x 50cm 

Guendalina Cerruti Merry-Go-Round, 2022 MDF, metal wire, photo transfer on canvas, fabric, glitters, mixed coloured beads 35cm x 170cm 

Michelle Uckotter Friends Embracing, 2022 Oil pastel on panel 12.7cm x 17.78cm

Guendalina Cerruti (b.1992, Milan, Italy) lives and works in London, UK. She holds an MA from the Royal College of Art, London, UK and BA from the Nuova Accademia di Belle Arti, Italy. Recent exhibitions include: September Issues, Peres Project, Milan, Italy (2022); People Watching, New Low, Los Angeles, USA (2022); Wasted Dreams, Public Gallery, London, UK (2022); Primary Domain, Ordet, Milan, Italy (2021); Old Friends, New Friends, Collective Ending HQ, London, UK (2021); Studiolo Lounge #1, Studiolo, Milan, Italy (2021); Marigolds, Harlesden High Street, London, UK (2019) and Playful Agressions, Greengrassi, London, UK (2019). 

Sam Cottington (b.1993) lives and works in London, UK. Recent exhibitions and performances include: Blanks, Ridley Road Project Space, London, UK (2022); Pennies From Heaven, London Performance Studios, London, UK (2022); Getting Dressed, V.O Curations, London, UK (2021); Crave, SET Lewisham, London, UK (2021); Haus Wien, Vienna, Austria (2021) and Deadhead Perfora, Yaby, Madrid, Spain (2020).

Evangeline Ling (b.1996) lives and works in London, UK. She holds an MA from Goldsmiths College, London, UK. Recent exhibitions include What is it Like to be a Bat?, ADZ Gallery, Lisbon, Portugal (2022). 

Hamish Pearch (b. 1993, London, UK) lives and works in London, UK. He received a Postgraduate Diploma from the Royal Academy Schools, London in 2019. Recent exhibitions include: All season sanctuary, Mendes Wood DM at Retranchement (2022); Happy Birthday, Dear Speed, Quench, Margate, UK (August, 2022); Amygdala Lost and Found, Sans titre, Paris, France (2021); Thames Mud, Front, Brussels, Belgium (2021); Head Above Water, Belsunce Projects/Manifesta 13, Marseille, France (2020) and Nights, Soft Opening, London, UK (2019).

Gal Schindler (b. 1993, Tel Aviv, Israel) lives and works in London, UK. She hold an MA from Royal College of Art. Recent exhibitions include: The Earth has music for people who listen, Sapling, London, UK (2022); Razor Wave, Ginny on Frederick, London, UK (2022); My Reflection of You, The Perimeter, London, UK (2022); Mud Garden, Painters Painting Paintings (2022); Les Danses Nocturnes, East Contemporary, Entrevaux / Cote d'Azur, France (2021); Entropy, Baba Gallery, London, UK (2021); Limb-Loosener, Daisy’s Room Gallery, London, UK (2021); After Image, MAMOTH, London, UK (2020); Onlooking, Kupfer Gallery, London, UK (2020).

Mary Stephenson (b. 1989, London, UK) lives and works in London, UK. She holds an BA from The Glasgow School Of Art and is currently completing her Postgraduate Diploma from the Royal Academy Schools, London. Recent exhibitions include: Incubator, London (2022); Contrappunto, Vin Vin, Vienna, Austria (2022); Watch The Fire From The Shore, Linseed Projects, Shanghai, China (2021); Fertile Spoon (with Grace Pailthorpe), Bosse & Baum, London (2021) and Paintings On, and, With Paper, Cob Gallery, London (2020).

Michelle Uckotter (b. 1992, Cincinnati, USA) lives and works in New York. Recent exhibitions include Sinkhole Project Is Presenting, Micky, Chicago, USA (2022); heaven above sea below, Lubov, NYC, USA (2022); Electric Affinities, T293 Gallery, Rome, IT (2022); Trap Paintings Vol. 2, King’s Leap, London, UK (2021); Murder Time, Springsteen Gallery, Baltimore, USA (2021); Trap Paintings, A.D. Gallery, NY, USA (2020) and Center of the Core, Deli Gallery, NY, USA (2020)

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