This chat board is for comments on models, mag features, events, and all model-related stuff

Monday, August 29, 2005

Conde Nast bigwig says no to "fat babies"

From Gawker - it couldn't be just AW... S.I. likes them anorexic, too


S.I. Newhouse on fellow Nastie James Truman (from NewYorkmetro.com)

"..."What exactly does James do?"
Indeed, everybody seems to turn into a novelist when it comes to trying to describe his role:
"He is Chance the Gardener."
"He has a studied sexual ambiguity, so he can appeal to women like Anna Wintour and men like Billy Norwich -- women and gay men being Condé Nast's largest power blocks -- as well as a class ambiguity. It's unclear where he's come from."..."

So, now you know which men appeal to AW...


More evidence "high fashion" models aren't terribly busy doing fashion lately - Karen Elson is one of 30 members of Citizens Band, "... a sexy take on Weimar-era cabaret" which includes trapeze artists and "aerialists". No word if the "two clowns engaged in cunnilingus" from Paris Vogue are also in the cast ...

The usual suspects are importing obnoxious aristotrash Tilda Swinton to NYC - she is allegedly "a kind of goddess of the avant-garde...a fashion muse". AW will be thrilled.

Saturday, August 27, 2005

Conde Nast "marketing support" and other factoids

NYT "journalists" simply quoted Florio on September US Vogue and its "amazing" performance - real journalists, who like to probe things further, had much more to say on the character and Conde Nast - the text is from a 1998 Fortune magazine issue. That was back in the "Wall Street bubble" era, so the numbers are probably even worse today, despite all their Bridal/Teen mag acquisitions.
Notice how Conde Nast uses advertiser "marketing support", in exchange for the full rates they charge...

"...This past Memorial Day weekend, Steven T. Florio, the president and CEO of Conde Nast Publications, made a dramatic change at The New Yorker...He fired his own brother...the four years Tom Florio was president of The New Yorker, it lost $60.6 million...
Steve Florio turned a mildly profitable property into one of the greatest money pits in American magazine history. On his nine-year watch, The New Yorker dropped almost 1,300 ad pages and lost $114.4 million. In all, FORTUNE has learned, The New Yorker has lost a stunning $175 million under the two Florios.
Conde Nast is a privately held company, part of the Newhouse family's famously secretive media empire. It has no public shareholders and no fiduciary obligation to turn a profit. For a long time nobody cared much whether Conde Nast and its magazines made money; the question was more a parlor game played in publishing circles.
Certainly the 70-year-old Si Newhouse didn't seem to care. He is worth an estimated $4.5 billion. His magazines reward him in other ways--in the Manhattan currencies of status and buzz. They include some of the most important titles in their fields, including Vogue, Vanity Fair, GQ, and Glamour. Reaching more than 75 million Americans each month, Conde Nast magazines help set the nation's tastes...
Conde Nast remains a woeful underperformer; at a time when magazine companies are comfortably producing profit margins of 15% and 20%, Conde Nast doesn't even come close. FORTUNE has learned that as recently as 1996, the company earned around $55 million on just under $750 million in revenues--a profit margin below 8%. And that figure doesn't include either losses coming from The New Yorker--which had always been kept separate from the rest of Conde Nast--or some $20 million in startup costs for new magazines....But there is another dimension to Florio's way of doing business that raises eyebrows. Even his supporters acknowledge that in Florio's hands, truth is a fungible commodity. Inside the company it is well known, as a former executive puts it, that "anytime Florio tells you a number, you should cut it in half." Virtually everyone interviewed for this story--whether friend of Florio or foe, current Conde Nast employee or former employee--agrees that Florio has a compulsion to exaggerate and even to make things up...
Over the years, advertisers had learned that by playing one magazine off against another, they could force the industry to give them big discounts from their basic ad rates. So common had discounting become, in fact, that to make up for the lost revenue, publishers had been forced to find new ways to make money...magazine executives started to look for "ancillary revenues" from such things as licensing deals and television specials. More important, publishers began looking to circulation as a key revenue source. They adopted aggressive pricing strategies, raising the prices of both newsstand copies and subscriptions. Over time, most publishers achieved a fifty-fifty balance between advertising and circulation revenues. And while circulation was still less profitable than advertising--because it's costly to replace readers who let their subscriptions lapse--it could be turned into a profit center in its own right.
Conde Nast never adopted this model. Its position was that it didn't have to change because it had never had to stoop to discounting from the prices on its rate card. But in truth, Conde Nast--especially under Florio--found ways to adapt to the new realities. One example: Conde Nast spent enormous sums--tens of millions of dollars more than its competitors--on "marketing support" for its advertisers. A fashion house that bought pages in a Conde Nast title might have its next show underwritten by the magazine. Or the magazine might pay for the fashion house's billboard advertising. Or it might conduct consumer research for the advertiser. Usually the dollar amounts for this marketing support would be negotiated as part of the deal to bring the ad pages into the magazine. Thus while the company could technically claim that it wasn't discounting, its practices had the same diminishing effect on the bottom line...a more telling picture emerged in 1995. That year ad pages increased by 1,100--yet profits only went up by $400,000 (and remember, that profit figure does not include startup costs or The New Yorker's losses). Why so little additional profit? Because these new methods of acquiring pages--whether through the corporate buying program or marketing support or so-called advertorial sections--were costing the company dearly.
Here is where one could most clearly see the essential Conde Nast illusion: Page growth did not necessarily translate into increased profits...Throuhgout, Conde Nast's margins have remained embarrassingly small...Florio...has continued to show a compulsion to stretch the truth. He told a trade magazine in 1997 that the company's revenues were "very, very close" to $1 billion, when they were closer to $800 million. He enjoyed telling the press about the company's "great margins." In 1995 he appeared on the Charlie Rose television show and insisted that Vogue's circulation was larger than its three biggest competitors' put together. In fact, their combined circulation was almost twice Vogue's...Florio loves to gloat about the fact that Conde Nast has more total ad pages than its archrival Hearst. But the financial reality is somewhat different. Unpretentious Hearst makes twice the profits of glamorous Conde Nast..
."

The gruesome numbers for the first half of 2005 - or why you may soon see Whataburger advertorials in AW's rag...
I also read somewhere that the average US Vogue reader has a rather low $59,000 yearly income, below that of other fashion mags which are often bashed by AW's cronies - and hardly one that supports the image of the upper-class Vogue reader.
What is really interesting - and puzzling- is how Florio and the Conde Nast bosses allow A Wintour to play her personal games and in the process seriously damage Conde Nast revenues -with impunity. One example is the episode when Giorgio Armani, after being constantly snubbed/rubbished by AW's minions, withdrew his advertising from US Vogue - the Conde Nastie bigwigs had to travel to Milan to beg Giorgio to reconsider (#4 story here). Any other editrix would have been fired - but it seems AW is the one who issues diktats to CN management.
This strange behaviour led some people to suggest that AW's installation as the fashion "trendsetter" may perhaps be part of a bigger plan, which has to do with New World Order reallocation of worldwide resources. Since the early 90s, the Europeans - mainly the French and Italians - are being pushed out of certain business areas where they used to dominate, and the spoils are divided between the Anglo-American axis members. Fashion biz effective control was given to the British, who need more than just fashion sales revenues - namely an outlet to provide employment for the masses of Art School graduates who the UK economy alone cannot support. The fact that Paris/Milan were flooded by British "fashion workers" after the mid-90s, when a number of UK/US designers were given control of the major European fashion labels, may be just a coincidence. Tom Ford run Gucci and YSL from London, while AW, who currently advocates "upgrading" the status of London FW, constantly snubs the 70 billion dollar Italian fashion biz - except for a couple of major Vogue advertisers.
On the political side, the stripping away of "Old Europe" power has been demonstrated in Africa, where the French, throughout the 90s and even today, are losing many of their client states through nationalist or Islamic insurgencies - with the new rulers being more favourable to UK/US interests.
The fact that public media criticism of AW has disappeared - while she was often a target of nasty attacks before she established her power base in the late 90s - is also noteworthy.
All this may be purely coincidental - it could be just a story of alpha female dominance over weak males in fashion...yeah, right.

Friday, August 26, 2005

US Vogue goes to Wal-Mart

The NY Times (Business section) was recently ecstatic about US Vogue's September ad page performance - despite the rag's downward spiral, they somehow managed to slightly increase the ad page count relative to September 2004. If you are among those who find NYT journalism suspect, you should know that the "record performance" is due to a Wal-Mart advertorial, which of course the NYT forgot to mention...

Fashion modeling may be getting ever more boring, but the prospect of AW's fans becoming Wal-Mart shoppers guarantees some comic relief...
Notice what sort of deals the Nasties are negotiating - it's not plain full-rate ads, as the Conde Nastie publisher was boasting in the NYT piece...

"...Wal-Mart Stores is running advertisements in Vogue magazine to polish its image and attract upscale shoppers.
The eight pages of ads in the September issue feature women, including an art professor, a fundraiser and a stay-at-home mom, offering testimonials about Wal-Mart's apparel, Vogue spokeswoman Elissa Lumley said. The ads may have cost about $800,000, according to Vogue's Web site, and are part of an agreement in which Wal-Mart will buy 68 pages of ads over two years.
Wal-Mart is seeking to transform its image as a discounter after rival Target Corp. boosted sales growth by offering exclusive products by designers, including Michael Graves.
Target has also used ads to appeal to affluent consumers. The company bought all the ads in last week's issue of the New Yorker.
...Wal-Mart has also bought 12 pages of ads for Vogue's December issue and has committed to buy another 48 pages over four issues next year, Deborah Cavanagh, associate publisher for marketing at Vogue, said in an interview. Vogue approached Wal-Mart executives earlier this year, she said, and the magazine's in-house ad agency helped create the ads.
"Wal-Mart's apparel has improved significantly over the past two years," Cavanagh said. Vogue readers "shop at Wal-Mart as much as they shop at every other platform."
As part of the deal, Wal-Mart will sponsor Vogue's syndicated Trend Watch television program, and merchandise featured in the ads will be given special tags in stores that say "as seen in Vogue."..."


Cross-sponsoring deals and all that - expect Vogue aficionados to maintain their pathetic support for anything AW does, and learn to love Wal-Mart shopping...they even learned to appreciate beauty campaigns after S Meisel got involved...after all, before many of IMG's "top" voguey models arrived in NYC and discovered Prada, Wal-Mart was the most upscale shopping option in their hamlet...

Wednesday, August 24, 2005

The photography rights story is significant - the Parisienne originally said that they did not want good quality pictures from the shows to be released soon after Paris FW, because low-cost competitors would copy their designs. If the court ruled against Firstview, even personal web sites would probably need to get permission from the rights owners to publish show pics.
Back in the late 90s, when the Wall Street bubble was still going strong, an Elite Paris bigwig told me (in a Moscow country club !!) that Elite had sold all rights for model photos, videos etc to a French multimedia company - and people should stop publishing ANY photos of any model signed with Elite !!! That was the pinnacle of the agency's greed and arrogance - a year later, they collapsed.

Tuesday, August 23, 2005

Firstview.com wins copyrights battle

Firstview Photographers Found Not Guilty in Paris Criminal Court (edited) - from lookonline.com

Firstview.com the largest and best known fashion photo site on the web has been in a legal battle with the French fashion establishment for over two years. Jointly owned by photographers Don Ashby and Marcio Madeira, Firstview photographers shoot all of the top fashion shows from Paris, Milan, London, New York, and other fashion capitals for such clients as Style.com, Ralph Lauren, Prada as well as for the Firstview.com.... Three Firstview photographers were first arrested on March 13th 2003 after the Chanel show and charged with "counterfeit by distribution or representation of intellectual property in violation of copyright for acts committed from March 6-March 10 2003" in Paris at the fashion shows. According to the State of France's original complaint that led to subsequent arrest (and two days in jail) of photographers Don Ashby, Marcio Madeira and freelance photographer Olivier Claisse, the three had no authorization from designers to sell photographs from the fashion shows. According to French laws, all rights of such pictures belong to the designers, and not exclusively to the photographers as in the US laws.
Francoise Benhamou, the head of judicial affairs and intellectual property at the French Fashion Federation, said at the time that an "illicit traffic" of photographs for profit upset the federation and some of its largest members". Didier Grumbach, head of the federation, explained in an interview to French radio "Europe 1" that the problem was the selling of the pictures, not the journalistic process itself. "They (Firstview photographers) claim to be working for the Vogue site, and then they sell the pictures on their own pirate site" (Firstview.com), he said.
A similar complaint was filled two years earlier against the site, but after the judicial process, the US authorities refused to arrest the owners. French authorities therefore waited for their presence on the French soil...The court found that the Firstview photographers shared with the designers intellectual property rights over the use of the said photographs and Firstview photographers (and all other photographers shooting the shows) had a right without prior authorization from the fashion houses to benefit by reselling images that are -- again -- the shared creative property of both the photographer and the designer.
The Court's decision is important in that it gives photographers in Paris for the first time equal rights with designers over the use of photographs taken at the shows. However, most photographers seeking official credentials and badges from Chambre Syndicale, the main governing body of French fashion, are still required to sign agreements that essentially take publication and resale rights out of the hands of the photographer. But Firstview photographers do not sign any agreements with Chambre Syndicale and they instead go directly to each fashion house for permission to shoot their show.
The case is on appeal...
-Ernest Schmatolla

Do you remember what you were doing on this day, exactly ten years ago?
Well - what is so special about August 23d 1995? That afternoon, I was in LA, just back from a brief stay in the North Shore Hilton (Turtle Bay) hotel in Oahu, Hawaii (can't reveal what I was doing there - some sort of business) waiting for my European flight in LAX with a few hours to kill - so, I headed to Manhattan Beach, to check out the local Fry's for cool electronic gizmos. The scene there was one of havoc - coz Microsoft was going to release Windows 95 for sale exactly on midnight (!) and people were already queuing up for the event! So I skipped that and went to an overpriced burger joint instead...
I don't remember what I did the next week or month - but August 23d 1995 was a milestone...I made lots of money from Windows 95 in the following years !!!

I wasn't into fashion models at the time - I got interested in mods in early September 1997, after I stumbled onto a model contest (and Yfke Sturm along with Ana Beatriz, both 15 yo at the time) in Nice, France - and I wasn't there on vacation, either. From late 1997 to 2001, I was very much into the modeling scene, wasted lots of time maintaining a web site, going to model contests and all that - these days, I devote very little of my spare time to modeling, probably more than what the subject matter deserves...

Have you noticed that we haven't seen an article on model trends for over a year? In the good old days, some authoritative asshole would be quoted in a NYT article on hip models, delivering the modeling biz diktats - why, for example, next season's sensation looks bland (that was really the biz intention, since the season was all about "bland" clothes, and the mod's boring face accentuated the look). Some people - mostly Milanese - who were not informed about the particular mod's bland quality actually found her fascinating (!) and used her even after the "bland" trend was over - but then again the US Elle publisher believes Anouck L and the "Belgians" were some sort of "beauty wave", so no surprises here...
The last diktat was about bland and alien/bug faces - then there was supposed to be a "return to beauty", about this time last year, but what we actually got was Karen Elson, Kate Moss and the same alien/bug faces...obviously IMG & Co need more time to amortize their promotional expenses.
Quality fashion models don't grow on trees - even the Brazilians have trouble coming up with interesting new faces. The ex-USSR modeling system has collapsed, with "high fashion" promoting various ludicrous faces, who wouldn't have been allowed into their local modeling schools a few years ago. Canada and Australia provided lots of mediocre models in the past two years -consistent with their performance in the big 90s model contests- while the only two countries that remain "unexplored" model-wise are Argentina and South Africa. Spain is consistently being ignored, and little can be expected from Czech/Slovakia and Holland, the other traditional model-producing areas...

Monday, August 15, 2005

What else is news?

Not much has changed in the past ten years in the modeling biz - here is what the UK Telegraph was reporting back in August 1996:

Agencies 'seek out anorexic models'
By Celia Hall, Medical Editor

(edited)
TEENAGE girls already suffering from eating disorders are being approached by some model agencies seeking new "superwaifs", a report claims today.
Some are told to lose even more weight according to the investigation in Company magazine, which says emaciated girls are stopped in the street by agency scouts. Despite concerns that "super-thin" models are influencing young girls to diet excessively, thin models continue to be in demand. One former model agency employee says in the article: "The look is thin and the thinner the better".
Earlier this summer Omega, the watchmakers, threatened to boycott Vogue magazine over its use of superwaifs.
(says me - the superwaif was Trish Joff)
In the Company article one teenager, Lucy Cope, 15, says she had been approached by two agencies that said she had the right look. At the time, she was anorexic, weighed six-and-a-half stone and was a patient at a centre for eating disorders.
Another girl, Lucy Stanley, 5ft 8in and weighing seven-and-a-half stone, tried a number of agencies but was told she was too fat. She was suffering from anorexia and bulimia.
(says me - same as Karen Elson, discovered in 1996)
"At one agency I was told, 'with a bum that size you won't get anywhere'. Another said my hips were way too fat." Another told her to return when she had lost two stone. "I looked like a maniac. My cheeks were hollow, my eyes had sunk into my face and my skin was terrible. How can that be considered beautiful?" she said. Lucy has since gained weight.
Model agencies responding in the magazine said they did not knowingly recruit girls with eating disorders....


And a certain DNA Models teenage mod is said to have lost a lot of weight coz "she has a worm" - and of course, the agency has done nothing about it...I wonder if the NYC DA office prosecutes negligence of this sort.

1995-1997 was the era of "Cool Britannia" and "heroin chic" - NYC "anglophiles" loved the concept, but the hip fashion trend collapsed in late Spring 1997, after the much-publicised death of photographer Davide Sorrenti. Even Slick Willy blasted the fashion/modeling biz - the NY Times Fashion section hacks often express relief that people are not that bothered nowdays...


UK Telegraph - Friday 23 May 1997
Clinton denounces 'heroin chic'
By Charles Laurence
(edited)
THE fashion industry in America has been denounced by President Clinton for glamorising heroin. He attacked "heroin chic" photography that depicts models seemingly "high" on the drug and displaying the drawn, emaciated look associated with addiction.
"You do not need to glamorise addiction to sell clothes," Mr Clinton told the nation's mayors. "Some fashion leaders are admitting flat-out that images projected in fashion photos in the last few years have made heroin addiction seem glamorous and sexy and cool.
"And as some of the people in those images start to die now, it's become obvious that is not true. The glorification of heroin is not creative, it's destructive. It's not beautiful, it is ugly. And this is not about art, it's about life and death. And glorifying death is not good for any society."
However, heroin chic has been declared improper and - more significantly - passé in New York. Glossy fashion magazines and "cutting-edge" journals for the young have promised to substitute "sunny and healthy" photographs this summer in place of the trend that for several years had models depicted nodding-off in public lavatories.
The change of heart follows the death of Davide Sorrenti, 20, the New York photographer who was at the forefront of the city's heroin chic. He died of a heroin overdose in February. His former girlfriend, James King, the spindly teenage model, has been treated for drug addiction.
The pledge to end the trend was announced in a New York Times story that quoted Terry Jones, the editor of the British magazine I-D, which helped launch heroin chic, as promising a "freshen-up" issue in July. "The point of Davide's death is that it has highlighted a problem," he said.
But the change of fashion was greeted with doubt and some cynicism in Manhattan fashion circles. Specialists in drug abuse have been announcing evidence of a dramatic spread of heroin among those who read the sort of magazines that had exploited heroin chic.
After several years of complaints from parents who accused magazines of inspiring their daughters to eating disorders and drug abuse, the campaign against heroin chic changed gear after Sorrenti's death. His mother, the photographer Francesca Sorrenti, sent faxes to every picture editor in New York, criticising them for using such young models in suggestive, decadent poses and urged them to "pay attention to what they are doing. The image promoted has its consequences," she said. "Davide was allowed by a lot of editors to do whatever he pleased."
Mrs Sorrenti added: "Editors
(me says - I wonder which major "chic" editrixes she meant) watch as children cover their track marks with body make-up. Bags of cocaine are given as Christmas gifts. Children are lured to other agencies because they are drug-friendlier." (me says - anyone remembers which NYC agencies were "drug friendlier" a decade ago?)
Her son took photographs for I-D, Detour, Interview and other magazines before his death. Other photographers associated with heroin chic include Juergen Teller, Craig McDean, David Sims and Terry Richardson.
Sorrenti's older brother, Mario, 25, took the pictures for the Calvin Klein advertising campaign for the perfume Obsession, featuring Kate Moss, his girlfriend at the time. This campaign drew comment from President Clinton, and was considered the most mainstream of all heroin chic...


Notice that someone had to die before things turned around - the concept and the heroes were London-sourced, and with a couple of additions, they are all contracted by the "trendsetters" today..
Since the "players" are the same, one wonders if their attitudes have changed - or maybe they moved to other drugs...they still have one thing in common though - they don't like models in swimsuits...

The "heroin chic" debacle had more casualties - a few months later, in October 1997, Michael Flutie, who owned Company Management, sued one of his ex-models, Amy Wesson, for "...using so much cocaine and other drugs that she missed assignments and had to be propped up at fashion shoots.
A lawsuit and supporting affidavits, filed at Manhattan Supreme Court in New York, say the waif-like, 19-year-old model was so incapacitated by drugs that she would arrive six hours late for some jobs.
Her drug problem, the lawsuit claims, led to Vogue and Neiman Marcus cancelling assignments with the model, who was in Britain for London Fashion Week and who features in advertisements for Versace and Valentino
..."
Amy had left Company and signed with Marilyn Models, who had just opened a NYC office. Her drug problems were known to everybody - but the "biz" got upset only when the photographers and editrixes were inconvinienced - although they seemed to have no problem "propping her up" to make the shoot. Flutie claimed he grabbed 16 yo Amy from a trailer park in Biloxie, Mississippi - she certainly didn't look like it, unlike most other US mods at the time. She was enormously popular in Europe, and was later the blonde in the top selling T. Mugler "Angel" perfume campaign - her work was ignored in NYC, where she was blacklisted by S Meisel and others and could get no jobs.
Amy was probably the last model who looked good in Versace - IMO, the best US model in the past ten years, despite her problems.

Friday, August 05, 2005

Are you the one?

Are you the sort of person who seems to devote infinite time browsing fashion mags, scanning pics, posting stuff to forums, and all that?
Well, Blogger now allows uploading images from inside its very simple browser posting window - resizing and positioning/textflow is automatic. What all this means is - you don't need to have extra software to post pics properly, just a browser on any PC and the pics in the hard disk - it's like attaching photos to a Yahoo/Hotmail email, with a couple of extra options.
So - anyone who is good in digging up model stuff and is willing to post to this Blog, let me know and I'll sign you up as a contributor - then, you just go to www.blogger.com, give your username/password, and you are ready to start posting to this Blog under your chosen name!!!
I am thinking of "specialist" contributions - like " XXX Brazilian mod", "Sao Paulo/Rio/NYC/Paris/London/Milan nightlife", etc - no need to fret, since the posts can be weekly, monthly or whenever you feel like it...

Thursday, August 04, 2005

Hmmm...Sao Paulo gossip says that Ana Beatriz may be behind the breakup between Brazilian mega-celebs Luana Piovani and Ricardinho Mansur...he was connected with Gisele three years ago - as I was reporting back in Nov 2002:

"...You've heard(?) about Gisele and her latest beau - Brazilian polo player/playboy Ricardinho Mansur. It seems the hunk was getting ready to marry well-known Brazilian model Isabella Fiorentino...The event, originally scheduled for September, was delayed until December - but the relationship is now considered "terminated", so says Isabella in the Folha of Sao Paulo..."

Tuesday, August 02, 2005

On the subject of Sabrinas...
Sabrina Orthmann, from Brusque in Santa Catarina, won the Brazilian Model Look in 1998 and was the Brazilian contestant (along with Tatiana Rossi - who Wim tells me prefers to be known as Dumenti) in the international final in Nice, in Sept 1998. I happened to be around (was I in luck or what?) - Sabrina was only 13 yo and weighed 45 kg, but was already very tall. Tati managed to grab 3d place overall - Sabrina wasn't in the finalists, so she was a little depressed after the final was over, but still smiled for my camera...




I often wondered what happened to her career since then - being with Elite Models wasn't exactly the best guarantee for success after late 1999...Sabrina worked in Paris and Tokyo among other places, then apparently took acting lessons a few years ago and seemed to abandon modeling. She appeared again this April, as the Trip #132 "Online girl" in a rather sensual shoot (which I have to say surprised me!) In the chat, Sabrina, who is today still only 20/21 yo and over 1m80 tall, says she plans to work as an actress.
I say - very few mods look that good these days...fascinating faces are rare.

Some pics from the Trip Online shoot:





Other recent Trip girls - I've seen Tais Thormann with few clothes before, but I don't think I'll get bored any time soon...she won a beauty contest among 700 contestants in RS at 16...compare with some substandard Danish "hip" mods...
Leticia Wiermann is only 18 yo ?
Sophisticated Rio babe Sylvia Missagia looks better than ever...
Amazonian exotic beauty Suyane Moreira is still around...
Massively elegant Talytha Pugliesi is very popular in Europe and reveals more than I had ever seen before here...she can be seen surfing in Biarritz, in the south of France, and looks great in the new L'Oreal ads...

Monday, August 01, 2005

Sabrina Jales (below, in pic) has an interesting look - 1m77, 85-61-89, she needs to be more relaxed on the catwalk...Women Paris has an interesting Brazilian package, with Sabrina, Tatiana Rossi-Dument, Simone Villas Boas, Michella Cruz and Carol F...plus Ana Beatriz and Laryssa Castro.




It looks like Nicole Witte left Karin and is now with Women - and predictably fell victim to the "shitty NYC agency casual polaroid" ritual...It may convince some ignorami that she is a "fresh" face...
Nicole is an awesome sight - FTV viewers can still admire her in the "Momi Intimo/Un-Dress" show clips from Milan FW...maybe as good as Adriana or Ana Beatriz on a catwalk and in lingerie, it's amazing she hasn't done the VS show...