- Carine Roitfeld staged her all-black runway show during the amfAR Gala featuring models Lindsey Wixson, Karolina Kurkova and Lily Donaldson in looks by Chanel, Balenciaga and Versace. [Styleite]

- True Blood‘s Grant Bowler will play Richard Burton to Lindsay Lohan‘s Elizabeth Taylor in Lifetime’s Liz & Dick. [Deadline]

- Beth Ditto on Karl Lagerfeld calling Adele fat: “First of all, Karl Lagerfeld is not even sane…[and he] used to be this really fat, eccentric dude. He always had that fat kid fan with him too. To me, only a person who was fat could get away with saying something like that.” [Vogue UK]

- This is what the debut of Kanye West‘s mult-screen film debut at Cannes looked like. [High Snobiety]

- Happy Fleet Week, sailors! Here are some events for the queer seamen that will hopefully be in all of us. [Paper]

- Britney Spears walked out on the taping of an episode of X Factor, much like Paula Abdul did last season. And also like Paula, I’m assuming there’s a mix of meds involved. [Deadline]

- Keira Knightley is engaged to boyfriend James Righton from British indie rock band Klaxons. [Telegraph]

"Nasty" (1986) When she first declared Control in 1986 -- control of what she says, control of what she does -- Janet was only 19 and her conservative style may have belied her years. But make no mistake, she wasn't a prude. She and her gal pals -- including a young Paula Abdul -- just wanted some goddamned respect.

"When I Think of You" (1986) The hair got bigger and the outfits got wilder with Jackson's first #1 hit, though at the time Janet was probably hanging her head if not in sartorial shame, then from the sheer weight of all that teased out hair.

"Rhythm Nation" (1989) Janet got serious and soldierly with 1989's Rhythm Nation 1814, her blockbuster album that spawned a record 7 top 5 hits. Befitting the theme of a unified nation under the groove, Janet brought out the epaulets, unfrizzed the hair and pulled that pony through her baseball cap for some dance-army realness.

"Love Will Never Do (Without You)" (1990) Janet reinvented herself as a sex symbol thanks to famed fashion photographer Herb Ritts. With a brown wig in a classic updo, a black halter top and ripped blue jeans, Ms. Jackson kept it beautifully simple and opened the 90s on a sexy but chic high note.
Janet Jackson - Love Will Never Do Without You by jpdc11

"If" (1993) Once Janet flashed her midriff there was no going back. As possessor of the most famous bellybutton of the 90s, Janet wore a strikingly similar outfit in "That's the Way Love Goes," which features a young Jennifer Lopez before she began her long love affair with eyebrow contouring. This video is notable, of course, for what is hands down the greatest dance break of all time.

"You Want This" (1994) After gallivanting about with that hoodlum Tupac Shakur in 1993's Poetic Justice, Janet got in touch with her inner Banjee girl -- donning dookie braids, gold hoops and a whole lot of attitude.

"Scream" (1995) Though she was probably wearing less foundation than big brother Michael -- may he rest -- Janet's gorgeous smokey eye (courtesy of legendary makeup artist Kevyn Aucoin -- may he rest) steals the $7 million show. That's right this video cost $7 million, making "Scream" the most expensive music video to date. And for good reason, this was the first and only time the brother and sister have shared screen time. Sidenote, MJ was so impressed with Aucoin's work the King of Pop wanted him to be his full-time make up artist, but perhaps noting how much time that would actually entail, Aucoin declined.

"Got 'til It's Gone" (1997) Almost 15 years before Rihanna saw red, Janet rocked the flaming fro for her The Velvet Rope album. Featuring supermodel Alek Wek, "Got 'til It's Gone" channels 70s-era South Africa during apartheid with Janet presiding as a funky-haired lounge singer to a club of stylish folks dressed in a mix of tribal prints and vintage threads.

"I Get Lonely" (1998) Janet had explored masculine dressing in 1989's "Alright" in which she donned a zoot suit and hoofed it with Cab Calloway, but here she successfully plays with both the masculine and feminine...right before tearing off her tie and sequined corset and ripping her shirt open to bare her famous breasts in the video's thrilling conclusion.

"What's It Gonna Be?!" (1999) Another high-priced, futuristic video, this time Janet joined Busta Rhymes for her most avant garde look to date: we're talking leather from head to toe, laced-up thigh-high boots, a towering crown of weave, an impossibly long train, foot-long eyelashes, a black lip and the real kicker -- nails pierced with gold rings. Even Lady Gaga would have to raise her paws in respect.

"Doesn't Really Matter" (2000) Janet commits wholly to the millennial J-Pop look with wide-legged jeans you could smuggle a family of skateboarders in, bright colors galore and an architectural wedge or two as she and her similarly-attired girls dance it out on a gyroscope.

"Make Me" (2009) The style in this video sort of takes all of Janet's past hits and squeezes them all together: a fedora à la "I Get Lonely"; a kimono top that wouldn't be out of place in "Doesn't Really Matter"; however Janet left the 80s shoulder pads at home in favor of a sleek metallic bold shoulder -- the only shoulder worth wearing. Her 19th and so far last #1 dance hit, my fingers are crossed we have more Janet Jackson music and visuals to make us move in the coming future.

The idea was that of madame editrix, Anna Wintour, who is secretly hilarious — in that incredibly dry and mocking British way:

I had to read the e-mail from the editor in chief several times to be quite sure. There, buried like a time bomb in a bouquet, was this chilling sentence: “I have signed you up to compete in The X Factor…You can sing,” says Anna…”This will be easy for you.” Her enthusiasm buoys me along, until a moment over dinner at the Metropolitan Opera…when she insouciantly announces that she is, in fact, completely tone deaf.  

Months of vocal training along with a word or two of advice from Liza Miinnelli :

“Just kinda talk through it and then sing the last bit real pretty, so that’s what they’ll remember,” she counseled, doing just that by way of example. “And remember to sing every song as if it’s the last time you are ever going to sing it!”*

And Bowles traveled to Newark, NJ — which was surprisingly the biggest indignity of the entire production — to take the stage.

Under the guise of Leo Mercuré (a character from a Noël Coward play, natch) — a  hairdresser who “once gave Anna Wintour a blow-out” —  Bowles crooned out a “hip-swinging” rendition of  Britney Spears‘ classic ode to lost innocence, “Oops!…I Did It Again” to the delight of the judges and a studio audience of 4,000 vultures.

Sadly, Bowles did not make it to the next stage of competition, but he was at least spared Cowell’s trademark brutality and Paula Abdul even said she wanted to hang out with him. And really, isn’t the prospect of doing karaoke with that glorious train-wreck to “Opposites Attract” reward enough? [Vogue]

*Which for Liza, it very well may be.

Photo: Homotography

- Gallianogate overshadowed much of Paris Fashion Week, that is until Christophe Decarnin raised the crazy bar. [Fashion Indie]

- CKOne proves that the more things change, the more they stay the same. Their new ads bring 90s Calvin roaring into the new millennium featuring a multi-ethnic cast of hotties parading around in their underwear. [ckone]

-Finally something I actually enjoy watching Jennifer Aniston in. [Jennifer Aniston's Sex Tape..for smartwater]

- Daniel Craig is a questionably attractive man but an undeniably ugly woman. [Oh La La Mag]

- You know when your career is over? When you become a judge for a reality show that purports to find someone to replace you. Christina meet J. Lo, J. Lo, meet Paul Abdul, Paula Abdul, meet your reflection whom you claim you’ve never seen before. [The Socialite Life]

- So maybe I’m putting the cart before the horse, but I’ve found my wedding ring. Luckily, it  will be useful in finding my future fiance — you have two options: marry me or get a face-full of diamonds. [Refinery29]

- Daphne Guinness has an 80-foot hallway that doubles as a runway in her New York apartment. I don’t know what’s more amazing, the fact that she has an 80-ft long runway or that she has an apartment in New York with 80 ft lying around. [Style.com]

- America’s newest sweetheart, Charlie Sheen, joined Twitter and almost immediately has found himself a second career. Which comes in handy since his first career has gone down in a blaze of glory. 2 million followers and counting! [The Sheen Twitter]

Coisas que notei nas roupas femininas: Acho que Hollywood não está sabendo lidar direito com a crise e muitas celebridades (leia-se seus stylists e agentes) ficaram na dúvida entre ir no “glamour total” ou ser “simpatizante” com o resto da nação. O resultado foi interessante e apareceu através de três diferentes versões de vestido: os “cheguei”, os minimalistas e os vestidos “para gente normal”.

• Os “cheguei” (que, na maioria das vezes, não tem nada de cafona) eram os vestidos intricados, com uma quantidade razoavelmente grande de informação. Bordados, brilho, rendas… qualquer fosse o material, dava pra ver que ele era rico e com bastante informação. 
• Já os minimalistas contrastavam – e se destacavam – pela sua falta de detalhes, deixando o foco principal para o corte e o caimento do vestido. Alguns podem achar que são vestidos “pobres”, mas são vestidos ricos em informação – ela só é sutil e discreta. Além disso, são vestidos dificílimos de serem feitos porque seu corte tem que ser impecável e a escolha do material é quase sempre um desafio.
• E os vestidos “para gente normal” foram eleitos pela maioria das mulheres no Emmy. São vestidos que no tapete vermelho não se destacam; não são feios muito menos “erros”, mas tampouco são os showstoppers que se espera de uma cerimônia de premiação. Poderiam ser confundidos com “minimalismo”, mas não são. Muitos deles tem informações como babados, rendas ou brilho, mas em quantidades menores ou de forma mais discreta. Foi um Emmy “chato” pra quem viu o tapete vermelho, mas um Emmy bem rico em informação para quem trabalha com roupa de festa.

Coisas que notei nas maquiagens/cabelos:

• o calor deveria estar infernal em Los Angeles, porque muito poucas celebridades escolheram ir com seus cabelos soltos – algo que estava acontecendo bastante em red carpets anteriores. O problema é que quase todo mundo resolveu usar o mesmo estilo de coque – aquele preso de forma soltinha, com muito laquê pra segurar e alguns fios correndo pelos lados (em algumas). 
• A maquiagem também foi unanimidade e a escolha foi o minimalismo. 11 entre 10 celebridades escolheram a “falta de maquiagem” como a maquiagem da noite, salvo raras exceções que deram um enfoque maior (porém pequeno) nos olhos ou na boca. Batons escolhidos para esse feito foram os vermelhos (destaque para o vermelho alaranjado de Maria Menounos) e rosa pink (destaque para o de Lo Bosworth).
• influência anos 60: tem alguma coisa no ar meio anos 60. Vi alguns olhos marcados com delineador, essa coisa de usar batom nude que já vem de algumas estações… mas o que me chamou mais a atenção foram os cabelos de Tina Fey, Julie Bowen, Paula Abdul, Edie Falco, Jayma Mays, Lo Bosworth e Stephanie Pratt. Todos super armados com Bump it e exalando uma vibe retrô-60s. Alguns mais, outros menos, mas todos definitivamentes com a influência!

Depois que fizer o post sobre os meninos escrevo o que achei das tendências deles.

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Victoria Beckham is set to replace Paula Abdul on the final two episodes of American Idol (just as a guest) and will make £155,000. Holy shit.  She’s claiming to have taken the job to get a ratings boost in the UK after being on such a high profile show in the US, which will give her some hype just before her fashion line debuts during fashion week this September. And there we have it, one more thing the Beckhams are doing to take over the world.

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