Feet Helena Kallianiotes nudes (84 photos) Fappening, braless
Cybergirl of the Month March 2014, Stefanie Knight, is back with a new nude pictorial. “I’ve always loved to write,” she says. “About all kinds of things, but right now, my focus is erotica. I think that the written word is so sexy – I want to write the next Fifty Shades.” After writing her first pages, Stefanie Knight offers you her natural body stripping a sexy lingerie in black stockings to finish nude on her desk. “I think that men prefer women with great personalities,” she says. “Not just the best-looking girls. Personality is everything, and it can really change the way a man thinks about a woman.” Enjoy Stefanie Knight stockings pictures!
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Birthplace: Thunder Bay, Ontario Canada
Birthdate: December 17, 1994
Height: 5′ 3″
Weight: 121 lbs
2018 was the greatest year of Pierpaolo Piccioli’s career so far. The haute couture collections he created for Valentino inspired his ready-to-wear, and in turn an entire fashion industry. This season, his influence has resounded from New York through London and Milan, from the runways of emerging designers to the grandes maisons. The Valentino Effect, we’ve called it: dramatic volumes, dreamy colours, and majestic romanticism. “After the couture, I wanted to move away from safe territory. A change of silhouette,” Piccioli said in a preview of his first ready-to-wear collection of the new year. “I still want to keep the couture values in the house, but more daywear, more street, more inclusive.”
He decided to translate the spirit of street poetry into fashion, detecting a parallel between couture and poetry, and his belief that both should be pulled out of their ivory towers to be shared with the people. “Poetry in the street, for me, is kind of metaphorical of inclusive couture. It’s a beauty that’s allowed for everybody,” he said. “When you see something written you have to read it. Your eyes go directly there.”
Piccioli invited contemporary poets Greta Bellamacina, Mustafa The Poet, Yrsa Daley-Ward, and Robert Montgomery to compose brief poems in the style of anonymous street poetry. He filled the pages of a little book with them, called it Valentino on Love, and transferred the poems to his new silhouettes in embellished slogans. (On the soundtrack, Chloë Sevigny – a friend of his music maestro Michel Gaubert – recited the poems to music. One of Robert Montgomery’s massive billboards featured at the foot of the runway: “The people you love become ghosts inside of you and like this you keep them alive,” it read.)
Still sculptural in the tradition of haute couture, Piccioli’s daywear was characterised by a slight de-volumizing of coat shapes, amplified long lines, and intensified mini-dresses. Then, he let Jun Takahashi of Undercover – who collaborated on motifs for last month’s Valentino men’s collection – plaster coats and dresses in prints featuring photographs of neo-classical statues of lovers. Piccioli adorned them with rose embroideries and sprinkled beads and sequins on top.
“I wanted graphics far away from the world of Valentino. I didn’t want to do romanticism in a classic way, say, with just flowers, but with different kind of visuals,” he explained. A mini dress with a statue print and floral embroidery featured the words “kiss me in this light while it still lasts” by Mustafa the Poet. A mini dress fused lace, lip embroidery, pink panelling and the words “I woke up and felt the night leaving. Desire looked strange in the light”. A black coat with a chain and rose print, worn over a negligee dress with a pussy bow blouse, read “wrap me, free me, see me”.
Elsewhere, Piccioli introduced the codes of couture to daywear such as a sculptural orange jacket covered in bouncy plume, or a workingman’s jumpsuit created entirely in black lace. British milliner Noel Stewart had worked with Piccioli on not-so-ordinary bucket and sun hats elevated in feathers, lace, or those Takahashi collages. Wherever the prints appeared, they became the bearing element of the garment.
But it was when he stripped his exquisitely draped dresses and fluid tailoring of all motifs and embellishment, and dared to let them breathe in all their purified, ravishing and painterly glory, that Piccioli’s collection was at its strongest. Because the truth is that this couturier’s charismatic talent and feeling for clothes are so strong he doesn’t need designer collaborations, prints or poetic slogans to evolve the universe he has created at Valentino.
That visual world – those mercurially draped dresses, the majestically minimal cutting, and all his mesmerising colours – is powerful enough to transcend a need for fast seasonal revolution imposed by the fashion system. Left to slowly evolve and enthral without too much interference, Piccioli’s aesthetic – reduced to its core – can sustain Valentino collections for seasons on end, and truly inscribe his couture-informed signature in the fashion history books. Because he really is a poet in his own right.