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@auteuro

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@naomi Hit Me . . . And I Loved It. #naomicampbell #naomihitme #naomihitmeandilovedit #blackken #hashem #simpsons by @auteuro

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3 years ago

@mashiachhascome @mashiachishere #mashiach #moshiach #moshiachnow #messiah #rabbi #israel by @auteuro

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a year ago

#karllagarfeld #karllagerfeldparis #karllagerfeld #patrickkelly #patrickkellyparis #idmagazine #naomihitme #naomihitmeandilovedit #naomicampbell #blackken #simpsons #hashem #westernwall by @auteuro

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3 years ago

@jourdandunn as Joyce Bryant because both women know what it means to make an entrance-and to make an image carry bombshell beauty. Bryant became one of the defining Black performers of the early 1950s: her silver hair, sculptural gowns, and forceful stage presence made her instantly recognizable in a period when Black women were rarely granted that kind of mainstream glamour. Dunn has spent her career commanding the camera and runway with a similarly striking poise. Her rise through major fashion houses, #vogue covers, and campaigns gives her an unusually strong foundation for portraying a woman dubbed the black #marilynmonroe
Bryant’s gowns were designed by Zelda Wynn Valdes, and they shaped how she moved: some were so tight she had to be carried onto the stage. Yet Bryant did not become a static fashion image. She belted, punched the air, and turned the restrictions of the costume into part of a fiercely physical performance. Dunn’s runway experience gives her an instinctive understanding of how clothing, posture, and movement tell a story.
Bryant was celebrated as a glamorous sex symbol, but she was also a dark-skinned Black woman breaking into venues and media spaces shaped by segregation. The Metropolitan Museum describes Bryant and Valdes as women who achieved success despite the weight of racism, while Bryant’s authorized biography recounts her defiance of threats when she performed at a Miami Beach hotel that had previously excluded Black entertainers. Dunn’s own history-making place in fashion-including becoming the first Black model in more than a decade to walk #prada runway-offers a point of resonance with Bryant’s story of entering spaces that had not been built to welcome Black women.

Dunn also has the screen presence to make Bryant’s reinvention legible. She left popular entertainment in 1955, later returning to performance and becoming associated with opera. A strong portrayal would need to let the audience see the woman behind the silver hair: the discipline beneath the glamour, the choices behind the public persona, and the cost of being turned into an image by the entertainment world.
#jourdandunn #supermodel by @auteuro

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3 days ago

@jourdandunn as Joyce Bryant because both women know what it means to make an entrance-and to make an image carry bombshell beauty. Bryant became one of the defining Black performers of the early 1950s: her silver hair, sculptural gowns, and forceful stage presence made her instantly recognizable in a period when Black women were rarely granted that kind of mainstream glamour. Dunn has spent her career commanding the camera and runway with a similarly striking poise. Her rise through major fashion houses, #vogue covers, and campaigns gives her an unusually strong foundation for portraying a woman dubbed the black #marilynmonroe
Bryant’s gowns were designed by Zelda Wynn Valdes, and they shaped how she moved: some were so tight she had to be carried onto the stage. Yet Bryant did not become a static fashion image. She belted, punched the air, and turned the restrictions of the costume into part of a fiercely physical performance. Dunn’s runway experience gives her an instinctive understanding of how clothing, posture, and movement tell a story.
Bryant was celebrated as a glamorous sex symbol, but she was also a dark-skinned Black woman breaking into venues and media spaces shaped by segregation. The Metropolitan Museum describes Bryant and Valdes as women who achieved success despite the weight of racism, while Bryant’s authorized biography recounts her defiance of threats when she performed at a Miami Beach hotel that had previously excluded Black entertainers. Dunn’s own history-making place in fashion-including becoming the first Black model in more than a decade to walk #prada runway-offers a point of resonance with Bryant’s story of entering spaces that had not been built to welcome Black women.

Dunn also has the screen presence to make Bryant’s reinvention legible. She left popular entertainment in 1955, later returning to performance and becoming associated with opera. A strong portrayal would need to let the audience see the woman behind the silver hair: the discipline beneath the glamour, the choices behind the public persona, and the cost of being turned into an image by the entertainment world.
#jourdandunn #supermodel by @auteuro

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3 days ago

@jourdandunn as Joyce Bryant because both women know what it means to make an entrance—and to make an image carry bombshell beauty. Bryant became one of the defining Black performers of the early 1950s: her silver hair, sculptural gowns, and forceful stage presence made her instantly recognizable in a period when Black women were rarely granted that kind of mainstream glamour. Dunn has spent her career commanding the camera and runway with a similarly striking poise. Her rise through major fashion houses, #vogue covers, and campaigns gives her an unusually strong foundation for portraying a woman dubbed the black #marilynmonroe

Bryant’s gowns were designed by Zelda Wynn Valdes, and they shaped how she moved: some were so tight she had to be carried onto the stage. Yet Bryant did not become a static fashion image. She belted, punched the air, and turned the restrictions of the costume into part of a fiercely physical performance. Dunn’s runway experience gives her an instinctive understanding of how clothing, posture, and movement tell a story.

Bryant was celebrated as a glamorous sex symbol, but she was also a dark-skinned Black woman breaking into venues and media spaces shaped by segregation. The Metropolitan Museum describes Bryant and Valdes as women who achieved success despite the weight of racism, while Bryant’s authorized biography recounts her defiance of threats when she performed at a Miami Beach hotel that had previously excluded Black entertainers. Dunn’s own history-making place in fashion—including becoming the first Black model in more than a decade to walk #prada runway—offers a point of resonance with Bryant’s story of entering spaces that had not been built to welcome Black women.

Dunn also has the screen presence to make Bryant’s reinvention legible. She left popular entertainment in 1955, later returning to performance and becoming associated with opera. A strong portrayal would need to let the audience see the woman behind the silver hair: the discipline beneath the glamour, the choices behind the public persona, and the cost of being turned into an image by the entertainment world.

#jourdandunn #supermodel by @auteuro

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3 days ago

@auteuro #campbellssoup #homage #malesupermodel #drake #dsquared2 by @auteuro

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4 days ago

@auteuro #malesupermodel #malemodel #robertocavalli #drake #malemodelscene by @auteuro

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4 days ago

@auteuro & @naomi #soup #naomicampbell #blackcowboys #trump #simpsons by @auteuro

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7 days ago

@auteuro & @naomi #cowboy #campbellssoup #naomicampbell #spaghettios #supermodel by @auteuro

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7 days ago

@auteuro & @naomi #cowboy #campbellssoup #spaghettios #naomicampbell #supermodel by @auteuro

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7 days ago

@naomi as Katoucha Niane

Naomi Campbell is an indisputable casting for Katoucha Niane because the unmatched resemblance is only the beginning. #naomicampbell possesses an embodied understanding of the particular world in which Katoucha became Katoucha: the rarefied, theatrical, sometimes brutal ecosystem of late-20th-century European high fashion. Katoucha was not simply a beautiful woman who happened to model. She was the musée #yvessaintlaurent and the defining presences of Paris couture.

The film will also make Katoucha’s disappearance and death a substantial part of the story. In late January/early February 2008, after an evening with friends in Paris, Katoucha was returning to La Petite Vitesse, the houseboat where she lived near the Pont Alexandre III. Contemporary reporting tentatively places her return at roughly 1 a.m., in rainy conditions; friends reportedly accompanied her toward the boats but left her near another vessel that she apparently had to cross to reach her own. She was not subsequently seen alive in any publicly established account. Her handbag—containing personal belongings including her telephone and glasses—was later found outside or near the entrance to the houseboat.

Almost four weeks later, on February 28, a passerby spotted a body in the Seine near the Pont du Garigliano, several kilometres downstream. It was formally identified as Katoucha. The initial autopsy was reported as finding death by “submersion rapide sans traces de violences”—rapid submersion with no signs of violence—and investigators favored an accidental fall into the river but unsolved questions remain at the height of #highfashion

#unsolvedmysteries #parisfashionweek by @auteuro

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11 days ago