Fashion ROCKS 5th ANNIVARSARY SHOW...
coming Tuesday September 9th, 2008 to CBS
mark your calendar....(last year was hot!)...c below
Timbaland - The Way I Are (Live Swarovski Fashion Rocks)

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Tags: Body,Fashion

Getting paid 4 this? (as well he should!)
David Beckham introduces Emporio Armani underwear for men. Sexy and streamlined, the classic brief and stretch boxers, made from modal and cotton for the utmost in luxurious comfort. Shop the full range of colors and styles at emporioarmani.com. More fashion styles coming this spring as well as exclusive video footage of David Beckham in the latest Emporio Armani underwear.

U MIGHT WANNA CLICK THE LINK FOR THE SLIDE SHOW (really)

Tags: Body,Fashion

Tags: Fashion,Body

What's behind Hollywood's plastic surgery obsession? Radar spoke with industry insiders—from casting directors to A-list doctors—for the truth about the insane pressures, the elaborate subterfuges, and the costs of playing the perfection game?

See before-and-after shots of Angelina Jolie and others
F
OR MERE MORTALS, the holidays are a chance to congregate with loved ones, rationalize gluttony, and exchange unwanted gifts. For Hollywood celebrities, they're traditionally a time to sneak off to one's surgeon's office for some urgent nips and tucks. With only weeks remaining until awards season—the series of televised events that kicks off with the Golden Globes on January 13—planning is everything. By Thanksgiving, anxious stars are already discreetly arranging to have their palms Botoxed (to avoid sweaty red-carpet handshakes), their laugh lines rendered mirthless with Juvederm injections, and their droopy eyelids carved away. As the ceremonies draw nearer, last-minute earlobe plumpings are not unheard of.
Recently, Rose McGowan lost out on a role in the upcoming film Speed Racer, reportedly because her overstretched eyelids had begun to evoke those of an alien kitten
Each time major celebrities alter their bodies, they're risking millions of dollars in potential earnings and the livelihoods of their entire teams. With the stakes so high, the effects must be subtle. No one wants to be the next Meg Ryan, whose 2001 misadventures in lip enhancement left America's erstwhile sweetheart looking like a duck, a lapse in judgment at which Hollywood still shudders. "She basically installed a vagina on her face," says producer Clifford Streit (American Psycho), adding helpfully, "When your lips get that big, your eyes look too small." More recently, Rose McGowan lost out on a role in the upcoming film Speed Racer, reportedly because her overstretched eyelids had begun to evoke those of an alien kitten.
Even minor procedures are performed in grim secrecy. For A- and B-list stars, admitting to any plastic surgery is only slightly less taboo than admitting to a taste for sodomy. "Everybody lies about it," says actress Julie Bowen (Boston Legal, Ed, Lost). "The men I know are a bit more open, but the girls will lie and lie and lie, even though you're staring right at their scars." Bowen, 37, one of the most defiantly flat-chested successes in the business, has no need to fib: "I haven't had any surgery," she insists, "but I'm totally fascinated with the idea."
She's not the only one. Although much of America has grown blasé about plastic surgery and sees little wrong with a self-esteem-boosting nose job (or three), Hollywood's lies perpetuate our national fixation with its frozen faces. In the tabloid era, editors at InTouch and Star endlessly examine renowned noses for telltale nostril changes, and paparazzi stake out the offices of high-profile doctors like Arnold Klein, a Beverly Hills dermatologist who somehow survived his association with Michael Jackson to become one of Hollywood's elite injectors. Meanwhile, awfulplasticsurgery.com, a website run by a Los Angeles customer service representative, draws more than one million hits a month, exposing the stars' scalpel antics with tantalizing (if sometimes dubious) photo evidence.
Still, thanks to patient confidentiality and stealth tactics, some of the harshest aspects of the industry's bizarrely conflicted relationship with plastic surgery go unreported.

To uncover the real truth about daily life inside this collective neurosis, Radar talked to dozens of entertainment-industry insiders—casting directors, talent managers, actors, and agents—many of whom insisted on anonymity. Several others declined to talk even off-the-record. "You've got to understand the desperation," says Streit. "Hollywood is a sea of desperation surrounding the Beverly Hills Hotel."
This is a town, after all, where stars meet their surgeons for whispered face-lift consultations on the sidelines of their children's soccer games, and use underground parking garages to skulk into opulent "recovery retreats" after surgery. It's a place where Lionel Richie's estranged wife, Diane, anxious to sustain her plastic surgery habit, explicitly demanded $20,000 a year in annual upkeep in her 2004 divorce filing. (Which is arguably a bargain: Some doctors charge that much per day to clear their schedule for a marathon fix-it session, and Demi Moore allegedly dropped some $330,000 for her pre–Charlie's Angels body makeover.) Even high-profile Scientologists, so famously opposed to pharmaceutical self-improvement, have their own plasticizers, such as Edward Terino, M.D., who reportedly performs church-sanctioned "silent" nose jobs in the belief that any music or chitchat in the operating room might subconsciously taint the anesthetized believer.
The fetish for looking generically ageless is by no means confined to on-screen talent. "Actors aren't the only ones to feel the pressure," says Greg H., who spent 23 years in Hollywood as a top casting director, agent, and talent manager before decamping for Seattle. "It's everyone: producers, writers, assistants ... the executives' wives are easily the worst."
"Actually," says producer and manager Douglas Urbanski (The Contender), who's repped stars such as Gary Oldman (his current producing partner) and Isabella Rossellini, "the realtors are probably the most plastic-surgerized people going. L.A. is such a fucked-up place. Where else do you have to look flawlessly sexy to sell a house?" As the Los Angeles Times recently observed, perfection has become the city's requisite standard of grooming: "Walking around with a furrowed forehead ... has become the equivalent of going out with dirty fingernails. It's possible to fix that."

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Two men - the Gentle Man and the Busy Man – meet on our runway. They represent the two personalities that live within us, but not mutually exclusive. Both find themselves before a meter that measures reality and us. The Busy Man, the man on the go, prefers the rigid ruler for measuring distances. The Gentle Man, a more sensitive dreamer, uses a measuring tape that more easily adapts to the curves of life. But which of the two can say he has the right tool for measuring in an impartial way? And what is the standard and universally recognized unit of measurement? In the classic debate between productivity and thought, a third path unites the sensibilities of the Gentle Man and the Busy Man. It does not suggest the correct way to measure reality, but focuses on crossing it. The mEtro ruler of thought combines action and contemplation, work and leisure. It knows no schemes and classifications and accepts life as it is in the here and now. “The journey is the destination.” To this theme we dedicate the story of the asciutto (slim style) and polenta (rural memories). The collection is the synthesis and harmonization of two important principles that coexist: the revival of artisanal memory (symbolized almost graphically by polenta yellow) and the need to formalize the principle of fine tailoring. Asciutto and Polenta – “Polenta” is the cultural reference that evokes the memory and traces of the past that infiltrate the fabrics in the collection. More durable felted fabrics representing union and fusion, the shibori dye technique with its watercolors and abstract motifs, and stencils are combined with corduroy, flannel, and cloth. Never before has the Maison blended such different techniques through its aesthetic mEtro meter. It combines “polenta” with asciutto; a metaphor of the slim fit that is the dominant silhouette of the collection. Pants snugly caress the legs, outerwear is fitted, and knitwear embraces the body. Brave and Hard – There are two different slim fit styles. The focus is on jacket construction. Rules of fine tailoring are applied to pret-à-porter. The Brave jacket flatters the figure, hugs the hips, slims the sleeves, and focuses on the waist. The Hard jacket concentrates on construction: like a second shirt, it accentuates the figure. The knit-effect shirt – Materials are digitally transformed. Patterned knitwear stripes are printed on cotton for shirts, on silk for new regimental ties, and on nylon for sportswear. This migration of elements and culture is the leitmotif of the entire collection and also involves evening shirts, where rough raw gauze creates delicate origami elements worn like new jabots. Paisley – Paisley, a memento of the past, defines this collection of the present: it outlines pocket edges, lines lapels, and decorates classic laced shoes.  The paisley travel bag is what the Gentle Man and the Busy Man find in their wardrobe from days gone by. The light – Light is the new measure that combines activity and contemplation, work and leisure. It is found in the colored crystals used for cufflinks, in 28 different types of jewel buttons for shirts with forties-style prints, and in the sparkling sheen of animal print cockades decorating working class caps. Light gleams in the suits of both the Gentle Man and Busy Man, day and night, in the colored motifs of the printed silk linings.

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