...Deborah Riley Draper Not many moments in time change the course of history and evolution of an industry at the same time. And even fewer of these moments can be attributed without exception to a group of black fashion models. In this essay I discuss my award-winning documentary Versailles ’73...

...' meetings. Frago• the refined, detailed gardens of the (Jardin d'amour), which was on view nard's work demonstrates that for the eighteenth-century Versailles: They from April 2 until July 8, 2007. He eighteenth-century French aristocracy...

... to be desirable. They are sexy and inter-linguistic."11 self-conscious, posing and acutely aware. On the steps of the gardens of Versailles, they seem to Cinderella Wore Prada pause...

... only for the clien• Seydou Keita: No. No one ever bothered me. If you want to be a tele: a Peugeot, a Dauphine, a Versailles, and an American model mechanic, you have to learn how; you're free to learn. If you want to called the Sylla. I had three Vespas [translator's note: a brand...

... and the Politics of Dress, ed. Jean 25 “The Jungle Look . . . Just the Fashion to Make Men Feel Allman (Bloomington: Indiana University Press, 2004), 2–3. See Beastly,” Drum, March 8, 1972, 45. Drum also ran a story on the also the documentary Versailles ’73: American Runway Revolution popularity of jungle...

.... Unfortunately, like any other archive, it gives us an tecture, because it gives it a second language, which is that authoritarian vision. Today we see Versailles as something of memory. And that for me is the great interest of archi- wondrous, whereas according to contemporary chroniclers, tecture...

... quite calculated. Similar to vision comparable to Versailles. how Edvard Munch exposed his paintings to the ele- Social activism is also at the core of Invisible ments for added effect, Murillo is widely known for Borders: The Trans-African Project, an artist collab­ paintings...