Chris evans and evan rachel wood dating Live mexicans sesx cams

Her fall collection mixed wintry monotones in whites and steel grays with nods to postmodern whimsy: camel hair combined with neoprene, leather woven with fox fur.

It drew a fluid line between sensuality and strength: a tight, body-conscious dress with cutouts and, not two looks later, an androgynous-cool tomboy trouser suit.

chris evans and evan rachel wood dating-74

Graphic novelist Frank Miller is often called a "visionary"—a loaded, hot-air term for many but nearly an understatement for him.

He dreams up worlds we've never fathomed, like the anarchic, crime-ridden metropolis where prostitutes mobilize in his codirecting debut, Sin City, and refashions history into timeless allegory, as with the 480 b.c.

Battle of Thermopylae, sensationalized to controversial effect in 300.

His noir-camp aesthetic is gritty, base, and grandiose­—and when his drawings are brought to life on-screen, he exhausts the most cutting-edge CGI to re-create every outline, every hue.

A film conceived by Miller is visual candy in the most magnificent way.

One world Miller has never dared enter is fashion, let alone fragrance.

But Frida Giannini, Gucci's creative director (and visionary in her own right) had big plans for Gucci Guilty, her new patchouli-based mandarin-lilac concoction for the "daring type—a woman who likes to take risks, not sit around and wait for things to happen," she says.

In Giannini's four-year tenure, she's known the payoffs of taking risks.

To capture a milieu of Guilty-ness—worthy of inspiring the most irresistible transgressions—Giannini didn't want just an ad campaign; she wanted a graphic novel turned 3-D short film, an auteur's take on fantasy in the guise of a 60-second commercial."Frank Miller is absolutely unique," Giannini says. I received the storyboards directly from him and could immediately see his vision.

I could smell the streets in the movie."Action: Driving a white '53 Jaguar, a woman clad in tight black leather speeds across a skyscraper-flanked bridge to the hauntingly remixed electropop of Depeche Mode's "Strangelove" ("I give in to sin/ Because you have to make this life livable...").

She screeches to a halt, steps out of the car (close-up on her Gucci leather-and-croc platform stilettos), and flashes back to a pulse-pounding encounter between herself and a smoldering stranger in a bar.

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