The Fashion Pack at Studio 54: Chic & Swanky; Ritzy & Elegant!

"Fashion Pack" by Amanda Lear
“Fashion Pack” by Amanda Lear
"Fashion Pack (Studio 54)" by Amanda Lear
“Fashion Pack (Studio 54)” by Amanda Lear
Amanda Lear - "Diamonds for Breakfast"
Amanda Lear – “Diamonds for Breakfast”
The Vogue Magazine
The Vogue Magazine
The British Airways Concorde Jet Plane
The British Airways Concorde Jet Plane
Studio54 Logo
Studio54 Logo
Studio54 Logo
Studio54 Logo
The Fashion Pack at Studio 54
The Fashion Pack at Studio 54
The Fashion Pack at Studio 54
The Fashion Pack at Studio 54
STUDIO 54  - Everyone on stage
STUDIO 54 – Everyone on stage



“Fashion Pack  (Studio 54)” – Amanda Lear


lt was night and suddenly I felt like dancing
I took a cab to show me to the disco scene
He said: ok., you wanna see those crazy people
Hastling at the door to get into Studio 54



Well, I was in and everybody was “travolting”
The fashion queens, the models and the movie stars
Andy snapping, Margaux dancing with Scavullo,
Liza dancing on the floor and Bianca walking through the door



Who is in? Who is out? Tell me, tell me, tell me
Who is in’? Who is out? Famous and trendy



“In” people always have to smile in Vogue
They only travel by Concorde
Doing things you can’t afford



They are the fashion pack
People you see in the magazines
They are the fashion pack
They’re always smiling in their Limousines


They only come out after dark
Got to keep on their trendy track
They are the fashion pack



In Paris you got to be seen at Maxim’s
The Palace, the “7” and then go Chez Regine
Champagne, caviar, haute-couture, expensive cars
Saint Laurent and Loulou
Rich ladies with a few bijoux



Who is in? Who is out? Tell me, tell me, tell me
Who is in? Who is out? Woman’s wear Dally



Rock stars sniffing
While Marisa’s posing
Paloma’s counting her paintings
The models of Zoli flirting


They are the fashion pack

People you see in the magazines
They are the fashion pack
They’re always smiling in their limousines


They only come out after dark
Got to keep on their trendy track
They are the fashion pack



They are the fashion pack

They read a lot of silly magazines
Like to sit around gossiping
In the back of their limousines



They are the fashion pack
People you see in the magazines
They are the fashion pack


They only come out alter dark
Got to keep on their trendy track
They are the fashion pack


Hey, what’s your name
Didn’t I see you in Interview last month
Or was it the Ritz
Gee, you’re so famous
May I have your autograph?



Seventies Dancefloor Backdrop
Seventies Dancefloor Backdrop
The 70s Disco Party
The 70s Disco Party



Studio 54

From Wikipedia, the free encyclopedia



Studio 54 was a popular New York nightclub from 1977 until 1981 when it was sold by founders and creators Steve Rubell and Ian Schrager. It was referred to as the most famous nightclub of all time and was a sophisticated, groundbreaking multi-media visual extravaganza. It continued to operate as a nightclub until 1991 by other owners. Located at 254 West 54th Street in ManhattanNew York City, the space was originally the Gallo Opera House, opening in 1927, after which it changed names several times, eventually becoming CBS radio and television Studio 52. Since November 1998 it has been a venue for the Roundabout Theatre Company and is still called Studio 54, but is no longer a nightclub. A separate restaurant and nightclub, called 54 Below, operates in the basement of the famed venue.



"Travolting" - a form of disco-dancing made popular by John Travolta in "Saturday Night Fever."
“Travolting” – a form of disco-dancing made popular by John Travolta in “Saturday Night Fever.”
"Travolting" - a form of disco-dancing made popular by John Travolta in "Saturday Night Fever."
“Travolting” – a form of disco-dancing made popular by John Travolta in “Saturday Night Fever.”
Grace Jones
Grace Jones
"A Stranger in the Mirror" by Sidney Sheldon
“A Stranger in the Mirror” by Sidney Sheldon
A quote from Sidney Sheldon
A quote from Sidney Sheldon



From Wikipedia, the free encyclopedia



Disco is a genre of music that peaked in popularity in the late 1970s, though it has since enjoyed brief resurgences including the present day. The term is derived from discothèque (French for “library of phonograph records”, but subsequently used as proper name for

A quote from Sidney Sheldon
A quote from Sidney Sheldon
A quote from Sidney Sheldon
A quote from Sidney Sheldon
A quote from Sidney Sheldon
A quote from Sidney Sheldon
New York Fashion Week - Fall-Winter 2012
New York Fashion Week – Fall-Winter 2012
New York Fashion Week
New York Fashion Week
New York Fashion Week
New York Fashion Week
New York Fashion Week
New York Fashion Week
New York Fashion Week
New York Fashion Week
"Vogue" by Madonna
“Vogue” by Madonna
"Vogue" by Madonna
“Vogue” by Madonna

nightclubs in Paris). Its initial audiences were club-goers from the African AmericangayItalian AmericanLatino, and psychedelic communities in New York City and Philadelphia during the late 1960s and early 1970s. Disco also was a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. Women embraced disco as well, and the music eventually expanded to several other popular groups of the time.



Musical influences include funkLatin and soul music. The disco sound has soaring, often reverberated vocals over a steady “four-on-the-floor” beat. In most disco tracks, strings, horns, electric pianos, and electric guitars create a lush background sound. Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs employ the use of electronic instruments such as synthesizers.


Well-known late 1970s disco performers included ABBADonna Summer, The Bee GeesKC and the Sunshine Band,The TrammpsVan McCoyGloria GaynorThe Village PeopleChic, and The Jacksons—the latter which first dipped its toes into disco as The Jackson 5.


Many non-disco artists recorded disco songs at the height of disco’s popularity, and films such as Saturday Night Feverand Thank God It’s Friday contributed to disco’s rise in mainstream popularity. A few artists still managed to score disco hits in the early 1980s, but the term “disco” became unfashionable in the new decade and was eventually replaced by “dance music”, “dance pop”, and other identifiers. Although the production techniques have changed, many successful acts since the 1970s have retained the basic disco beat and mentality, and dance clubs have remained popular.


A disco revival was seen in 2013, as disco-styled songs by artists like Daft Punk (with Nile Rodgers), Justin Timberlake,BreakbotBruno Mars and Robin Thicke filled the pop charts in the UK and the US.



Amanda Lear

From Wikipedia, the free encyclopedia



Amanda Lear (née Tapp; born 18 June or 18 November in 1939, 1942, 1946 or 1950) is a French singer, lyricist, painter, television presenter, actress and former model.


Lear grew up in the South of France and in Switzerland, and studied art in Paris and at Saint Martin’s School of Art in London. She began her professional career as a fashion model in the mid-1960s and went on to model for Paco Rabanne and Ossie Clark among others. Around that time she met the Spanish surrealist painter Salvador Dalí and would remain his closest friend and muse for the next 15 years. Lear first came into the public eye as the cover model for Roxy Music‘s album For Your Pleasure in 1973. From the mid-1970s to the early 1980s, she was a million-album-selling disco queen, mainly in Continental Europe and Scandinavia, signed to Ariola Records. Lear’s first four albums earned her mainstream popularity, charting in the Top 10 on European charts, including the best-selling Sweet Revenge (1978). Her biggest hits included “Blood and Honey“, “Tomorrow“, “Queen of Chinatown“, “Follow Me“, “Enigma (Give a Bit of Mmh to Me)” and “Fashion Pack“.


In the mid-1980s Lear positioned herself as one of the leading media personalities in mainland Europe, especially in Italy and in France where she hosted many popular TV shows. She had also developed a successful painting career, regularly exhibiting her works in galleries across Europe for the next three decades, and continued to make music, earning minor hits such as “Incredibilmente donna” and “Love Your Body“. Amanda’s 1980s musical output saw her experimenting with different genres and trying to revive her career by re-recording earlier hits to various levels of success. 1980s also saw her release two books: an autobiography My Life with Dalí and a novel L’Immortelle.


Since the 1990s her time has been divided between music, television, movies and painting. Despite frequent album releases, she failed to achieve success on charts with her music. However, her television career remained successful, with Lear hosting numerous prime time TV shows, occasionally making guest appearances in French and Italian TV series. She has also performed acting and dubbing roles in independent as well as major film productions. In the late 2000s Lear would reinvent herself as a theatrical actress, performing in long-running stage plays in France. To date, she has sold over 25 million singles and 15 million albums worldwide. Lear is also a widely recognized gay icon.




Grace Jones on Nightclub Studio 54: “It Wasn’t as Bad as They Say”

July 12, 201008:37:22 GMT

Read more:


The singer has defended the infamous New York City nightclub, saying ‘It was cool in the sense (that) there was moderation, believe it or not.’


Grace Jones has defended infamous New York City nightclub Studio 54, insisting “moderation” was always practiced by its patrons. The singer was a regular fixture of the 1970s hotspot, which became known for sexual activity and rampant drug use that occurred after hours.


But Jones maintains the discotheque was a far more civilized place than its notorious reputation suggests. She tells U.K. talk show host Alan Carr, “It wasn’t as bad as they say – it was cool. It was cool in the sense (that) there was moderation, believe it or not. That way you could have conversation.”


“You know, you didn’t go home with your dress kind of torn off of you like I’ve done a few times (elsewhere). Mick Jagger, everybody was there, Liz Taylor, everybody. Every night they had a different theme.”


Jones claims she had wilder nights at Big Apple gay bar the Paradise Garage because venue bosses allegedly provided party goers with drugs instead of serving liquor. She adds, “At the Garage, there was a big bowl of whatever concoction they had there. The Garage was the club that opened at four, with a blend of juices or something and they used to spike it with acid and stuff. Because actually they didn’t have a liquor license so you know, hey let’s put acid inside!”






So, let’s see what the lyrics of “Fashion Pack – Studio 54” refer to – the events presumably take place somewhere in the late 1970s because that is when Studio 54 – the sophisticated and swanky nightclub in New York City was at the height of its fame. The latter has often been referred to as ‘the most famous nightclub of all time’ and was a groundbreaking multi-media visual extravaganza. It was night-time and the protagonist of the song (Amanda Lear herself) felt like dancing with all the trendy fashionistas at Studio 54. The chauffeur of the taxi that she takes is surprised that she wants to go to Studio 54 where hordes of people are constantly jostling each other just to gain entrance into the nightclub and to experience first-hand the intriguing, foot-tapping disco scene.



Lear enters into the club to see some of her friends on the dance floor, disco-dancing in the style of John Travolta – she sees a host of fashion models, celebrities, “page 3 personalities,” and film stars all gathered in the club, for a night of dancing, fun and frolic. This hot-spot, however, soon gained a notorious reputation where sexual activity, infidelity and rampant drug use occurred after hours. Bianca walks through the door, only to see her boy-friend Scavullo dancing with Margeau, who is presumably Bianca’s best friend. The vocabulary used in the song leaves much to one’s creativity and imagination – it just goes to show that the world of the fashion models and movie stars, though glamorous on the exterior, is plagued by cut-throat competition and basic insecurities and isolation. “Who is in; who is out; tell me, tell me,” represents a fickle-minded and frivolous world where no real and fruitful friendships can be forged. What is considered to be “en vogue” on one day might become out-dated the very next day. If one wants to profit from this essentially superficial industry, one needs to take the good with the bad, into one’s stride.



Who are these fashionistas? They are the “fashion pack” – the people who we see posing on the cover of the Vogue magazine. They are the people who live in a world of “haute couture” and travel by the swank Concorde – an absurdly expensive fashion statement of that period in time. These people were often seen smiling and waving to the public from their fashionable limousines and while it is true that they live in the lap of luxury, it is equally true that they are incredibly lonely people at heart.




A Stranger in the Mirror

From Wikipedia, the free encyclopedia



A Stranger in the Mirror is a 1976 novel written by Sidney Sheldon. The novel is one of the earliest Sheldon’s works, but contains the typical Sheldon fast-paced narration and several narrative techniques with the exception of a twist ending. The novel tells the life story of two fictitious Hollywood celebrities – TobyTemple and Jill Castle, portrays the emotional extremes of success and failure and how people inevitably become victims of time.


Plot summary



The love story between Jill Castle, born Josephine Czinski, and TobyTemple is told through a flashback. The prologue is told by a captain who had retired and became a bistro owner. He loves retelling the story of the day he decided to retire: Years ago, while checking the names of the cruise’s V.I.P.s, a series of mysterious events occur, all peaking when he feels something odd about Jill Temple’s attitude.



The Templarhauses are German immigrants coming to the USA. Freida Templarhaus is the wife of a lousy poet who would rather write poems than focus on his job as a butcher. Bitter in realizing that her illusions of marrying a poet was false and that her husband is weak, she takes control of the meat shop and becomes the family matriarch. They have a son named Tobias, who is noted to be born with an extremely large penis. Throughout his childhood, Toby has always strove to earn his busy mother’s affections, and has learned to gain it through comedy. However, in his teens, Toby has gained a large libido and eventually impregnates a classmate, who unfortunately turns out to be the daughter of the local police chief. Because she has big dreams for her son and doesn’t want him to be tied down by a “stupid nobody”, she packs up his bags and sends him to the city to become famous, hoping he would send for her as soon as he became successful. She lies to the police chief that Toby ran away. As soon as he makes it to Hollywood, he changes his name to TobyTemple.



Toby’s career has a rocky start, as the audience do not appreciate his jokes the same way his mother does. In less than a year, his mother has a heart attack and dies, but is told by his father that he must not return for the funeral as the police chief will expect Toby to come and will be on the lookout for him, as his daughter is going to give birth at any day. He joins the army and along the way meets Sam Winters, a prominent PR in Hollywood who likes Toby’s personality and wants to make him a star. After the war, Toby is forced to continue his career without Sam’s help as Sam’s secretary will not believe his story and he never gets to talk to Sam. Toby gets his big break when all the better-liked comedians are unavailable to perform for the president of the United States. He gains fame soon after, and in the process catches Clifton Lawrence’s attention, another celebrity producer, and Toby hires him. Sam eventually catches up with him, and they eventually make Toby rich and famous. Toby places his father in a retirement home and immediately begins living the fast life.



Meanwhile, the Czinski Family, a family of Polish Immigrants, are expecting their first child. Their baby was born not breathing, and Mr. Czinski dies of shock before the doctors can announce that the baby is alive, but has suffered head trauma and will forever have frequent, unexplained headaches. Mrs. Czinski moves to Odessa, Texas, and became a devout Catholic who believes her daughter Josephine’s head aches to be the demon’s attempt to possess her. Josephine grew up a beautiful child, to the point that the “Oil People”, the upper-class members of Odessa, would love having their children hanging out with her. Josephine is smitten with David Kenyon, the son of the wealthy Kenyons. However, on her thirteenth birthday, she is embarrassed when she gets her menstruation in a swimming party and is scorned by the Oil Children, except for David, who shows sympathy. Soon after, Josephine stops her friendship with the Oil Children and hangs out with the other middle-class residents like her. She grows into a beautiful woman, and meets David once more after his long period away in college. David and Josephine start a relationship and it climaxes when she and David consummate their love and David proposes. However, as David tells his aging mother about his plans, she insults him about his choice and persuades him to marry Cissy Topping, a fellow Oil Child and former friend of Josephine. David makes a deal with Cissy that he will marry her only until Mama Kenyon dies so he can fulfill her wishes, but unknowingly, Cissy and Mama Kenyon have already planned for this and has no intention of leaving him. Unfortunately, Cissy asks Mrs. Czinski to do the wedding dress, and before David can tell Josephine, she finds out from her mother and, distraught, leaves for Hollywood under the name Jill Castle.



Toby begins womanizing but unknowingly sleeps with Millie, the loyal mistress of Al, a mafioso. Millie was a beautiful girl that made Toby desperate to sleep with her because she was one of the few who scorned him, but he convinces her when he lies and says that he loves her. Al tells Toby that Millie loves him and wants to marry him and threatens to kill him if he will not. Toby marries Millie, and abuses her during sex as punishment. Scared to get caught cheating, he resolves to stop womanizing and, with Millie pregnant, further strengthens his fame as a family man, which makes younger girls more eager to bed him. He goes to South Korea to perform for US soldiers, under Al’s permission, despite Millie about to give birth. Millie later dies giving birth to Toby’s stillborn son. With no obligation, Toby begins womanizing once more. He gets a notorious reputation for ruining people for the slightest reasons, and Clifton notices that Toby begins forcing people to praise him. However, secretly, he is lonely as more people come that he fires people who have other engagements other than working for The Toby Temple Show and forces Clifton to drop his other clients so that he would be totally dependent on Toby.



Meanwhile, nobody wants to hire someone like Jill. All the people willing to screen her only want her for sex. She lives in a rundown building with other actors like her, and starts a relationship with Alan, who is later revealed to be an adult film actor. He convinces her with the help of liquor and drugs to do a film with her. She, in a drunken stupor, has sex with Alan, a Mexican, and a red-head woman and at the end he writes her birth name on the credits. She only gets minimal small roles, but nothing that makes her recognizable. She realizes that she has to try earning fame their way—by using her body. She is brutally ravaged by a director for a small spot in a major movie, and finally begins her climb to the top.



David wants to reunite with Jill. He is tired of living with Cissy, who only tries to please him but he does not love her and the two openly cheat on each other. Mama Kenyon has died, but when he attempts to force a divorce on her, she attempts suicide, and thus David does not do so anymore. When he sees Jill, they have sex once again and make plans to elope. He rubs it in Cissy’s face and, while packing, Cissy takes their car and rapidly drives into a car crash. David is forced to abandon his plan with Jill and tend to Cissy.



Jill sleeps with everyone to get jobs, until she makes it to the Toby Temple Show. Toby is infatuated with her, and goes crazy when she acts indifferently to his charm and wealth. He falls in love with her when he realizes that he doesn’t feel alone with her around, and they marry despite Clifton’s warnings. Those who have slept with Jill are too scared to admit they have in fear that Toby will ruin them. Meanwhile, Jill is now plotting revenge against those who have used her.



One by one, she manipulates Toby to destroy the lives of those who have used her without necessarily admitting that she had sex with them all. Her final act is when she convinces Toby to get rid of Clifton (who ignored Jill in her early days and, when she convinced Toby to get her a role, called her a bad actress), as she would be his new manager. Clifton knew she would do that sooner or later, and tries to get on Jill’s good side but fails. Jill becomes the new manager of Toby. In an act of revenge, he learns about Jill’s adult film and bribes a technician to copy the film for him. However, it is too late to tell Toby the truth when he and Jill go on an international honey moon.



Jill begins acting like his mother. She pushes him to go to all parties and attend all events to the point that Toby receives a stroke. Jill, still in love with Toby, forces him to re-cope, and he miraculously gets better. It is now Jill who has become the more popular of the two, and in the process meets David once again. Cissy finally leaves him when she meets another man who is not as rich as David but looks like him and loves Cissy. Jill remains friends with David but starts to have feelings for him when she remembers their history. Toby relapses into a stroke when Jill pushes him once more, ruining his already-faint looks and ultimately paralyzing him into a grotsque. Jill has no will power to regain his ability, and accidentally says out loud to him that she wishes he would just die due to his gargoyle-like face, which Toby hears. She begins having nightmares of Toby trying to kill her, and the head aches come back after a long time.



She decides to kill Toby since his expected life span is more than twenty years, and leaving him would ruin her reputation as a heroine. She stages his death and makes it look like an accident while attempting to cure him with exercises in the swimming pool, but Clifton is the only one who sees past the trick. When Jill marries David a few months after Toby’s death, Clifton finds out that she killed him to be with. Clifton uses his last resort and forces David to watch Jill’s adult film. David is revealed to be an extreme racist, especially to Mexicans. It is explained why David had disappeared during Jill’s childhood and why, while Jill was working as a waitress in Odessa and he showed extreme disdain when she kisses a friendly Mexican co-worker in the cheek: He caught his older sister Beth having sex with the Mexican gardener and killed him with a letter-opener when he heard a screaming Beth that the two were planning to marry; his mother quietly paid Odessa’s jail to make it look like the gardener raped her daughter and committed suicide in jail and sent her deranged daughter to a mental hospital. David had lied to Jill and told her that the gardener raped Beth instead and, since he was very depressed, was sent to college far away. It is revealed why Mama Kenyon had power over him to marry Cissy. David breaks up with Jill and leaves on a helicopter. Clifton reveals himself to Jill. Jill, depressed, hallucinates and sees Toby’s face in the water, and she jumps off the boat to be with him and dies. The captain of the boat resigns, starts a bistro, and tells Jill’s story to others.




A day in the life of a New York Fashion Week model

By Emanuella Grinberg, CNN

September 13, 2012 — Updated 1857 GMT (0257 HKT)




  • Petra Vujevic took a year off from pursing her computer science degree to try modeling
  • A typical day for a Fashion Model lasts 12 hours, with no breaks for food
  • Agencies grapple with trying to create a big name in post-supermodel era



(CNN) — “Release the models!”


The stage manager’s voice fills the backstage area, busy with hairstylists and makeup artists wielding the tools of their trade over a row of girls in front of brightly lit mirrors.


“It’s time for a quick run-through.”


It takes an extra moment for Petra Vujevic to break free from her chair, where she is surrounded by three stylists trying to tame her long blonde hair into a “punky ballerina” bun. The head stylist is teasing sections of her natural hair while another tends to neon pink extensions woven into her ponytail. A third handles clips and brushes.


Vujevic winces. It hasn’t been a good hair day for the 20-year-old Croatian model. It’s the second time today that her head has been pulled in a million directions, loaded down with gooey products and hairspray.


But she refrains from pouting because it’s part of the job. Anyway, modeling isn’t her life — not yet, at least. It’s just something she decided to try by taking a year off from university in Croatia, where she’s studying computer science. She started exactly one year ago, making the rounds in Milan, Paris, London and Spain before arriving in New York three weeks ago for Fashion Week.


A “Man Repeller’s” influence on display at New York Fashion Week


“When you’re tall and thin, everyone says you should be a model, so I thought: try it for a year,” Vujevic said in accented English, which she learned in school and from television. “It’s been good. I decided to model because it was completely different. How would I know if I didn’t try?”


She hit the ground running in New York, averaging 15 castings a day and scoring not only a few shows during New York Fashion Week but jobs for catalogs and ads campaigns while in town. She plans on returning to her parents’ home outside the Croatian capital of Zagreb to resume school in October.


Vujevic may not be the typical small-town girl trying to make it in the big city, but her story underscores the bigger picture in the post-supermodel era, when girls are cycled in and out with each season and only a rare few stick around to become bold-face names.


But her agency has high hopes for her. Lots of girls are tall, thin and beautiful, but Vujevic has an “X presence,” said Louise Roberts of APM Models, which represents Vujevic in the United States.


“Our clients look for that classically beautiful girl that has a different edge to her, something that no one can define,” Roberts said.


“We loved the spirit in Petra’s photographs, the connection she had with the camera. In her eyes, you just saw there was a sparkle there. When you look at her, you have a sense that this girl can be successful.”


But Vujevic is simply living in the moment. And right now, it’s time for a quick practice walk on the runway.


The stage manager yells again for the girls, and Vujevic joins the line of models near the backstage runway entrance. With their hair and makeup in various states of readiness, they look like a disheveled flock of flamingos stepping to the beat of singer/designer Avril Lavigne, who is nowhere in sight even though the show bears the Canadian rocker’s name and her brand’s imprint, Abbey Dawn.


The collection, a swirling motif of skulls, rainbows, pleather and studs, isn’t exactly Vujevic’s speed, but she’s still excited to take part in this kind of production. It’s completely different from Rachel Antonoff’s garden party-themed presentation Sunday, in which Vujevic’s prop was a badminton racket, or the Christine Alcalay presentation earlier that day, which was staged in a 1,000-square-foot studio in an office building.


For that job, she wakes at 7 a.m. Monday, showers and puts on just a bit of mascara and concealer. She takes a cab to the Garment District, arriving at the 11th floor whitewashed studio about two hours before showtime.


It’s not a runway show but a “presentation,” in which the models will be dressed and positioned on the showroom like living mannequins. For now, the corner studio with lots of natural light pouring through the windows is a backstage area for hair and makeup. Eventually, it will transition into a showroom with music from a live violinist, creating an atmosphere reminiscent of an art gallery.


Vujevic takes a seat, and a makeup artist gets to work on her face while a nail technician applies heated “nail shields” that behave like stickers. As she moves on to hair, the benches and makeup tables are removed, and risers are brought in to begin setting up the showroom.


Twenty minutes later, her hair is done, and the tables are pushed back to a wall. A curtain goes up, creating an impromptu changing area for the designer to dress the girls. She emerges in a set of light blue shorts, blazer and shell.


“It’s not really my style, very businesswoman,” she says. “Maybe in 10 years.”


Once the models are clothed, a set designer arranges them on the floor while stylists dart around with spray cans and makeup brushes, putting on the final touches.


Then, it’s time for the girls to stand in place for an hour as fashion editors and store buyers survey the collection. When a camera focuses on Vujevic, she narrows her eyes ever so slightly. About a half-hour in, she leaves the floor for the curtained changing area and returns in a tan calf-length skirt and lace cut-out halter top.


She stands some more, occasionally shifting her weight to keep the circulation flowing. As the clock hits noon, some of the girls relax their rigid poses and wait for the cue to leave.


Vujevic thought she would have a stretch of time for lunch — modeling makes her hungry, she says — but as she’s leaving the studio, her agency sends an e-mail letting her know that she has a fitting for Gerlan Jeans, so she heads downtown.


On the ride over, she talks about this being her first time in the United States. She has noticed that fast food is really cheap, healthy food is expensive and everything seems to be labeled “organic.” She wishes she had more time to eat in restaurants and try new things but since she arrived in New York, she’s only had two days off to explore.


In the studio on Bowery, she tries on two looks for the designer’s “Gerl Power” presentation, which is part Minnie Mouse, part activist, designer Gerlan Marcel says.


Vujevic’s childlike features and height make her ideal for the show’s cartoon-y look, Gerlan says.


As she tries on two of the designer’s neoprene looks, a bright yellow dress and a blue coat, Gerlan squeals in delight.


“When I was a little girl my favorite doll was named Petra and I carried her around with me everywhere,” the designer explains as Vujevic struts down the narrow path in between racks of clothing and accessories littering the floor. “Petra has come to life!”


Gerlan and her team agree that the yellow dress is too short for the 5’11 model and settle on the blue coat. Vujevic bids them farewell and runs downstairs to head over to the Metropolitan Pavilion for Lavigne’s show.


The contrast from the morning’s gig couldn’t be more severe. The intimate austerity of the open studio has been replaced with a massive showroom of folding chairs surrounded by booths for Monster Energy drink and thinkThin energy bars, with a bright white runway in the middle.


Getting her hair to cooperate and putting on her face leaves about 10 minutes to breathe before the show. On the way to the bathroom, she picks up a salted caramel chocolate from the Stoli Vodka booth.


Lavigne eventually shows up about 30 minutes before showtime to thank the girls and pose for pictures. As they line up, she walks around adjusting their bows and belts and other small details.


The show is over in 10 minutes, and Vujevic is already 30 minutes late for her next job in SoHo. She fills a plastic cup with vegetables before hustling outside to grab a cab to the Soho Grand Hotel for a presentation by menswear designer and self-described “urban emperor” Dominic Louis.


Again, the setting couldn’t be more different. She walks up a flight of stairs to the hotel bar, which has been transformed into backstage hair and makeup area. The constant loop of “Sk8er Boi” and “Girlfriend” has been replaced by Siouxsie and the Banshees and Coldplay playing softly in the background. A woman is ironing pants where the waiter station would normally be; models rest their hands on the marble-topped bar to get their nails done.


She takes a seat on a plush stool of dark wood while two stylists set to work blowing out her hair to remove product. She picks at a plate of cheese in her lap while they pull her hair into a tight ponytail at the crown of her head and fashion it into a bun. The tip of her hair is pulled into an avant garde cowlick.


A makeup artist hands her a cloth to remove her makeup while she waits for a seat at the bar. Eventually, her face is transformed into a pale, white-lined canvas best summed up as extraterrestrial. There’s no private changing area here, so she quickly strips and changes into a black top and pants with its calves cut out.


She’s paraded out with the rest of the models to a corridor and placed on a riser against a column. She stands there for an hour while an art house film plays and attendees in leather black shorts and vests take her picture.


Eventually, she moves to the stage in front of the film screen with other models who are growing impatient. Finally, one of the models starts clapping, and the audience follows. The models seize the opportunity to step down and leave the corridor.


It’s 11 p.m. now, and Vujevic is tired. Modeling is exciting but exhausting, she says.


Will she return to modeling after she finishes school?


“It’s possible,” she says. “but maybe not for New York Fashion Week.”





What better way is there to end this blog than with the foot-tapping song, “Vogue” sung by Madonna. As she rightly states in the lyrics of this striking song – dancing and singing are an apt way to drive away all of one’s woes, cares, worries and troubles.


“Vogue” – Madonna


Strike a pose
Strike a pose
Vogue, vogue, vogue
Vogue, vogue, vogue


Look around everywhere you turn is heartache
It’s everywhere that you go (look around)
You try everything you can to escape
The pain of life that you know (life that you know)


When all else fails and you long to be
Something better than you are today
I know a place where you can get away
It’s called a dance floor, and here’s what it’s for, so




Come on, vogue
Let your body move to the music (move to the music)
Hey, hey, hey
Come on, vogue
Let your body go with the flow (go with the flow)
You know you can do it


All you need is your own imagination
So use it that’s what it’s for (that’s what it’s for)
Go inside, for your finest inspiration
Your dreams will open the door (open up the door)


It makes no difference if you’re black or white
If you’re a boy or a girl
If the music’s pumping it will give you new life
You’re a superstar, yes, that’s what you are, you know it


[chorus, substituting “groove” for “move”]


Beauty’s where you find it
Not just where you bump and grind it
Soul is in the musical
That’s where I feel so beautiful
Magical, life’s a ball
So get up on the dance floor




Vogue, (Vogue)
Beauty’s where you find it (move to the music)
Vogue, (Vogue)
Beauty’s where you find it (go with the flow)


Greta Garbo, and Monroe
Deitrich and DiMaggio
Marlon Brando, Jimmy Dean
On the cover of a magazine


Grace Kelly; Harlow, Jean
Picture of a beauty queen
Gene Kelly, Fred Astaire
Ginger Rodgers, dance on air


They had style, they had grace
Rita Hayworth gave good face
Lauren, Katherine, Lana too
Bette Davis, we love you


Ladies with an attitude
Fellows that were in the mood
Don’t just stand there, let’s get to it
Strike a pose, there’s nothing to it


Vogue, vogue

Oooh, you’ve got to
Let your body move to the music
Oooh, you’ve got to just
Let your body go with the flow
Oooh, you’ve got to


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