" However, "even with their newfound fashionability, the founders remain widely misunderstood.
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Their interest in it today is capitalistic but also extends beyond any cursory fashionability.
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Open Book The writer Henry Green's fashionability has gone through more phases than the moon.
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This price made some kind of sense, given the current fashionability of designs by Mrs.
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While these phenomena are real, their returns will probably be in inverse proportion to their fashionability.
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Shower caps are not known for their fashionability, but sometimes you need to protect your strands in public.
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These mismatches helped to train the model on how to improve the overall fashionability in an individual outfit.
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Even if vinyl's fashionability fades a bit, servicing the remaining few machines and supplying parts should keep the cash flowing for the startups.
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You may think people grow beards because of their fashionability or warmth, but author and professor Stephen Mihm says there might be another reason.
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"We rarely think of the man bun having a complex cultural history when we admire men wearing it as a symbol of fashionability today," Scott said.
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Combine health-consciousness with gadget novelty and fashionability, and you have the potential for a huge new market, one in the early stages of its growth.
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With the rise in popularity of mindfulness apps like Headspace, the fashionability of meditation has brought with it a keen interest in the benefits of going phone-free.
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This was the first cellphone whose fashionability was its main selling point, an object that was worth shelling out markedly more money for simply because it looked cool.
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Homes filled with easy-to-clean fabrics and time-saving electronic devices whose successors promised even more convenience and fashionability helped to lock in repeating cycles of consumer binge and purge.
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That sort of board control allows him to constantly upend his viewers' expectations: He loves doing tricks the wrong way, not just in the alley-oop sense, but also in terms of fashionability; no one takes crooked grinds to fakie with more grace.
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Cruyff was associated, and associated himself, with the liberalisation of Dutch culture and the anti-establishment, so it was little wonder that fags became a feature of his public image, this alongside his louche aesthetic, effortless fashionability and habit of annoying the conservative orthodoxy with his defiant nonchalance.
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They tout its un-fashionability as an asset, but the Croc remained outside the exclusive realm of luxury fashion until yesterday, when it appeared as the epitome of Gvasalia's signature fashion trick: he takes clothing, references, cult styles, and most of all, other brands, and puts them on the runway to suggest it's not design skill or craft that makes something "luxury," but rather the framing or context.
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In the western world during the 19th century, the contortion of waistbands was less pronounced due to the fashionability of suspenders..
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It aims to promote the consumption of sake by highlighting a new market where sake is matched with non-oriental food. It also seeks to increase public awareness and fashionability of the drink in the world.
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The purpose of the event is to recognise outstanding premium sakes. It aims to promote the consumption of sake by highlighting a new market where sake is matched with non-oriental food. It also seeks to increase public awareness and fashionability of the drink in the world.
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With the increased fashionability of 18th-century instruments, from the 1970s onwards, Münchinger's interpretations fell dramatically from critical favor and were often dismissed as "passé", though he always showed himself to be a fine, tough, disciplined, and sensitive musician. There have been more profoundly imaginative German conductors than Münchinger, but there have been very few who matched his consistently high standards.
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In 1988 Dolcis was chosen by British Shoe Corporation as the pilot company for the installation of EPOS equipment. In 1998 the Dolcis business was bought by the Alexon Group and relocated to Luton. In 2006 Dolcis was sold by Alexon in a deal involving Scottish retail entrepreneur John Kinnaird. Kinnaird unveiled an ambitious plan to refurbish the chain's stores, boost the fashionability of its products and update the brand.
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Thomas Gainsborough, The Morning Walk (Portrait of Mr and Mrs William Hallett), 1785 Fashion in the twenty years between 1775–1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood,Dror Wahrman, The Making of the Modern Self (Yale University Press, 2004) the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.
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Collins has been championed by his contemporary, the heavy metal singer Ozzy Osbourne, David Crosby called him "a dear friend" who has helped him "enormously", Queen guitarist Brian May called him "a great guy and an amazing drummer",Fitzpatrick, Rob. "'I'm The Antichrist of Music' Immensely popular for decades, yet a permanent resident on music's outermost fringes of fashionability, Phil Collins would like to apologise. Are you ready to forgive?". FHM. April 2011.
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Sometimes, as an alternative to special clothes, which can be costly, devices at a lower price can be attached to regular clothes in order to prevent a person from removing the clothes. Though many names are used for these objects, they are sometimes referred to as "mousetraps." Many versions exist, some of which are also designed to have fashionability. While in most cases, these devices are manufactured for use with persons with special medical needs, they are occasionally used by fetishists.
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An avenue of trees towards the river comprises Bunya Bunya pines (Araucaria bidwillii), hoop pines (Araucaria cunninghamii), Moreton Bay figs (Ficus macrophylla), Canary Island date palms and swamp mahoganies (Eucalyptus robusta). The latter of these may be later plantings. Walkway planting dates to the 1860s-1900, the main period of popularisation and fashionability of these species, and their promotion by such public figures as then Directors of the Royal Botanic Gardens, Sydney, Charles Moore and Joseph Maiden. These men provided such species to many public institutions such as hospitals.
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In a transparent spoof of Quebec pop idol Mitsou, Cathy Jones played Jansu, a shallow, self-promoting pop singer who tried to be topical with lyrics such as "it's a political world/so separate your garbage!". Sexton parodied body image as Dusty Springroll, who sang an ode to the fashionability of bulimia. Figures such as Anne Murray and Bruce Cockburn were parodied in commercials for compilation albums with satirical lyrics set to the melodies of real songs by the artists, while another sketch was set in a café holding a Leonard Cohen impersonation contest.
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"'I'm The Antichrist of Music' Immensely popular for decades, yet a permanent resident on music's outermost fringes of fashionability, Phil Collins would like to apologise. Are you ready to forgive?". FHM. April 2011. May performing in Chile, November 2008 May worked extensively with stage actress and singer Kerry Ellis after he cast her in the musical We Will Rock You. He produced and arranged her debut studio album Anthems (2010), a follow-up to her extended play Wicked in Rock (2008), as well as appearing with Ellis at many public performances—playing guitar alongside her.
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" Robert Christgau of The Village Voice wrote that "for all [Culture Club's] fashionability I think their hearts are in the right place". However, he stated that "their bland Caribbean rhythms move no muscles, and their confrontations with racial issues are rarely more than a phrase deep." Lloyd Sachs of Rolling Stone stated that the album "positively jumps, from the pleasure-seeking masochism of "Do You Really Want to Hurt Me?" to the fearful soul-searching of "I'm Afraid of Me" to the shady "I'll Tumble 4 Ya"". He further stated that "[Boy George's] vocal "normalcy" [plays] against the provocative content of the material.
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By the time Hogarth produced this series the theatre had lost any vestiges of fashionability and was satirised as having an audience consisting of tradesmen and their pretentious wives. Ned Ward described the clientele in 1699 as: The husband, whose stained hands reveal he is a dyer by trade, looks harried as he carries his exhausted youngest daughter. In earlier impressions (and the painting), his hands are blue, to show his occupation, while his wife's face is coloured with red ink. The placement of the cow's horns behind his head represents him as a cuckold and suggests the children are not his.
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Japanese has a long history of borrowing from foreign languages. It has been doing so since the late fourth century A.D. Some ancient gairaigo words are still being used nowadays, but there are also many kinds of gairaigo words that were borrowed more recently. Most, but not all, modern gairaigo are derived from English, particularly in the post-World War II era (after 1945). Words are taken from English for concepts that do not exist in Japanese, but also for other reasons, such as a preference for English terms or fashionability – many gairaigo have Japanese near-synonyms.
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The concept of sound change covers both phonetic and phonological developments. The sociolinguist William Labov recorded the change in pronunciation in a relatively short period in the American resort of Martha's Vineyard and showed how this resulted from social tensions and processes. Even in the relatively short time that broadcast media have recorded their work, one can observe the difference between the pronunciation of the newsreaders of the 1940s and the 1950s and the pronunciation of today. The greater acceptance and fashionability of regional accents in media may also reflect a more democratic, less formal society — compare the widespread adoption of language policies.
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These companies make their vehicles to a higher standard than the average manufacturers and many other attributes such leather used in the upholstery, woodwork and paneling, high levels of technology, extra safety and speed are employed to make for a better product. These vehicles are also in high demand all over the world, and waiting lists may be applied to some models such as the Rolls Royce Phantom and the Bugatti Veyron. Many people consider designer labels to be a status symbol. Some research indicates that products with designer labels on them are perceived as higher in quality and fashionability than the same products without designer labels.
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The isle was owned by a Norman family until 1293 and was earlier a kingdom in its own right, Wihtwara. In common with the Crown dependencies, the British Crown was then represented on the island by the Governor of the Isle of Wight until 1995. The island has played an important part in the defence of the ports of Southampton and Portsmouth, and been near the front-line of conflicts through the ages, including the Spanish Armada and the Battle of Britain. Rural for most of its history, its Victorian fashionability and the growing affordability of holidays led to significant urban development during the late 19th and early 20th centuries.
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Arthur Douglas Wagner was the only son of Henry Michell Wagner (1792–1870), Vicar of Brighton from 1824 until his death, and Elizabeth Harriott Douglas (1797–1829). They had met in 1820 and were married in 1823. Both had an ecclesiastical background: Henry Wagner's grandfather Henry Michell was Vicar of Brighton during the 18th century and was an influential figure when the town's fashionability was at its height, and Elizabeth Harriott's father William Douglas and grandfather John Douglas were respectively the Precentor of Salisbury Cathedral and the Bishop of Salisbury. Wagner's birthplace, Park Hill in Windsor, was owned by his mother's family. Born on 13 June 1824, he was named Arthur after Arthur Wellesley, 1st Duke of Wellington, whose son had been tutored by Henry Wagner from 1817 and who later appointed Wagner as Vicar of Brighton.
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It is generally accepted that miscellanies offer insight into the popular taste of the moment, of what people read and how they read it; yet they also provide information about the aesthetic, social and economic concerns underlying the production and consumption of literature. Miscellanies were assembled, marketed and sold with a contemporary reading audience in mind, and reveal a dynamic between the taste which they played a part in shaping, and the preoccupations of the editors who complied and the publishers who sold them. Indeed, the range of price and format reveals the extent to which poetry was packaged and sold for different readerships. As Jennifer Batt argues: Miscellanies frequently placed emphasis on variety, novelty and fashionability, providing their readers with a range of different pieces by various writers, but also keeping them abreast of the newest developments in the literary market.
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In Watson's view, the magazine has had a tendency to treat noise musicians' work as "so worthy, alternative and dis- corporate" that virtually all of it must be inherently meritorious. This tendency results in an institutional reluctance to distinguish between good noise music and mere noise, along with an excess of positive, yet shallow, reviews. Rather than delving deeper into the genre's radical political dimensions, Watson argued, The Wire has instead curated its noise coverage based on superficial trends of underground fashionability; he suggested that the writing may sometimes provide "a clue as to how some new crew of hopeless hairy Stateside noisemaker muffins have been selected: 'Thurston says they're okay...'." The magazine's writing on noise came to rely on a style of "descriptive objectivity" that studiously avoids any actual evaluation of quality; as Watson wrote, Watson also recalled bristling at Herrington's suggestion to "think niche" when writing for the magazine, which he took as an anti-universalist and commercially motivated attitude.
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Born in Hobart, Tasmania,– Biographical details – David McDiarmid, British Museum, Accessed: 17 January 2013 McDiarmid later moved with his family to Melbourne, where he studied film, art history and illustration at Swinburne College of Technology (now Swinburne University of Technology) between 1969 and 1970.Sally Gray, ‘Relational craft and Australian fashionability in the 1970s–80s: Friends, pathways, ideas and aesthetics’, in “craft + design enquiry”, issue 4, 2012 In the early 1970s, McDiarmid joined Melbourne Gay Liberation, later travelling back and forth between Sydney and Melbourne, where he helped found Sydney Gay Liberation in 1972; he also contributed illustrations and articles for their Newsletter and helped edit it.[David McDiarmid, "Memoirs of an Oppressed Teenager" (1972), republished in Sally Gray (ed) "David McDiarmid: When This You See Remember Me", National Gallery of Victoria, Melbourne, p43] His involvement with Melbourne Gay Liberation included designing an early T-shirt and badge. McDiarmid's involvement with Sydney Gay Liberation, a more radical and protest-driven organisation than the larger gay rights and support group Campaign Against Moral Persecution, or CAMP, led to his involvement in a number of their protests.
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In June 1979, McDiarmid settled in New York, intending to make his life there.Sally Gray, ‘Chapter 16: America and the queer diaspora: the case of artist David McDiarmid’, ‘’ Transnational Ties: Australian lives in the world’’ (Canberra : Published by ANU E Press, 2008) The move to New York coincided with the establishment of the black and Hispanic, gay underground dance club Paradise Garage, of which McDiarmid was an early devotee.[Sally Gray (2006) "Queer Space: The Case of the Paradise Garage" in T. McMinn, J. Stephens, and S. Basson (Eds.) "Contested Terrains", Proceedings of the Society of Architectural Historians of Australia and New Zealand Annual Conference, Fremantle, 2006] Paradise Garage served as an inspiration for a suite of work to which McDiarmid gave the title "Disco Kwilts", produced between 1979 and 1981, using newly available material: holographic reflective Mylar sheeting.Sally Gray, ‘Relational craft and Australian fashionability in the 1970s–80s: Friends, pathways, ideas and aesthetics’, in “craft + design enquiry”, issue 4, 2012[Sally Gray (2007) "Reinterpreting a Textile Tradition - David McDiarmid's Klub Kwilt", Textile History: The Journal of the Pasold Research Fund, 38 (2), pp198-210] McDiarmid exhibited in the US, including solo exhibitions at 'Childs/Dreyfus' in Chicago in 1979 and Club Zero in New York in 1983.
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