Фотосет сексуальной Hilary Wind - Modern Vibe
💣 👉🏻👉🏻👉🏻 ВСЯ ИНФОРМАЦИЯ ДОСТУПНА ЗДЕСЬ ЖМИТЕ 👈🏻👈🏻👈🏻
Фотосет сексуальной Hilary Wind - Modern Vibe
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Eric Wind of Palm Beach's Wind Vintage works with actors and singers to source hard-to-find timepieces and has tracked down watches for films ('Crazy Rich Asians') and TV shows ('The Premise'): "I think people want to learn."
From finding a highly valuable Paul Newman Rolex Daytona for a key scene in the film Crazy Rich Asians to his clientele of actors and singers, Eric Wind is one of the most connected people in the watch world when it comes to working with Hollywood.
“For me, it’s about about educating collectors about what they’re buying,” says Wind of the success of his eponymously named, Palm Beach, Florida, based Wind Vintage. “I think traditionally, many dealers and sellers of watches have just been trying to sell either the hype or just sell things without really educating the customers about the details, nuances and condition. I think people want to learn — that’s why people collect, whether it’s watches or coins or comic books or cars. You want to learn all the details.”
Wind — whose career spanned getting an MBA from Oxford to vice president of watches at Christie’s before starting his company in 2017 — believes that you treat others as you would want to be treated. That, and his true love of watch history, has helped him build up a long client list of deeply passionate and knowledgeable A-list timepiece lovers including Randall Park , Daniel Dae Kim , Jimmy O. Yang, WME agent Doug Lucterhand and comedian Ronny Chieng (who told The Hollywood Reporter earlier this year he ranks Wind as among “dealers you can trust.”)
The dealer also has connections to the sports world. He recently placed watches on two NBA first-round draft picks; Adrian Griffin Jr., the 16th pick in the draft, wore a vintage Rolex Datejust reference 1603 in steel, and Blake Wesley, the 25th pick, wore a vintage Rolex Datejust 1601/3 Two Tone.
Wind, who recently partnered with Mr. Porter on a curated collection of vintage watches, also consults on watch placements in movies and TV shows. Besides finding that Daytona for Crazy Rich Asians , at the behest of novelist Kevin Kwan , Wind also has supplied watches for ABC’s The Wonder Years reboot (a vintage Jaeger-LeCoultre Memovox E850 worn by Dulé Hill as Bill Williams, as well as a vintage Cartier Tank Cornice for Saycon Sengbloh as Lillian Williams) and FX’s The Premise (a Patek Philippe reference 3940 in platinum and a vintage Rolex Explorer 1016 with tropical dial worn by Kim as Daniel Jung).
When asked how he built his business, Wind replies, “A lot of it is word of mouth or people reaching out. The best referral is a personal one, friend to friend.” The inventory of watches on his website can range in price from around $1,000 to nearly $200,000.
Wind’s focus on vintage watches and the deep research behind the watches is often what inspires collectors — including in Hollywood — to reach out. “Generally vintage means, for me, watches before 1990, [when] there was more hand work for the case, dial and parts. This was before computer-aided design and before robots got more involved in the production of the watches. I like those older watches, they have more of a handmade feel. I definitely try to promote scholarship about these watches,” says Wind.
When asked what brands and models are considered newly hot, Wind replies, “I am finding the no-date Rolex Oyster Perpetual models from the 1960s and 1970s as well as vintage Datejusts from the 1960s through 1980s to be gaining a lot of traction and interest.”
“They are pretty much all well under $10K in value and they have such a great vibe, as well as a great value compared to their modern counterparts,” continues Wind.
“I met Eric from a cold email,” says writer/director Stephen Ringer ( Weepah Way for Now ), who introduced his wife, Aly Michalka , and his sister-in-law, AJ Michalka , to Wind. His irrepressible nature and deep knowledge base has driven the trio’s love of vintage watches. “I always liked that he was more of a scholar than a dealer and it would bother him on a professorial level if he ever lied to you. He’s honest to a fault,” says Ringer, who has a Wind-sourced 1922 Patek Philip that was once owned by noted philanthropist Henry Phipps Jr.
The sisters — both of whom are actresses and musicians and perform as Aly & AJ — look at their watch collections as reminders of big moments in their lives, from getting married to recording albums and booking TV shows. The singers (on tour this fall with Ben Platt after recently wrapping a summer world tour) also see the watches becoming family heirlooms.
“Steven and Aly were getting married, and I remember saying, ‘Wouldn’t it be cool to have something that’s been passed down generation to generation, and could that be vintage watches?’ That started the conversation,” says AJ Michalka (ABC’s Schooled , The Goldbergs ), whose collection boasts Wind-sourced watches including a historical piece of aviation history in a 1935 Patek Philippe Ref. 404 in yellow gold (the engraving on the back of the watch commemorates the then-world-record flight of the French seaplane the Croix-du-Sud from Cherbourg, France to Ziguinchor, Senegal, by Henri-Laurent Dailliere) and a 1959 gold Audemars Piguet “Disco Volante.”
“I missed out on a vintage AP,” says AJ of why she got the latter watch, “and Eric, who knows my tastes so well, said, ‘Well, I have something even better for you,’ and it was the Disco Volante.”
Adds Wind, “For the uninitiated, AJ’s Audemars Piguet is one of the company’s most interesting and iconic designs before the introduction of the Royal Oak in 1972. Like the Royal Oak, it was designed by Gérald Genta. The dial is an interesting sector-like dial and has the nickname ‘Disco Volante’ because the design is like a flying saucer or flying disc. Hers is a rare example with an integrated gold bracelet, while many were sold on straps.”
AJ’s sister Aly, meanwhile, has a watch collection that includes a stunning 1960s gold Omega Constellation “Grand Luxe”, a cream dial Rolex Daytona 116520 (known as a Cream because of the fading of the dial) and a gold Cartier Tank, which she wore when they played Lollapalooza in 2021. Both were acquired via Wind. “We finally met him in person when we invited him to one of our shows and we got along so well,” says Aly, who starred for five years on the CW show iZombie . “I definitely think the reason we’re into watches is because of Eric. I know I can just close my eyes and I know he’s getting me the best watch, at the best price but more importantly, it’s a piece with an authentic story that’s connected to the watch.”
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Here lie the travails of a group of scholars creating an online database for the study of traditional and evolving fairy tales as portrayed on television. We welcome any and all comments, particularly if you know of a TV show that references fairy tales that's not in the database.
Happy hunting!
The fair maiden glides through a door at the peak of a staircase, pausing over the balcony to survey her onlookers. One by one, they stop, and eyes are on her, including the prince’s. The dress drips money and her positioning above the gathered crowd showcases that she is above them, even if she’s a commoner in disguise. Most ballrooms, school dance venues, and wedding reception halls don’t have staircases because that would take space away from the dancing floor, but several popular Cinderella adaptations have the heroine sweep into the ballroom at the top of the stairs.
This technique is used both because it’s aesthetically appealing and can visually represent a status change. The fairy tale genre prioritizes individuals over masses and setting the heroine above the rest of the partygoers helps draw attention to her as an individual. Sometimes the entire ballroom stops to stare, other times, the entrance draws the prince’s eye alone. Sure, we know Cinderella is pretty, but in a room full of women, it makes sense that she’d need to somehow appear special upon arrival to catch his fancy.
In a film set in modern times with high hemlines, a cinematographer can use this trope to showcase how sexy the female lead is, panning the camera up along her legs. But in an old-fashioned ball scene, the effect is elegance. Flouncy ball gowns look all the flouncier when petticoats can fluff up and down as she descends the steps. The heart of the Cinderella story is the rags-to-riches vibe, and by putting her above all the other ladies, the staircase positioning can function as a visual representation of a “rise” in social class. She has successfully climbed the social hierarchy.
The first Cinderella to make a grand entrance was probably Julie Andrews in the 1957 production of Rodgers and Hammerstein’s television musical. She would be followed by Lesley Ann Warren (1965) and Brandy Norwood (1997) in the remakes. Brandy’s iteration is the most impressive , since her set is grander than the “look, we’re in a production studio” background of her predecessors. The staircase even got featured on the VHS cover. Julie Andrews’s staircase helps Prince Christopher catch sight of her when his view would otherwise be blocked by the stepsister’s tall feather hair ornament. Her grand entrance interrupts the stepsister’s babbling about dew descending “from Heaven.” She turns around to sight Cinderella on the stairs as she says that phrase, indicating to the audience that Cinderella is appearing as a sort of angel.
In A Cinderella Story , Hilary Duff’s staircase entrance draws enough attention that someone puts a literal spotlight on her. She halts in surprise, indicating that the lighting isn’t for the audience’s benefit alone. In-universe, the lights crew managing this teenage party must be floored by her presentation and want to lend her a hand. Its sister film Another Cinderella Story has the Cinderella character shows up to a party in a hot red dress despite the black-and-white dress code. She’s accompanied by a friend who actually followed the dress code, but her coloring has the prince character telling her she made “quite an entrance.”
In Ever After , the crowd is distracted by the king speechifying as Danielle climbs up a staircase to the party area, but the viewer gets a good shot of her ascending stairs in butterfly wings-visually conveying a rising.
Enchanted , Disney’s self-parody that contains Cinderella elements, has a rare example of the heroine descending a staircase with her prince. Edward holds Giselle’s hand on the way down, but her eventual husband, Robert, is waiting for her at the bottom. The staircase entrance has become a genre staple, though not a necessity. Cinderella enters at ground level in the 1976 Slipper and the Rose.
Princess rom-coms that do not directly adapt a fairy tale still like to use staircases to invoke a Cinderellaesque ascension vibe. Princess Protection Program has a pack of masked promgoers, one of them a princess incognito, taking a school bus to the dance for some reason. They look impressive as they descend the bus stairs one after another, offending a prom queen wannabe who showed up in a low convertible. At the close of the film, the princess becomes queen and walks down the stairs of her coronation platform to greet her subjects.
Mia of Princess Diaries pointedly does not get a grand entrance, getting rushed in the side door late in wet hair and a sweatshirt. Earlier in the film, she trips while pacing up and down the bleachers in a school uniform skirt. She makes up for it in the sequel by arriving in style to her 21st birthday party. A palace aide describes it beforehand as a “double-door entrance.” She later has a flirt-argument with one love interest on the grand staircases she’ll descend for her coronation. On these stairs, she accuses him of trying to steal her throne, and on a different staircase, she holds a pragmatic conversation about arranged marriage with a rival love interest. Mia hosts a slumber party with a gaggle of other princesses that involves mattress-surfing downstairs, literally bringing princesses down-to-earth. Julie Andrews, playing Mia’s grandmother, joins in. The two movies demonstrate a playful awareness of stairs’ significance in the commoner-turned-princess genre.
A Christmas Prince showcases shoes-on-staircases for a Cinderella shoutout. Journalist Amber befriends a prince’s little sister, Emily, as she goes undercover as a math tutor to get the inside scoop on the prince. They fall in love, naturally, and she’s invited to a ball. The ballroom stops and stares as she descends in her finery, but Amber catches Emily’s eye as she lifts the hem of her ballgown to show her she’s wearing red Converse beneath. Emily laughs and Converse-beneath-ballgowns become Amber’s signature look. She reprises them in her wedding.
In real-life royal weddings, the thematic climax ought to be the wedding vows, or the kiss, but the cinematographic climax in print and social media is often the staircase exit, where the princess bride is presented to the crowd. For the actual wedding guests, the bride showing up is the big moment, and she’ll walk down a flat aisle. But spectators and journalists congregate outside and royal weddings occur in cathedrals, abbeys, or castle chapels with a whole lot of outdoor steps, perfect for showing off a long, flowy train. If the bride is a commoner, the staircase exit marks the first moment anyone sees the woman who has ascended to princesshood.
There are other film techniques movies can use to make a woman prominent from across a crowded ballroom. In West Side Story , Maria arrives at a party in a white dress when everyone else is in color. The camera takes Tony’s eye-view and the other dancers melt into a colored blur while his attention centers purely on her. These lovers are separated by racial tensions and gang violence, but not a class difference.
The staircase shot is so beloved because it creates a visual reminder that one lover is “above” another, or that someone has recently ascended. For a lofty staircase to exist in a scene in the first place, some character here has to be rich. Even non-fairy tale media utilizes staircase entrances to visually depict class differences.
The film Titanic incorporated the ship’s real-life staircase, which has been described as the pièce de resistance of the First Class passenger areas, when poor boy Jack Dawson visits his lady love in first class. He’s visibly awestruck and uncomfortable by the staircase’s grandeur as he walks down it, noticed by absolutely no one, and when Rose herself descends a minute later, the positioning reminds the audience that she is, quite literally, above him.
Gone with the Wind prominently features grand staircases in more than one antebellum mansion and there are belles in ballgowns aplenty, at least in the first half of the film, before everyone is broke or dead. But the most memorable dress is never seen on stairs. After the war, Scarlett O’Hara needs $300 to pay the taxes on the plantation estate where she grew up. Gentleman convict Rhett Butler is the only person left she can trust to have that kind of money on him. The actual film has Scarlett tearing a set of green velvet curtains down from their rods to make her man-catching dress, which she wears to visit Rhett in a horse-stable-turned-people-jail, where the humans aren’t granted the luxury of fine staircases and the horses probably wouldn’t like them. But when Carol Burnett parodied the film in a 1976 comedy sketch, Rhett is out of jail and in her front entryway as she descends the stairs, curtain rods still jammed through her sleeves.
Making Carol walk all the way down the stairs drags on the awkward flamboyance longer than it would’ve lasted if she just walked through the door. Television editor Tucker Wiard later said that the staircase moment provoked a laugh longer than any other laugh in the show’s history and it had to be edited down. The crux of the joke is, of course, that Scarlett didn’t remove the curtain rods before making her dress, but inserting a staircase into a scene that originally didn’t have one invokes that grand lady mystique that Scarlett is trying (and failing) to conjure.
Disney seems to have been unaware of this trope’s potential in 1950, when their initial Cinderella motion picture de
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