Baby white tiger wallpaper
Baby white tiger wallpaper
Baby white tiger wallpaper
Saturday, December 31, 2011
Baby white tiger wallpaper
Baby white tiger wallpaperBaby white tiger wallpaperBaby white tiger wallpaper
White tiger cubs wallpaper
White tiger cubs wallpaper
White tiger cubs wallpaper
White tiger cubs wallpaper
Thursday, December 29, 2011
New Tissot Sailing T-Touch Created for Divers
Establiahsed by Charles-Felicien and his son in 1853, Tissot watch has developed into one of the exact most famous watchmakers in the very realm of luxury wristwatches industry. with headquarter located in Le Locle, Neuchatel in the exact Swiss based Jura Mountains, Tissot is often adhering firmly to its tradition, innovation and exceptional marketing orientation. tissot gold wristwatches are characterized by superior quality, chic designs as well considered as affordability, which accounts for the exact main reason of their success.
This year, Tissot developed a latest Sailing T-Touch timepiece for world's divers.This new timekeeper is also the very newest member to the brand's world-famous T-Touch Selection.
Manufactured from titanium that is well known for its light weight and best endurance, the particular case of the most up-to-date watch is measured at a diameter of 45mm. The most eye-catching part of the case is the exact red 15-minute bezel with white Arabic numerals. Protected by a black rubber ring, the particular watch has a sense of dynamic. Other major components of the very timepice consists of the particular high end screen-touch sapphire crystal, two chronograph pusher buttons and a timepiece crown. The very case ensure a water-resistance to 100 meters.
The exact black carbon dial of the timepiece offers stick hour markers that has been luminescent-coated and red-tipped hands that are responsible for the main time display. The digital display at 6 o'clock is quite versatile. Functions it displays involves (nonetheless not limited to) Regatta timer, countdown timer, tachymeter, 2 alarms, Compass, dual time zone, backlight and perpetual calendar functions. Providing and powering the above mentioned functions may the E48.351, a greatly reliable quartz movement made movement.
Completed the Tissot Sailing T-Touch T056.420.27.051.00 wrist watch is a black rubber strap that wears verycomfortable. According Tissot replica watches, this brand new model will be obtainable in a number of versions to meet the request of various customers. The price tag is around $ 780 at watchlux.com.
This year, Tissot developed a latest Sailing T-Touch timepiece for world's divers.This new timekeeper is also the very newest member to the brand's world-famous T-Touch Selection.
Manufactured from titanium that is well known for its light weight and best endurance, the particular case of the most up-to-date watch is measured at a diameter of 45mm. The most eye-catching part of the case is the exact red 15-minute bezel with white Arabic numerals. Protected by a black rubber ring, the particular watch has a sense of dynamic. Other major components of the very timepice consists of the particular high end screen-touch sapphire crystal, two chronograph pusher buttons and a timepiece crown. The very case ensure a water-resistance to 100 meters.
The exact black carbon dial of the timepiece offers stick hour markers that has been luminescent-coated and red-tipped hands that are responsible for the main time display. The digital display at 6 o'clock is quite versatile. Functions it displays involves (nonetheless not limited to) Regatta timer, countdown timer, tachymeter, 2 alarms, Compass, dual time zone, backlight and perpetual calendar functions. Providing and powering the above mentioned functions may the E48.351, a greatly reliable quartz movement made movement.
Completed the Tissot Sailing T-Touch T056.420.27.051.00 wrist watch is a black rubber strap that wears verycomfortable. According Tissot replica watches, this brand new model will be obtainable in a number of versions to meet the request of various customers. The price tag is around $ 780 at watchlux.com.
Impressive Caliber Watches Similar To The Design Of The Tissot
Wrist watches are one example of an accessory found everywhere in the modern world. They now enable wearers to tell far more than the time of day, and can display their sense of fashion as well. There are many fine watches, such as the tissot touch watch, that deliver a multitude of modern features, while remaining an efficient timekeeper.
From the face to the band, high quality watches must be concerned with maintaining their fashionable presence while providing the deserved durability. Strong materials like leather and metal must have their edges softened for comfort when formed into a band. Scratch resistance and clarity can both be achieved in the protective casing over the face with sapphire crystal.
While scratch resistance is important for lasting beauty, the ability to handle differing pressures and temperatures is necessary for an extended life. The heat produced by the wearer's wrist and body, particularly in hot weather, can be dispersed by certain metals, including stainless steel, to protect more delicate pieces within. Surviving a swimming pool is possible if the watch features a high resistance to pressure and is perfectly sealed to avoid leaks.
The power that fuels wrist watches is different per style and company, and people tend to prefer the one that suits their lifestyle best. While battery power is efficient at running a simple clock for a lengthy period of time, it must eventually be replaced. Eclectic individuals tend to choose a form of traditional wind-up technology, which relies purely on the watch's own mechanisms to run.
Finding a power source that pleased fans of clockwork mechanisms without causing too much inconvenience inspired the invention of automatic winding. More classical than battery power, automatic winding works by tightening a spring while a small weight is shifted around. The amount of energy stored can usually handle a surplus of around forty-eight hours worth of life in nice watches.
Multiple functions are commonly seen in prestigious watches, and serve many purposes to their wearer. A chronograph is a device that gives the wrist watch the ability to become a timer, typically separate of the part that tells the time of day. Calendars for the day, month, and year are also common, either displayed through rotating number wheels, or a small digital screen.
While the face size may be decided by how many features it needs to display, users can choose from a wide range of variations to suit their needs. Watches come in styles suitable for men, women, or both, and some focus more on design, while others focus on function. It is a good idea for potential wearers to choose a model that they will be proud wearing, and find useful.
As one primary example of fine watch-crafting, the Tissot PRS516 displays the crucial elements of durability mixed with fashion. Each individual can choose their preferred model based on usefulness, appearance, or simplicity. It is important for a fine watch to be made for longevity, so its users can always rely on it to tell the time at a moment's notice.
Get the low down on the magnificent diversity of tissot watches footwear brand now in our fab review to East Coast fashion trendiness on tissot prc200.
From the face to the band, high quality watches must be concerned with maintaining their fashionable presence while providing the deserved durability. Strong materials like leather and metal must have their edges softened for comfort when formed into a band. Scratch resistance and clarity can both be achieved in the protective casing over the face with sapphire crystal.
While scratch resistance is important for lasting beauty, the ability to handle differing pressures and temperatures is necessary for an extended life. The heat produced by the wearer's wrist and body, particularly in hot weather, can be dispersed by certain metals, including stainless steel, to protect more delicate pieces within. Surviving a swimming pool is possible if the watch features a high resistance to pressure and is perfectly sealed to avoid leaks.
The power that fuels wrist watches is different per style and company, and people tend to prefer the one that suits their lifestyle best. While battery power is efficient at running a simple clock for a lengthy period of time, it must eventually be replaced. Eclectic individuals tend to choose a form of traditional wind-up technology, which relies purely on the watch's own mechanisms to run.
Finding a power source that pleased fans of clockwork mechanisms without causing too much inconvenience inspired the invention of automatic winding. More classical than battery power, automatic winding works by tightening a spring while a small weight is shifted around. The amount of energy stored can usually handle a surplus of around forty-eight hours worth of life in nice watches.
Multiple functions are commonly seen in prestigious watches, and serve many purposes to their wearer. A chronograph is a device that gives the wrist watch the ability to become a timer, typically separate of the part that tells the time of day. Calendars for the day, month, and year are also common, either displayed through rotating number wheels, or a small digital screen.
While the face size may be decided by how many features it needs to display, users can choose from a wide range of variations to suit their needs. Watches come in styles suitable for men, women, or both, and some focus more on design, while others focus on function. It is a good idea for potential wearers to choose a model that they will be proud wearing, and find useful.
As one primary example of fine watch-crafting, the Tissot PRS516 displays the crucial elements of durability mixed with fashion. Each individual can choose their preferred model based on usefulness, appearance, or simplicity. It is important for a fine watch to be made for longevity, so its users can always rely on it to tell the time at a moment's notice.
Get the low down on the magnificent diversity of tissot watches footwear brand now in our fab review to East Coast fashion trendiness on tissot prc200.
Monday, December 26, 2011
Monica Bellucci's Paris apartment burgled as she appears on television at Cannes
Monica Bellucci (right) wilth co-star Sophie Marceau at the premiere of Ne Te Retourne Pas in Cannes last week. The Italian actress's apartment was robbed while she was at the festival
As the Italian sex symbol and her actor husband Vincent Cassel appeared on TV from the south of France, the burglars got away with more than £80,000 in cash.
Jewellery and computer and video equipment worth at least double that amount were also taken, as well as Miss Bellucci’s passport – something she needed this week to travel to Hollywood.
‘It was clearly a meticulously planned burglary,’ said one of the officers investigating the burglary in Boulevard de Ménilmontant, in the French capital’s 20th arrondissement.
‘The thieves are believed to have struck just as the stars were appearing on television in Cannes on Sunday evening.
‘They entered the fourth floor apartment via a balcony, smashing a window in the process. Then they pretty much cleared the flat out of anything which was valuable and could be removed easily.
‘There have been plenty of cases of the homes of professional footballers being targeted while they are playing in high-profile matches, but this appears to be the first time that the same kind of thing has happened to actors.’
The 45-year-old former model has appeared in numerous films, including Irreversible and The Passion Of The Christ, in which she played Mary Magdalene.
She was in Cannes – where the 62nd festival ended on Sunday - promoting Marina de Van's Don't Turn Around, in which she stars alongside the French former James Bond girl Sophie Marceau.
Vincent Cassel, 42, was in Ocean’s Twelve but is best known in his native France, where he recently starred in a two-film biopic about the Paris gangster Jacques Mesrine.
The Paris crime is being investigated by the 2nd Division of the Judicial Police.
The Tourist: A very Jolie adventure for Johnny
Have you ever watched an old Hitchcock caper starring Cary Grant and murmured ‘they don’t make them like that any more’? If so, The Tourist is the picture for you.
It’s a glossy, sophisticated, gloriously improbable romp — escapist fun for these austere times.
A shy, unassuming American tourist on a train to Venice (Johnny Depp in the Cary Grant role) is lured by an absurdly glamorous Englishwoman (Angelina Jolie, never more sensually enigmatic) into a devilish web of dangerous intrigue.
First, the British police (under a grumpy Timothy Dalton and a fanatical Paul Bettany) and then Russian gangsters (led by a Bond-villainish Steven Berkoff) wrongly identify him as an elusive master-criminal.
He’s also being followed by a dark, handsome, mystery man (Rufus Sewell at his most laconic). Who on earth could that be?
The Tourist has been promoted as an Oscar contender, but it’s nothing of the sort. It is a luxurious trifle with nothing serious to say — a vastly superior version of the Tom Cruise-Cameron Diaz misfire, Knight And Day.
The good news is that there are twists and chases a-plenty, and it juggles its hoary old clichés with supreme confidence.
A remake of an abstruse 2005 French thriller called Anthony Zimmer (which starred Yvan Attal and Sophie Marceau), it’s written with tongues firmly in cheek by the director, Florian Henckel von Donnersmarck, who gave us the much more critically respectable The Lives Of Others, that consummate professional Julian Fellowes (Gosford Park) and Christopher McQuarrie, whose best work this is since The Usual Suspects.
At least three other scribes were involved — Jeffrey Nachmanoff, William Wheeler and Jerome Salle, but their names appear to have dropped off the credits, along with any mention of Anthony Zimmer.
The film’s had more than its share of production difficulties, with a couple of directors (Lasse Hallstrom and Bharat Nalluri), two male stars (Tom Cruise and Sam Worthington) and one leading lady (Charlize Theron) all falling by the wayside.
Fortunately, those problems aren’t visible onscreen. It may be significant that none of those who have dropped out has ever been noted for his or her sense of humour.
The end product is extremely silly, bordering on high camp — so much so that it might easily have been directed by Baz Luhrmann.
I guessed what it was up to from reel one, but that didn’t stop me from being thoroughly entertained all the way to its joyously barmy conclusion.
Not to be taken even half-way seriously, this is — if you’re on the right, ironic wavelength — the most nostalgic of escapist pleasures.
It’s a glossy, sophisticated, gloriously improbable romp — escapist fun for these austere times.
A shy, unassuming American tourist on a train to Venice (Johnny Depp in the Cary Grant role) is lured by an absurdly glamorous Englishwoman (Angelina Jolie, never more sensually enigmatic) into a devilish web of dangerous intrigue.
Dangerous intrigue: A shy American tourist (Johnny Depp) is lured into a devlish web by glamorous Englishwoman Angelina Jolie in The Tourist
He’s also being followed by a dark, handsome, mystery man (Rufus Sewell at his most laconic). Who on earth could that be?
The Tourist has been promoted as an Oscar contender, but it’s nothing of the sort. It is a luxurious trifle with nothing serious to say — a vastly superior version of the Tom Cruise-Cameron Diaz misfire, Knight And Day.
The good news is that there are twists and chases a-plenty, and it juggles its hoary old clichés with supreme confidence.
A remake of an abstruse 2005 French thriller called Anthony Zimmer (which starred Yvan Attal and Sophie Marceau), it’s written with tongues firmly in cheek by the director, Florian Henckel von Donnersmarck, who gave us the much more critically respectable The Lives Of Others, that consummate professional Julian Fellowes (Gosford Park) and Christopher McQuarrie, whose best work this is since The Usual Suspects.
At least three other scribes were involved — Jeffrey Nachmanoff, William Wheeler and Jerome Salle, but their names appear to have dropped off the credits, along with any mention of Anthony Zimmer.
The film’s had more than its share of production difficulties, with a couple of directors (Lasse Hallstrom and Bharat Nalluri), two male stars (Tom Cruise and Sam Worthington) and one leading lady (Charlize Theron) all falling by the wayside.
Fortunately, those problems aren’t visible onscreen. It may be significant that none of those who have dropped out has ever been noted for his or her sense of humour.
The end product is extremely silly, bordering on high camp — so much so that it might easily have been directed by Baz Luhrmann.
I guessed what it was up to from reel one, but that didn’t stop me from being thoroughly entertained all the way to its joyously barmy conclusion.
Not to be taken even half-way seriously, this is — if you’re on the right, ironic wavelength — the most nostalgic of escapist pleasures.
Sunday, December 25, 2011
Alfa Romeo MiTo 1.4 MultiAir (2010)
Alfa Romeo MiTo 1.4 MultiAir
Alfa Romeo MiTo 1.4 MultiAir
Alfa Romeo MiTo 1.4 MultiAir
Alfa Romeo MiTo 1.4 MultiAir
Alfa Romeo MiTo 1.4 MultiAirAlfa Romeo, always a byword for sophisticated engineering and high-performing engines, proudly presents the revolutionary Alfa Romeo MiTo 1.4 MultiAir system, developed and patented by FPT - Fiat Powertrain Technologies.
The forerunner of this revolutionary family is the MultiAir 1.4 engine, first introduced to the world on the Alfa Romeo MiTo model and offered with 3 different power levels (105 HP, 135 HP and 170 HP), all Euro5-ready.
At the launch, the first two MultiAir power units fitted to the Alfa Romeo MiTo are the 135 HP 1.4 and the 105 HP 1.4, available in all the current range outfits. Their launch will be followed by that of the 170 HP 1.4 MultiAir Turbobenzina, which will complement the Alfa Romeo MiTo petrol engine range and be available on the brand new and unique "Quadrifoglio Verde" outfit.
This broad product range will enable the MiTo to meet the needs of an increasingly extensive and smart audience, who are rewarding the Alfa Romeo mini with excellent sales results.
In detail, the 135 HP 1.4 Turbobenzina guarantees the Alfa Romeo MiTo all the performance and temperament of a sporty, well-balanced car designed for customers who are concerned about driving satisfaction and good fuel economy. The torque delivery of the 135 HP engine is optimum under all conditions and ensures outstanding pick-up performance and vigorous thrust at all speeds, marking a new benchmark in the petrol engine scenario. The new 135 HP power unit's top speed and acceleration from 0 to 100 km/h are at the very top of the mini category.
Ford BA MkII Falcon Ute
Ford BA MkII Falcon Ute
Ford BA MkII Falcon Ute
Ford BA MkII Falcon Ute
Ford BA MkII Falcon Ute
Ford BA MkII Falcon UteThe Ford BA Falcon is a full-size car, produced by the Ford Motor Company of Australia, between September 2002 and October 2005. The exterior styling of the BA was a substantial revision of that used for the preceding AU model. A new independent rear suspension setup was fitted to all sedan derivatives, and the engine and transmission received further upgrades. In late 2004, Ford introduced a Mark II update, bringing subtle styling and mechanical changes, and twelve months after that, replaced the BA with the BF. The model's market share briefly topped that of its chief competitor, the Holden Commodore on two occasions, but have failed to match those of the record-breaking EL Falcon. In the final months of 2002, the BA model received the influential Wheels Car of the Year award, breaking a 36-year drought. The BA also won four consecutive Australia's Best Cars awards, spanning three years.
Development and design
The BA model represented a AU$500 million investment, and 24,000 hours of engine and durability testing. Germany's Nürburgring test track was used for some suspension testing. The anti-lock brakes and Electronic Stability Control were calibrated in Sweden, as well as Australia.
Exterior design
Exterior styling was led by design director Scott Strong, then chief designer for Ford Australia. After Strong departed from operations at Ford in 2001, Simon Butterworth took over this role. Ford Australia's intention was to create a European influence for the vehicle, whereby most aspects of the AU's "New Edge" design would be revised. The result was a significant update of the existing AU body shell, rather than a completely new design. The BA model introduced an integrated aerial in the car's rear window, instead of the conventional retractable antenna. The aerial placement improved the vehicle's aerodynamics and ended the breakage issues that had plagued the retractable type found on previous models. Interestingly, interference from the engine did not affect the radio reception.
Chic encore!
Since Carla Bruni-Sarkozy swept on to the world stage in Dior, France has been reinstated as global leader of all things cool. From fashion to film, the French are once more the flavour du jour. Lucie Greene takes a look at the crème de la crème
Once upon a time France was simply synonymous with style – the language, the ladies, the fashion labels. From Christian Dior to Christian Louboutin, the French have historically done chic brilliantly – if a culture can ooze charm, theirs did.
But in recent years the je ne sais quoi faded and the nation simply lost its va-va-voom. Maybe it was the competition from our 1990s Brit-cool or the ascendancy of all things brash, bling and very un-Français – who knows?
And, quite frankly, in 2009 who cares, because France is back! In the past 12 months it has been reinstated as global leader of all things hot, and the fashion pack can’t get enough of it.
Following behind the kitten heels of First Lady Carla Bruni Sarkozy, a legion of pretty French actresses and models are now the ones to watch. Forget Nicole Kidman (and that expressionless forehead). Thanks to the wonderfully zeitgeisty film Coco Before Chanel (which will be out here later this month), Audrey Tautou bagged the latest Chanel No 5 ad campaign, while It-actress Clémence Poésy landed the Chloé fragrance contract and Charlotte Gainsbourg scooped best actress for the film Antichrist on home turf at Cannes.
Meanwhile, Oscar-winner Marion Cotillard and her handsome boyfriend Guillaume Canet have established themselves as worthy rivals to Brad and Angelina for the title of Hollywood’s most gorgeous couple.
What’s more, the French fashion houses were once again behind the most fêted collections on the 2009 catwalk. Lacroix, Louis Vuitton and Balenciaga all enjoyed critical adulation, while hot label Balmain with its iconic pointy-shoulder jackets is being paraded by every celebrity from Victoria Beckham to Kate Moss.
On the British high street, French boutique labels Charles Anastase, Maje, Isabel Marant and Zadig & Voltaire are lining the rails at department stores, and French chains such as Comptoir des Cotonniers are expanding rapidly.
The London and New York party scenes are throbbing with hip Parisians. No guest list is complete without the likes of Julia and Vladimir Restoin-Roitfeld (children of Carine Roitfeld, editor of French Vogue, who is rumoured to be next in line for Anna Wintour’s job in New York) and Lou Doillon (daughter of style icon Jane Birkin).
Perhaps the reason we are so drawn to French talent just now is that it is more interesting, more mysterious and more of the moment than identikit Hollywood. The mood du jour favours dignity, class and character. And no one does that better than the French.
From left: Clémence Poésy, Mélanie Laurent
Oh la Carla!
But in recent years the je ne sais quoi faded and the nation simply lost its va-va-voom. Maybe it was the competition from our 1990s Brit-cool or the ascendancy of all things brash, bling and very un-Français – who knows?
And, quite frankly, in 2009 who cares, because France is back! In the past 12 months it has been reinstated as global leader of all things hot, and the fashion pack can’t get enough of it.
Following behind the kitten heels of First Lady Carla Bruni Sarkozy, a legion of pretty French actresses and models are now the ones to watch. Forget Nicole Kidman (and that expressionless forehead). Thanks to the wonderfully zeitgeisty film Coco Before Chanel (which will be out here later this month), Audrey Tautou bagged the latest Chanel No 5 ad campaign, while It-actress Clémence Poésy landed the Chloé fragrance contract and Charlotte Gainsbourg scooped best actress for the film Antichrist on home turf at Cannes.
Meanwhile, Oscar-winner Marion Cotillard and her handsome boyfriend Guillaume Canet have established themselves as worthy rivals to Brad and Angelina for the title of Hollywood’s most gorgeous couple.
What’s more, the French fashion houses were once again behind the most fêted collections on the 2009 catwalk. Lacroix, Louis Vuitton and Balenciaga all enjoyed critical adulation, while hot label Balmain with its iconic pointy-shoulder jackets is being paraded by every celebrity from Victoria Beckham to Kate Moss.
On the British high street, French boutique labels Charles Anastase, Maje, Isabel Marant and Zadig & Voltaire are lining the rails at department stores, and French chains such as Comptoir des Cotonniers are expanding rapidly.
The London and New York party scenes are throbbing with hip Parisians. No guest list is complete without the likes of Julia and Vladimir Restoin-Roitfeld (children of Carine Roitfeld, editor of French Vogue, who is rumoured to be next in line for Anna Wintour’s job in New York) and Lou Doillon (daughter of style icon Jane Birkin).
Perhaps the reason we are so drawn to French talent just now is that it is more interesting, more mysterious and more of the moment than identikit Hollywood. The mood du jour favours dignity, class and character. And no one does that better than the French.
The film-star femmes
From left: Audrey Tautou, Charlotte Gainsbourg, Sophie Marceau
From left: Marion Cotillard, Cécile Cassel
The fashion filles
From left: Lou Doillon, Carine Roitfeld and daughter Julia
Mode in heaven
From left: Christian Lacroix, Louis Vuitton, Balmain
Female Agents: Girl power, World War II-style
The title may not be hugely inspired, but you must give Female Agents credit for doing precisely what it says on the tin - the tin being designed in the middle of the 20th century and containing Gauloises cigarettes.
In 1944, five French women are recruited by the SOE, an intelligence service overseen by Winston Churchill, to rescue a British agent.
These are, in ascending order of grit and resourcefulness, Gaelle (Deborah Francois), Suze (Marie Gillain), Maria (Maya Sansa), Jeanne (Julie Depardieu) and Louise (Sophie Marceau).
What follows is a sort of taut, intellectual version of Charlie's Angels with added torture, as each woman shows amazing courage in thwarting the efforts of Colonel Heindrich, the head of Nazi counter-intelligence, to find out crucial information regarding the upcoming landings on the Normandy beaches.
It's based on a true story and, while you can't help feeling that the original characters would not have been quite as unusually attractive as the women playing them, you can't help admire the authenticity of the period detail and the urgent, slush-free narrative which captures the live-for-the-moment aspect of the character's lives.
The sole sour note comes from the English officers, who seem to hail from an entirely fictional British Isles, only ever seen on screens and not since at least 1975.
In 1944, five French women are recruited by the SOE, an intelligence service overseen by Winston Churchill, to rescue a British agent.
These are, in ascending order of grit and resourcefulness, Gaelle (Deborah Francois), Suze (Marie Gillain), Maria (Maya Sansa), Jeanne (Julie Depardieu) and Louise (Sophie Marceau).
Gritty and intelligent: a French Charlie's Angels
What follows is a sort of taut, intellectual version of Charlie's Angels with added torture, as each woman shows amazing courage in thwarting the efforts of Colonel Heindrich, the head of Nazi counter-intelligence, to find out crucial information regarding the upcoming landings on the Normandy beaches.
It's based on a true story and, while you can't help feeling that the original characters would not have been quite as unusually attractive as the women playing them, you can't help admire the authenticity of the period detail and the urgent, slush-free narrative which captures the live-for-the-moment aspect of the character's lives.
The sole sour note comes from the English officers, who seem to hail from an entirely fictional British Isles, only ever seen on screens and not since at least 1975.
Verdict: An urgent, gratifying unsentimental portrait of life during wartime
Dressed to thrill: As new Bond girl Gemma Arterton creates a stir on the red carpet, how does she compare to previous 007 beauties..
Gemma Arterton at the Quantum of Solace premiere this week
I love Gemma Arterton, the latest Bond girl. Not only is she a talented actress, but she is also a stunning beauty.
However, poor Gemma got it hopelessly wrong on the red carpet on Wednesday night at the Quantum of Solace premiere.She chose a bizarre purple mini-dress by Miu Miu which was slashed to the thigh but trailed at the back.
She accessorised her outfit with an ugly studded belt and matching clumpy shoes, both of which were far too heavy for the flimsy fabric of her dress.
The 22-year-old from Kent was wise to avoid a long, demure dress as she would have looked like lamb dressed as mutton.
Sadly, she went too far in the opposite direction and chose a dress that was fussy, tarty and did her curvy figure no favours at all.
Of course, she is still young and entitled to make fashion faux pas, but she would do well to learn the golden rule of red carpet fashion: expose only one erogenous zone at a time.
So, how does Gemma's style compare to other Bond girls on their premiere night?
Goldfinger 1964
Honor Blackman (Pussy Galore)
Now, this is how to do Bond girl: be totally of your time.
Honor Blackman epitomises the mid-Sixties in gold trousers worn under a cutaway pink gown.
I love her hair, too, and the fact that she looks as though she is having fun rather than trying to look sexy.
Thunderball 1965
Claudine Auger (Domino)
This is what it's all about: a bit of cleavage, a classic, figure-hugging gown, a sleek updo and a look in the eye that speaks of mystery.
Claudine Auger, a former Miss France Monde, whose thick accent was dubbed for the film, was compared at the time to Elizabeth Taylor.
On Her Majesty's Secret Service 1969
Diana Rigg (Tracy)
I love the fact Diana Rigg was paid twice as much as George Lazenby was for playing Bond, but I hate her little-girl dress, a look copied recently by Sienna Miller and Burberry for her red carpet moment.
It looks terribly dated.
Live And Let Die 1973
Jane Seymour (Solitaire)
So this is where Tamara Mellon, boss of Jimmy Choo and Halston, gets her fashion ideas from.
Jane's kaftan was a little shapeless and all-concealing for a Bond girl, but as a Seventies fashion plate, complete with centre-parted hair, she was spot on.
The Man With The Golden Gun 1974
Britt Ekland (Mary Goodnight)
Britt Ekland wears a 1920s-inspired black sequin dress that was later worn by Kate Moss on her 30th birthday, proving that true style never goes out of fashion.
The Spy Who Loved Me 1977
Barbara Bach (Anya)
Barbara Bach, a beautiful and statesque former model from New York, wore a floor-length sheer kaftan over a long black dress that was very Seventies, but not particularly sexy of flattering, hiding her lovely figure.
Octopussy 1983
Maud Adams (Octopussy)
A great beauty, but she makes the common mistake of overdoing it on the red carpet.
Her hair is curled rather than sleek, and the dress reveals too much and is fussy.
A View To A Kill 1985
Grace Jones (May Day)
Here, Grace wears a hooded yellow bodysuit by her favourite designer, Issey Miyake.
She doesn't look like the sort of woman whom Bond would ever lust after, but she does look amazing, and totally Eighties.
The Living Daylights 1987
Maryam D'Abo (Kara Milovy)
Maryam was, to my mind, the most beautiful of all the Bond girls: she oozed intelligence from every tiny pore.
I rang her to see if she remembered what she wore for her premiere and, without missing a beat, she said: 'Olive green Emanuel Ungaro, which was so tight at the hem I could hardly walk.'
Licence To Kill 1989
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