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Thursday, December 27, 2012

Lyric Lagu Natal

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All I Want For Christmas Is You

I don't want a lot for Christmas
There's just one thing I need
I don't care about the presents
Underneath the Christmas tree
I just want you for my own
More than you could ever know
Make my wish come true
All I want for Christmas is...
You

I don't want a lot for Christmas
There's just one thing I need
I don't care about the presents
Underneath the Christmas tree
I don't need to hang my stocking
There upon the fireplace
Santa Claus won't make me happy
With a toy on Christmas day
I just want you for my own
More than you could ever know
Make my wish come true
All I want for Christmas is you
You baby

I won't ask for much this Christmas
I don't even wish for snow
I'm just gonna keep on waiting
Underneath the mistletoe
I won't make a list and send it
To the North Pole for Saint Nick
I won't even stay awake to
Hear those magic reindeers click
'Cause I just want you here tonight
Holding on to me so tight
What more can I do
Baby all I want for Christmas is you
Ooh baby
All the lights are shining
So brightly everywhere
And the sound of children's
Laughter fills the air
And everyone is singing
I hear those sleigh bells ringing
Santa won't you bring me the one I really need
Won't you please bring my baby to me...

Oh I don't want a lot for Christmas
This is all I'm asking for
I just want to see my baby
Standing right outside my door
Oh I just want you for my own
More than you could ever know
Make my wish come true
Baby all I want for Christmas is...
You

All I want for Christmas is you... baby (repeat and fade)

Tuesday, December 25, 2012

CHLOE SPRING 2013 READY TO WEAR

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CHLOE COLLECTION

OCTOBER 1, 2012PARIS
By Jo-Ann Furniss
It is a tall order to be the creative director of a house during its 60th anniversary. And to do that in only your third season is an even taller one. Yet Clare Waight Keller came through this challenge with suitable aplomb for Spring. It was her most accomplished collection yet.

The designer appeared unbowed by the weight of history—what was shown today was not a greatest-hits collection. Yet, at the same time, she seemed to have subtly absorbed the lessons of the archive to be found in the Judith Clark-curated "Chloé: Attitudes" retrospective currently showing at the Palais de Tokyo. The main lesson being that the unifying factor in Chloé's history is not a surface style, but rather a state of mind. Gaby Aghion, the founder of the brand, had wanted to free women from the heaviness and import of haute couture. She did this with a lightness and an insouciance in her attitude to fashion and to life. "I actually started by looking at transcripts of Gaby's talks with us," Waight Keller explained of the collection after her show. "She said something that really struck me: 'I never explain anything. I live my life, and I live the life I love.'" 

In that way there is no real narrative for this Chloé collection, just an idea of a certain feminine confidence—and a more French one than has been seen for some time. Simultaneously there is a certain English and boyish discipline that Waight Keller has added to the clothes, both in style and structure. Concentrating on the cropped, the mid-length, and the long—"a clean organization of looks," as the designer put it—there was a play on layering, particularly in the transparent and the solid, as well as Bermuda shorts and "side pleat" trousers. Technical experiments with materials were another way this collection was freed from the weight of history; the creation of volume and structure with a stiff, geometric lace and the use of pleated Japanese polyester brought about some of the prettiest looks. Yet a few of these dresses indeed had their counterparts in the exhibition, such as a flesh pink, transparent pleated tulle dress that Karl Lagerfeld had created during his tenure at Chloé in the eighties. It's telling that Lagerfeld is the go-to designer for Waight Keller, and it further points to an interest in the substance of Chloé as much as its style.








Chanel SPRING 2013 READY to WEAR

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COLLECTION CHANEL

OCTOBER 2, 2012PARIS
By Tim Blanks
From icebergs to apocalypse, Chanel's stage sets have established the goalposts for Napoleonic excess in fashion. Today's backdrop featured a wind farm and solar panels. The reason? "The wind and sun are free," Karl Lagerfeld said disingenuously. They would have been the only things that were, in a presentation that was so overwhelming in its scale it was no easy task for the sweet clothes to make an impression. Still, there were clear messages. The silhouette was dominated by an A-line or a bolero. Lagerfeld loved the skirt dress—pulled up in a bustier style—as opposed to the shirtdress. (In chambray, it said all you need to know about the ever-younger spirit of Karl's Chanel, with its supporting cast of new muses.) The graphic quality felt new, in keeping with the stripey shirt and tie the designer himself wore. He claimed his three-dimensional cutouts in chiffon dresses were designed to introduce airiness to volume. "Normally they don't go together," Lagerfeld offered. Maybe it was that desire for lightness—in what has been an often dark season—that also saw him shelve the braid, the buttons, and the chains in favor of a liberal scattering of pearls.

There is always so much on a Chanel catwalk that a slightly schizophrenic quality inevitably begins to insinuate itself. Did a cobalt blue smock top truly come from the same creative source as sheer, tatter-trimmed hostess pajamas? But in the end, the path of excess did lead to the palace of wisdom, or at least the clarity of dressy white pieces appliquéd with flowers that looked like candy wrappers. Sweetness prevailed.

Back to that set: Lagerfeld was in love with the architectural modernism of the wind turbines, but the message of sustainable energy seemed particularly pertinent to a designer who possesses the resilience of a man a quarter his age. "Energy is the most important thing in life" were Lagerfeld's words from the wise. "The rest comes later."