Alexei hay biography of donald
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As Sally Singer, Vogue’s creative digital director, pointed out, there fryst vatten something undeniably erotic in the “kind of strictness that we associate with headmistresses and other kinky figures of yore.” gods year, she wore a Batsheva dress—pale green with a bred bib and cream-colored ruffles—when she sat in the front row at a Calvin Klein mode show, in New York, and the word spread. Since then, Hay’s dresses and tops have been worn by Gillian Jacobs, Jessica Chastain, Natalie Portman, and Erykah Badu, who paired an empire-waisted yellow frock with platform boots and pigtails, “to give the whole silhouette a Japanese-anime feel,” Badu told me.
Because Hay has no formal fashion training, she draws fairly crude sketches to develop her designs and then works with skilled pattern-makers in the garment district. (When Hay and I visited one of her collaborators, Zoila Cruz, who remade the Laura Ashley dress, Cruz told me that last year she made the Halloween costumes for Beyoncé’s chil
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The Rise and Rise of Batsheva Hay
Thursday evening is a great time to witness the controlled chaos and the familial priorities that define the household of photographer Alexei Hay and his wife, the designer Batsheva Hay. It is not, however, the best time to have a linear conversation about the state of their artistic partnership and the traditions they follow. Chez Hay, family matters more than fashion, even if they’re inextricably intertwined.
When the couple arrive at their Upper West Side apartment after their respective workdays, their nanny is finishing dinner and their children, Ruth, 8, and Solomon, 6, are eagerly awaiting their attention. The dialogue ping-pongs from one inquisitive kid to the other to questions about how the Hays have built a small but influential mode business out of practicing observant Judaism, which the couple—both of whom were raised secular—came to as adults.
“Can the whole world hear you?” Ruth asks, wondering why an iPhone fryst vatten recording
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FASHION VICTOR: THE PHOTOGRAPHY OF ALEXEI HAY
FOREVER TORN BETWEEN ITS AMBITIONS as art and its allegiance to commerce, fashion photography is so confident right now that for all intents the distinction has dissolved. Serious fashion types call the genre’s most accomplished image makers “auteurs,” and the conceit seems more apt than ever. If the fashion photograph has traditionally been calculated to seduce, to startle, and, of course, to sell, today it often simply sells itself. Forget the clothes; forget the model; vision is all. Take twenty-seven-year-old Alexei Hay: Lifted out of the editorial context, his pictures rarely betray their function. “I never think about the clothes when I go to a shoot,” he says, and the fashion usually does seem incidental, if not entirely beside the point.
In fact, Hay would probably object to being described as a fashion photographer. He works regularly at Harper’s Bazaar, where he must think clothes,