Jaka jest tajemnica Karoliny? „Piję go każdego ranka na pusty żołądek, to wszystko” – Karolina 😯 Dzięki temu jej przemiana była możliwa!

Szostak to nie tylko dziennikarka, ale takze wiodaca prezenterka telewizyjna. Przez lata zwiazana byla z TV Polsat. Szostak prowadzi programy sportowe o najwiekszej ogladalnosci.
Bez watpienia to jedna z najbardziej atrakcyjnych oraz najpiekniejszych kobiet w Polsce. Zawsze znajdowala sie w samym centrum uwagi, a jej figura dodawala jej wdzieku.

Karolina zawsze byla bardzo skromna osoba i nie obnosila sie ze swoim obfitym biustem czy figura. Prezenterka zdecydowala sie na podjecie kroku doprowadzajacego do decyzji o pracy nad poprawa swojego zdrowia i figury. Jakie przynioslo tu skutki? Udalo jej sie zrzucic dwadziescia kilogramow, przez co teraz nie potrafimy oderwac od niej oczu. Jej priorytetem bylo oczyszczenie organizmu z toksyn i zrzucenie kilku kilogramow. Zastosowala niskokaloryczna diete bogata w owoce i warzywa.

„Chociaz sama dieta trwala szesc tygodni, jest ona tego w pelni warta! Poprzednio po zakonczeniu diety pozostawalam w dobrej formie przez okolo 2 tygodnie, lecz pozniej zaczynalam znow przybierac na wadze (jest to tak zwany efekt jo-jo), ale teraz po kilku miesiacach wciaz jestem w dobrej formie. Jest to jedyna dieta, ktora przyniosla efekty” – opowiada Karolina Szostak.

Dieta Karoliny bogata jest warzywa i owoce, a jej tworca jest Dr. Dambrowski. Uwaza on, iz dieta przynosi tak fantastyczne rezultaty, dzieki temu, ze stosujac ja konsumuje sie znacznie mniejsza ilosc kalorii niz potrzebuje nasz organizm (okolo 800 kalorii zamiast ponad 1200, co zalezy tez od osoby), a dzieki temu po zastosowaniu prowadzi do utraty masy ciala.
Trzeba pamietac spozywajac mniej kalorii od normalnego zapotrzebowania bedziemy w ciagu dnia odczuwac glod. Dlatego tez niezwykle istotne jest spozywanie niskokalorycznych proteinowych napojow mlecznych typu milk-shake, ktore sa bogate w blonnik, dzieki czemu powoduja uczucie pelnosci.

Dziennikarka twierdzi, iz to wlasnie te milk-shake’i sa przyczyna jej sukcesu. „Bez napojow proteinowych nie bylabym w stanie tak dlugo trzymac sie diety. Pomogly mi uniknac uczucia glodu, ktore znaja wszystkie osoby stosujace diety. Tak naprawde to moj sekretny sposob :)” – opowiada Karolina Szostak.
Diete powinno sie stosowac od 4 do 6 tygodni jako przygotowanie do zmiany nawykow zywieniowych i przejscia na zdrowszy tryb zycia. Powinno sie co pewien czas ja powtarzac, aby nasze cialo nie zapominalo zdrowych nawykow zywieniowych. Dzieki regularnemu stosowaniu tej diety, Karolinie udalo sie uniknac efektu jo-jo.

Dieta ta stosowana jest przez niektore z najwiekszych gwiazd Hollywood. Stosuja one podobna metode przed kazdym kolejnym filmem.

Przypadek Karoliny pokazuje, ze wszystko jest mozliwe, jezeli tylko mamy dobry plan i konsekwentnie go stosujemy! Prezentuje sie fantastycznie i jest szczesliwsza niz kiedykolwiek.

“Mam szczera nadzieje, ze udalo mi sie zainspirowac swoja historia przykladem inne kobiety w Polsce, udowadniajac im, iz sa w stanie osiagnac to samo, co ja. Bo jesli mi sie udalo, to uda sie kazdemu!” – opowiada dziennikarka

Stary Maks pilnował firmy budowlanej. Jadł piasek i gruz

– Podchodząc do niego, myślałam, że nie żyje. Jak zdjęłam mu łańcuch, pobiegł i rzucił się jeść trawę. Chwycił martwego gołębia, nie zdążyłam wyrwać mu z pyska, połknął go – opowiada obrończyni zwierząt. Badania weterynaryjne wykazały, czym wcześniej żywił się Maks. W odchodach znaleziono piasek i gruz.

Maks leżał przy budzie na tyłach składu materiałów budowlanych. Gdyby miał ochotę wstać, daleko by się nie ruszył – przy budzie trzymał go krótki łańcuch, uwiązany do szyi bez obroży. Całe życie na łańcuchu. Sara nie znała trawy i dotyku – Myśleliśmy, że… czytaj dalej » Tak go znalazła Anita Chromy z OTOZ “Animals” w Gliwicach

– Myślałam, że nie żyje. Nie reagował, jak się zbliżyłam, ani na wołanie – opowiada. Znalazła właścicielkę tej firmy budowanej. – Pies jest stary – tak miała wyjaśnić stan Maksa. Zapewniała obrończynię zwierząt, że raz dziennie karmi psa i poi.

Garnki przy budzie były jednak puste i suche. – Tłumaczyłam właścicielce, że zwierzę powinno mieć dostęp do wody 24 godziny na dobę, nie rozumiała tego – opowiada Chromy.

Właścicielka szturchnęła psa, dopiero wtedy Maks wstał. Chromy zdjęła mu łańcuch z szyi. I wtedy pobiegł.

Chromy: – Rzucił się na trawę, zaczął ją jeść łapczywie. Znalazł gdzieś martwego gołębia, nie zdążyłam wyrwać mu z pyska, chwycił i dosłownie połknął.

Był brudny, miał posklejaną sierść. Właścicielka w końcu miała przyznać: – Zaniedbałam go. Wstyd mi.

Lekarz weterynarii w klinice w Katowicach-Brynowie w odchodach Maksa prócz trawy znalazł jeszcze piasek i gruz. Pies okazał się odwodniony, niedożywiony, miał zapalenie uszu. Został wykąpany, podleczony, już potrafi stać sam na nogach i czeka na adopcję.

Faktycznie jest już leciwy, ma problemy z sercem, ale jest bardzo łagodny – mówi Chromy.

10 zł zamiast komentarza 

Animals zamierza oddać sprawę do prokuratury. Właścicielka Maksa przekazała na jego leczenie 1000 zł, ale ta kwota już została przekroczona.

Internauci na profilu facebookowym organizacji pomstują na właścicielkę Maksa, żądają kary, pytają o adres, chcą sami wymierzyć sprawiedliwość.

Ana: – Proszę Was wszystkich, którzy to oglądają, wpłaćcie choć symboliczne 10 zł, aby pomóc tym którzy pomagają tym zwierzętom. To będzie namacalny nasz wkład w ratowanie psiaków, bo komentarze to zbyt mało, aby coś zmienić w ich życiu.

Niedawno opisywaliśmy historię Wiktora, którego ocalił inny kundel Betis. Wiktor miał połamane oczodoły. Też był leczony w brynowskiej klinice. Już było dobrze, niestety umarł. Mężczyzna, który go skatował, przyznał się do wszystkiego, chce poddać się dobrowolnej karze roku bezwzględnego więzienia.

 

Luigi’s death stare: are you enjoying Mario Kart 8?

Mario Kart 8 has been out in the UK for a few weeks now, leading to a large increase in sales for the Wii U console. It’s even seen the birth of its own meme: the Luigi death stare, a celebration of the lesser-heralded Mario brother’s ice-cold reaction to the administration of shell-based justice.

I spent the weekend getting to grips with the latest Mario Kart iteration, sunny weather eschewed in favour of relentless four-player action.

Early impressions are positive. The karts drive, glide and slide like a dream, and as our review points out, the new weapons are a satisfying addition. And there are little pleasing tweaks that make logical sense: if you plunge off the course into a cute ravine, lakitu returns you to the track much more efficiently than before, power-up boxes reappear a touch more quickly, and there is now a means of combatting the blue shell. At last.

And, as the Luigi death stare indicates, the end-of-race highlights (which you can edit and upload to Youtube) are an absolute joy. We almost enjoyed watching each hit, in glorious high-def slow-mo, as much we enjoyed playing the game itself.

As many have mentioned, the only bugbear is battle mode, which now takes place on the standard courses rather than ready-made arenas, and this is a real step backwards. “I can’t find anyone,” and “it’s taking ages, isn’t it?” were standard responses when we tried it.

Now it’s over to you. How are you finding Mario Kart 8? Is it the best one, or do you still pine for the SNES or the underrated Game Cube versions? Share your thoughts – and links to your own killer videos, if you’ve made any – in the thread below.

Lady Macbeth cuts a swathe across London fashion week

Formidable women influence proceedings at runway shows for Berardi, Erdem and Roksanda

The namedropping is pretty highbrow at London fashion week these days.

Lady Macbeth, Mark Rothko, John F Kennedy, Virginia Woolf and Eugene Delacroix were all referenced by designers before 11am on Monday morning, and Michael Nyman was there in person, playing the piano in a piece composed to accompany the Roksanda collection. Burberry are making Henry Moore the star attraction at their show later on in the day, with a catwalk that will double as the opening night of a sculpture exhibition.

This London fashion week is developing a distinctive look. It starts with a long, fluid skirt, a tight waist and a flourish at the cuff. The silhouette is elegant, but there is an element of grit in coarse, sensible tweeds, eiderdown quilting and thick velvet. A certain steely British femininity keeps coming up in backstage conversation, with the suffragettes, Tracey Emin and the Queen among the names being dropped.

And there is a common refrain among designers who speak of formidable women. For Antonio Berardi this was Lady Macbeth, the starting point for dramatic silhouettes in which dense fabrics were swathed about the shoulders and wrapped tight at the waist, with collars tipped high over the chin and skirts swirling at the knees, as if for an unimaginably glamorous walk in the Highlands.

Roksanda Ilinčić talked about how the influence of living in an extraordinary moment of history helped her crystallise her “warrior women” on the catwalk, whom she dressed in exquisite shades of carmine and rust she took from Rothko paintings she saw in the Royal Academy’s recent Abstract Expressionism exhibition.

Erdem imagined what the wardrobes of his great grandmothers – one from Turkey, near the Syrian border, the other of English and Scottish heritage – would have looked like together, merging Ottoman necklines with Victoriana bodices, and throwing in elements of Virginia Woolf for good measure, to dreamy effect.

“I like to imagine women’s stories,” he said backstage after the show. “I don’t have any photographs of my great grandmothers, so this is about their identities as I invent them, I suppose.”

Share your experiences of UK museums for kids and win a £200 hotel voucher

With the half-term break on the horizon tell us your day trip tips on museums and galleries that have a wow factor for kids

Long gone are the days when children wandered around our revered institutions in a state of extreme boredom, when the best they could hope to see was a skeleton in a glass case. Museums today use technology to create exciting interactive exhibits and run activities to engage young imaginations – and this half term many children will be chomping at the bit to visit them … hopefully. Tell us which UK museums your children have most enjoyed, and the places that go the extra mile to enthral them.

Send us a tip via GuardianWitness of around 100 words.

The best tips will appear in print in next weekend’s Travel section and the winner, chosen by Lonely Planet, will receive a £200 hotel voucher from UK.hotels.com, allowing you to stay in more than 260,000 places worldwide. Submit your tip by clicking the blue button and using the text tab.

You’re welcome to add a photo if you own the copyright to it – but it’s the text we’ll be judging.

Iconic Canadian Food: The History Of The Caesar, Canada’s Cocktail

Welcome to our series, Iconic Canadian Food! You may know which classic Canadian dishes you like, but do you know the stories behind them? And how can we define Canadian cuisine if we don’t know its past? Gabby Peyton will be sharing the back stories of a smorgasbord of iconic Canadian dishes to celebrate the country’s 150th birthday this year. This month Gabby explores the quintessentially Canadian cocktail, the Bloody Caesar.

Caesars are the best-kept non-secret secret in Canada. If you walk into a bar south of the border and ask for one, there’s no doubt you’re getting a Bloody Mary — the thicker (and lesser, in my opinion) older sister of our beloved hangover cure.

The Bloody Caesar or, as it’s more affectionately known, the Caesar is probably the most Canadian thing you can drink aside from a glass of Canada Dry ginger ale or Molson Canadian. In 2006, the drink was honoured as the 13th greatest Canadian invention and just over ten years later, we’re guzzling more than 400 million Caesars a year; that’s more than 33 million every month! There’s even a national Caesar day — make sure to conjure up a Caesar on May 18.

The original recipe is simple: vodka with Clamato juice, a dash of Worcestershire, a squeeze of lime and served in a glass of ice rimmed with celery salt. While the recent trend has careened towards skyscraping garnishes and potions of juices, one thing is for sure: Canadians will never clam up about Caesars. They’ll continue to order them in American bars and get the same perplexed looks from the bartenders.

FROM SPAGHETTI COMES CAESAR
While some culinary origin stories have a muddier history, there’s no question about who invented the Bloody Caesar. In 1969 Walter Chell worked as a bartender at the Calgary Inn (now the Westin Calgary) and was asked to conjure up a signature cocktail for Marco’s, the new Italian restaurant at the hotel. Inspired by a dish on the menu — Spaghetti Vongele (spaghetti with clams) — the Caesar was born after three months of development.

Unlike the salad (named after the guy from Tijuana who invented it), this cocktail was actually named after the historic leader. Chell’s granddaughter claims it was in homage to his Italian heritage. Legend has it he had originally called the drink by the simpler “Caesar,” but a regular British customer of the hotel was heard exclaiming, “Walter, that’s a damn good bloody Caesar!” and Chell added the British colloquialism to the name.

Despite the legendary invention, there’s some question about the originality of Canada’s favourite libation. Recipes for New England clam juice and vodka cocktails date back to 1909, and in Ritz Paris bartender Frank Meier’s 1936 book The Artistry of Mixing Drinks there’s a clam cocktail made with “a teaspoon of Tomato Ketchup, a small pinch of Celery salt, two or three drops of Tabasco sauce, one glass of clam juice; shake slightly and serve.”

Ironically Mott’s was also developing Clamato juice in California at the same time Chell was creating the Caesar. While sales were small initially, with the rising popularity of the Caesar in the 1970s, sales exploded in Western Canada. There’s no doubt Chell’s Calgarian cocktail creativity helped skyrocket Clamato juice.

ALL HAIL THE CAESAR REVOLUTION?

While the Caesar has remained a classic in the Canadian cocktail compendium, it’s also risen to #foodporn status on Canadian food bloggers’ Instagram accounts. In the past decade there’s been significant evolution of the Caesar. Newer variations of the Caesar include using horseradish instead of Worcestershire, and adding hot sauce or other spicy ingredients like wasabi, Sriracha or even jerk spice.

The Score on Davie in Vancouver is said to have started the trend of putting more-than-ample garnishes on the Caesar with their caloric catastrophe called the Checkmate Bloody Caesar. This $60 “drink” is topped with roasted chicken, the Score burger, a pulled pork Sriracha glazed slider, onion rings, chicken wings, a pulled pork mac and cheese hotdog and a brownie for dessert. Everything from lobster claws to Montreal smoked meat sandwiches have been balanced on the Caesar’s rim, and there’s no sign of it stopping. There have even been ice cream sandwiches and margaritas.

Build-your-own Caesar bars have also become a popular brunch staple in pubs across the country, at places like Pogue Mahone’s in Toronto and Durty Nelly’s in Halifax. Some criticize gluttonous gulps like the Scores, and many bartenders (and hungover patrons) still opt for a simpler approach.

GETTING CLAMMY ACROSS THE COUNTRY
Even Mott’s is jumping on the proverbial bandwagon: in 2000 they introduced ready-made Caesars across the country, and have made several variations on their original blend of Clamato including Extra Spicy, Lime and The Works. Just this year, they introduced Pickled Bean Clamato Juice. A few years ago, they also ran a contest to hire a CMO (or Chief Mixing Officer), won by Clint Pattemore. In 2014, he published a book entitled Caesars: The Essential Guide to Your Favourite Cocktail.

Then came Walter. In 2013 this Toronto-based Caesar mix came onto the scene made with all-natural and high-end ingredients like small batch vine-ripened tomatoes, horseradish and North Atlantic clam juice. French’s is also set to release their Not Your Ordinary Caesar Cocktail Mix in grocery stores in 2017.

Whether you enjoy the classic Caesar, or prefer one of the new creations, there are few things more Canadian than this iconic cocktail.

Nintendo’s rejection of gay relationships gives fans a lot to be angry about

Nintendo often seems like the rarest kind of corporate entity: one that only inspires feelings of goodwill from its customers both past and present. Even as the company continues to flounder in its current state of financial insecurity, much of the criticism from fans, detractors and industry analysts is delivered as if from a concerned friend, rather than a dispassionate onlooker.

That changed on Wednesday, when Nintendo of America (NOA) responded to a social media campaign asking the company to allow players to enter into gay relationships in its game Tomodachi Life with a flat denial issued to the Associated Press.

The company “never intended to make any form of social commentary with the launch of Tomodachi Life”, the statement reasoned. “The relationship options in the game represent a playful alternate world rather than a real-life simulation. We hope that all of our fans will see that Tomodachi Life was intended to be a whimsical and quirky game, and that we were absolutely not trying to provide social commentary.”

It repeated the phrase “social commentary” twice in just three sentences. NOA was trying to avoid rocking the boat and ended up doing the exact opposite. Fans responded passionately with anger and disappointment.

There’s a lot to be angry about here, and a lot to be disappointed by, too. But more than anything else, I’m confused by Nintendo’s logic, because none of this makes sense.

For starters, look at the game itself. Tomodachi Life belongs in a hyper-specific genre of games called “life simulators”. It has often been described as the Japanese gaming giant’s take on The Sims, that enormously popular Electronic Arts game that lets players indulge in seemingly mundane activities – picking out outfits, going to work, coming home, going on dates, getting married.

There are tons of games that owe no debt to realism. Those that do, like Madden or Call of Duty, aspire to such a narrow vision of what realism means that a degree of exclusion is understandable. I don’t expect to see myself cast as a quarterback for the Giants any more than I feel entitled to be represented as burly meathead who runs around hunting for terrorists. But if you make a game that’s meant to simulate life – even a “whimsical and quirky version” of life – and then tell a portion of your players that they’re simply not allowed to make an authentic simulation of their lives, something isn’t adding up.

But the weirdest part of Nintendo’s justification for effectively banning gay marriage in the precious little virtual universe of Tomodachi Life is yet to come. In its statement, NOA went on to say: “The ability for same-sex relationships to occur in the game was not part of the original game that launched in Japan, and that game is made up of the same code that was used to localize it for other regions outside of Japan.”

The implication here seems to be that there are value-neutral lines of code at the heart of this game. Devoid of “social commentary”, the code was simply copy-pasted from its birthplace in Japan, where the game was first released in April 2013. Tomodachi Life sold 1.83m copies in its first nine months on the market there, so people must have loved this non-“social commentary” version. Why bother tampering with a tried and true formula?

The problem is, that’s not true. People did love Tomodachi Life when it launched in Japan. But part of what they loved about it, according to a report by my Kotaku colleague Brian Ashcraft, is that there was initially a bug in the software that allowed players to indulge in gay relationships – or at least male ones. Japanese players were “thrilled by the bug, posting photos of their gay couples online”. When Nintendo got wind of the game letting players do things they couldn’t legally do in their own country, it quickly issued an update to eliminate the glitch. Dissenting players responded on social media by vowing not to download it.

Nintendo never publicly responded to this story. And given its tight-lipped reputation, the closest we may ever get to hearing anyone from Nintendo speak candidly about LGBT representation is this week’s opaque conclusion that it is using its sudden anti-gay marriage stance as “an opportunity to better understand [its] consumers and their expectations” and is “looking to broaden [its] approach to development whenever possible”.

Did Nintendo – the world’s largest video game company by revenue – really never think about the sexual identity of its customers before 2014? Late last month, one of the developers of the latest Kirby video game mentioned that Nintendo figured out early in the life of that franchise that American audiences preferred an angry-looking version of Kirby over the “cute” one that appealed to Japanese gamers. If the company’s market research delves into the minutiae of the expression worn by an innocuous blob, ignoring something like the demographic makeup of that blob’s fanbase would appear to be a massive oversight.

Then again, Kirby is a nominally male figure who’s naked, bright pink, and best known for his superhuman ability to fit large objects in his mouth. Maybe Nintendo’s market research team didn’t want to ask the question because they were scared of what they’d hear back.

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Whenever the video game industry does ask itself why it continues to drag its feet on introducing gay characters, however, the answers aren’t encouraging. Earlier this year, Assassin’s Creed developer Ubisoft let one of its openly gay writers explain that even he could not write a queer protagonist into his own work “because of fears that it’ll impact sales”.

It’s hard to accept that logic since it’s rarely backed up (at least openly) with actual data. Plus, it runs opposite to the recent history of every other area in the entertainment industry that comes to mind.

But whether or not you buy Ubisoft’s reasoning, such market-oriented thinking hasn’t been doing a company like Nintendo any favors lately. The same day that Nintendo explained why it didn’t feel the need to include gay marriage in its popular sim game, the company also reported that its earnings for the 2013 fiscal year were even lower than the level it had pre-emptively lowered them to back in January. And that comes after two years of similarly staggering losses.

The company’s Wii U console isn’t selling well. And the 3DS, that beloved mobile system on which Tomodachi Life will soon appear for gay and straight gamers alike in America, isn’t doing so hot either.

I didn’t cover any of this financial news, however, because I was too busy playing the amazing new Mario Kart that’s coming out later this month. Which gets to the real source of my confusion here: how is a company that consistently produces phenomenal work so thoughtless at the same time?

I don’t have an answer to that. So just let me play the part of a concerned friend once more and say: come on, Nintendo. You’re better than this. And it doesn’t seem like you have much more to lose anyway.

Armani suits and bare feet: how Jean-Michel Basquiat created his look

There’s an image of Jean-Michel Basquiat on the cover of the New York Times magazine from 1985. The photo is by Lizzie Himmel; the headline New Art, New Money. The artist, wearing a dark Giorgio Armani suit, white shirt and tie, leans back in a chair, one bare foot on the floor, the other up on a chair. The combination of the suit and the bare feet is typical of the way Basquiat defined his own image; always with an unconventional bent.

I’ve obsessed over his style when standing in front of Hollywood Africans, a 1983 work from a series where the images relate to stereotypes of African Americans in the entertainment business. It is a banger of a painting and will form part of Basquiat: Boom for Real, a retrospective opening at the Barbican in London this month.

I have a longstanding interest in the way artists dress, from Picasso to Hockney, Georgia O’Keeffe to Robert Rauschenberg, and I think their wardrobes exert as powerful an influence on mainstream fashion as those of any rock or Hollywood stars. These artists carved out instantly recognisable uniforms: clothes that symbolise the same singular point of view as their greatest works, usually with the sense of complete ease that is the holy grail of true style.

Basquiat’s wardrobe was distinctive, whether he was in mismatched blazer and trousers with striped shirt and clashing tie, or patterned shirt with a leather jacket pushed off his shoulders. He was perhaps most recognisable in his paint-splattered Armani suits. “I loved the fact that he chose to wear Armani. And loved even more that he painted in my suits,” Giorgio Armani says. “I design clothes to be worn, for people to live in, and he certainly did!”

In many ways, this bricolage approach to clothing is akin to the way he created his art. “His work was a mysterious combination of elements – text and colour, historical reference, abstraction and figurative techniques,” Armani says. “In his life, he also mashed up creative activities – he was a graffiti artist, a musician, an actor, a maker of great artworks. This eclecticism made him a mysterious and unconventional man. That mix made him stand out.”

Born in Brooklyn, Basquiat and classmate Al Diaz graffitied statements across New York as SAMO© in the late 70s, before he went on to become one of the biggest stars of the 80s art scene with his unique and brilliantly chaotic paintings. He died in 1988 at just 27, but is still regarded as one of the most influential painters of his generation. A painting from 1982, Untitled, sold this year for £85m, putting him in a unique club alongside the likes of Picasso in terms of record-breaking sales.

“He was an incredibly stylish artist,” says Barbican curator Eleanor Nairne. “He was very playful about the performative aspects of identity.” He was also aware of the “renewed fixation on celebrity” that coincided with the art boom of the 80s, particularly in New York. He famously appeared in Blondie’s Rapture video, dated Madonna and befriended Andy Warhol.

Cathleen McGuigan, who wrote that 1985 New York Times feature, recounts Basquiat at the hip Manhattan hangout Mr Chow’s, drinking kir royal and chatting to Keith Haring while Warhol dined with Nick Rhodes of Duran Duran nearby. “He attracted the attention of Warhol and Bowie, so was endorsed by those who had already achieved that rare style-icon status,” Armani says. “And he had a very unique look – he had hair as distinctive as Warhol’s and wore suits in a way as stylish and relaxed as Bowie.”

Basquiat’s interest in clothing was not just something he explored or exploited at the height of his fame. In Basquiat: A Quick Killing In Art, by Phoebe Hoban, clothes are an important part of his life story. His mother had at one point designed them, while one of his teachers noted he had pencils sticking out of his hair from an early age. Soon after he killed off SAMO© he was painting sweatshirts, lab coats and jumpsuits for Patricia Field, who gave him one of his first shows at her East Eighth Street boutique. Descriptions of his stirring appearance include this by American curator Diego Cortez: “I remember on the dancefloor seeing this black kid with a blond Mohawk. He had nothing to do with black culture. He was this Kraftwerkian technocreature … He looked like a Bowery bum and a fashion model at the same time.”

Basquiat went on to model in a 1987 Comme des Garçons show wearing a pale blue suit, black buckle sandals, white shirt and white bow tie. Robert Johnston, style director at British GQ, describes Basquiat’s style as “a work of art in itself” and adds: “While meaning no disrespect to his talent, it is hard to imagine he would have taken New York so much by storm if he’d looked more like Francis Bacon.”

Basquiat’s influence on menswear is still felt today. While other icons have referenced his style – Kanye West sported a T-shirt bearing his portrait, Frank Ocean namechecked him in lyrics by Jay-Z, who dressed as him for a Halloween party – there is a more direct effect on fashion. There have been collaborations, via his estate, with the likes of Reebok and Supreme. There’s a photo of Basquiat wearing an Adidas T-shirt with a pinstripe suit which is a template for how the younger generation approach the idea of tailoring. At the S/S 18 shows in Milan, wonky ties with suiting at Marni made me jot down “Basquiat” in my notebook. And with the Barbican show his influence will spread. “The way Basquiat mixed classic tailoring with a downtown nonchalance fits the mood in menswear,” says Jason Hughes, fashion editor of Wallpaper*. “A refined suit worn with an unironed shirt, skewwhiff tie and beaten-up sneakers. The fact that he painted in those suits feels slightly anarchic and nonconformist. I want to wear a suit like that.”

No ticket required: see top art for free at Venice’s San Giorgio Maggiore

Across the water from the Doge’s Palace and Saint Mark’s Square, the island of San Giorgio is an integral part of the classic Venetian vista. The white facade and tall bell tower of Palladio’s majestic 16th-century church were immortalised in paintings by Canaletto, Monet and Turner. The church is one of the few in Venice that does not charge an entry fee, and inside there are paintings by Tintoretto – including his Last Supper, painted in 1592–94 – Jacopo Bassano and Palma Giovane.

But Palladio’s masterpiece is only one of many surprising free attractions here. San Giorgo is the headquarters of the Cini foundation, whose arts centre, next to the church, hosts regular, free, exhibitions.

And during each Venice Biennale (ends 26 November 2017) this is a prestigious “collateral venue”. Tickets to the Biennale Gardens are €25, but on San Giorgio, free shows running through the autumn include a show devoted to one of Murano’s greatest glass makers, the artist Vittorio Zecchin, and one on the early 20th-century Italian actress Lyda Borelli. The only paid attraction is the bell tower, a reasonable €3 to take the lift to the top, with much less of a queue than for the San Marco tower, and a much better view.

Food Styling: Tips For Styling Sandwiches

In our Food Styling 101 series, Lisa Bolton offers up food styling tips for conveying the stories you want your food to tell. Her advice will help you create food photography that entices readers to make your recipes and read your articles. This month she shares her tips for styling a meal that’s easy to make but finicky to photograph: sandwiches.

The sandwich. A deceptively simple meal that’s anything but when it comes to making it pop in camera.

For something that can literally be assembled with an efficient fridge forage, the sandwich is always one of my most finicky styling subjects.

Unless you’re shooting a hot sandwich, the good news is you have lots of time to play with the components and get them just right. The bad news is that building a camera-ready sandwich can actually be quite time consuming. The key is having patience to spend perfecting each layer so it all comes together for the perfect shot.

Not unlike approaching most food styling projects, quality ingredients are going to be your first step. For the sandwich, they’re even more critical. In most cases the sandwich is shot with ingredients in the raw, merely sliced, and therefore getting the reddest, firmest tomatoes, and the crispiest, greenest lettuce is most important.

Each layer of the sandwich is a focal point and needs to be given every opportunity to shine.

THE BREAD
Some would argue the single most determining factor in a what makes a sandwich spectacular is the bread. This creed holds especially true in food styling.

When possible, choose bread that’s unsliced so you can maintain complete control on the size and thickness of each slice. Your best bet will always be the bakery.

Bread with colour (i.e., rye or whole wheat) and texture (i.e., flour dusted, topped with grains and seeds) will always pop off a page, over a straight pre-cut loaf in a plastic bag.

Unless you’re shooting a clubhouse, in most cases you’ll want to cut your bread slightly thicker than a sandwich slice width.

Just like my earlier article on photographing raw ingredients, don’t forget to grab a few images of just the bread, or the bread and some of the sandwich ingredients. Part of composing any image is telling the story, and shots of a really beautiful loaf of bread can give that story a beautiful beginning.

The key to a beautiful sandwich is height. Each layer is lightly draped on top of the next to create as much vertical space as possible. When I make a sandwich for my six-year-old, everything lies flat, on the same plane. The bread and the “filler” — the cheese, the meat and veg — are evenly stacked in a vertical flat manner. This does not a pretty photo make.

When preparing a sandwich for a shoot, approach each layer with intention.

As you build out each layer, don’t lay it one on top of another; rather, either pull it forward slightly or push it back slightly. Often I start by pulling each layer back ever so slightly and then adjust once I’ve seen it in camera to ensure it gets adequate real estate in the lens.

APPLYING CONDIMENTS

When applying any condiment or spread, dollop the spread close to the edge of the bread with a small spoon. Using the back of the spoon, gently push and spread the condiment toward the edge of the bread so it just dips over the edge. If not enough is showing, you can always use a toothpick or a small squeeze bottle to dab a little more out.

As with most aspects of sauces and food styling, it’s always easier to add more than to take away, so use a gentle hand.

LAYERING MEATS

To create dimension with the sliced deli meat, you’ll want to create a sort of gentle ruffle. Depending on the shape of the meat, this is achieved by either pinching the slice in the middle and creating almost a rosette shape or folding it in half but not quite evenly, so the edges have texture.

Toothpicks can be extremely helpful in this process. As you fold and build each layer, small toothpicks will help hold the sandwich fillings in place.

THE ANGLES
Sandwiches can be shot from a variety of angles, but slightly higher than a horizon or overhead are two of my favourite ways to highlight a sandwich.

Because the layers are being built at a slight angle, sometimes shooting straight on can expose gaps in the sandwich. By lifting the lens up slightly you can still highlight all the layers but avoid seeing any hollow spaces. Try capturing a shot straight on and then a second one ever so slightly above that and see what appeals to you more.

My preference for most of my shots is to capture an overhead perspective. For a sandwich, that doesn’t always highlight its best side. To still achieve that bird’s-eye view, I remove the top slice of bread and capture the sandwich open face. This still puts all the layers in view, but tells a different story by bringing more elements into the frame.

The sandwich is a great food to get some practice with your food styling: no complicated recipes and you can just work with what you have. Practice the order of the layers, cutting ingredients into different widths and shapes. Start with a horizon shot and snap ten images moving the lens up slightly with each shot to discover the angle you prefer best.