SLOWMARA's relationship with her seems to be almost as strained as TANTOR's. Maqubi Ortiz: SLOWMARA's mom who became how she is now after some "timeline shenanigans" and her "death" causing her to change her name to Kilchan (新 キルチャン, Shin Kiruchan "Neo Kilchan"). Jerry the Delivery Man: The famous, legendary, original Jerry (初代 ジェリー, First Jerī) is SLOWMARA's grandpa. Kilchan Ortiz: The original Kilchan (初代 キルチャン, First Kilchan) from Pokémon Uranium NUZLOCKE is SLOWMARA's mom. SLOWMARA is still alive no matter what happens and never leaves. STAKE and TANTOR since the beginning though. She has stringy jet black hair identical to that of her human form (which had lighter black hair) and gained creepy psychic powers that glitched the game and real-life (eventually evolving into a Slowbro achieving even greater power with those fully red eyes too). She is TANTOR's deceased slightly younger sister whose skin was white as snow and her soul possessed the body of a Slowpoke (after she died by falling down the well) that TANTOR caught in the Azalea Town Well to help the team defeat TANTOR's eternal rival LAKIGR. Women who are complicated and fully three-dimensional.” There seems to be no lack of similar examples out there today.SLOWMARA (スローマラ, Surōmara) also known as BROMARA (ブロマラ, Buromara) (human name MARA Ortiz (マラ, Mara)) is the creepy Slowbro third star of Team Four Star's Pokémon Soul Silver NUZLOCKE after TANTOR and MR. Near Meisel’s picture of Murphy, Griffith plastered a quote from the artist Jessie Mann, who was one of the commentators in the Miller doc: “We need examples of women like Miller. It looked very Lee Miller–esque indeed-and also quite modern. To bring home his point, pride of place on the collection’s moodboard was given to an image from a Max Mara advertising campaign shot by Steven Meisel in 1999, featuring Carolyn Murphy resplendent in a tied-at-the-side white pantsuit. “Clothes with a long life span beyond a particular season is our way to be sustainable,” he said. Max Mara, with its clever mix of practicality and sophistication, has always provided women with plenty of smart options for the everyday therefore, it seems to be in a rather good place for the times ahead. Griffiths is probably to be believed-getting dressed to the nines to meet with colleagues at the coffee machine will be our new normal. “People will pay attention and will definitely enjoy dressing up for the office.” “Because probably people are going to have fun thinking about what to wear to those board meetings!” Who would’ve thought that the office would replace parties or dinners as a social occasion to get excited about dressing up for? “The days when we used to think, Oh, I’m going to the office so let’s put on that old suit again-those days are gone,” said the designer. “You could wear it to a party as if it were a long evening dress, but since it has a more active edge, worn with a pair of sneakers it can have a second life at the office,” he said. To emphasize the concept, he pointed out a floaty all-in-one in silvery fil coupé. Bows, big gathered sleeves, and flourishes added a dash of drama, hinting also at the more outgoing post-pandemic life we all crave, Griffiths included: “I believe that, when people’s lives will open up, we’ll want to dress stylishly but still comfortably,” he said. Miller’s more glamorous side was referenced in couture-inspired occasion dresses and blouses in polka-dotted silk gazar or in luminous fil coupé-different-scale spots apparently being one of her favorite motifs. It seemed utterly appropriate for our present circumstances. ![]() Riffing on this contrast, and drawing a parallel between the uniforms she wore on the war front and the urban uniforms Max Mara provides women for their daily lives today, Griffiths worked around a central theme he called combat tailoring. For her work as a reporter on the battlefields she obviously dressed in no-nonsense mannish military attire, while managing to keep her glam appeal intact. Miller modeled in the ’20s for the likes of Edward Steichen and George Hoyningen-Huene, swathed in couture. Miller’s life was rather well documented, so the designer poured over thousands of her photographs taken mostly in black-and-white or in shades of gray, they inspired the pre-fall collection’s chic color palette. “Her life as a strong-willed, driven, independent woman resonates deeply with the values we embrace at Max Mara.” “She has belonged to my pantheon of heroines since my days as a student at London’s Royal College of Arts,” said Griffiths during a showroom appointment. During lockdown, Ian Griffiths happened to watch a BBC documentary on Lee Miller, the multitalented American model turned photojournalist who became a war correspondent for Vogue in the ’40s.
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