There are some of you out there who have warm weather all year ’round and can’t wear over the knee studded boots in 80 degree heat.

Well, here’s a perfect solution to raise all sorts of emotions in your climate. These sandals are not only fit into the “spot the stud” trend that’s everywhere, but they’re also amazingly reduced in price,wholesale Juicy Couture tracksuits! These Kelsi Dagger Dafne T-Strap sandals are not for everyone because they aren’t dainty or delicate, but for those who want to raise some hell and have no fear, this shoe is for you!

We love them because they are very reminiscent of a Balenciaga gladiator sandal from two years ago worn by Heidi Klum, Kylie Minogue, Nicole Richie and Lindsay Lohan. Sizes are limited in black. Other colors are ocean blue, whiskey brown and creamy white.

Purchase information: Buy it here.

PRODUCT DETAILS
Wear the Dafne sandal from Kelsi Dagger.

It takes gladiator style to the extreme–without trying too hard–by adding oversized metal studs to pliable leather straps.

Materials:
– Leather upper
– Leather sole

Measurements:
– Heel measures approximately 1/4″

Country of Origin: China

Item # B001OU00CI

Sized from 6-10.

LOS ANGELES (TheWrap.com) James Franco is in early talks for a starring role in “The Game,Cheap Ed hardy Shoes,” the MGM movie based on Neil Strauss’ New York Times bestseller about picking up women, TheWrap has confirmed.

Strauss documented his experiences in “The Game: Penetrating the Secret Society of Pickup Artists,” which was released by Regan Books in 2005. Franco’s role would be as Mystery, who taught Strauss how to become a pick-up artist.

“The Game” is directed by Brian Koppelman and David Levien, both of whom worked on the screenplay. Writers D.B. Weiss (HBO’s “Game of Thrones”), and Lee Eisenberg and Gene Stupnitsky — the Emmy-nominated writer-producers of NBC’s “The Office” — also worked on the project.

Gary Barber, Roger Birnbaum, Andrew Miano, Chris Weitz and Paul Weitz are producing “The Game.”

LOS ANGELES (Reuters) Geek chic will soon be back when Napoleon Dynamite returns in an animated TV show and joins “Family Guy” and “The Simpsons” on the Fox network’s “Animation Domination” night.

“Napoleon Dynamite,Cheap Ed hardy bags,” the 2004 independent film about a socially awkward teenager in a small town, directed by Jared Hess and starring Jon Heder, became a hit and received praise for bringing something fresh to the teen comedy genre.

The film is about a high-school loser, Napoleon, who becomes a bit of a winner while retaining his geekiness. The original cast is voicing their animated characters in the TV shows that debuts on January 15.

They are joined by new characters and guest stars including Amy Poehler, Sam Rockwell and Jemaine Clement.

Heder, 34, talked to Reuters about returning to play Napoleon and working in animation.

Q: Napoleon is back! Why now?

A: “We played around with the idea of an animated series or live-action series for a sequel, but we never played around seriously because we made this with a bunch of friends, so we weren’t thinking cash franchise. But it came out and became a success, and I think all these years later, when Fox came to us, we said, ‘Hey, we’d talked about it. We think the time is right, let’s do it,’ and we were all on board.”

Q: Why animation over live action, especially with the original cast?

A: “Honestly, because it’s probably cheaper and we’re probably all old and flabby now! A live-action show still has a certain lifespan, but with shows like “Family Guy” and “King of the Hill,” successful animated shows can go on forever.”

Q: Where does the new series pick up from after the film?

A: “Napoleon is already friends with Pedro and Deb, and he still has a rivalry going with Summer and Don, but Kip really hasn’t met LaFawnduh yet. The idea was that Kip might have lots of potential female romantic interests. It’s kind of a prequel, in between the end of the movie and the wedding (between Kip and LaFawnduh), because the wedding at the end of the movie, that could have been much later, even years later, so maybe they took some time apart to try out some different mates.”

Q: What can we expect from Kip’s online dating adventures?

A: “We just like the idea that Kip is always online, especially because he doesn’t really know what he’s getting into. In one of the episodes, he’ll be talking to Tatiana from Russia, and he has no idea who she is, she could be a man, so we’re playing with the idea that Kip is clueless. It also lends itself to stories where Kip and Napoleon are going after the same girl, some sibling rivalry there.”

Q: Do you ever feel pigeonholed by playing Napoleon?

A: “He’s very much like me. He’s not pretentious. He was raised in a small town, and he’s an outsider. So, I relate a ton to the character. It is kind of a part of me and it probably will be for the rest of my life. That’s why I have no problem coming back and doing Napoleon again.”

Q: How do you think fans will respond?

A: “… I think true fans will like it, hopefully. It’s animated but it’s trying to capture the feeling and the integrity of the movie. There’s an innocence that’s still there and the naivety of the characters and there’s such a lovability about them.”

Q: Does Napoleon’s iconic dance to Jamiroquai’s “Canned Heat” make an appearance?

A: “Sadly, because it’s animated, unless they do some motion-capture on me, that was the only thing I was a little bit bummed about. I’m playing the part, but it’s only the voice, and so much of the Napoleon character is capturing the image and the physical movements. But from what I’ve seen, the animators are doing a pretty funny job.”

(Editing by Bob Tourtellotte and Patricia Reaney)

The Costume Institute at the Metropolitan Museum of Art has opened its doors, at long last, to one of its most highly anticipated exhibitions: “Alexander McQueen: Savage Beauty.” Even in its first few weeks, this show has broken attendance records. Organized by curator Andrew Bolton, the retrospective celebrates one of the fashion industry’s most important designers, the late Lee McQueen, founder and creative director of the label Alexander McQueen. His unprecedented designs marked a critical shift not only in fashion design, but in the reception of fashion as a form of installation, performance, and art.

Nearly 200 items are featured in the exhibition, which spans the 19 years of McQueen’s career that was cut short in February of last year by his suicide. Rarities from his graduate collection at Central St. Martins are displayed alongside work from the unfinished final collection of 2010, his swan song. While “Savage Beauty,” on view through July 31, showcases the designs within the context of the label, it is clearly homage to the man himself,Inflatable Jumpers, and the creative intuition that produced one of the most innovative visions of contemporary fashion.

Despite the commercial aspirations of the show — “Savage Beauty” was funded almost entirely by the label whose clothing it features — it is nevertheless difficult to look at a single one of the designs without being mesmerized, intrigued, or provoked into some response, oftentimes confusion. No designer has better embodied Yves Saint Laurent’s incisive dictum that while fashion is not exactly art, it requires the creativity of an artist in order to exist. McQueen’s originality and genius derived from the fact that his tremendous talent as a designer was matched by his capacity as an artist.

His technical training as a tailor’s apprentice on Savile Row formed the basis for the attention to craftsmanship and expert tailoring that have become synonymous with the label’s aesthetic. At the same time, fashion served him as a medium to explore complex ideas. Despite his background as a tailor, he was able to see beyond the garment itself and its construction, and as a result his understanding of fashion extended far beyond clothing. Each piece had an individuality about it, but was nonetheless part of a sustained vision that governed the aesthetic of a collection as well as that of the final runway presentation.

His Spring/Summer 2001 collection, for example, was based on avian imagery (which he revisited frequently) and the gothic aesthetics of a mental institution, with garments including extraordinary pieces such as a dress with taxidermy eagles protruding from the shoulders as though in flight, as well as head bandages and embellished, asymmetrical jackets that were vaguely reminiscent of nurses’ uniforms. Models paced around inside of a boxed, mirrored room clawing at the glass walls as though trying to escape from their asylum-like runway. In the final moments of the presentation, the walls of another box within the faux psychiatric ward collapsed to reveal a startling tableau vivant inspired by the Joel-Peter Witkin photograph “Sanitarium”: a reclining, masked nude breathing through a tube and surrounded by fluttering moths.

Other presentations included snarling wolves, life-sized chess boards, and rain pouring down over models as they walked the runway. The famous showing of his Spring/Summer 1999 collection featured two automated robots who shot a model clad in white with sprays of green and black paint.

The artistry of McQueen’s artistry vision is also seen in his love of an idea over (or at least as much as) its product. Many of his designs had little or nothing to do with fashion, and their translation into clothing design was far was from obvious or literal. Plato’s account of Atlantis, Darwin’s “Theory of Evolution,” Lucien Freud’s paintings, films such as “They Shoot Horses, Don’t They?,” and elements of 19th-century Victorianism (McQueen would refer to himself as the Edgar Allen Poe of fashion) were incorporated into his designs. Historical events were of great influence as well, and one of his early collections, “Highland Rape,” was based on what McQueen called the “rape of Scotland” by the British Empire during the Jacobite Risings and the Highland Clearances of the 18th and 19th centuries.

Another source of inspiration that McQueen drew heavily on throughout his career was Medieval and Renaissance art, specifically Flemish painting. His last collection, presented posthumously, was unofficially titled “Angels and Demons,” and the references to the work of Botticelli, Hieronymous Bosch, Jean Fouquet, and Hans Memling were clear both materially and in concept. New textile technologies were used to photograph the paintings and weave their images into jacquard fabrics and embroideries that were cut into highly tailored garments. Moreover, the collection mirrored a theme present in the works McQueen was focusing on: death and the afterlife. In a way, it is this set of source images for his last collection that best illustrate McQueen’s view of fashion. Major characteristics of Flemish painting include highly detailed imagery, sumptuous colors, and fantastical narratives that often focus on the grotesque, and McQueen’s work offers an aesthetic that values and masterfully combines all of these aspects.

The innumerable tributes to the designer since his death aim both at commemorating his contributions to fashion and securing his legacy. It is somewhat difficult as a result to keep sight of the man beneath the weight of so many accolades — commercial as well as critical — and in a sense, there is little need for these displays of recognition; Lee McQueen’s legacy was ensured long before his death. One of the most important aspects of this legacy was the nature of his vision, which related fashion to art in a way that few designers, or artists, have been able to do. McQueen created a new class of designer, and in so doing expanded the field for those to come.

By Sasha Charnin Morrison because Us Weekly. To read more of the Recessionista blog, click here.

Now the pressing answer is, which one came premier?

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PHOTOS: 11 spring style essentials

PHOTOS: The best style finds from the issue

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Purchase information: Buy it here.

Assuming you can’t get your hands on one of the additional 80 alternatively so tiaras in the royal collection, I base a uncomplicated, anyhow imperial adoption from Forever21 for under $10. Bonus: Unlike the real deal, this rhinestone-encrusted edition is super-lightweight, so you can look like a princess all day (and night!).

If you’re favor me and the estimated 2 billion(!) and folk tuning in apt the nuptials among Prince William and Kate Middleton at 4 a.m. ashore Friday, you’ll want apt wear something festive apt commemorate the royal marrying. I recommend catching a sheet from the bride-to-be, who is expected to altitude off her hairstyle with the $10.5 million Strathmore Rose diamond tiara, which was was last worn by the late Queen Mother. Fancy!

PHOTOS: Kate Middleton’s pre-wedding prep

By Sasha Charnin Morrison as UsMagazine.com. To read more of the Recessionista blog, press here

PHOTOS: Princess-worthy beauty finds