There Is Now No Chance George RR Martin's Books Will Outrun HBO's 'Game of Thrones'

Trying to get the bad news out of the way early on in the year, George RR Martin’s publisher for A Song of Ice and Fire, HarperCollins, has officially confirmed that no, 2015 would not see the release of The Winds of Winter, the long-awaited sixth book in the series. Even though they tried very hard to promote a series of Westerosi prequel novellas being released, the simple fact remains, HBO’s Game of Thrones will end long before Martin ever finishes writing his story.

It’s not as if this is a terribly new thought, but with the announcement that no, we won’t even get a new book in 2015, the timetable for making HBO’s Game of Thrones work with the release timetable of A Song of Ice and Fire is now mathematically impossible.

To date, these have been the release years of the books in the Ice and Fire series:

A Game of Thrones (1996)

A Clash of Kings (1998)

A Storm of Swords (2000)

A Feast for Crows (2005)

A Dance with Dragons (2011)

As you can see, once upon a time, George RR Martin was able to get out new books every two years for a while. If he was still on that timetable, we wouldn’t be having this discussion, but now, his writing schedule has ballooned, with a five year gap between books three and four, and a six year gap between four and five. Now, with no 2015 release date, we’re looking toward at least a five year gap between five and six if it is released in 2016, though it could easily be six years, if it’s pushed until 2017. Given that with the show’s huge popularity, Martin is busier and under more pressure than ever, it stands to reason that writing may take even longer than in the past.

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The problem? Trying to rectify this with the schedule of HBO’s Game of Thrones, which needs its own timetable explanation.

Season 1 (2011) – Book 1

Season 2 (2012) – Book 2

Season 3 (2013) – Book 3, Part 1

Season 4 (2014) – Book 3, Part 2, few elements from Books 4 and 5

Season 5 (2015) – Elements from Books 4 and 5, possible elements from unreleased Book 6

And then what?

Even giving Martin the benefit of the doubt to finish The Winds of Winter in 2016, and having the showrunners stretch existing material out, that still means that mathematically, there’s no way the show can continue using material from Martin’s books. Here are some theoretical future seasons:

Season 6 (2016) – The rest of Books 4 and 5, elements from unreleased Book 6

Season 7 (2017) – Book 6 material

Season 8 (2018) – Finish Book 6 material, possible unwritten Book 7 material

But after this, even assuming that Book 6 material could be stretched out over essentially four seasons, and also assuming Martin gets Book 6 out in 2016, this is just a dead end. There is no way on earth that Martin will finish Book 7, A Dream of Spring, by 2018/2019, even using this incredibly generous schedule.

This will leave the show in an odd place, creatively. And there will be really only two options going forward. Either:

1)      Martin will “guide” the showrunners through the last book(s), giving them everything from specific to broad plotlines, allowing the show to remain faithful to his vision for the series, but ultimately spoiling his own books, in effect.

2)     Martin lets the showrunners forge their own path in the universe, and write essentially a “show ending” while he writes a “book ending.” This would save him from having the show essentially spoil a series he’s been working on for two decades, but it could produce some odd mutations near the end of the story.

The first option, sad as it may make book readers, seems like the more likely answer. Mainly, because though there will obviously have to be some leeway with plot points if there simply is no source material to draw on, some of the larger twists of the series seem like they just aren’t flexible. For example, the mystery of Jon Snow’s mother has been more or less solved by hardcore fans for years now, and the answer to that question is something that completely alters the dynamic of the entire universe. There could be no “two versions” of that reveal that would make any amount of sense.

It’s a strange place for a show/book series to be in, because few other shows follow their source material so closely. Hits like Dexter and The Walking Dead have gone far outside the bounds of their source material, and (mostly) did well for themselves as a result. But the success of Game of Thrones is so closely tied in with Martin’s books, from everything from plot twists to individual lines of dialogue, that it’s hard to imagine a future for the show without him guiding it directly, either from the page of a published book, or simply telling the showrunners what to do next. But again, taking on that role will cause the books to be delayed even further.

There are a few longshot ideas to extend Game of Thrones out even more, and perhaps allow the books to catch up that way. The show could take a literal break, switching to an every-other-year schedule, or it could have an interlude that adapts some of the prequel stories from the Ice and Fire universe. But neither seems like a terribly good solution, and the only way to run out the clock seems to be to stretch out existing material. But that comes with its own set of problems, as it could make series feel injected with filler and fluff.

There are no real good answers here. No one wants Martin to rush and produce sub-par work. But him telling his story through the TV show first and the books second seems like a sad turn as well. That may very well be what has to happen, however, and for the first time, book readers and show watchers will be surprised and shocked together, as the show moves into completely uncharted territory.

Dita Von Teese dons unusual pom-pom veil as she attends pal Alexis Mabille's show at Paris Haute Couture Fashion Week

With several years under her belt as one of the world's top burlesque dancers, Dita Von Teese has long been proficient in the art of putting together head-turning ensembles.

And things were no different when the 42-year-old star stepped out in a pom-pom covered black veil for her friend Alexis Mabille's show at Paris Haute Couture Fashion Week on Monday.

The stunning beauty teamed the unusual headgear with a plunging blue gown - featuring a shoulder bow - and a pair of pom-pom heels, while she accessorised with a small patterned clutch bag.

Scroll down for video 

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Passion for fashion: Dita Von Teese was spotted at the Alexis Mabille show as part of Paris Fashion Week Haute Couture Spring/Summer 2015 in Paris, France, on Monday

Wearing her signature siren red lipstick, the raven-haired star complemented her outfit with a stunning diamond ring and a pair of matching drop earrings.

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Before jetting from California to France, she took to her social media accounts to share a shot of herself in a black morning suit alongside designer Alexis.

'Headed to Paris to celebrate my dear friend Alexis Mabille's 10 years of Haute Couture!' Dita captioned the shot.

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Centre of attention: The burlesque star looked stunning in her navy dress and lave veil 

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Looking good: The brunette beauty sported a timeless aesthetic whilst in France 

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Here come the hotsteppers: Dita sat front row at the show with French ballet dancer Marie-Agnes Gillot

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Head-turning headgear: Burlesque dancer turned heads with her usual choice of pom-pom covered veil

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Bow down: Dita's plunging navy dress featured a large black bow on one shoulder

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Stylish: Dita Von Teese and Susan Von Aichinger attend The Alexis Mabille show as part of Paris Fashion Week Haute-Couture Spring/Summer 2015

Archive: Dita Von Teese flaunts her curves in a violet dress

And, perhaps to serve as a hint of what she was planning to wear on Monday, Dita also uploaded a photograph of herself in a stunning black glittering gown - complete with a veiled hat.

'Flashback to a fitting with Elie Saab during Paris Haute Couture for a one of my performance costumes,' she wrote alongside the black-and-white image.

Last year, Dita - ex-wife of rocker Marilyn Manson - spoke with Vogue about how she approaches her style in everyday life.

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BFF: As she headed off to the City of Light, Dita shared a shot of herself with designer Alexis Mabille

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Glamorous throwback: She also uploaded a photograph of herself in a fitting with Elie Saab

Dita Von Teese gives Bethenny Frankel a burlesque lesson

'It always depends on the weather and my day,' she told the fashion bible. 'On a casual day, I usually go out and about in ballet flats and a dress or a voluminous fifties-style skirt with a slim-fitting T-shirt.

'It feels free, comfortable, and casual, yet still in keeping with my personal style. I love dresses because I can zip and go, no fussing around putting a look together.'

Of how she prepares mentally for her day ahead, she said: 'I do Pilates nearly every morning. Ideally I’d have sex too!'

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Fashion fan: Businesswoman and art collector Dasha Zhukova was seen at the Giambattista Valli show

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It's a wrap: Dasha, partner of Roman Abramovich wore a fur-and-leather coat over a black dress

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A hit: Designer Giambattista Valli stepped out to enthusiastic applause from the audience after his show

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Ready to strut: Meanwhile, models posed backstage before the Georges Hobeika Haute Couture show

The Hottest Fashion Trend For 2015 Is Underdick (NSFW)

If you love dick and you love fashion, then what the fuck are you doing standing here reading this blog post? You should have been at Rick Owen's fall/winter 2015 showcase, where the hottest trend was visible dick.

Underboob was so 2014. This year, it's all about the underdick. At first glance, you might think the cock and balls peeking out from under this tall male model's dress is a case of a tailor who didn't get his measurements quite right. But you would be completely wrong. According to The Cut, the Dick Count in the show was three. To recap: that's three visible penises on stage at Paris Fashion week.

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The show wasn't all penis parade. Apparently, it started out relatively normally. Just a buncha health goth dudes walking down the catwalk, nothing to see here. Until the dick looks took the stage. You had to look closely, too, because many of the cocks were only visible through little strategically placed hidey holes in the crotch region.

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Yup, those are definitely some dicks.

Fashion for a cause

The Paris Ballroom of Hotel Monaco was resonating with the sound of upbeat music as models sauntered seductively down a runway aisle before 70 onlookers at the “Strut to End Alz” fashion show Saturday night.

Monica Razniewski, a member of the Sigma Kappa Sorority, began organizing the event with photographer David Bailey in Sept. 2014.

Their vision was to dedicate 100 percent of the proceeds from ticket and auction sales directly to the Alzheimer’s Association.

Thanks to the Sigma Kappa Foundation, Razniewski was seeing double: The foundation matched donations dollar for dollar, increasing its overall contribution to the association.

“It’s been my dream for so long to actually put on a fashion show,” Razniewski said. “And what better way to put it on than coupling it with a good cause?”

“Strut to End Alz’s” featured three fashion brands: Karen Ashley Fashion, Couture Papillon, and JULEANO.

Karen Ashley opened the show with a charmeuse halter gown with a vibrant rouge chiffon skirt that caressed the floor. Another of her models strutted down the runway in a cerulean cocktail dress with organza ruffles accessorized with Swarovski crystals.

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“I thought [the fashion show] was phenomenal,” said Laura Kosinski, one of the attendees. “It was like over the moon, way beyond my expectations. I feel like it was such a special treat to see fresh, current designers. I’ve never met anyone in person; it was awesome.”

Couture Papillon paid homage to classic Hollywood femininity drawing references from Christian Dior’s “New Look” silhouette. The pearl necklaces and bridal gloves were reminiscent of Audrey Hepburn in her 1954 film, “Sabrina.”

Kristen Kirst, president of the Sigma Kappa Foundation, was also present at the “Strut to End Alz” fashion show. The foundation has had ties with the Alzheimer’s Association for more than 30 years.

“Just [last] June, [Sigma Kappa] made a $1 million fundraising commitment to Alzheimer’s, so our collegians and our alumni are really stepping forward,” Kirst said. “Monica really saw this an opportunity to bring her love for fashion. Sigma Kappa, and Alzheimer’s all to the front through this event.”

Closing the show, JULEANO offered an athletic yet almost interstellar twist to red carpet dresses; it was clean and edgy, yet soft. The dark charcoal palettes were juxtaposed with dazzling sequined slit skirts that had alienesque fins on the sides. The abstract 3-D prints also gave the collection an otherworldly allure.

Ronald Ning took the “Strut to End Alz” fashion show a little more personally than others. Ning’s grandfather passed away four years ago, suffering late stages of dementia from Alzheimer’s disease.

“When I saw him, when he was dying, he couldn’t even remember my name,” Ning said. “There are a lot of studies saying that I am genetically more [predisposed] to have it.”

Ning said that his biggest worry if he is diagnosed with Alzheimer’s disease is that he will be a burden to his family and friends.

“[Strut to End Alz] raises awareness of what’s going on,” Ning said. “Fashion is a good way to kind of put something behind the cause; I think it’s a good way to kind of put it out there.”

Joni Mitchell, Joan Didion, and Justin Bieber: Fashion’s New Superstars

There were many plaudits when Joni Mitchell and Joan Didion were announced as the new faces of two major houses. It's welcome to feature older models, for sure, but are the campaigns really that radical?
Why do you buy clothes? Need? Panic? Pleasure? When do you buy them? A pinched, free hour on a Saturday, or a whole afternoon with cocktail breaks? Do the advertisements in glossy magazines, or fashion spreads featuring expensive threads and famous people, seduce you so totally that you will shell out hundreds, thousands of dollars to look as glamorous or hot as they do?

Fashion labels must have done this basic research and sunnily concluded, “You betcha,” because in just a week three celebrities have featured in three very different clothing company advertisements.

There were many cheers—silent, audible, and articulate cheers—when first the writer Joan Didion was announced the face of Céline, whose creative director is Phoebe Philo. Then the singer-songwriter Joni Mitchell was announced as the face of Saint Laurent.

There is a cuckoo in the nest: Around the same time, Justin Bieber appeared with his tight, taut body packed into a pair of Calvin Klein underpants. This advertisement definitely didn’t work for this reader: It immediately made me want to wear baggy, unattractive boxer shorts forever, because who would want to ape or emulate that spoiled, rude, entitled brat?

Of course, as everything surrounding Bieber tends to do, even this seemingly basic exhibition of his chiseled torso devolved into an unseemly spat and possible lawsuit around accusations that his abs were Photoshopped.
At the classier end of the spectrum, some have hailed Didion and Mitchell’s inclusion in the Céline and Saint Laurent campaigns as refreshing correctives to the norm of most fashion advertising that excludes older people. Praise also has been lavished on the labels for celebrating women known for their intelligent, profound words. These women’s minds and lyrical expressiveness are prized above their bodies.

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In the Céline ad, Didion—photographed by Juergen Teller—is pictured in black, with a big pair of fuck-off sunglasses, looking like a cool Mafioso in the glare of her own greatness. She has a masterful look of disdain on her face, as if the photographer is interrupting her.

Alexandra Jacobs captured Didion’s tone perfectly in The New York Times after the news broke: “They got in touch with me,” Jacobs quoted Didion as saying in a tone “as crisp as one of Phoebe Philo’s cotton tunics.”

Mitchell, wearing a YSL fedora, an embroidered tunic made from Saint Laurent's Folk collection, and a barely visible cape that Saint Laurent’s creative director Hedi Slimane made for her, looks luminescent, softer than the hard-edged framing of Didion but just as commanding. Slimane himself shot Mitchell at her Bel Air home.

“It’s depressing to see your idols used to sell expensive clothes,” said Hadley Freeman in The Guardian.

She’s right: However cool the clothing labels deem both women, however brilliant their contributions to culture, however great that their age is celebrated in these photographs, they’re now also part of the fashion world—that gigantic consumerist maw that creates trends, crazes, and moments, just to make us spend stupid amounts of money to look like each other. Or to convince us to spend even larger amounts of money to look special.

The depressing thing about seeing the faces of Didion and Mitchell on these campaigns is that their artistry has hitherto transcended all the madness of trends and “fashion.”

“Céline and Saint Laurent hope to be enhanced in association with these two cultural powerhouses. This is fashion advertising, de-fashioned.”
These women did their own thing, whatever fashion trend happened to be passing outside.

Now they have been co-opted by the industry, and their images used on advertisements that propose we spend our money on overpriced clothes and perfumes and handbags.

The two women’s images—women whose professional worth and social standing floats above the perfect dress and right lipstick—are now part of the inflated consumerism that fashion embodies.

But of course, Didion has a publisher, and Mitchell a record company, both of which encourage us to buy their books and albums. They’re no strangers to the importance of marketing and selling themselves. But their art, the pleasure they give, is rooted in the reader and listener’s imagination, not on the sale rack.

This, of course, is what Céline and Saint Laurent are buying into and trading off: They are selling the cultural importance of the two women. Two companies that place looks above all else are using the perceived intellectual and artistic importance of their latest models above their looks to generate profit for their clothes.

Didion and Mitchell’s signings show Planet Fashion apparently uncomfortable with selling its wares nakedly, and commercially. Quite besides the women’s ages and the lack of lithe bodies on display, there isn’t even much overt clothes-selling going on in the images—Céline and Saint Laurent hope to be enhanced in association with these two cultural powerhouses.


This is fashion advertising, de-fashioned. Its cool is rooted in perception and association. It’s clever because it also targets older customers with money and younger customers who don’t want to be sold fashion blatantly, who’d rather say they listened to Joni Mitchell or read Joan Didion than cared about investing in a Céline blouse or Saint Laurent folk tunic.

All that makes the Bieber ad refreshingly direct and also brave on Calvin Klein’s part. Bieber’s star has been so tarnished in the public’s mind, you might wonder at the wisdom of anyone using his face and body to sell anything. But the Klein logic seems to be “better to be talked about than not.” It doesn’t matter what is being said about Bieber, just that so much is being said, so why not partake in the gyre?

A few months ago, I noted that the singer, buffeted by bad press, was using his smooth, hard boy-man body to sell himself, even while the audience booed him as he did so. But that behavior racked up Internet clicks (oh, quelle coincidence—Calvin Klein briefs!), as have these new, controversy-laced Klein advertisements.

What connects Bieber to Mitchell and Didion, however they are clad and whatever their age and pursuits, is the simple maxim “celebrity sells,” and to fine, ivory-towered or lefty-hippie minds as much as those marinated in pop culture. What would have been really radical would have been to have Didion and Mitchell shot swaggering in their underwear, and Bieber, fully clothed, reading The Brothers Karamazov.

8 Steps to Arranging a Fashion Editorial Shoot

If you’re a fellow fashion photographer, you have probably been in that usual situation in which you have to arrange an editorial shoot all by yourself. This can be really empowering, fun and creative… but also extremely difficult.

I’ve been running workshops for a few years now, and the part I have observed that outweighs most other elements for the attendees is that they appreciate the fact that I have arranged everything, from the professional models to the location and clothing. That they can just turn up — without the fear of hundred-thread emails to the team and the dreaded prospect of paying for a location — and take photos.

So, I thought I would give some tips for those at the beginning of their fashion photography journey — tips on how it all comes together.

#1. It All Starts with an Idea

So you might be lucky and already have a grounded idea of what you want: a look, a feel, and an atmosphere you want to achieve, and that’s the best start! It’s good to have inspiration on your side! Ideas of clothing, hair and make up will all help get the best result, even if it doesn’t turn out exactly how it is in your head.

It doesn’t have to be very specific, if could be just a vibe, 60’s, or trashy, or colourful! It all starts with an idea.

#2. Mood-board

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This is where something like Pinterest is one of the greatest creations on earth! Sign up, you won’t regret it, and once you do hit Google HARD!

It doesn’t have to be Google, you can search right there on Pinterest or explore some websites or magazines, but search a lot, because the more images you find, the more inspired you are, and the closer you are to collecting a clearer idea of what you want to achieve. This isn’t just for you so that you can ground your idea: it’s to show your potential team, so they can get behind the idea too!

#3. Searching for Your Team

This, from my experience, can be the hardest part, especially if you’re new to the scene. So, who do you need on your team?

1. A Make Up Artist (or MUA)
2. A Hair Stylist
3. A Clothing Stylist

Where can you find all these people? Well one place that is invaluable to a budding fashion photographer is Model Mayhem, a place where you can connect with just about every creative you’ll need to collaborate with to shoot a fashion story. This place is especially helpful for beginners but can still be a good way to connect at any professional stage. So have a look on the site!

There are a couple of ways you can go about it. The first is to browse stylists, MUAs and hair stylists and message them individually (you could also find their profiles and email them or Facebook them off the site), or you could post a casting which will be visible to all the above and wait hopefully for responses. I have done both in the past.

When seeking out a team remember to add your mood-board link, this will be where you sell the idea! You want the team to be as invested in the idea as you are.

#4. Models

Model Mayhem can be really great for this at the beginning, you can find non experienced and experienced models on here, but be cautious: models on this site (and most that I have tried to arrange shoots with outside of an agency) have often been extremely flaky. You don’t want, the morning of your shoot, to find your model suddenly MIA, so make sure they’re serious about the shoot. Get them to write it in blood if you can.

Agency models is really where you want to be of course. They, on the whole, know what they’re doing and will turn up. So to get an agency model you need to get in with an agency. You will probably have to shoot tests with friends and Model Mayhem girls first to build up a portfolio. This way when you send emails to the agencies, you can include the images to give them an idea of what you can do.

Agencies will send out girls just for tests, but when it comes to editorials, it’s a good idea to send them the mood board as well, and even better, the name of the magazine you’ll be submitting to. If the agency is on board they will then send a package of girls who are available, you choose who you like and let them know!

#5. Location

So now you have a team you need to figure out where you’re going to take these photos! This is a very important one for me, especially as a natural light photographer. Great locations can tell stories on their own, can reveal the most beautiful light, and can bring out the best in you and your camera.

Indoor locations can be tricky because unless it’s your own house, you’ve got to go about finding a location that is visually wonderful, but isn’t yours. So, how? Think of friends houses and think of local buildings of interest (e.g. the library, the town hall, etc.).

Or go bigger: search wedding venues, search for local manor houses and mansions and just send them an email. When I was starting out I emailed a local venue assuming I would have to pay through the nose to shoot there. It turned out they let me shoot for free, and over the next year or two I shot maybe 20 different shoots in that house!

If they do require a rental fee, then see if you can barter only shooting there a few hours. Maybe ask the team if they’re interested in pitching in to be able to shoot there. It might be worth it.

Shooting outside will usually have less restrictions, with the biggest being the weather, something that is more of a problem in certain places. I, for example, am from the UK, a place where there is equal chance of it raining in the summer as there is in the winter. It sucks. You have to either plan around it, or shoot through it.

#6. Planning the Date

You have to arrange a date that everyone can do. This can be stressful, and keep in mind that hair and make up can take an hour or two (longer if you start chatting, which I’ve been known to do). This is your idea, your vision, so you should do everything you can to make it happen. For example, if you drive, offer to pick the team up from the train or bus station. Do what you can.

#7. The Shoot

So everyone is with you in one place! Keep your mood-board out and about, in everyone’s faces including your own, to keep up the theme of the day. You want it to be ingrained in your and the rest of the team’s heads whilst hair and make up is going on.

You are shooting an editorial, which means that you want it to be picked up by a magazine. With this in mind, remember not to shoot too many landscape images and nearly always keep your camera in portrait. Magazines print in pages so portrait framing works much better for them.

In the end, it’s usually mostly about the clothes, so try to remember that when shooting. Don’t let the thought of it ruin the spirit of the theme, but try and show off those clothes!

The hair stylist, MUA and stylist will most likely be on hand monitoring the shots too, and if a dress hem is up, or a stray hair has gone array, they will probably need to dart in and out to fix these things, but do speak up if you wanted it that way.

#8. Submitting

You might have prior correspondence with a magazine, you might have a magazine in mind to submit to, or you might have no idea at all! Search online, see who fellow photographers you like have been featured in. Search themes or look in a local news agent… you never know! It’s usually best to have a magazine in mind before shooting, because each magazine has a style of their own and a style they prefer.

When you submit, try and come up with a title for the fashion story if you haven’t already, and write down the full list of credits.

Finally, do not share the images online. The magazine wants your photos to be exclusive, they don’t want to publish them if they’ve been seen before. Sit tight and wait, you will get to share them eventually.

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So there you go! Most know this stuff is pretty basic, but I thought I would write it down for those fashion editorial creators that are just starting out.