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Form follows FamousA Case study KardashianA study of The Master Bathroom of Kim Kardashian West and Kanye WestLocation: Hidden Hills, Calabasas CaliforniaPsuedo~Architect/s: Kanye West, Axel Vervoordt, and Claudio SilvestrinTable of ContentsAbstract……………………………………….……………….…………..2Executive Summary………………………….……………….………….. 3Acknowledgements…………..……………………………………………5Form Follows Famous………………..……………………………………6Works Cited.……………………………………………………………… 21Abstract With my research I will begin to examine a great change in popular culture and its influence on buildings: The emergence of a social influence economy, and the development of Influencer domestic space. The project is made evident through an in depth examination of the Kardashian-West bathroom which was created to accommodate for Kardashian media endeavors. Hence this project will describe the emergence of an Influencer profession with its roots in reality television and social media. It is a unique profession which requires an evaluation of one’s lifestyle through scripted and edited scenes rather than through the continuum of time. Likewise for the Influencer, life is invariably intertwined with business, and the house must become a workplace; the body, a commodity, and the human presence a service. Designing for the Influencer will require a fundamental rethinking of domesticity and a critical dismissal of private and public lives. As with the bathroom of Kim Kardashian-West, the phenomena of microlebrity must manifest itself in the crafted artifice of architecture.Executive Summary At the start of this project it was clear that things were changing quite rapidly and this paper would be harder to write. First, academic life at Syracuse University collapsed in the face of racist actions, then the Covid-19 pandemic ensured that a final copy of this paper would never be printed. Predicaments aside, this project has renewed importance in an era of social distancing. It is important for me to use this executive summary to acknowledge that this project about culture might be read differently since culture has changed so drastically since I put pen to paper. Thus the true test to the longevity of Form follows Famous comes with the shifting role of architecture and the culture in a post pandemic world. Uncannily professor Eversole predicted in the fall of 2019 that by the time the project would culminate, some of the individuals I studied would be dead, divorced, or disgraced. Although diseased or (socially) distanced were absent from Eversole’s list of endgames, I can’t help but watch as the proposed domestic spaces and situations which seemed so absurd at the time of my research are manifested. When I see the curated bookshelf of a professor on zoom, or help my mom bake a cake for her Facebook during quarantine, I see the home becoming an office, and the production of lifestyle media becoming a commodity. In this way, coronavirus makes all individuals Influencers, and every family like the Kardashians. Nonetheless Form follows Famous examines the elements of the Kardashian-West bathroom as an instrument for the fabrication of an online persona. As such, the Kardashian-West bathroom maintains a great deal of distance from the conventional bathroom and even borders on absurdity. For instance the bathroom lacks a toilet, is lit like Apple store selling iPhones, covered in mirrors and surrounded by a lush tropical jungle. All of these decisions are made in order to facilitate imagery which circulates on the various social media platforms that work for the Kardashian makeup and entertainment empire. Ultimately innovations within the field of architecture are often driven by exterior forces. Likewise In this changes in popular culture and commerce have shaped a comprehensive rethinking of the bathroom within the sociocultural context of the contemporary home. Through a study of the Kardashian-West bathroom, Form follows Famous is ultimately a guide book for architects to create for a new type of client. This project will produce the plan of an office for a new profession; a house for an emerging lifestyle. AcknowledgementsI have numerous individuals to thank for this project.Within Syracuse University, I am indebted to the Renée Crown Honors Program for making it possible, as well as my advisor Sinéad Mac Namara who was essential to the formation of my argument and the culmination of my honors career and my Capstone Project Reader Melissa Chessher whose kind words and tireless editing of this paper allowed me to stay motivated during these uncertain timesFinally, I would like to thank my parents with whom I am currently quarantined: my mother, for relaxing her rules that forbid the consumption of Reality TV, and my father, for watching it with me.Form follows FamousPeter Anthony Maffei “You don’t really act; you don’t sing; you don’t dance. You don’t have any — forgive me — any talent,” exclaimed the legendary broadcast journalist, Barbara Walters in frustration. Walters, 81 at the time, had included the Kardashian family in her now viral 2011 television special celebrating the “10 most fascinating people.” Throughout the interview Walters became determined to understand the changing conditions of celebrity, and the digital-image-based market they operate. “Why are they famous?” “How did they get here?” are some of the questions constantly asked about today’s most influential people. The answer nearly always suggests they are famous for naught, and propelled to fame through the images they upload online. Throughout her 50-year career Walters had interviewed monarchs, dictators and Hollywood icons, including Fidel Castro, Katherine Hepburn, and Michael Jackson. Yet seated across from the eldest daughters of the Kardashian dynasty, Walters encountered an altogether novel and unfamiliar variety of superstar. This interview signaled that the idea of Celebrity has transitioned from merit and authenticity to the realm of manufacture and artifice. The 15 minutes of fame promised to Kim Kardashian has continued for nearly 15 years, and propelled multiple members of her dynasty to billionaire status. Yet this issue stretches far beyond the Kardashians and their numerous fan base. With the rise of reality TV and a digital social economy, the occurrence of a talentless microlebrity is shaping the next generation, and may be a viable and lucrative lifestyle. Photographs were once the reserve of family albums with a limited potential audience. Now, however, photographs possess incredible potential and the possibility of endless audiences. In the age of “microlebrity,” Celebrities that exist within a subculture or a niche, can gather large numbers of fans to support their social media endeavors while going unnoticed by mainstream media. Therefore Celebrity is now a profession that anyone can work with a smart phone, tablet, or laptop. This transition has brought about an obsessive notion of self-branding and self-commodification. Ultimately, this entails a comprehensive curation of one’s entire lifestyle in order keep their audience entertained. Similarly, in the final years of the 20th century, the popularity of reality TV forced a great reorganization of entertainment production. Reality television proved advantageous to networks due to the fact that they required no writers, no actors, and no double takes. Thus reality programing delivered in two coveted ways: quickly and cheaply. As a result, a generation of ordinary individuals were made famous without the traditional abilities or achievements that characterized previous generations of celebrity. Eventually even actors from scripted productions and individuals with talent-driven fame appeared on reality programing or associated themselves with reality stars. Soon the public hunger for the microlebrity outgrew hour-long slots on television, and reality style updates were disseminated on social media by all who participate in the social media economy. Facebook, YouTube, Instagram, Snapchat, Vine, and TikTok, combined with omnipresent wireless connection, enabled users to update their followers with unceasing details of their daily lives. Moreover, social-media success is in numbers of likes and followings. These metrics are associated with niche fame and fortune, as those who gain enough following can produce revenue from endorsing or marketing for themselves or other businesses, as Influencers. Hence a new population of individuals live with the increased expectations of being watched as they go through their daily lives. Furthermore the cyberspace influence held by microlebrities can and often will correlate to real world cash revenue. Products that are used by Influencers can be tagged within an image or video. A tag allows followers to access consumer content increasing publicity in views, likes or purchases. This makes the trappings of influence available to be emulated and purchased by followers and delivered to their doorstep. Most recently Instagram added an online shopping feature in which one must simply touch an Instagram post to purchase an item. Consequently, the economic viability of celebrity is also inevitably tied to the growth of online retailing, and the reconfiguration of the Wi-Fi enabled home as a shopping mall. Extraordinarily, the attention economy is so thriving that in some instances Influencers purchase influence from other Influencers. This transpires when a more famous individual features media of another individual in a meta-exchange of stimulus known as “clout.” Most often products are sent to Influencers without a cash exchange, in hope the Influencer likes the product enough to feature it in their curated worlds. A spokesperson from the Internal Revenue Service explained that “a gift can be a tax-free transfer if it’s given out of detached and disinterested generosity,” which highlights the intent and interest behind Influencer freebies key to legitimizing their services. Likewise Sarah F Hawkins, an attorney who represents many self-branded persons explained in an interview to Bloomberg Tax that “businesses don’t send product to people called ‘Influencers’ just because they want somebody to have a product; they send product for access to services that Influencers may provide, which adds cash value to them.” This is a lucrative industry that has grown so rapidly that even tax systems have struggled to identify billions of dollars in freebies given to Influencers as revenue. Yet some Influencers with followings in the range of 5000 to 100,000, who are represented by Hawkins, argue that free lipstick, all-inclusive vacations, or free purses do not pay the bills. However it is clear from millions of unboxing videos in which Influencers open items sent to them by brands, that Influencers rarely spend their own money on products. In more extreme cases, outside of the beauty world, male and female bodybuilders receive every meal from a catering service, every outfit from an affiliated brand and even vacation to a branded experience. Consequently when the self is the commodity, it becomes difficult to separate business expenses from ordinary expenses. Even the choice of lipstick color or vacation destination can become financial investments into digital self-branding. Users often like what they find to be aspirational; what young followers find aspirational often comes from the Kardashian prototype. Professor Alice Marwick of Fordham University School of Communications argues that “Instafame is not egalitarian but rather reinforces an existing hierarchy of fame, in which the iconography of glamour, luxury, wealth, good looks, and connections is re-inscribed in a visual digital medium.” Ultimately Marwick suggests that the very act of being famous or having any form of attentive audience, is the most powerful status symbol, even if it goes without the money offered by an audience to the traditionally famous. This negates the perception that social media is somewhat democratic. However, there are notable exceptions, including a group of Franciscan friars with 50,000 Instagram followers and a Mexican grandmother who cooks elaborate meals over an open fire in a clapboard hut with 1.3 million YouTube subscribers.Yet the exceptions exist in countercultures. The Franciscan friars or Mexican grandmother are often more marketable because of how distantly they reside from the younger generation’s cult of fame. Nevertheless the most lucrative accounts belong to attractive and glamorous, yet traditionally talentless individuals. The Kardashians are far from the first families to be famous for seemingly naught, but they are the first to do so in the age of digital artifice. Keeping up with the Kardashians, their eponymous show aired 2007 with a name that references the classic American Idiom to “Keep up with the Joneses,” which alludes to the 1940s comic strip about a social climbing family who struggle to compare their social status to that of their peers. At the onslaught of the show, the Kardashians offered nothing to keep up with. They graced tabloids for failed marriages, grotesque plastic surgery and sex tapes. Soon they graced the cover of Vogue, earned an invitation to the Met Gala, all the while renting out castles and palaces across Europe. In a 2014 episode, Kourtney Kardashian and Scott Disick were gifted a Modigliani painting similar to those by the same artist that hang in the Louvre, MoMa, and Princeton University, to which Scot remarked, “I’ve always been into being super-rich.” Ultimately art collecting is a reserve of the most elite individuals and institutions in the world. Moreover knowing the high cultural value of a Modigliani indicates an understanding of art history, as the painter is widely recognized in academic circles. Furthermore until the airing of the episode, Modigliani was largely ignored by the general public in favor of his more famous contemporary, Pablo Picasso. However, the painting was later established, like much of the show, to be an impeccably crafted fake. Much like Tsar Peter the Great who constructed St Petersburg to provide an artifice of a modern Russia away from the feudal society of Moscow, the Kardashians founded “Kardashistan.” Therefore in order to establish a new regime, a new capital is needed. The Kardashians moved an hour away from Hollywood to a city called Calabasas, in which they could manufacture a lifestyle and establish a radical school of digital celebrity away from swampy cult that had developed in Hollywood during the past century. Aside from a few unfortunate cameos in music videos and in movies, the Kardashians are not sirens of the silver screen, nor are they rock stars. Their fame is not the same as that which graced A-listers from the previous century. Likewise, for fear of comparison, the Kardashians cannot exist alongside individuals of actual abilities and talent. Despite the fact that this appearance of effortless wealth and talentless fame is also constructed, as Forbes magazine has highlighted Kylie Jenner, the youngest adult member of the Kardashian family as being the youngest self-made billionaire. Calling Jenner with wealthy parents, “self-made,” was controversial. Yet it is undeniable that the Kardashians are innovators of e-commerce and cosmetics and are connected by lineage or marriage to Olympic athletes, Grammy awarded singers, and famous lawyers. More importantly, the Kardashian curated a new community of kindlier paparazzi who work outside of the existing tabloid markets in Los Angeles. Soon Calabasas filled with who’s-who of Instagram and YouTube content creators. Before long the family held court from walled compounds filled with teenage YouTube/vine pranksters like Jake Paul and Instagram playboys like Dan Bilzerian. They constructed an almost police state which comedian and babysitter for Kim, Kathy Griffin titled “Kardashistan”. For many observers, the rise of a Kardashian class of influence is a novel and perplexing phenomena, but it remains a logical expression of current innovations in technology and culture. The media produced in Calabasas is a barrage of misinformation, of which an observer might pull an edited selection of truths. For previous generations, two things were certain: first impressions were key to social interactions, and the internet retained a notion of permanence. Whereas in the age of digital artifice, information and memories can be divinely warped and confused. Celebrities could reinvent themselves, reconstruct their images and reprioritize their ideals. Most famously Lady gaga went from pop to jazz, to country, then became an applauded actress. Or Donald Trump who like the Kardashians, started as a raunchy reality star with an alleged history of soliciting golden showers from porn stars, to become the leader of the democratic world, curiously endorsed by “family values” obsessed evangelists. Likewise the Kardashians have gone through various rebranding efforts including Kim’s latest dalliance with law school which prompted her to invitation to discuss prison policy at the white house. For more than a decade, the Kardashians have remained innovative in their self-commodification, and their compounds have emerged as test labs for social-media instruments. Most famously Kim Kardashian used a LED lighted phone case while taking a selfie with Hilary Clinton, to which Hilary Clinton later remarked in an interview, “She takes out her phone and she presses the button – I’ve never seen this anywhere else, it has lights all the way around it, like, little tiny, tiny lightbulbs, She’s beautiful. But I mean, she whips it out. She hits this button. The light is there. She holds it at a perfect angle, she makes everybody look better than you have any reason to look.” Hillary Clinton, as a first lady and secretary of state, has produced a brand of political celebrity that seems incongruent with the Kardashian creation. However Hilary later revealed she coveted the selfie-facilitating phone case when she said “I have been desperately looking for one of those ever since, with no luck.” This fact suggests that the innovations coming from “Kardashistan” already eclipsed the propaganda factories of Washington. Although Kim’s Instagram following is a number as large as half of all America’s population, most microlebrities who produce for smaller numbers of fans can still study the Calabasas model. Initially the history of architecture is studied through a few canonical works and innovations that allowed people to live in various cultural and socio-economic circumstances. When the advent of social media and reality television, a new type of celebrity has emerged with a new type of job and lifestyle. For this life in the public eye, a new type of domestic house must emerge. A Kardashian Architecture that responds to the demands of the Influencer profession must be invented. Moreover this architecture must facilitate the creation of an artifice through which a celebrity or microlebrity can commodify themselves. The bathroom and a concept of privacy is a relatively new amenity to make it into the creation of a home. Ancient Romans visited public baths and public latrines and performed all manner of hygienic rituals openly. But, once again the bathroom is public, as the celebrity or microlebrity document themselves applying makeup, bathing, or even whitening their teeth. One of the most remarkable of these Influencer spaces is the master bathroom of Kim Kardashian West. Bizarrely, the bathroom of Kim Kardashian West features no toilet and is accessed through a gaping archway from the master bedroom. There is no door, and floor-to-ceiling glass encases both the shower and exterior facade. This is an attempt to produce a photo studio under the guise of a luxury bathroom. The result is an almost Miesian collage of a space. All details and decoration are painstakingly rethought. In the Kardashian-West bathroom light is used to shape the body for digital photography.?Light comes from a lightbox that covers the entire ceiling, providing indirect light reminiscent of the lighting used to sell the iPhone in an apple store. Soft, indirect light hides pores and wrinkles while still shading the bone structure of the face. Flattering light is the most important amenity of a selfie-conducive bathroom. Intense efforts are made to minimize visual noise; thus, the light fixture as a feature of decoration is rendered obsolete in the quest to make the most photogenic bathroom. Additionally the placement of mirrors in the bathroom provide an indication of the success of one’s appearance and provide an instrument for the selfie. Although the Kardashian-West Bathroom has an entire wall of mirrors, in the 17th century mirrors were incredibly valuable and a peasant might not ever see a mirror in their lifetime. The fact that one would be troubled with their hairstyle or makeup was a vestige of the elite, and of little concern to the working class. Mirrors allowed a member of the aristocracy to edit their appearance and measure their conformity to a social standards of fashion and behavior. The nobility separated themselves from the masses by maintaining almost godlike composure. In 1746 French historian La Font de Saint‐Yenne, claimed that mirrors were even responsible for the decline in French painting when he stated that “Mirrors the narrated effects of which we would view as a fairy tale and a wonderment far beyond belief, had we not become too familiar with them. Mirrors form pictures in which imitation is so perfect that it equals nature itself in the illusion it creates before our eyes; mirrors, so rare in the last century, and yet so extremely abundant in this one, struck a deadly blow at this fine art” . Just as the French mirror replaced paintings, it may be possible that the mirror selfie could supplant another art form just as iPhone Photography is replacing Art Photography. Mirrors are essential to the Influencer due to their ability to facilitate the selfie. Kim Kardashian West herself is a true devotee to the mirror selfie, even publishing a 500-page “art” book of selfies titled “Selfish.” Selfies are ubiquitous instruments of fame as they allow for an illusion of intimacy. Although, the selfie is filtered and manipulated before being disseminated, total control is perceived to lie with the selfie-taker. The selfie is thus an illusion of how one sees oneself. The consumption of selfies by the followers, facilitates a phenomenon known as para-social interaction, in which followers conjure up physical relationships with a personality through the media which they produce. A clean mirror is even more essential. The vanity is removed from the wall so that the mirror is free from splatters and splashes and could stand floor to ceiling. In a culture where one might be made infamous for a dirty mirror, or messy room, a pristine reflection is key. The height of the mirror allows for head-to-toe selfies, especially important when Kanye West has a sneaker empire. Moreover the mirrors are used to reflect the edited life outside the bathroom. A picturesque tropical garden seen from all amenities in the bathroom. Lush palms, orchids, and broadleaf foliage is reflected along the wall of mirrors, providing a suitable backdrop to the selfie. The scene is so perfect that clearly an army of florists rush out each morning and curate the backdrop. In colder months, dried amaranth and cornstalks replace the tropical flowers. This display is often dusted with a fake snow completely foreign to the climate of southern California. When considering the contents of Kim’s bathroom in relation to one’s own, one might wonder why a sink is installed in the absence of a toilet. This is due to a common familiarity with the contents of a modern bathroom, when in fact, throughout most of history, there was a distinct ritual of bathing that was removed from the call of nature. A bath took hours to heat and required buckets of boiling water, therefore the bather spent even more time submerged. In many cases, bathers even had meals and conducted business while soaking. Yet, when plumbing entered homes, so did the commode to economize efficiency of plumbing, and the accessibility of piping. Bathing became ubiquitous hygienic normality rather than a rarified spa ritual. Eating, drinking, or entertaining alongside a toilet became distasteful for about a century until the age of self-care, slime concoctions, bath bombs, and makeup tutorials. Now "conducting business” in the bathroom has a multiplicity of connotations including the literal. Influencers including those of the Kardashian persuasion are commonly spotted imbibing bubbly while soaking in bubbles. Most contemporary bathrooms require toilets, and the fact that one is absent from the bathroom of Kim Kardashian, is strategic. The question remains as to where the toilet is located. The Kardashians make love, get drunk, and are sliced open under cosmetic surgery for the entertainment and for the integrity of the “reality” in the reality show, yet they do not experience bowel movements on camera. Thus it can be assumed that they simply do not poop. This demonstrates that the reality presented surrounding their lives, and the architecture they inhabit, has been edited, filtered and diluted with half-truths. The inclusion of a “His & Hers” sink is also key as it provides a fiction in which the husband and wife have synchronized moments of intimacy within their daily, hygienic or beauty routines. This is preposterous, as her and Kanye live almost separate lives as they are rarely seen together on the show while raising their four children. In the past, the public would rarely be privy to the inner workings of a marriage. The public would only be presented with a pristine public appearance. However now every second must be performed to appear perfect. Any single fight no matter how insignificant has the potential to be torn apart by the tabloids. In 2019, a three minute exchange in which Kanye questioned Kim’s outfit, led to rumors of divorce. This further demonstrates the para-social interactions that take place between the Kardashians and fans of their show. In storytelling there exists a concept known as “Chekhov’s Gun” in which a playwright hints at a future casualty by familiarizing an audience with the murder weapon. However, it is assumed that a reality show has little in terms of a traditional script, and any apparent “gun in the first act” may be exaggerated for the momentary addition of drama. Thus it remains vital that the Influencer performs his or her life and constructs the image of a glamorous marriage, or happy family through their picture perfect environments. Hence the life of Kim Kardashian West is remembered in staged scenes, not moments. When further evaluating the contents of the bathroom, the inclusion of a sink in the bathroom is peculiar. In lieu of the assumption that a bath or shower would have cleansed the hands of the bather, a sink is unnecessary. But within the digital artifice, almost nothing is included for its necessity. Although Kim Kardashian-West may run a cosmetic empire, she never touches her own hair or makeup. Her makeup is done professionally in a separate, more functional in-house salon, before she even enters the bathroom and begins her image making. This is no secret, due to extensive documentation of this pattern during the shooting of Keeping up with The Kardashians. Such rituals have become symbols of privilege, as very few can afford an army of tastemakers to help one dress in the morning. As a result, even the man who cuts her hair has become famous and fabulously wealthy. Clearly the space is radically planed as nothing in the bathroom is intended for its traditional use. This is a bathroom that accommodates a singular purpose to be both ornamental and to serve as an instrument for digital self-portraits that aids in the artifice constructed by the Kim Kardashian self-brand. In due course, the continued popularity of reality TV and a digital social economy will ensure that the occurrence of a talentless microlebrity shapes the next generation, and may become a viable and lucrative lifestyle. It is a unique profession which requires an evaluation of one’s lifestyle through scripted and edited scenes rather than through the continuum of time. Likewise for the Influencer, life is invariably intertwined with business, and the house must masquerade as a non-home; the body, a commodity, and the human presence a service. Designing for the Influencer will require a radical rethinking of domesticity and a critical dismissal of private and public lives. As with the bathroom of Kim Kardashian-West, the phenomena of microlebrity must manifest itself in the crafted artifice of architecture. This could be the development of a post-truth utopia with information founded on misinformation in which even nature and the untouched must be simulated.Works CitedHorton, Donald, and Richard Wohl. “Mass Communication and Para-Social Interaction.” Taylor & Francis, 1956. , Hillary. “How to Choose (and Use!) Hard Light vs Soft Light? for Photography.” ExpertPhotography. ExpertPhotography, April 29, 2019. , Oliver. “Woman's Gorgeous Mirror Selfie Goes Viral For Frustrating Detail In Background.” Elite Daily. Elite Daily, January 9, 2017. .“Mirrors of Society: Versailles and the Use of Flat Reflected Images.” Taylor & Francis. Accessed February 10, 2020. , Kim Kardashian.?Selfish. Universe Publishing, 2016.Bliss, Sara. “Kim Kardashian Is Becoming A Lawyer: What Her Move Can Teach You About Making A Career Leap.” Forbes. Forbes Magazine, April 21, 2019. “Athletes.” Gymshark US. Accessed February 17, 2020. , Idil Miriam. Implementing Word of Mouth Marketing: Online Strategies to Identify Influencers, Craft Stories, and Draw Customers. Hoboken, NJ: Wiley, 2010.E., Alice. “Instafame: Luxury Selfies in the Attention Economy.” Public Culture. Duke University Press, January 1, 2015. , Stephanie. “From Kylie to Kris: A Definitive Ranking of All of the Kardashians' Art Collections.” W Magazine | Women's Fashion & Celebrity News, March 28, 2018. . “Friars of the Renewal (@cfr_franciscans) ? Instagram Photos and Videos.” Instagram. Accessed February 16, 2020. . “Grandmother Becomes a Star with Her YouTube Cooking Channel.” Mexico News Daily, October 9, 2019. , Kathy. “Prom Photo Time Last Night with the Empress of Hidden Hills/Calabasas/Kardashistan @KrisJenner Pic.VbJfwIbc5n.” Twitter. Twitter, December 25, 2018. . “Kim Kardashian West (@Kimkardashian) ? Instagram Photos and Videos.” Instagram. Accessed February 17, 2020. , Sony. “Social-Influencer Freebies Worth Billions Present Tax Temptation.” Bloomberg BNA News. Accessed February 17, 2020. , Adrian Glick, and Elijah Chiland. “Why Do so Many Celebrities Live in Calabasas?” Curbed LA. Curbed LA, January 28, 2020. , Stephanie. “Barbara Walter's Kardashian Interview From 2011 Goes Viral Again.” HuffPost. HuffPost, March 12, 2015. , Tierney, and Tierney McAfee. “Hillary Clinton 'Desperately' Covets Kim Kardashian's Magic Selfie Gizmo: 'It Makes Anybody Look Better'.” , January 11, 2016. , Karen de, and Rosie Findlay. “How Fashion Travels: The Fashionable Ideal in the Age of Instagram.” Fashion Theory. Accessed February 17, 2020. , Natalie. “At 21, Kylie Jenner Becomes The Youngest Self-Made Billionaire Ever.” Forbes. Forbes Magazine, March 7, 2019. , Maya. “The Persistence of Stormy Daniels.” The New York Times. The New York Times, August 24, 2018. , Alexa. “7 Interviews Barbara Walters Will Never Forget.” ABC News. ABC News Network. Accessed February 17, 2020. . ................
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