There is no doubt that most women, if not all, loves having cleavage. It gives you the confidence because you know that you look good and attractive to others and makes the not-so-fortunate females jealous. It also gives you the form and curves that you feel like you're as sexy as Megan Fox.. or one of the Victoria's Secret models. Hey, it's not wrong to feel sizzlin' hot once in a while.
Because of this, push up bras have been an essential part of any lingerie collection. Like an angel sent from heaven... Tadah! There is Wonderbra!
Using technology and anatomy to create their designs, Wonderbra has been one of the go-to brands to women's lingerie needs. Owned by Hanesbrand Philippines Inc., it has been creating fashion sensations around the world and now it has finally made its last debut in the Philippines.
Wonderbra turned up the heat as fashion and beauty experts gathered for an intimately personal encounter with the Wonderbra brand through a sizzling fashion show last September 25, 2012 at the Prive Luxury Club.
Wonderbra's three degrees of Hotness:
First: 1 degree Hot
a?Lightly-Lined Push-up bra?with dainty embroidered lace overlay on the cup. The light padding forms a?
subtle enhancement that?s enough to create a spark.?
Second: 2 degree Hotter?
The 2? Hotter?gives you maximum push-up that makes your chest look fuller and make you feel on fire. Known for its?Statement Makers ?,?this collection includes push-ups bras in bold colors and prints that are easy and fun to mix and match.?
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| The?T-shirt Push-up Underwire Bra?is the ideal T-shirt bra because it virtually disappears under thin fabrics. The Demi cups provide comfortable support while its graduated push-up pads enhance cleavage. ? The?Lace Racer Back Push-Up Bra?has seamless cups and graduated padding for subtle cleavage boost. It also has front closure which makes it very easy to wear and its contrast straps gives off a flirty silhouette.? Third: 3 degree Sizzlin' The?3? Sizzlin??adds up a size so you?ve got to flaunt what you?ve got.?
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Source: http://mvlnunez.blogspot.com/2012/09/the-wonders-of-wonderbra.html
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Fiction written in English by authors of Indian descent has been critically acclaimed and commercially successful for decades. Now a new wave of talent has arrived: In 2012, the Indian-American writers Rajesh Parameswaran and Tania James published their debut short story collections ? I Am An Executioner: Love Stories and Aerogrammes, respectively ? while British-Indian author Hari Kunzru published his fourth novel, Gods Without Men: While it may be too soon for these authors to have achieved the heavyweight status of a Salman Rushdie or Jhumpa Lahiri, their imaginative, provocative, and well-crafted books suggest the continuation of a literary legacy and a move into ?post-post-colonial,? ?post-ethnic? territory.
Parameswaran, James, and Kunzru inherit three decades of Anglo-Indian literary success. Rushdie?s magical realist novel Midnight?s Children, about a boy born on the precise moment of Indian Independence, won the Man Booker Prize, the U.K.?s most prestigious literary award. His most notorious novel The Satanic Verses earned Rushdie a death threat from Ayatollah Khomeini that sparked international controversy and massive sales, an experience upon which he reflects in his memoir Joseph Anton, recently excerpted in The New Yorker. In recent years, the Booker has gone to Arundati Roy?s novel The God of Small Things and Aravind Adiga?s novel The White Tiger, a hybrid of Invisible Man and Native Son set on the subcontinent. And as recently announced, the six authors shortlisted for the 2012 Booker includes Jeet Thayil, born in India, raised in Hong Kong, India and the U.S., and the author of the novel Narcopolis, about a 1970s opium den.
The new wave is also indebted to Lahiri, who rocked the American lit establishment ? and book clubs nationwide ? with Interpreter of Maladies, an understated, pitch-perfect short story collection that captured the domestic dramas and existential malaise of upper class Indian Americans, mostly in bourgeois Boston. The book won the Pulitzer Prize and was followed by the novel, The Namesake, later a Mira Nair-directed movie, and Unaccustomed Earth, another stunning and more ambitious story collection that cemented Lahiri?s reputation as the marquee Indian-American fiction writer and a master of short fiction.
Regardless of species, all three books grapple with physical, emotional, and existential despair, albeit in different tones and moods. Gods is cerebral, somber, and grim. As he did in the reverse outsourcing fable Transmission, Kunzru assaults his characters until they break, and relents only after they have lost nearly everything. (For the film, perhaps Werner Herzog or P.T. Anderson could direct?) By contrast, Aerogrammes is sweet, sad, and painfully earnest. Characters are na?ve, blind, or delusional, whether it?s the Indian wrestlers who don?t realize the sport is supposed to be fake, or the boy who refuses accept his mother?s new husband. There?s pain suffering in Executioner, too but it?s often undercut by humor or an authorial wink, either implied or in meta-fictional parentheses or footnotes.
While fundamentally contemporary, all three books derive depth from history. In Executioner, the meta-fictional tale ?Four Rajeshes? concerns a railway clerk in colonial India at the turn of the 20th century and his version of Melville?s Bartleby, the Scrivener. The opening story in Aerogrammes features a pair of Indian wrestlers who arrive in England in 1910 to engage in literal and figurative battles with their colonial overlords. Perhaps because it is a novel, Gods is even more historically ambitious, with a storyline that spans more than 200 years. Ultimately, all three authors use history to transcend personal experience, shattering the expectation that ?ethnic? fiction must be autobiographical. In a way, they all respond to the question that Rushdie poses in Joseph Anton when recalling his inspiration for writing The Satanic Verses:
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There is a lot of data out there, and more is being created every day. It takes a lot of resources to keep it around, and make sure that you and everyone else can access what they want, when they want, with minimal downtime. Naturally this takes a lot of energy, but the New York Times looked into exactly how much. It's a ridiculous amount.