GaGa has a monstrous new tattoo!

GaGa tweets: look what i did last night. little monsters forever, on the arm that holds my mic. xx

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Vote for GaGa on Billboard’s ‘Sexiest Person in Music’ Poll!

Billboard — Who’s the sexiest person in music? Very tough call, we know. You can imagine how much arguing took place at the Billboard offices as we tried to come to an agreement. The truth is, we couldn’t! So we’re leaving it up to our readers to decide.

Lady GaGa is nominated! You can vote here.

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Lady Gaga Is Poised To Conquer The World

The amateur videos would be captivating enough on their own. In one, a dignified young brunette is onstage with a piano and a jazzy ballad, performing for a university audience. In another, the girl and her blue-jeaned band gamely make their way through a Led Zeppelin cover tune.

But there’s a bonus layer of intrigue to those old YouTube clips, which have piled up tens of thousands of views. They’re a peek at a pop phenomenon in its infancy: Lady Gaga in the making. And they help document one of the most successful self-reinventions in recent pop history.

The world is now well-acquainted with the 23-year-old New Yorker born Stefani Germanotta, whose infectious dance-pop and edgy presence have brought her to the cusp of global superstardom. She was a college student and aspiring songwriter when that camcorder footage was shot. Now she heads into 2010 with momentum from five Top 10 singles and several show-stopping performances, and it’s a good bet that by 2020 we’ll view her as one of the decade’s cultural icons.

By transforming herself into a fabulous glam queen, Lady Gaga joins an elite clique of artists who have made careers out of reinvention. The obvious comparisons are the ones Gaga has cited herself: Madonna, David Bowie, Freddie Mercury, Bette Midler. They’re musicians who empowered themselves to craft new personas — sometimes over and over again — and to use public image as its own artistic statement.

For most artists, pop spectacle is a kind of showbiz façade. For Lady Gaga, it’s a form of self-expression.

And making it click is no small feat: In an era saturated with colorful characters, when outrageousness is always just a mouse click away, Gaga’s panache has managed to stand out.

Talk to fans and industry pros about the appeal, and one word pops up a lot: authentic. There’s something organic in the synthesized sounds of “Paparazzi,” something honest in the eccentric couture fashion, even something serene in the visual razzle-dazzle.

“Lady Gaga has the real goods. You could see that very early. You saw her and just said, ‘Whoa, this is something special,’ ” says Live Nation’s Rick Franks, a three-decade industry veteran who booked Gaga for a pair of Detroit shows this week. “Talent shows itself every time. You’ve either got it or don’t, and she’s got it. She’s got star power as large as anyone, and right now it’s all working.”

She’s been happy to flex that star power, raising the stakes as she goes. This week’s Detroit stand, originally scheduled for the Fox Theatre, was moved to Joe Louis Arena as Gaga continued to beef up her production — expanding from a theater set into what Franks calls a “major Broadway spectacular” that will arrive in eight semi-trailers.

Easily dismissed at a casual glance as just another prefab pop concoction, Gaga has won over fans with a smart, self-aware approach. Behind the Kermit the Frog dresses, there seems to be an implicit message: Yes, this is performance art. Yes, I’m refashioning myself on the fly. Yes, this is my adventure, and you can dive in if you want.

That attitude — and the realization that genuine musical talent is at work — has earned Gaga the trust of even skeptical listeners.

“That’s what ended up selling me on her,” says Kelly Stanaj of Grand Blanc, a mother and former art teacher whose tastes lean to classic rock. “I’m not so keen on electronic dance-pop. When I first started hearing her — hearing ‘Poker Face’ nine times a day at the gym — I was kind of annoyed.

“And then I saw her perform live on TV. I realized this isn’t just some Auto-Tuned, keyboard dance thing. This was real. She is dedicated to her music down to the core.”

Stanaj, now a diehard Gaga aficionado, will attend Wednesday’s show with her police-officer husband, also a converted Gaga believer. She’s been startled by her own giddiness, harking back to her high-school days in the late ’80s.

“Gaga just strikes every chord with me,” she says. “It’s exciting. And she’s going to keep redesigning herself — she seems driven by that artistic expression.”

The Stanajes are part of a growing, diverse fan base, one well beyond the young females and gay men who were her audience early on. In just 10 months, says radio executive Michael McCoy, Gaga has secured the sort of broad following that often takes years to cultivate.

“She wasn’t so far out there that people couldn’t understand what she was doing,” says McCoy, program director at WKQI-FM (95.5). “There was a sense of seminormalcy in there. It was organic and accessible.”

The hype was already buzzing when Gaga played Royal Oak Music Theatre last March, a glittery, high-energy show for 1,700 curious concertgoers. Natalie Sugarman, then the venue’s marketing assistant, was impressed by the set, but amazed by what followed.

“She came into the lobby and signed everything for every single person waiting in line,” recounts Sugarman, who watched for 1 1/2 hours as Gaga attended to her fans. “She was making a personal connection with people. For an artist to take that time, at any level, is something rare.”

That’s something that should serve her well over the long haul. And a long haul does seem likely: Even in this speedy pop era, with its frantic churn rate, Lady Gaga appears equipped to keep writing her own script. Because even a frantic pop era has room for that timeless, intangible it.

“It’s that X factor that draws us to certain personalities and keeps our attention,” says Stanaj. “It just might be indescribable — if we could describe it, everybody would be fabricating it. We have that with Gaga, and we haven’t had it in a long time.”

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Lady Gaga “Barbara Walters Interview”

Lady Gaga - Barbara Walters Interview!

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Frank Talk with Lady Gaga - LA Times interview

Reporting from Boston – Almost immediately after she deposited herself in a corner booth at L’Espalier, the restaurant at Boston’s Mandarin Oriental Hotel on the December afternoon after the first American date of her Monster Ball tour, Lady Gaga made a confounding statement.

“I don’t see myself as ever being like anybody else,” said the 23-year-old known to her mom (eating lunch nearby) as Stefani Germanotta. “I don’t see myself as an heir.”

Yet there she was, in a blond Hollywood bob and black tuxedo-bra combo much like the costumes Madonna wore 20 years ago, discussing a show that conjures the spirits of Michael Jackson, David Bowie and the punk-rock drag queens of downtown New York and promoting music — the newly expanded edition of her 2008 debut album, “The Fame,” greatly enriched by eight new songs and repackaged as “The Fame Monster” — that pays blatant homage to ABBA, Queen, Eurodisco and Marilyn Manson.

Gaga doesn’t care. She wants you to trace her references. ” John Lennon talked about how with every song he wrote, he was thinking of another artist,” she said, making a less expected connection to a pop deity.

She’s yet to attain the status of the Beatles, but in the ever-accelerating pop cycle, Gaga is a top sensation, and many people’s vote for the most exciting artist of 2009. “The Fame” has sold nearly 2 million copies in the U.S. and reportedly double that internationally; her album and the single “Poker Face” both made the top three on the year-end tally of top iTunes downloads.

“The Fame Monster” continues this sales sweep, but it also considerably advances Gaga’s artistic project with some of her strongest songs yet, including the earworm-infested “Bad Romance” and the sumptuously emotional ballad “Speechless.”

The world is responding. She’s made friends with Madonna, been interviewed by Barbara Walters and met the Queen of England at the annual Royal Variety Performance. The Monster Ball has sold out multiple nights in major cities including Los Angeles, where it comes to the Nokia Theater at L.A. Live for shows Dec. 21-23.

This is all happening not because Gaga is cute or takes off her clothes but because (to use one of her favorite words) she is a monster — a monster talent, that is, with a serious brain.

During nearly two hours of conversation, she not only reiterates her assertion of total originality but also finesses it until it’s both a philosophical stance about how constructing a persona from pop-cultural sources can be an expression of a person’s truth — à la those drag queens Gaga sincerely admires — and a bit of a feminist act.

“I’m getting the sense that you’re a little bit of a feminist, like I am, which is good,” she said. “I find that men get away with saying a lot in this business, and that women get away with saying very little . . . In my opinion, women need and want someone to look up to that they feel have the full sense of who they are, and says, ‘I’m great.’ ”

Gaga’s casual use of the term “feminist” was interesting; like many female pop stars, she’s rejected the term in the past. But she’s evolving. She is growing “more compassionate,” she says, and focusing more on ideas of community, especially the one formed by her core fan base, a mix of gay men, bohemian kids and young women attracted by Gaga’s style and her singable melodies.

Grand declarations

Her new songs address serious themes like women’s shame about their bodies and the need for open communication in relationships; her often physically distorting costumes show that the pursuit of the feminine ideal is far from natural. Her commitment to confront the changing notion of what’s “natural” puts Gaga on the same road traveled by artists she admires, such as the photographer Cindy Sherman. Her frank talk about how female artists aren’t expected to write their own songs or about how young women are afraid to ask for what they need from their sexual partners inches her toward a new articulation of feminism.

“If you ask somebody where you see sexism in your life, all they think of is the old stuff,” said Nona Willis Aronowitz, co-author of the new book “Girldrive: Criss-Crossing America, Redefining Feminism,” by phone. “Equal pay, that’s not really on their radar. Domestic violence and rape aren’t necessarily in the forefront. But you ask about double standards or restrictive gender roles, they don’t think of that as sexism; they think of that as the way it is. That’s kind of like what Lady Gaga is talking about.”

Gaga does view her music as a liberating force. “When I say to you, there is nobody like me, and there never was, that is a statement I want every woman to feel and make about themselves,” she continued. “I don’t make it as a defense. I make it as, OK, guys, it’s been two years, and I’ve made a lot of music, and I know my greatness is individual. And I want every woman to be able to say that.”

This is one of Gaga’s gifts, maybe the one that most distinguishes her from the other talented women directing the pop zeitgeist right now, such as her recent collaborator Beyoncé, her fellow couture hound Rihanna or her rival in redefining blondness, Taylor Swift. Gaga makes outrageous declarations — which, when you break them down, actually make sense. And then she backs them up, not only through her now famously provocative interviews but in her videos, her collaborations with designers and artists, her live performances and those infernally catchy hits.

Upending genres

As good a game as she talks, Gaga’s real language is visual and, of course, musical. Discussing videos like the one for “Bad Romance,” which she says is about “how the entertainment industry can, in a metaphorical way, simulate human trafficking — products being sold, the woman perceived as a commodity,” or the Ace Bandage-adorned costume she wore at the American Music Awards, which she said was “meant to be feminine, healing, bondage gothic,” she sounds more like an art critic than an evolving club kid.

“It’s a feeling,” she says of the way she builds these little horror musicals. “There is a narrative, but the narrative isn’t nearly as important as the images are, sewn together.”

As for the songs that serve as the foundation for all of her other forms of expression, Gaga says she never wanted them to be anything but massive hits. “I don’t want to make niche-oriented music,” said the songwriter, who entered the music business writing hits for other artists, including Britney Spears. “I don’t like it! I don’t mean that to be in a rude way. But my taste is not there.”

At a time when pop genres are colliding and collapsing, Gaga is contributing to their downfall. She notes that “Boys Boys Boys,” the first song that she wrote with her main producer RedOne, is a club track that borrows its “gang chorus” from the hard rock of AC/DC. “I told him, I want to make pop music that my heavy metal friends will listen to,” she explained.

“Aside from her few piano ballads, which are like early 1970s Elton John, her dance music is pretty much on-the-money current Euro dance,” said her recent collaborator Adam Lambert in a separate interview. “But she’s a rock star in her mentality. [Her attitude is] like, ‘I hope this makes you look. I’m going to be subversive and out there because it makes me feel good and liberated to be that way.’ ”

It’s arguable that Gaga could only realize her artistic vision in the center of the pop mainstream. Her critical supporters laud her for reconnecting pop to other cultural forms and for revitalizing the stream of art-into-pop first opened up by bands like Roxy Music and the Patti Smith Group.

But she’s not alone in that effort. Kanye West played a gala at the Museum of Contemporary Art before she did; Beyoncé referenced Bob Fosse. Go a notch lower in visibility, as Gaga’s critics point out, and examples abound of rock and club kids with art connections, from Karen O to Alison Goldfrapp.

Gaga has done something more specific: She’s tapped into one of the primary obsessions of our age — the changing nature of the self in relation to technology, the ever-expanding media sphere, and that sense of always being in character and publicly visible that Gaga calls “the fame” — and made it her own obsession, the subject of her songs and the basis of her persona.

“Celebrity life and media culture are probably the most overbearing pop-cultural conditions that we as young people have to deal with, because it forces us to judge ourselves,” she said. “I guess what I am trying to do is take the monster and turn the monster into a fairy tale.”

That stars embody the social concerns of their age is a pop-culture truism. But only rarely does an artist dig beneath the dermis of our shared anxieties, exposing the liquid matter that runs through the shared fantasies and delusions of a particular moment.

“It’s kind of like a crusade in its own way,” she said. “Me embodying the position that I’m analyzing is the very thing that makes it so powerful.”

Owning her image

Since the release of “The Fame,” Lady Gaga has been uncovering new layers within her basic themes. At first she just seemed like the most pop savvy of the clever young people using club beats as a basis for music that could be both cerebral and cathartic — the way indie rockers used heavy guitars a generation before. It was easy to dismiss her as no more than a well-educated New York girl with a gift for pop hooks and self-marketing.

But then her public appearances began to not simply provoke but disturb. She made a video for her song “Paparazzi” that had her in gilded crutches and a leg brace. She turned that vision of crippled glamour even bloodier on the MTV Video Music Awards, an appearance she described as “my first truly original moment.”

She’s worn costumes that recast childhood icons like Kermit the Frog and Hello Kitty into ingénue’s pelts. (The Kermit dress was designed by Jean-Charles de Castelbajac, who’d previously adorned Madonna in teddy bears; the kitty couture was the brainchild of Gaga’s main creative partner, Matthew “Matty Dada” Williams.) She’s painted her eyes to look like an anime heroine. In the climactic dance sequence from Monster Ball, she adorns herself in the black feathers of a vulture and the yards-long blond braids of a victimized princess.

“I had a different vision for it in the beginning. Dada thought it should be braided, and I said, ‘I never wear my hair braided.’ He said, ‘I know, but it’s so Rapunzel, and it’s something people deeply understand. And when you’re wearing sunglasses on a scaffolding piece with a giant alien dancing behind you, I promise you it’s not going to look like Rapunzel.’ ”

The hairpiece does look like something concocted by crafty kids in a basement; it reflects a key element of Gaga’s aesthetic, the do-it-yourself spirit that contrasts with her taste for million-dollar couture. She works with major designers such as Alexander McQueen, who created many of the Monster Ball costumes, but also with newcomers like Gary Card, who made the skeletal headgear she and her dancers wore on the AMAs.

“The great thing about Gaga is she always want to push for the most extreme option,” Card said. “She’s brave enough to let herself be a canvas for a designer to go and really express themselves. Nothing is off limits! With Rihanna and Beyoncé there is an end result of desirability and unattainable sexiness, whereas Gaga is a really interesting bridge between the desirable and the grotesque. She’s not at all worried about looking ridiculous or hideous; actually, I think she thrives off it.”

If Gaga is to maintain her distinctiveness, she’ll need to preserve her orientation toward art as kids putting on a show. It’s what connects her performance of fame to Andy Warhol’s vision instead of Simon Cowell’s. She’s been derided for constantly citing the Pop pioneer, but the connection is real.

Having gotten her start in the bohemian enclaves of downtown New York City, Gaga is deeply indebted to Warhol’s “Superstar”-oriented Factory scene and its aftermath, which produced drag performers like Candy Darling, artists such as Robert Mapplethorpe and streetwise rock stars including Lou Reed and Patti Smith, who declared glamour accessible to anyone with a Polaroid camera, a glue gun or a cheap guitar.

“The idea is, you are your image, you are who you see yourself to be,” she said. “It’s iconography. Warhol and I both went to church when we were younger. That’s how I see things. I don’t want anyone to feel trapped by their own lives. That to me is more dangerous than anything.”

On fantasy island

In Gaga’s movie, she is both Andy and the Superstar. Warhol supported and exploited a coterie of outsiders who likely would never have emerged from their corners without his help. Gaga takes control but also shows herself losing it; she blurs the lines between self-realization and self-objectification, courting the dangers of full exposure for a generation of kids born with camcorders in their hands.

Though she talks nonstop about liberation, Gaga’s work abounds with images of violation and entrapment. In the 1980s, Madonna employed bondage imagery, and it felt sexual. Gaga does it, and it looks like it hurts.

She says she wants her fans to feel safe in expressing their imperfections. “I want women — and men — to feel empowered by a deeper and more psychotic part of themselves. The part they’re always trying desperately to hide. I want that to become something that they cherish.”

But what is this freakishness, which she hopes to nurture? In songs like “Poker Face” and the new “Speechless,” Gaga focuses on women as unreliable narrators, misunderstood or even unable to speak. When she presents herself as a cartoon character or a space alien, she explores old questions about gender, artifice and “reality” using the new language of social media, body modification and transgender sexuality.

These deep issues are her tools, as important to her art as the glitter and latex in which she shrouds herself. “If you’re on an island, stranded, and all you have is sticks and leaves and pineapples, you’re gonna make a boat out of sticks and leaves and pineapples,” she said. “I view glamour and celebrity life and these plastic assumptions as the pineapples. And I spend my career harvesting pineapples, and making pies and outfits and lipsticks that will free my fans from their stranded islands.”

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ELLE Makes A Lady of Gaga

Vainstyle was anticipating the calm after the Gaga fashion storm and after a few recent hints, its finally here. A toned-down, but certainly fashion friendly Lady Gaga graces the cover of the newest ELLE Magazine. Gaga is seen in a simple black lace ensemble and allows her entire face to be exposed with very minimalist make-up. It’s even rumored that she has even had some cosmetic work done to her face.

On bodily reactions to stress: “I get all the symptoms of a pregnant woman. I get headaches, I get tired, I get blurred vision sometimes during a really intense session with [her creative team] the Haus.”

On a recurring theme in her work: “I feel that if I can show my demise artistically to the public, I can somehow cure my own legend. I can show you so you’re not looking for it. I’m dying for you on domestic television—here’s what it looks like, so no one has to wonder.”

On being a former waitress: “I was really good at it. I always got big tips. I always wore heels to work! I told everybody stories, and for customers on dates, I kept it romantic. It’s kind of like performing.”

On using her sexuality: “My album covers are not sexual at all, which was an issue at my record label. I fought for months, and I cried at meetings. They didn’t think the photos were commercial enough…The last thing a young woman needs is another picture of a sexy pop star writhing in sand, covered in grease, touching herself.”

On her romantic future: “In eight to 10 years, I want to have babies for my Dad to hold, grandkids. And I want to have a husband who loves and supports me, just the way anyone else does. I would never leave my career for a man right now, and I would never follow a man around.”

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Lady GaGa and her Style influences

Ok so first it was Christina Aguilera and now it’s Paris Hilton? When will this doppelganger game ever end? Since the word spread of this certain Lady GaGa, tabloids were quick to compare Miss GaGa with Miss Aguilera in terms of their fashion sense- the make up, the lipstick, the blond platinum hair and the clothes. Personally, I feel Aguilera has more or a acceptable, 50s look to her clothes whereas GaGa is more techno and new age. But why on earth would anyone want to compare her with Paris Hilton- the party princess with the girly clothes and sugar and spice all over?

Most Lady GaGa fans would now that the popster studied at the Convent of the Sacred Heart School in New York but did you know that the Hilton sisters went there too? The 22 year old Lady GaGa admits that the sisters made a huge impact on her appearance. According to GaGa, she was attracted to their cleanliness- their clean and pretty disposure and still continue to influence her dressing till today.

Whether rain or shine, Lady GaGa is known for her No-Pants showdown at glitzy, glamorous and elegant events in the U.S. Recently, GaGa, who’s real name is Stefani has been spotted painting the freezing London town red in skimpy hot pants and corsets while promoting her chart busting single ‘Just Dance’.

Of Italian lineage, GaGa is the daughter of internet entrepreneur dad and business partner mom. At 17, GaGa left school to work as a burlesque dancer in an underground club scene before gaining entry into the Tisch School of Arts. Before you know, this talented performer scored big by becoming a song writer for big names like Britney Spears and the Pussycat Dolls. Two years later and the world has Lady GaGa streaming out of their iPods.

Among friends and her social circle and anyone else who come into contact with her, GaGa is known as a chatterbox a show-off who comes out with the most extraordinary phrases and quirky actions. Writing and performing her own songs, Lady GaGa is set to become the best Madonna and the world better be ready for her. GaGa, knowing that she was affiliated with Madonna, quoted as saying that the both of them have many things in common such as their American-Italian lineage, the fact that both started out in New York and in the underground scene and the became famous after going blonde.

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Lady Gaga and her Fashion Sense

Breaking into the music scene in full force, Lady GaGa is now no more a virtually unheard of name. The track ‘Lets Dance’ is played on practically every club in town and clubbers go crazy as the song hits the speakers prompting everyone to get down to the dance floor shake their bodies to the rhythm. And why wouldn’t people like her? Her songs are eclectic and different compared to the same songs that you hear on the radio. Yeah their good, but it don’t stand out that much, or at least be in a class of their own. But of course, this is just my humble opinion.

With the fresh and vibrant sound, comes a unique fashion statement from this lady. Some call it outrageous, some call it crazy, some call if fun and some call it quirky. Whatever it is, Lady GaGa has something to call her own. Not wanting to be labeled as fashion forward with the same styles and sense like other Hollywood A-listers and Grammy crooners, Lady GaGa steps out into the red carpet with her sense of fashion that she calls art.

Change is often too hard to take especially in the fashion world. If you are not wearing something IT, then you are out. To Lady GaGa, she doesn’t want to attract attention though her sexy clothes, like other starlets do. She wants her fashion to make men think and not drool like the do when watching the Pussycat Dolls.

To Lady GaGa, being sexy isn’t something stated in the books. It’s your own personal style, so love her or hate her- she’s got her own thing going on and not many people can carry the look that she has. Unlike many other artists who get their stylist to do the dressing up and coming up with a certain theme, GaGa has a different approach. Even while writing her music, GaGa already pictures what she wants to wear on stage. To her, it’s the whole package of being an entertainer- the performance, the art, the effort, the song and or course, the fashion. It’s Lady GaGa telling a story to her fans and communicating with them.

Seeking inspiration from Versae, Lady GaGa considers Donatella Versace as her style icon saying that the fashion label’s designer is provocative, iconic and oh so powerful. Now isn’t it about time that we got a fresh dose of music to our years. Whatever people may say, Lady GaGa has my vote!

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Lady Gaga-Style Icon of 2009

Being named a ‘Style Icon’ of 2009, and getting wild reviews from all that features her, Lady GaGa is surely one lucky star. Nothing Lady GaGa does is petite –with exceptions to her figure of course. Everything in her world is a huge production. She’s never caught without the perfect pair of humongous sunglasses, not even one strand of her platinum blonde hair is ever out of place, and her striking stage costumes are always so crisp. So much attention is paid to her image that it’s not hard to overlook her music. Lucky for GaGa, her music makes just as big a statement as her feral image. Not one to back down from taking chances, Lady GaGa’s clothing choice ranges from the most bizarre outfits to the casual ones like a pair of flashing leotard shorts in her music video “Just Dance”.

Lady Gaga's style is heavily influenced by the 80's era. But do not doubt her originality, for this is one chick that can play around with a variety of style genre –imagine ancient style clashing with futuristic wardrobe. Plus this songstress not only writes her most of her songs, but also designs most of her performance attire. With her single “Just Dance!” hitting the Number 1 spot on the Official Charts this week, Lady GaGa proves that nothing is out of reach. During the recent Puma's 60th birthday celebration at the Great American Music Hall in San Francisco, the fashion Lady rocked her performance in a daring outfit. Gaga keeps true to her space-age chic artistic with a prismatic prom gown. Only she can show off in something as absurd as this. It's very Gareth Pugh in Toyland. Then she gets comfortable in what appears to be sporadic bathing suit-inspired outfit for her performance with her bandit-eyed army of dancers.

And speaking of proms? In Gaga's recent video, she showcases her wild, ultramodern style in "Poker Face" with an acrylic shoulder piece bought from Academy of Art University student, Mike Feeney. Mike Feeney created this piece of attire for Academy of Art University's April 2008 Spring Show and the diva works it really well. Really, really well because it isn’t easy to walk around let alone perform in something that people only can appreciate but never wear. That’s definitely not GaGa. Not only is she unafraid to experiment, Lady GaGA shows that she is a true supporter of young budding designers waiting to embrace the fashion industry when they step out of school.

“Just dance” made top ten where ever it’s touched; number 1 in Canada and Australia. “Poker face” got number 1 in Australia, Canada and New Zealand. That's some hot stuff. Soon, everyone is going to be wearing like her, since people are already bobbing their heads to her infectious songs. And some celebrities seem to be already following the path parallel as GaGa –or rather, on her path itself! Just take a look at Christina Aguilera’s recent fashion choice and Britney Spears latest video “Womenizer” and you’ll get the picture. It's all success for her and she’s probably the best thing to come out all year and for a long time!

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Lady Gaga and Her Fashion

If a fashion icon like Christina Aguilera remodels herself on you and looks strikingly closer to your total appearance, you can understand that you have arrived on the fashion scene and that too in no small a way.

Lady gaga looks to subtly morph her style associations into a unique gender-bending fashion statement. It is futuristic, very non-traditional. You can see a scantily clad lady gaga in the raunchy videos of just dance and there itself it will strike you that this girl is a little different with her fashion meter. Her fashion was manifest even in the early days when she simply put hairspray cans on fire on stage and came out dancing in her bikini and hot pants.

Lady gaga has perfectly exemplified what loads of self-confident fashion can do. Yes, it can make the purists come sniffing for you but at the same time it is enough to let you make your own style statement. Lady gaga fashion is all about understanding the need of human self-expression. This is something she enjoys in her art, in her life and in her fashion.

She confesses Peggy Bundy and Donatella Versace to be her icons. She feels that music as an art form can always be combined with fashion, attitude and abstract expression. This is where lady gaga fashion becomes universal while being perfectly individual.

Lady gaga has herself designed most of her stage outfits. Her dressing and her make-up is loud yet delicately subtle in parts. Imaging the huge shoulder pads, platinum blond make-up and well sketched out eyelashes.

Lady gaga is reminiscent of Gwen Stefani in the way that she has created her own unique style. There is no hint of moderation yet every thing seems like falling in place for lady gaga fashion. Her fab ensembles are being touted very highly and arguably her onstage clothing is simply the best.

Lady gaga recently revealed her fashion intentions claiming that fashion was everything for her. Even when she wrote a song, she conceptualized a vision associated with the song. This vision was of clothes she was going to wear so in a way, for her, performance art and pop art matched strides with on-stage fashion.

Lady gaga was a brunette till she found that being blonde in the white Andy Warhol mold was something that came more naturally to her.

Lady gaga's fashion may turn a different feather in some time. The girl is way too dynamic to stick to a single statement.

What do you think?

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