Gisele Bundchen enjoys her single life and strips down for a daring photo shoot


Tom Brady and Gisele Bundchen’s divorce was one of the celebrity stories of 2022, however the Brazilian model is now looking to move on with her own life without him.

This has coincided with a stunning return to the modelling scene, with the 43-year-old going tastefully topless in a photoshoot.

The shoot, for Frame’s 2023 winter denim line, sees Gisele without a shirt on, modelling a pair of jeans.

Despite her advancing years, the model’s figure was nothing short of breathtaking, using her hands to cover her breasts.

She has been announced as the face of the Frame line of winter denim, and one of the pictures also showed her lying down topless, making full use of the pose to highlight the nature of the denim jeans.

What else is going on in Gisele’s career?

Having returned to modelling after the breakup of her marriage, Gisele also appeared in a Victoria’s Secret campaign in August, in which she was pictured alongside Naomi Campbell, Candice Swanepoel, Adriana Lima and Emily Ratajkowski.

Gisele Bundchen shows Tom Brady what he’s missing with sexy Carnival dance

Some have argued that this return to the modelling world has coincided with the financial pressures that came with Gisele and Brady being embroiled in the FTX collapse and subsequent scandal.

Reports suggest the pair lost almost $30 million from their combined wealth, which whilst less problematic for Brady, would certainly have an impact on a newly-single Bundchen.

Despite that, Bundchen has kept a positive outlook on things in the months since her split with Brady, making clear she is using nature as a way to reach inner-peace.

“Nature is my best wellness treatment,” Bundchen told People Magazine.

“Just feeling the sun, taking a dip in the ocean, running on the sand and feeling the grass on my feet.

“Just being in nature just gives you energy, it just makes you feel good.”


Fashion Photography with a Pistol and a Pulse


In his introduction to Klein’s book, its editor and designer, Mark Holborn writes that “to open this book is to enter criminal territory. Here, the police are busy. Transgression, too, has its allure.” If Klein’s transgression doesn’t seem as thrilling as it once did, you can’t fault the work. It remains tough, subversive, and “difficult” at a time when few magazines—and even fewer advertisers—value anything remotely challenging. Sadly, that makes “Steven Klein” feel like a period piece, a memorial slab to an era when fashion photographers—including Klein, Meisel, Nick Knight, David Sims, Bruce Weber, Collier Schorr, Matthias Vriens, Juergen Teller, and Wolfgang Tillmans—were leading an adventurous, sophisticated, queer-centric avant-garde. They broke old-guard magazines wide open, spearheaded new ones, and changed the way we thought about the medium and the message. Because Klein was one of that group’s most radical members, especially in retrospect, his work looks more outrageous now than it did when it first appeared. How dare he photograph a nude woman with surgical scars on her stomach and breasts as if she were a body dumped on the grass? Or conjure a pregnant male nude, a Los Angeles porn set, a model submerged in a tank like one of Damien Hirst’s sharks, or Tom Ford buffing a man’s bare ass like it was a car hood? Odd to think that this is now history too rude to be repeated.

“Riccardo Tisci,” New York City, 2011.

“Kim Wears Prada, Image No. 15,” Motel 6, Los Angeles, 2014. 

Holborn’s introduction describes a short film Klein made for Alexander McQueen that reworked the opening scene from Michael Powell’s 1960 movie “Peeping Tom,” with Kate Moss as the doomed focus of an “obsessive predatory stalker” played by Klein himself. A still from that short, of a small camera clutched in Klein’s tattooed hands like a weapon, is one of the book’s most charged and contained images. Klein is hardly a lone stalker. He has a huge support staff—editors, stylists, hair-and-makeup people—to help realize his obsessions. But his most lurid visions rarely make the editorial pages these days. His transformation of the singer-songwriter Ethel Cain into a vampiric Victorian queen, for the cover of the Spring issue of V, is merely alarming. Subversiveness—the transgressive vision—might be old-school, but Klein hasn’t given it up. His monograph suggests that it’s still a force that can thrill and disturb.