budi svoj(a) i jedi pastu

gotovo iz svih medijskih oružja, i tradicionalnih i ovih najsavremenijih elektronskih, gađani smo porukama da volimo sebe. i nekako se najviše obraćaju nama ženama. (jasno im je da smo mi deficitarne sa tom vrstom ljubavi?) problem je što obično zaborave da je to nemoguća misija ako prethodno ne spoznamo to „sebe“, taj objekt naše (predstojeće) ljubavi. možda misle da se to podrazumeva, ali da je to tako lako ni sokrat ne bi posezao do proročišta u delfima.

nekako sam uvek mislila da su italijanke pošteđene potrage za tom ljubavlju, one kao da je prirodno poseduju. izgledaju savršeno i mimo modnih diktata o idealnim merama, tj. ne izgledaju kao da su jedva preživele dijetu, naprotiv, a zgodne su, zanosne, glasno se smeju i ono najbitnije – deluju zadovoljne sobom. a jednu pastu! mnogo paste!!! sophia loren je jednom odala tajnu svoje zanosne figure: „sve što vidite, dugujem špagetama!“ međutim, nedavno se pojavio poster za predstojeći kanski filmski festival sa fotografijom ništa manje zanosne claudie cardinale. na posteru ona iz 1959, pleše na nekom rimskom krovu. sve bi bilo u redu da na posteru stas ove filmske legende nije u photoshopu smanjen barem za broj. čemu to i zašto? šta je autor plakata pokušao da nam poruči? da i italijanke negde greše? da mlada claudia nije bila dovoljno zgodna?

srećom, ne misle svi tako, ne posežu niti za fotošopiranjem, niti za dijetama, već shvataju razliku između suštine i… praznine? jedna od tih koje su znale suštinu uvek je bila i georgia o’keeffe. poznata po svom umetničkom radu, načinu života, snažnom ličnom stilu i insistiranju na onoj istini iz delfa. od 17. do 28. maja možeš da pratiš kanski filmski festival, a sve do 23. jula ako letiš preko okeana obavezno poseti brooklyn museum i izložbu „georgia o’keeffe: living modern“, izložbu koja slavi snagu individualnosti, autentičnost i nezavisnost jedne fascinantne ličnosti. (o njoj sam pisala ovde i ovde)

someone else’s vision will never be as good as your own vision of your self. live and die with it ’cause in the end it’s all you have. lose it and you lose yourself and everything else. i should have listened to myself.” – georgia O’keeffe 

georgia o’keeffe, photo by bruce weber,  1984

sad,  kada si već u njujorku možda na njegovim ulicama zapaziš i ovu ženu,  lyn slater, sedokosu univerzitetsku profesoricu koja ne krije svoje godine (63), modnu ikonu u usponu, vlasnicu netipičnog modnog bloga „accidental icon“, zaštitno lice najnovije mango kampanje “a story of uniqueness“, ženu koju je angažovao i elite model management, kreativnu osobu koja promoviše stav „budi svoj“. oscar wilde je već odavno u svom geniju primetio da nam ništa drugo ni ne preostaje, svo ostalo je već zauzeto.

lyn slater, photo carmen daneshmandi

ako i ne putuješ gotovo o svemu, ako želiš,  možeš da se informišeš i na internetu, tu možeš i da poručiš knjigu (ako možeš da izdvojiš tridesetak dolara)  koju se izdale ove dve fenomenalne žene, takođe njujorčanke, majka i kćerka, elisa goodkind i lily mandelbaum (o njima sam pisala ovde). njihova knjiga se zove

t r u e   s t y l e   i s  w h a t ‘s   u n d e r n e a t h:

t h e  s e l f –  a c c e p t a n c e   r e v o l u t i o n“.

zvuči snažno i istinito, zar ne? elisa je dugo bila urednica i stilista u najprestižnijim modnim časopisama i kaže da ju je narastajuća komercijalizacija mode sve više frustrirala, pa je sa svojom kćerkom, antropologom lily, pokrenula site/projekat  „style like u“ o ljudima sa sadržinom, koji grade svoj sopstveni stil. kada sledeći put izađeš na ulicu pokušaj da obratiš pažnju na one ljude koji ne izgledaju nalik drugima, jer stil je način da kažemo koju na temu ko smo, bez da otvorimo usta.

“people are very beautiful when you pay attention to them.” elisa goodkind 

being ‘stylish’ is not synonymous with being young, rich, thin, trendy or famous. it is not about having a designer label or an ‘it’ bag -true style is a reflection of the nonconformist spirit of the person underneath the clothes.” (elisa & lily)

StyleLikeU

Oglasi

after a visit to the beach…

nije me bilo podosta, jer: after a visit to the beach, it’s hard to believe that we live in a material world. (pam shaw)

zapravo, nije teško ni nakon plaže poverovati da živimo u materijalnom svetu. preočit je. teže je da shvatimo zašto živimo u tako materijalnom svetu. ili zašto smo dozvolili da to bude tako. (o, bože, ne volim da govorim u ime drugih, vraćam se na prvo lice jednine. to je i poštenije.)

čovek beži sve brže od svega onoga što ovaj zemaljski život čini lepim i dobrim. beži od slobode, od prirode, od sebe, od smisla… na delu je i antiduhovnost i antiintelektualizam. nikakav napor nije potreban ni da bi se to uočilo.

ali, na plaži zaboravim sve to. sav taj svet.  zato i volim da sam tamo od jutra do zalaska sunca. (bila bih i od izlaska kada bih naterala sebe da rano ustanem.) odeš sa dragim ljudima, smeješ se, dišeš, zatvoriš oči i pustiš telo i sunce da postoje jedno pored drugog, plivaš, roniš, voliš i meduze i velike talase, slušaš šum mora i huk vetra, gledaš u plavo i zeleno. i sve je drugo besmisleno.

posle 11 dana vratih se. u tzv. stvarnost. a kad zatvorim oči vidim talase. i plavo. i svetlost!

bitnije stvari vidim zatvorenih očiju.

zato, kad ih otvorim,  kad god mogu,  biram šta ću da gledam:

  • film “snowden” olivera stona. i slušanje muzike petera gabriela!
  • u novom “original magazinu”  čitam tekst koji je jelena đoković napisala. lep, topao i pametan putopis o ekvadoru.
  • a ovih dana ću sebi na dar da kupim “praznik beznačajnosti” milana kundere. i nadam se da to nije njegova tačka…
  • ako voliš edwarda hoppera pogledaj i ti ovaj film:

 

  • ako imaš dobar ukus za umenost i voliš nakit obrati pažnju na ovo:

moja omiljena georgia o’keeffe nosila je njegov nakit i volela njegove kinetičke skulpture. i imala ih u svom lepom domu u novom meksiku. on je alexander calder.

“i wish people were all trees and i think i could enjoy them then.” (georgia o’keeffe)

georgia o’ keeffe  i broš koji je dizajnirao njen prijatelj alexander calder

georgia o’keeffe u svom domu ghost ranch i skulptura alexandera caldera

nakit koji je calder dizajnirao

 

alexander calder, 1954

i tako, lepota je u oku posmatrača…

erich fromm nam je u “umeću življenja” skrenuo pažnju da izbegavamo društvo trivijalnih ljudi.

sebi želim da posetim plažu kad god mogu, da se okružim lepim stvarima i dobrim, kreativnim i mudrim ljudima. i  sve ružno i zlo da me izbegava i da ja izbegavam u širokom luku.

čovek ne bi trebalo  da govori lošim ljudima o onome što vidi, ali ne bi smeo ni da pokušava da ih uveri kako je slep. (erich fromm)

ovih dana moji omiljeni kreatori yohji yamamoto i rei kawakubo imaju rođendane. on je napunio 73 godine (3. oktobra), a ona (danas) 74. i nakon nedavno završenog paris fashion week-a konstatujem da su njih dvoje i dalje najmlađi kreatori na svetu.

 

…“One may have such yearnings at any age, and Kawakubo was into her thirties when she met the love of her youth, Yohji Yamamoto. There was something pharaonic about their glamour as a couple, that of two regal and feline siblings with a priestly...

 

hands, pina and georgia. and yohji

directed by lee yanor

i dalje ne mogu da zaboravim reči koje je izgovorio yohji yamamoto: “for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.”  kakva oda pravoj ženskoj lepoti… a živimo u svetu koji je muški. nekako se potrude da nas svedu na dekoraciju. ili na nešto još gore. ne i yohji. volim ga i zbog toga. a o vezi između pine bausch i njega i georgie i njega već sam pisala. ovaj post je priča o njima dvema. i njhovim rukama. one su samo jedna tačka bliskosti (pob/ratimstva lica u svemiru, kao što tin ujević reče) između njih dve. sličnost njihovih unutrašnjih lepota…

prvo “portret” ruku georgie O’keeffe(1887-1986) koje je uradio alfred stieglitz. koji je prvo imao mišljenje slično yamamotu, ali je kasnije duh, talenat i uspeh koji je imala georgia postao preteško breme za njega, pa je zaboravio to što je nekad znao.

***

still cannot forget the words spoken by yohji yamamoto: : “for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.” what an ode to the true female beauty… and we live in a world that is a men’s men’s world. somehow they make the effort to reduce us only to decoration or to something worse, but not yohji. i love him  because of that and about the link between pina bausch and him and georgie i have already written. this post is a story about the two of them. and about their hands.. . they are only one point of closeness (brotherhood of persons in the universe, as poet tin ujević said) between the two of them the similarity of their internal beauty …

firstly “portrait”of georgia o’keeffe” hands, which was made by alfred stieglitz, who firstly had a similar opinion like yamamoto, but later the spirit, talent and success that georgia had become a heavy burden for him, and he forgot what he once knew…

alfred stieglitz, hands, 1919

Alfred Stieglitz</p>
<p><br />
GEORGIA O’KEEFFE – HANDS AND THIMBLE

alfred stieglitz, hands and thimble, 1919

alfred stieglitz, hands and horse skull, 1931

 

O'Keeffe-(hands).jpg

alfred stieglitz, hands, 1918

georgia by alfred

“i wondered at my hand…my left one as i saw it on the last printed page of the last book…and my mind wandered to the prints of my hands… i moved to get up to look for them…no…the other hand reached for the book…. so i sat looking at the hand—then at them both…i’ve looked at them often today—they have looked so white and smooth and wonderfu …i’ve wondered if they were really mine…”

“my hands had always been admired…but I never though much about it.”

(georgia O’keeffe)

a sada pina bausch (1940-2009). primećujete li tolike sličnosti, pa i vizuelne između njih dve, dođe kao retoričko pitanje…

and now pina bausch. (1940-2009) if you have noticed  many similarities between the two of them , even the visual , and that came as a rhetorical question…

opet inserti iz filma “coffee with pina” koji je uradio lee yanor

and again clips from lee yanor’s movie “coffee with pina”…

photo by walter vogel

photograph: thomas lohnes/AFP/getty images

photo donata wenders

&  za kraj opet yohji yamamoto,  hands:

Un modèle de la collection printemps-été 1992, en hommage à Pina Bausch, présenté au Victoria & Albert Museum. (V&A Images)

yohji yamamoto s/s 2009 / doru covrig “hands”

don’t do that jacket • yohji yamamoto pour homme

post scriptum / georgia and yohji on my mind

post scriptum:

iliti pobratimstvo lica u svemiru (ponekad i na zemlji već)

završila sam današnji post i  shvatila da moram da dodam ovaj p.s. ona koja je slikala cvetove tako moćno, tako snažno, izjavila je da mrzi cveće. on koji stvara modu koja je bezvremena,  božanstvena, izjavio je da mrzi modu. ovo dvoje ljudi koji se verovatno nikada nisu sreli, ona je 1986. umrla, a njena japanska izložba bila je u tokiju (the seibu museum of art)  posthumno 1988. godine… ali, su očito, odvojeno delili toliko toga u svojim životima…

lepota dobrih energija…

***

post scriptum:

or  brotherhood of persons in the universe (and sometimes on the earth also) i have finished today’s post and i realized that I must add this p.s. she, who painted flowers so strong, so powerful, said that she hates flowers. he, who creates fashion that is timeless, divine, said that he hates fashion. the two people who probably never met, she died in 1986. and her japanese exhibition was in tokyo (the seibu museum of art),  posthumously in 1988… but, obviously, they separately shared so much in their  lives… the beauty of good energies…

( grey line with black, blue and yellow, georgia o keeffe)

yellow Calla, 192c

single lily with red, 1928

(iris, georgia o keeffe)

(georgia O’keeffe)

“i hate flowers – i paint them because they’re cheaper than models and they don’t move. ”

“i know i can not paint a flower. i can not paint the sun on the desert on a bright summer morning but maybe in terms of paint color i can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time.”

a flower is relatively small. everyone has many associations with a flower – the idea of flowers. you put out your hand to touch the flower — lean forward to smell it — maybe touch it with your lips almost without thinking — or give it to someone to please them. still — in a way — nobody sees a flower — really — it is so small — we haven’t time — and to see takes time, like to have a friend takes time …”

– georgia O’keeffe

a/w 2009

a/w 1988

Yohji Yamamoto 1995

a/w 1995

540x720

s/s 1998

s/2 2011

yohji yamamoto: i hate fashion.

 claudia riedel: from the beginning until today?

yohji yamamotoyes, i may be making fashion in the sense of craftmanship, but i hate the world of fashion.

claudia riedel: why do you hate it?

yohji yamamoto: fashion sighs after trends. i want timeless elegance. fashion has no time. i do. i say.: hello lady, how can i help you? fashion has no time to even ask such a question, because it is constantly concerned with finding out: what will come next? it is more about helping women to suffer less, to attain more freedom and independence.

 yohji yamamoto

pobratimstvo lica u svemiru

-tin ujević –

ne boj se! nisi sam! ima i drugih nego ti
koji nepoznati od tebe žive tvojim životom.
i ono sve što ti bje, ču i što sni
gori u njima istim žarom, ljepotom i čistotom.

ne gordi se! tvoje misli nisu samo tvoje! one u drugima žive.
mi smo svi prešli iste putove u mraku,
mi smo svi jednako lutali u znaku
traženja, i svima jednako se dive.

sa svakim nešto dijeliš, i više vas ste isti.
i pamti da je tako od prastarih vremena.
i svi se ponavljamo, i veliki i čisti,
kao djeca što ne znaju još ni svojih imena.

i snagu nam, i grijehe drugi s nama dijele,
i sni su naši sami iz zajednickog vrela.
i hrana nam je duše iz naše opće zdjele,
i sebični je pečat jedan nasred čela.

***

brotherhood of persons in the universe – tin ujević

“do not be afraid! you are not alone! there are also others like you

 that’s unknown of you,  living their lives. “

georgia again again

georgia totto o’keeffe (november 15, 1887 – march 6, 1986) je ona koja neosporno odgovara opisu žene koji je yohji yamamoto dao:

for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.”

o, da, pisala sam već o njoj i njemu, o konekciji u njihovom poimanju odeće. ona je volela pse, takođe. yamamoto, takođe, voli da slika… oboje oslobođeni klišea, oboje vanvremenski… autentični. ja bit tako volela da se yohji yamamoto posveti proučavanju njenog dela i života, njenih promišljanja, da tu nađe inspiraciju za neku buduću kolekciju…

ona je, što se mene tiče, jedna od najvećih ikona stila svih vremena. bez predumišljaja.

volela bih mesto za sebe kao njen ghost ranch. umbraculum. senovito mesto udaljeno od sveta, za razmišljanje i rad. koa što bi jan fabre rekao. i meditaciju.

“it takes courage to be a painter. i always felt i walked on the edge of a knife. on this knife i might fall off on either side. but i’d walk it again. so what. so what if you do fall off. i’d rather be doing something i really wanted to do.” (georgia O’keeffe)

***

georgia totto o’keeffe (november 15, 1887 – march 6, 1986) is one that undoubtedly fits the description of women what gave yohji yamamoto:

for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.”

oh, yes, i wrote already about him and her, about their connection of their understanding of clothing. she loved dogs, too. yamamoto also likes to paint … both freed from clichés, both timeless … authentic. i would like that yohji yamamoto study her work and her life, her thoughts. perhaps, for a future collection … she is , as for me, one of the greatest style icons of all time. without premeditation. i would like to place myself as her ghost ranch. umbraculum. shaded place away from the world, for thinking and to work, as would jan fabre say. and meditation.

“it takes courage to be a painter. i always felt i walked on the edge of a knife. on this knife i might fall off on either side. but i’d walk it again. so what. so what if you do fall off. i’d rather be doing something i really wanted to do.” (georgia O’keeffe)

dole su fotografije koje je 1966. napravio todd webb:

fotogafije koje je načinio ralph looney:

fotografije koje je načinio john loengard 1967.:

Georgia O'Keeffe photographed on the roof of her Ghost Ranch home in New Mexico, 1967.

John Loengard—Georgia O’Keeffe with her rock collection

John_loengard_georgia_okeeffe_chows_2
fotografije koje je načinio dan budnik na njenon ghost ranchu u new mexicu 1975. :

“whether you succeed or not is irrelevant—there is no such thing. making your unknown known is the important thing—and keeping the unknown always beyond you…”  (georgia O’keeffe)

http://www.okeeffemuseum.org/her-houses.html

http://www.abqarts.org/content/artward-bound-santa-fe

georgia (and yohji) on my mind…

o “for me, a woman who is absorbed in her work, who does not care about gaining one’s favour, strong yet subtle at the same time, is essentially more seductive. the more she hides and abandons her femininity, the more it emerges from the very heart of her existence.”  (yohji yamamoto)

christopher springmann O’keeffe portrait

georgia o’keeffe (november 15, 1887 – march 6, 1986)

oh yes, everyone knows that, out of all designers, i like yamamoto the most. i watch, read, listen to… everything i find about him. then i let go it all, but i keep thinking how does he make clothes that even angels would like to wear… in which they would feel safe.

i think, i am almost certain that she would love to wear his clothes. she = georgia o’keeffe. i am convinced that she would wear it just like he imagined a woman obsessed with creation would wear it… after all, she has worn it. that’s it, right? fraternity of persons in space… paths cross for people of same energy at some point, even if they come from different periods…

https://i0.wp.com/kwame-vf.s3.amazonaws.com/wp-content/uploads/2011/07/Yamamoto_BritishLandingGalleries_byABattista2.jpg

yohji yamamoto, v&a museum, london, 2011

photo by dan budnik

https://i1.wp.com/media-cache-ec0.pinimg.com/236x/99/34/98/993498256215ade9cfbf2a84cc9c4648.jpg

georgia O’keeffe in santa fe, by photographer tony vaccaro for look magazine (1960)

https://i0.wp.com/cdn.styleforum.net/b/b2/b2a85ecf_YohjiYamamotoSuit93a.jpeg

georgia O’keeffe by laura gilpin, 1953

https://i2.wp.com/38.media.tumblr.com/tumblr_llzo1493EE1qbbjpeo1_1280.jpg

photo by john loengard, 1966

https://wildsidefashion.files.wordpress.com/2014/08/5a4e8-yohjiyamamoto-vogueparis-feb1993-bymaxvadukul.jpg

photo by cecil beaton

https://i1.wp.com/thumbnail.image.rakuten.co.jp/@0_mall/jimu/cabinet/q13/031161-1.jpg

photo by yousuf karsh

photo by yousuf karsh

https://i2.wp.com/media-cache-ec0.pinimg.com/236x/dd/30/45/dd3045e1ab1ec185f246262bc6e1924c.jpg

“why black? black is modest and arrogant at the same time. black is lazy and easy — but mysterious. it means that many things go together, yet it takes different aspects in many fabrics. you need black to have a silhouette. black can swallow light, or make things look sharp. but above all black says this: ‘i don’t bother you — don’t bother me!” (yohji yamamoto)

there’s something about black. you feel hidden away in it. (georgia o’keeffe)

photo by george f. mobley, national geographic

https://i2.wp.com/cdn.styleforum.net/3/35/350x486px-LL-353b121d_pg.jpeg

photo by eliot porter

i think it’s so foolish for people to want to be happy. happy is so momentary – you’re happy for an instant and then you start thinking again. (georgia O’keeffe)

https://i0.wp.com/media-cache-ec0.pinimg.com/236x/40/8a/d8/408ad8a6b60e5f1c716917dd1a818bd9.jpg

“i think perfection is ugly. somewhere in the things humans make, i want to see scars, failure, disorder, distortion.” (yohji yamamoto)

https://i1.wp.com/forums.pelicanparts.com/uploads15/painting_in_car1254711082.jpg

photo by ansel adams 1937

charlize theron, mario testinous vogue sept. 2009, homage to georgia O’keeffe,  ghost ranch, new mexico.