In the late 80's/Early 90's Sebastian Cardin captivated Paris with a long lithe body, a boy beauty and a sang froid so chilly it impressed even...the French. Lagerfeld liked it. As did the New Turks, Mugler and Gaultier who used Sebastian's boy/girl fusion to maximum effect. That apparent indifference, that supreme lack of desperation...it served her well on the pages of Elle when that Early 90's Elle with it punchy, color-driven layouts, put the fear of God in the Grand Lady glossies.
Submitted by Wayne on Tue, 2014-08-05 12:45.
Submitted by Wayne on Tue, 2014-08-05 01:05.
Submitted by Wayne on Sat, 2014-08-02 15:50.
Current Viewing: L'Hypothese du Tableau Vole : (Hypothesis Of The Stolen Painting): Directed by Raoul RuizSubmitted by Wayne on Fri, 2014-08-01 14:54.
"Inspired by the idiosyncratic personality of author, theorist, and artist Pierre Klossowski whose densely cerebral erotic fiction was influenced by such notorious literary figures as the Marquis de Sade and the excommunicated surrealist Georges Bataille, as well as Klossowski's final novel La Baphomet, The Hypothesis of the Stolen Painting is an indelibly haunting, endlessly fascinating, and maddeningly abstruse composition on Pirandellian ambiguity and the inherent subjectivity of perspective."
Submitted by Wayne on Thu, 2014-07-31 17:12.
Submitted by Wayne on Thu, 2014-07-31 15:47.
Ghost Dance, an experimental film by the British director Ken McMullen, is notable for its very leisurely pace, its occasional bizarre humor, its near-perfect opacity and the presence of two striking individuals: Jacques Derrida, the French linguistic philosopher, and Pascale Ogier, the late young actress whose doleful, mature face and mischievous manner held forth such great promise of a remarkable screen career. … Ogier and Leonie Mellinger, as the film’s two wandering heroines, appear in various bleak settings in London and Paris, while various quotations are delivered in voice-over and titles like “Myth: The Voice of Destruction, the Voice of Deliverance” divide the film into subsections.
— NY Times.
Submitted by Wayne on Wed, 2014-07-30 21:32.
Beauty is artifice, if the beauty you're talking about is cosmetic. Natural's not in it, much as it pretends to be. The post-digital usually veils this, with great sleight of hand, in the best beauty campaigns and the most seductive editorials, touting the power of the product to transform and transcend. Do we believe this anymore ? I think we do. No matter how far you take it, no matter how Brechtian your post-production gets as an image-maker, we will always want to believe that not only is the image real, but that it is also possible. That is the art of artifice, which is what 21st century fashion has become.
Submitted by Wayne on Tue, 2014-07-29 03:08.