People leave our lives constantly, I am not speaking specifically about death, but it certainly encompasses it. We are upset and dissatisfied with what has occurred. Those people who we hold in exceptional regard depart from us, either for this eternity or until the next soirée or until next extended recess from work. Yet they never truly abandon us because we hold onto something of them in our bones and our minds. We latch onto certain people for certain reasons because we find them extraordinary, exemplary, or compelling. I latch on certain to people because I still young and I am finding myself and I constantly contemplate who I want to be in this world, and who makes me feel unhurried in finding myself, undemanding on who I will become, and accepting of who I will become. It is when people give their notice of their future absence or even if it is unexpected that you realize what you have lost or what you are going loose and you think how can you replace it, how can we instill the stability when that person was present because it is what we crave, or at least what I crave. And we can’t require that person to return to us, however ideal that would be, we must allow them to wander and proceed onward. But, we need to adjust our lives, reassess what their purpose was in the first place, why we harbored respect for them, why they took a certain stature in our life, what they personified for us. And not that we should replace that person with someone else or something else but that we take a moment and calculate why their were so specifically distinct, so remarkably special and how we will cope in the appropriate manner because they had something we had an absence of or that we desired in their persona, or that we were simply grateful for their company. We must receive and understand variables and conditions because they are out of our jurisdiction and it is all something that we as humans can not fully possess alone, that is why we search for these unusual, these notable people, that is why we hold onto them and say farewell to them, and then let these people leave because we are required to develop without, as do they.
It’s upsetting when events transpire in your life that you have to reevaluate some people and their category because you see they are regressing to a place that we know is damaging and despairing. I can no longer do things, or participate with people that cause me mania and disarray.
I am back in my apartment in Massachusetts after visiting Brooklyn for a couple of days. It was a delightful excursion however it was eclipsed by vanishment of a these Prada sunglasses I have owned since I was seventeen. Many would say that holding onto a pair of sunglasses for almost five years is an accomplishment in itself but now I very seldom loose something. I have misplaced many things but rarely, if ever do I mislay my more singularly, more costly items. It is a habit for me to put things away securely and properly in a bag, on a shelf, or in a drawer when I come home. Or if packing or traveling I inspect more that that item is protected and in attendance. This is my obsessive, fanatical self that adores and regards with excruciating supervision my expensive wardrobe and laudable accessories. Not all my items of garments and ornaments are uniformly worshipped. There are a great handful of items that I have immense sentiment for. One of those items in my collection is those Prada sunglasses. If I were to loose a pair of my Marni sunglasses or say Marc Jacobs sweater, I wouldn’t experience such anguish but the sunglasses that I lost were adored, they carried such sentiment that their absence is putting strain on my heart. These sunglasses were my first ever luxury, designer item. I received them for Christmas one year, it is isn’t so much that they were Prada it was that my father and I went to Saks Fifth Avenue in Boston and bought them. That is a very fond, very marvelous moment because it was my father entering the universe that I admired, that yearned for, that I understood. The domain of gorgeously fascinating things and atmospheres. I was showing him fashion that I sympathized with, that I took solace in. Prada has always been a house whose aesthetic sphere I have had a penchant for and because my father subtracted time of his day to accompany me to look at gifts for Christmas in the city was sort of pleasant and loving, because he rarely entered my arena.
The attachments we have to clothing are fascinating. I sincerely take pleasure in individuals discussing their outfits, not what label they are wearing or any technical description but why they purchased their piece of clothing, where they came across it, why they wear it, why do they pair it with another item, what is the narrative, who were they with when they bought it, who did it belong to before, and it goes on. All those aspects are interesting and rather necessary for fashion to be sensational, stimulating, and pleasurable. Style is a sign that you are intimate with your dress and self and that there is an encouraging affinity with how you view yourself and therefore project and express yourself to an audience, which included yourself. For myself, fashion doesn’t disguise anything but rather reveals more about my persona and conveys things that I don’t know how to communicate. My style, my clothing, my accessories have always been about who I aspire to be which makes my wardrobe so evocative. Those Prada sunglasses were an introduction to an arena of fashion that I aspired to be part of one day, that I had found consolation and validity in. Those sunglasses defined me at a time in my youth when I was just beginning to understand what I loved, what I regarded as sacred. I was conveying an ambition inside of me. They gave me a factor of sophistication, boldness, and composure that I was lacking at that time years ago. They provided potential and strength but also reminded me of a time with my father that I considered sacred and sparse.
Now that they have gone astray, I strongly speculate they are not going to present themselves as I most likely lost them in the midst of Manhattan or they were plucked out of my bag by a thief with magnificent taste. I have other sunglasses that cost thrice as much as the Prada that and are fantastically ridiculous and equally exquisite but there was an attachment and an account to be told about these sunglasses. I hope whoever is wearing them and wherever they are that they know they were loved and they evoked and caused substantial amounts of self-assurance, resilience, innovation, and induced further interest in my passions. They were stellar sunglasses.
Balencaiga Spring/Summer 2013. Look #20. Model Grace Mahary.
Playlist For This Evening:
In Your Nature (David Lynch Remix) - Zola Jesus
Doused - DIIV
Elite - Heavenly Beat
Take A Walk - Passion Pit
Breathing Underwater - Metric
Hundred Hearts - Zambri
Human - Dive
Angel Echoes - Four Tet
(Please) Don’t Break Me - CATWALK
Century - The Mary Onettes
Ixode - Zola Jesus
Auto Rock - Mogwai
I Belong In Your Arms - Chairlift
Lachlan Bailey photographs Fei Fei Sun for the September issue of Vogue China. Clare Richardson styles the editorial.
Karlie Kloss in the October issue of Numéro. Photographed by the amazing Greg Kadel and styled by Elizabeth Sulcer. These editorial is spectacular. Kloss is indisputably one of, if not the most, exceptional models the industry has at the moment. Models are a insanely abundant but she has what Werbowy, Namoi, Gemma, Stone, Stephanie, Gisele, Linda, Sasha, Elson, Raquel, Vodianova, Hutton, Anja, Shalom, Schiffer Kurkova, and Kate have. It’s a unidentified, outstanding grouping of distinctive qualities that make them so superlative and so much worthier than the models that clutter the industry. This editorial spread, along with work she did with Steven Meisel for the December 2011 issue of Vogue Italia, permanently congeals her standing as one of the greatest models of my generation. She absolutely demolishes any preconceived notions or doubts I had about her because I previously viewed her as another juvenile, attractive model with a sensational body and delightful allure because she still is an adolescent and purely delivered prettiness, but now she shows ridiculous potential. However, I cannot pummel the point any further that she is the muse of her generation of models and will demonstrate more and more breath and capacity with years and experience that most of the seasoned ladies have retained past their industry prime.
“We are all in the gutter, but some of us are looking at the stars.” - Oscar Wilde
Crystal Renn is photographed by Laurie Bartley for Numéro Tokyo. Felipe Mendes is the stylist. Photographed on New York City’s subways. I really found this editorial to be impressive and well done.
Two stunning images of Milla Jovoich from the September issue of Vogue Italia. Jacob K is the fashion editor. The editorial feature is photographed by Peter Lindbergh where he collaborated with conceptual artist Jenny Holzer using her “Truisms” and this season’s couture.
Designer Sally LaPointe, a Marblehead native, is finally getting some proper recognition from the press as she presents at New York Fashion Week. I took notice of this designer back in Spring 2011 when she debuted her eponymous label at New York Fashion Week and also because I try to stay relevant to designers coming out of Massachusetts. This collection was undoubtably the most commercially viable of her fledging career and nonetheless it exceptional. It was a fairly pragmatic, a fairly united assemblage of looks that would convince one enough, combined with her past collections, that LaPointe has the capability to devise some individualized sophistication that makes an embryonic designer burgeon into something remarkable but also valid for a generation. LaPointe is continually progressing, therein impressing.
LaPointe remains unconventional but enough so that she doesn’t baffle or muddle a manifestation of ideas rather she escalates them every time she presents her work. This collection revealed LaPointe’s discriminating persuasion from her preceding seasons by embracing a more diverse range of women who could wear LaPointe. This reveals not only maturity for the emerging designer but it exhibits a conscious and a responsibility to the discerning and multifarious woman who identify and purchase these clothes. She achieves this sophistication by subsiding the fierceness she set forth so emphatically and skillfully in the past all the while retaining all of her inventiveness and artistry.
Abated yet not abandoned was the semblance of severity which in this collection LaPointe conveyed through her acute sense of tailoring. Structure was countervailed with fluidity. Tailoring on the jackets and shorts was exceptional which imparted to the subject of this collection which was man verses nature, as LaPointe was influenced by rock formations, quarries, as well as rivers moving through those concrete structures. Those reference can be detected in the lambskin peplum tops replete with cutouts, strict skirts with draped silk georgette, drastically columnar dresses with severe plunging v-necklines and others with well constructed bodices. The designer successfully sustained an equilibrium between structure and fluidity.