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Monday, 19 January 2015
Friday, 16 January 2015
GOODIES @ BAZAAR BR
If you check out my Facebook page you've seen the new edition of Harper's Bazaar Brasil, January Issue. I write features about amazing new products that are hitting the stores of London and (of course) online.
As January is high summer season in Brazil the beautiful cover arrives in the best kind of summer beauty: wet, luminous, golden and lush.
As January is high summer season in Brazil the beautiful cover arrives in the best kind of summer beauty: wet, luminous, golden and lush.
This month is JW Anderson's accessories inspired by Jacque Tati (love!), Amanda Wakeley Bullet bag collection and fine fabric/cool urban looking Antipodium's Boho influences mixed with a 90's street vibe.
Thursday, 15 January 2015
INTO THE CLOUDS
I have a shoot coming up that was I loved researching for. It was actually a shoot motivated because of this interest.
Spirituality, energy and focus are always so interesting so...this is in honor of that. One of many inspirations.
Spirituality, energy and focus are always so interesting so...this is in honor of that. One of many inspirations.
This is about restrained energy and expressing externally the colourful being inside.
Mouth watering colours and fabrics !!
Colourful Winter for everyone!
Thank you London Sock Company for the cool socks used in our story.
#GimmeColour
Wednesday, 14 January 2015
Tuesday, 13 January 2015
JANIS LOOK
"Take another little piece of my heart, now baby!"
Missing my feather boa though...
Maybe we could switch boas for Christmas tinsels, that would be Fab!!
Friday, 12 December 2014
THE FUNCTIONAL PSYCHOPATH
The book "The Wisdom of Psychopaths" by Kevin Dutton is a great tool to understand how successful people thrive in their careers - they have important qualities in common with sociopaths and criminal psychopaths whose personality features make them the dominants in day to day situations.
People who have psychopathic tendencies and yet don't commit crimes are mostly labelled as "sociopaths", they manage to scale the success ladder because of their lack of emotional engagement, their ruthlessness, focus and tenacity.
I believe some people could benefit with such study and this is why I selected the book's best ideas on how to translate a popularly known psychopathy into a "functional psychopathy":
-The triumvirate of personality traits: The stratospheric self-esteem of narcissists, the fearless, ruthless, impulsive and thrill-seeking, the deceitful can all actually do pretty well for themselves.
-Narcissism is associated with self-promotion and ostentatious displays of success and machiavellianism, with being socially manipulative.
-Creativity - which brings good strategic thinking and excellent communication skills.
-The problem with a lot of people is that what they think is a virtue is actually a vice in disguise. It’s much easier to convince yourself that you’re reasonable and civilised, than soft and weak, isn’t it?
-Ninety-nine percent of things people worry about never happen. So what’s the point? “I think the problem is that people spend so much time worrying about what might happen, what might go wrong, that they completely lose sight of the present. They completely overlook the fact that, actually, right now, everything’s perfectly fine.”
People who have psychopathic tendencies and yet don't commit crimes are mostly labelled as "sociopaths", they manage to scale the success ladder because of their lack of emotional engagement, their ruthlessness, focus and tenacity.
I believe some people could benefit with such study and this is why I selected the book's best ideas on how to translate a popularly known psychopathy into a "functional psychopathy":
-The triumvirate of personality traits: The stratospheric self-esteem of narcissists, the fearless, ruthless, impulsive and thrill-seeking, the deceitful can all actually do pretty well for themselves.
-Narcissism is associated with self-promotion and ostentatious displays of success and machiavellianism, with being socially manipulative.
-Next time you’re in a situation where you’re scared, just think: “Imagine I didn’t feel this way, What would I do then?” And then just do it anyway (good advice, if you’ve got the balls to take it!).
-You cannot allow any members of your brain’s emotional executive committee to knock on the door of the decision-making boardroom, let alone take the seat at the table. Ruthlessly, remorselessly, relentlessly, you have to stay in the present. You can't let what happened yesterday affect what happens today. If you do, you'll go under in no time.
-Focus on the job in hand and when that job is finished, just walk away and forget it ever happened.
-Psychopaths never procrastinate
GERMANO CELANT ON FASHION
Germano Celant did a great interview a couple of years ago with Donatien Grau for his column at Another Magazine's website, where he speaks with great thinkers and creatives about fashion and it's connections to contemporary creativity, and this one it's definitely worth revisiting.
I chose to feature here a special part of the interview, where Mr. Celant talks about the importance of fashion in history, as I believe the big public i.e. not related to the fashion industry community, would really benefit from this information - about the deeper roots of fashion in regards to political, social and economical events through out history.
You can read the whole interview HERE.
What is the role of history and art history in your conception of fashion?
It is a problem in fashion history, which is, today, still seen as something a bit superficial. Fashion has do with creating images, images to look at, images to abide to, and that played a major role in constructing a political awareness. It would also be a linguistic history of reality. Umberto Eco started it ages ago, but this history could play a major role in understanding art. Until, say, the French Revolution, art was fundamentally a representation of the divine. But inside of that representation there was a sense of reality. From the very moment that you represent a body, which can be naked, or idealised, it has to do with fashion: the fact that, at a certain moment in history, men were bearded or weren’t, is in itself a sign of fashion.
Would you describe fashion as a language and a discourse, as Barthes did?
In the 1960s, with semiology, we learned the logic of analysing signs. All signs became of equal importance. Someone like Warhol used every language in a very democratic way: he opened the way to a democratisation of language, in the way we look at advertising, at self-portraits, at painting... He used everything as a way to communicate. It was a great moment of democratisation, and also, of trivialisation, which is very much part of the concept of "pop". We have to deal with this democratisation of languages, which is not gone yet. The idea that something happened in every form of language, including fashion, is still an operation that is quite difficult to put together, and which remains very necessary.
What does fashion have to do with intellectuality?
A lot. Fundamentally, fashion is a language and a utility. And since there is no distinction between “pure” and “impure” anymore, there can be a constructive dialogue between the different languages: with art and architecture. If they don’t, they lose track with reality, which is so diverse. And the other thing is that fashion has a global audience, like cinema. Maybe it’s the reasons why intellectuals are afraid of fashion. Fashion, too, sometimes, is scared of becoming theoretical. But when they get together, they build a remarkable force.
I chose to feature here a special part of the interview, where Mr. Celant talks about the importance of fashion in history, as I believe the big public i.e. not related to the fashion industry community, would really benefit from this information - about the deeper roots of fashion in regards to political, social and economical events through out history.
You can read the whole interview HERE.
What is the role of history and art history in your conception of fashion?
It is a problem in fashion history, which is, today, still seen as something a bit superficial. Fashion has do with creating images, images to look at, images to abide to, and that played a major role in constructing a political awareness. It would also be a linguistic history of reality. Umberto Eco started it ages ago, but this history could play a major role in understanding art. Until, say, the French Revolution, art was fundamentally a representation of the divine. But inside of that representation there was a sense of reality. From the very moment that you represent a body, which can be naked, or idealised, it has to do with fashion: the fact that, at a certain moment in history, men were bearded or weren’t, is in itself a sign of fashion.
Would you describe fashion as a language and a discourse, as Barthes did?
In the 1960s, with semiology, we learned the logic of analysing signs. All signs became of equal importance. Someone like Warhol used every language in a very democratic way: he opened the way to a democratisation of language, in the way we look at advertising, at self-portraits, at painting... He used everything as a way to communicate. It was a great moment of democratisation, and also, of trivialisation, which is very much part of the concept of "pop". We have to deal with this democratisation of languages, which is not gone yet. The idea that something happened in every form of language, including fashion, is still an operation that is quite difficult to put together, and which remains very necessary.
"Fashion doesn’t consist of style anymore, but in the ability to jump stylistically from one style to another."
What does fashion have to do with intellectuality?
A lot. Fundamentally, fashion is a language and a utility. And since there is no distinction between “pure” and “impure” anymore, there can be a constructive dialogue between the different languages: with art and architecture. If they don’t, they lose track with reality, which is so diverse. And the other thing is that fashion has a global audience, like cinema. Maybe it’s the reasons why intellectuals are afraid of fashion. Fashion, too, sometimes, is scared of becoming theoretical. But when they get together, they build a remarkable force.
"Venere degli Stracci" by Michelangelo Pistoletto
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