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judy smith Dec 2015
I've always been obsessed with beauty and experimenting with trends. As a little kid, I dug through in my mom's purse to snag swipes of her Revlon lipstick. As a teen, I mixed and created my own colorful nail polish long before Hard Candy came out. In high school, I experimented with Manic Panic, going Angela Chase red. In college, I stockpiled Narsbronzer and baked my fair skin in the sun for glowing cheeks and abs. Finally, in my 20s, I stopped trend hopping and embraced a look that was natural and celebrated the unique attributes I was born with. I also adopted an approach to beauty that was very authentic and low-maintenance — no more heat styling, hair coloring, or tanning. And I felt more confident and comfortable than ever.

Now as a beauty editor in my early 30s, I'm bombarded with samples and pitches to try out new products and treatments on a daily basis. While I opt for makeup and creams that play up my natural appearance, I see many of my peers electing stronger and more permanent solutions. I never thought I'd have friends getting Botox and fillers at any age — but so young? Yes, our society is youth obsessed, and if media is to be believed, I've already passed my prime. But I refuse to spend the next 30, 40, 50, 60 years fixated on looking younger.

You know how people say, "I wouldn't try that if it were free"? That's me when it comes to Botox and plastic surgery. About once a week, I receive an email about trying out the latest treatments — typically no strings attached. I delete them. Am I scared that trying something would potentially ruin my face? You bet I am! These procedures are supposed to make people look younger or "better," but everyone who has work done ends up looking the same. To me, beauty is all about celebrating your differences and your unique features. I don't want to look like a cookie-cutter ideal of beauty. I want to look like me — the way I look right now. These smile lines and crinkles in the corners of my eyes? They show the world that I am happy and I have lived a great life. Why would I want to erase that?

One of my peers recently told me, "Well, I never thought I would try Botox, but I went to an event, and the needles were out, so I thought, Why not?" I've heard similar statements since, and it shocks me that nowadays altering your face can be such a casual afterthought — like getting an impulse candy bar at checkout. Another industry friend confessed, "I'm starting to think I should have work done while I still work in beauty so I don't have to pay for it." Should the free element play a factor in being OK with changing your appearance? Especially at what I consider a particularly young age? For many people, it does. Some naysayers claim I'll change my mind when I'm older, but I just can't imagine it. All the women I feel are most beautiful show the signs of a life well lived on their faces, and I want to be one of them. Not a 34-year-old beauty editor with a tight face full of free Botox.

Sure, beauty can be enhanced on the outside, but true beauty, to me, is what you're born with and what you grow into. Advancing technology in Botox, fillers, and invasive procedures may be a huge part of my industry, but I'll be actively ignoring it. I'd much rather educate myself and others on how we can feel good in our own skin.

read more:formal dress shops

www.marieaustralia.com/long-formal-dresses
Dorothy A Mar 2012
The tired, old cliché –life is short—is probably more accurate than I would care to admit. With wry amusement, I have to admit that overused saying can be quite a joke to me, for I’ve heard it said way too many times, quite at the level of nauseam. Often times, I think the opposite, that life can be pretty **** long when you are not satisfied with it.

I am now at the age which I once thought was getting old, just having another unwanted birthday recently, turning forty-seven last month. As a girl, I thought anyone who had reached the age of forty was practically decrepit. Well, perhaps not, but it might as well have been that way. Forty wasn’t flirty. Forty wasn’t fun. It was far from a desirable age to be, but at least it seemed a million years off.

Surely now, life is far from over for me. Yet I must admit that I am feeling that my youth is slowly slipping away, like sand between my hands that is impossible to hold onto forever. Fifty is over the horizon for me, and I can sense its approach with a bit of unease and trepidation.

It is amazing. Many people still tell me that I am young, but even in my thirties I sensed that middle age was creeping up on me. And now I really am wondering when my middle age status will officially come to an end and old age will replace it—just exactly what number that is anyway. If I doubled up my age now, it would be ninety-four, so my age bracket cannot be as “middle” as it once was.

When we are children, we often cannot wait until we are old enough, old enough to drive when we turn sixteen, old enough to vote when we turn eighteen, as well as old enough to graduate from all those years of school drudgery, and old enough to drink when we turn twenty-one. I can certainly add the lesser milestones—when we are old enough to no longer require a babysitter, when we are old enough to date, when girls are old enough to wear make-up, or dye their hair. Those benefits of adulthood seem to validate our importance in life, nothing we can experience firsthand as a rightful privilege before then.

Many kids can’t wait to be doing all the grown-up things, as if time cannot go fast enough for them, as if that precious stage of life should simply race by like a comet, and life would somehow continue on as before, seemingly as invincible as it ever did in youth. Yet, for many people, after finally surpassing those important ages and stages, they often look back and are amazed at how the years seemed to have just flown by, rushed on in like a “thief in the night” and overtook their lives. And they then begin to realize that they are mortal and life is not invincible, after all.

I am one of them.

When I was a girl, I did not have an urgent sense of the clock, certainly not the need to hurry up to morph into an adult, quite content to remain in my snug, little cocoon of imaginary prepubescent bliss. It seemed like getting to the next phase in life would take forever, or so I wanted it to be that way. In my dread of wondering what I would do once I was grown. I really was in no hurry to face the future head on.  I pretty much feared those new expectations and leaving the security of a sheltered, childhood, a haven of a well-known comfort zone, for sure, even though a generally unhappy one.

Change was much too scary for me, even if it could have been change for the good.

At the age I am now, I surely enjoy the respects that come with the rites of passage into adulthood, a status that I, nor anybody, could truly have as a child. I can assert myself without looking like an impudent, snot-nosed kid—a pint sized know-it-all—one who couldn’t impress anybody with sophistication no matter how much I tried. Now, I can grow into an intelligent woman, ever growing with the passing of age, perhaps a late bloomer with my assertiveness and confidence. Hopefully, more and more each day, I am surrendering the fight in the battle of self-negativity, slowly obtaining a sense of satisfaction in my own skin.

I have often been mistaken as much younger than my actual age. The baby face that I once had seems to be loosing its softness, a very youthful softness that I once disliked but now wish to reclaim. I certainly have mixed feelings about being older, glad to be done with the fearful awkwardness of growing up, now that I look back to see it for what it was, but sometimes missing that girl that once existed, one who wanted to enjoy being more of what she truly had.

All in all, I’d much rather be where I am right this very moment, for it is all that I truly can stake as my claim. Yet I think of the middle age that I am in right now as a precarious age.

As the years go by, our society seems ever more youth obsessed, far more than I was a child. Plastic surgeries are so common place, and Botox is the new fountain of youth. Anti-aging creams, retinol, age defying make-up—many women, including myself, want to indulge in their promises for wrinkle-free skin. Whether it is home remedies or laboratory designed methods, whatever way we can find to make our appearance more pleasing, and certainly younger, is a tantalizing hope for those of us who are middle aged females.

Is fifty really the new thirty? I’d love to think so, but I just cannot get myself to believe that.

Just ask my aches and pains if you want to know my true opinion.

Middle age women are now supposed to be attractive to younger men, as if it is our day for a walk in the sun. Men have been in the older position—often much older position—since surely time began. But we ladies get the label of “cougar”, an somewhat unflattering name that speaks of stalking and pouncing, of being able to rip someone apart with claws like razors, conquer them and then devour them. There is Cougar Town on television that seems to celebrate this phenomenon as something fun and carefree, but I still think that it is generally looked at as something peculiar and wrong.

Hugh Hefner can have women young enough to be his granddaughters, and it might be offensive to many, but he can still get pats on the back and thumbs up for his lifestyle. Way to go, Hef! Yet when it comes to Demi Moore married to Ashton Kutcher, a man fifteen years younger than her, it is a different story. Many aren’t surprised that they are divorcing. Talking heads on television have pointed out, with the big age difference between them, that their relationship was doomed from the start. Other talking heads have pointed out the double standard and the unfairness placed on such judgment, realizing that it probably would not be this way if the man was fifteen years older.

Yes, right now I have middle age as my experience, and that is exactly where I feel in life—positioned in the middle between two major life stages. And they are two stages that I don’t think commands any respect—childhood and old age.      

I’ve been to my share of nursing homes. I helped to care for my father, as he lived and died in one. I had to endure my mother’s five month stay in a nursing home while she recovered from major surgery. I have volunteered my time in hospice, making my travels in some nursing home visitations. So I have seen, firsthand, the hardship of what it means to be elderly, of what it means to feel like a burden, of what it means to lose one’s abilities that one has always taken for granted.  I’ve often witnessed the despair and the languishing away from growing feeble in body and mind.
There is no easy cure for old age. No amount of Botox can alleviate the problems. No change seems available in sight for the ones who have lost their way, or have few people that can care for them, or are willing to care for them.  

I think time should just slow down again for me—as it seemed to be in my girlhood.

I am in no hurry to leave middle age.
Stephanie Lynn Apr 2014
my mother has blue eyes
but I'm still a ******
my mother has blonde hair
but I'm still a ******
my daddy is black as night
but I'm still a *******
my daddy has ***** curls
but I'm still a *******

I call this hash tag the struggle
because to be biracial is nothing
more
because to be biracial is nothing
less
than a struggle
to find who I am
to find who I should be
to find who I'm supposed to be

i really wish they were the same person
i really wish you understood hash tag the struggle
but you don't
and you won't

so stop telling me about my
good hair
and stop telling about my high
yellow skin
and stop telling me my parents have the fever
and stop staring at me when I
walk in
and stop trying to guess which parent is black
and stop trying to guess which parent is spanish

No

I'm not Spanish.

No

I don't speak Spanish.

No

You CANNOT touch my hair

Yes, my nose is in the air
Of course I think I'm the ****
Because I live my life trying to be better than women who are dark skinned ...with something I was born with
...out of my control
Of course I try to flaunt my plush lips around the white girls who get botox
who then become the have nots because I've stolen all the brothas hearts from the city and the boondocks

See you don't even know me
but you think these are my goals

see I call this hash tag the struggle because nobody understands the trouble in being whole
when you're given two halves
that don't match to patch up one soul
and you're born into a ****** up mess still expected to know

and they tell you to ignore them all
be yourself
race should not define you
but I can't even fill out two ******* boxes on a standardized test
because you are only allowed to check ONE to describe you

hash tag
**TheStruggle
Just venting on what it's like being black and white.

(C) Maxwell 2014
A doctor's sorry for birth complication
A sea of CP cases in physiotherapy centre
Siblings, twins, triplets
All with defects

Advice of

Therapy,
Botox,
Vision,
Hearing,
Ocupational,
unheard names of unknown place...
!!!
Children I never thought existed
Parents I couldn't believe laughed
Joy in the eyes of kids with severe disability
Waiting for acceptance but yet unknown..
Blanked eyes of a mother
Whose 4 yr old child can die any day
Income reduced expenditure doubled
!!!

Yet

Optimism,
Joy,
Laughter,
Patience,
Hardwork,
Belief
multiplied many folds...

Coz they are the chosen one
God believed in them

And so God sent to them
The special gifts in
SPECIAL KIDS...
to make them
SPECIAL MOMs...
!!!
Sparkle In Wisdom
Sep 2018
Brendan Sansome May 2015
Botox on the high street
A jab for flabby jowls.
Is it any wonder people
Exist only in their heads?

Social media selfies taken
From above in unnatural light.
Is it still shocking people
Hate the boring everyday?

It's not easy to like yourself
In a world obsessed with image.
judy smith Nov 2016
Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide
Alexis Apr 2014
Society is so focused on being flawless.  Perfect.  No one is flawless, not even Beyonce.  We will forget who we are on the inside, and soon that won’t even matter because the physical appearance is the main priority.  Women these days are spending so much effort trying to look perfect, which hurts.  Pretty hurts.  Society is expecting women to look perfect, otherwise people will judge.  ‘Perfection is a disease of a nation’. The showbiz industry is giving a negative message to the world.  Photoshop is one of them.  Making a celebrity look flawless is fooling the world into thinking we must look like that.  Spending so much money on clothes, hair etc. but we don’t need to focus on that because all that matters is on the inside, which most people don’t seem to see anymore.  We are constantly getting the messages in our mind that we must be flawless, and sooner or later, this is a disease.  Some of us can’t take it anymore, which leads to anorexia, bulimia, insecurities, and issues with body image.  Pain also takes over our minds, which is ridiculous.  Even celebrities have gone through this because in our naïve little minds, we are thinking we have to be pretty.  There is so much pressure it takes over our minds, and that’s the only thing we think about.  We look into the mirror despising ourselves, because we are who we are.  Society has created us into thinking there’s a certain way we must look, which there is not.  Our flaws make us who we are, makes us positively different.  Unique.  But we aren’t allowed to think that way because the media isn’t allowing us to.  When people change, they are only cheating on themselves because media displays images of what we should and shouldn’t look like.  It’s not their fault though.  They can’t help it.  Changing, like getting botox or body implant is only giving us a masquerade.  It’s a mask to hide our real, inner beauty, which the media has taken the idea away from us, to become people who we actually aren’t.
And in the end, we know that pretty hurts.
a.a.
this probably ******
I don't want magnetic eyelashes
I want magnetic poetry
No Botox for me
Let me wrinkle let me age
It's alright to become who I'm suppose to be
Don't want fake extensions my hair is its own
It will grow out one day at a time
No need for microblading, highlights or ****** scrubs
Won't curl my lashes or disguise my wrinkles
My skin can tell my story through native lines
The burden of beauty is a fools game
I shall use my smiles lines as a accessory
Wrinkle creams will not fix your personality
I refuse to fake fuller lips
Acid peels are not for me
Cheek fillers full of botulism
Skin lasers to erase me
Hair removal will be with a five dollar schick
Keep your tanning beds and keep your Melanoma
Don't need Chanel or Louis Vuitton not paying 2,000 dollars for a handbag
I will be just me
Micheal Wolf Jan 2019
Off she went all dressed up to meet the guy she swiped left upon.
Five feet 10 his profile said but that's where all the lies began!
In she walked in her killer heels, eyes wide and bright to look for him.
But not a sign of him to see had he stood her up? How dare he!
Then at the bar worst for wear she saw his face and balding head.
How had he aged so much, so soon from the photos that made her swoon.
Well the truth aired and shots were fired, Napoleon's descendant had clearly lied!
The CEO of a successful business would be up at 5 for the newspaper deliveries.
His holiday home was a caravan, in the **** of Wales where no one went.
His hair had gone south long ago and his belly was chasing it now as well.
But in all of this, had she lied? Was she 48 or 55?
Had those lips been rendered too? With botox and the wrinkles smoothed.
At 48 or 55 that dress had some riples inside.
The parts Spanx can't control, where age and love handles roll.
She stayed they drank. Then drank again and laughed and talked of other things.
They danced made shapes for all to see like watching a form of epilepsy.
They left at one her shoes in hand,  holes in her tights, lipstick smeared upon his cheek and a room to find to seal the deal.
Promises made to meet again and drink and dance and meet their friends.
Next week he was sat at the very same bar, watching the door for her enterance!
She? Oh no, nowhere to be seen. Across the town at another scene. This time an accountant, chartered too!
But we all know it isn't true.
Fairytale endings nowhere to be seen. Just nights of ****** and living the dream.
All in all is this all that they want? Repeating the cycle over again.
With another fool in fancy dress?
Viewed from the bottom of an empty glass.
Donna Aug 2017
My friend had Botox
Now she looks like a strange fish
I love my wrinkles
Botox looks weird x

— The End —