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howard brace Aug 2013
"A leisurely breakfast" their mother would admonish, "aids digestion and builds strong bones..." so what with the imposed inactivity every morning, boredom broken only by Sockeye the family Spaniel, whose want of table manners coincided very conveniently with mealtimes... as he paced restlessly under the table, slobbering indiscriminately in his daily scramble to devour every dangling morsel before supply and demand shut up shop for the night and went home, far tastier... he gobbled down the latest offering of egg white, than the remnants of his own dietary allowance, they just had to get the timing right that was all, or risk loosing a finger, or gaining one depending upon who was doing the dangling, or who was doing the gobbling... he gave an indignant sneeze, not so much a hint but more of a... 'what's with the pepper malarky...'  So that it was only with a good deal of snappy hand coordination, lengthy digestion and sturdy bone building that Rocky was finally able to extricate himself from the table and make the most of what little time remained until lunchtime, meagre time indeed for the Rocky's of this world to hang around with their dogs, leaving their little sisters to help mums do, whatever it was that girls usually did when they should have scooted out of the kitchen faster, when it would have been all so much simpler just to grab a handful of biscuits instead...  Meanwhile, laying in wait in the room above, flat out upon the bedroom counterpane, having recently had their insides stuffed to bursting with a full English breakfast's worth of beach and holiday apparal... and that was just the luggage.    

     The contents of which, up until a week last washday had been snoozing fitfully behind 'Do Not Disturb' signs, cautiously peeping out from the gloomier, more remote recesses of the bedroom dresser, or carefully concealed in cupboards and closets... and being in every other respect by no means readily accessible to public scrutiny of any kind... had been left to their own devices some twelve months earlier with a clear understanding to skip bath nights from that moment on and henceforth immerse themselves in the heady, camphorated pungency of mothball, vowing once and for all never to darken portmanteau lids again... but now, after many hours of arduous laundering and de-fumigation... were now being squeezed and unceremoniously shoe-horned into what had recently become nothing short of an overcrowded sanctuary for the dispossessed.  
              
     Meanwhile, all the luggage asked from life other than be detained under section four of the Mental Health Act, 1983 and be found cosy padded accommodation elsewhere... was to have their interiors vacated, their tranquility reinstated... and with a questionable wink from a dodgy Customs official, have their travel permits invalidated... irrevocably, for despite throwing a double six for a spot of well earned convalescence back on top of the wardrobe some twelve months ago, basking in the shade of a warm Summer Sun, striking up the occasional conversation with the floral decor, third bloom from the left currently answering to the name of Petunia, the still over extended luggage, seemingly with little hope of R & R this side of the letter Q, faced the perennial disquiet of vacational therapy, of being knelt on, sat and bounced upon and be specifically manhandled in ways that matching sets of co-ordinated luggage should not...
                                        
     Tina could be heard quite distinctly in the next street concerning her husbands lack of competence, whilst Red it appeared had become just as outspoken as his wife in that particular direction... as the local self appointed busybody, who lived well within earshot of the address in question would bear witness to as she put feverish pen to paper, writing to what had become a regular... and some would say hot bed of intrigue in the local tabloid concerning how vociferous the once tranquil neighbourhood had become of recent and how certain undesirable elements within the community were to be heard carrying on alarmingly at all hours, day and night... and as she diligently weighed her civic duty against simple household economics as to whether to send this latest block busting eye opener by first or second class post, their parents could now be heard broadcasting, if anything to a wider listening audience than the previous newsflash, some of the more sensational episodes of the previous twenty-four hours as to who was pulling whose suitcase zipper now... although in which direction it should be pulled, they both agreed, wasn't for public disclosure at that time... vowing to draw blood well before the day was out, as three lacerated fingers would later testify and that it was only because of the children that they were going at all... but God willing, they would be setting off very shortly with rosy smiles on their faces for the sole benefit of the neighbours, even if it killed them. 

     Spurred to fever pitch  by this latest 'stop-the-press' newsflash, the same public spirited busybody now threw herself wholeheartedly into further award winning journalism and for the second time that morning took to pen and paper, only now directed to the gossip column in the local Parish Gazette, followed by grievous lamentations of impending bloodshed to the incumbent Chief Constable as to how they'd all be murdered in their beds ere long before nightfall.

     By devouring his water bowl, thereby dispensing with the need for it to be washed and by its abrupt and mysterious absence, disposing of all further incriminating evidence as to where the abundant supply of liquid, now surging copiously across the kitchen floor had sprung from... the flash-flood was hastily making its own getaway beneath the kitchen units, leaving Sockeye to his own devices to carry the can on his own, ankle deep in what up until earlier that morning had been sloshing around quite contentedly in Eccup reservoir.

      Having inadvertently released the handbrake in a boyish gesture of bravado, thereby placing himself in sole charge of a runaway vehicle, Sockeye it appeared was not the only member of the Salmon family to have dropped himself right in it that day as Rocky, having unwittingly placed the following ten years pocket money well out of reach and back into the pockets of his parents dwindling resources, had to a far greater extent nominated himself for the same Earth moving experience as the one his mum would shortly be giving Sockeye...

      Having just been granted licence to do whatsoever it pleased, the vehicle began its leisurely rearwards perambulation down the long garden driveway and by way of small thanks for its new found independence took Rocky along for the ride where due to a certain lack of stature on Rocky's part, at no point had he ever been in the slightest position to influence the Holiday threatening train of events which now engulfed him, never thinking to reapply the handbrake... that would be too easy, he perched on the edge of the seat clutching the steering wheel and stretched out his sturdy little legs in an heroic, but futile attempt to reach the pedals as the family car, which up until any second now had been his fathers pride and joy, pitched backwards at what seemed to Rocky, breakneck speed and directly into a very severe and unforgiving brick wall.

     Almost missing this latest round of entertainment above that of her parents most recent exchange, River accompanied by Sockeye scampered outdoors and slap into what could only be described as the most fun she'd had all year as an unsuspecting "what was that noise" muscled its way through the open bedroom window and fell flat on its face in the garden below and which, if that morning to date was anything to go by, then the neighbourhood would soon be tuning in to the latest Salmon family's 'hot-off-the-press' breaking news bulletin.

     Opening her mouth River hesitated as she fine-tuned the speech centres of her young and delicate synapse into full vocal alignment, then adjusting shutter speed from f8 to automatic she closed her mouth... then opened it once again and informed her brother that if the tip of dads size 9 was an Olympic gold, then Rocky would be sure to take first in the 110 metre hurdling event with 'team GB...' and could she have his autograph... with those words of solid encouragement rattling around his ears like the last biscuit in an otherwise empty tin box, River went skipping back into the house to announce the latest newsflash of her parents next financial happening... which she felt certain would prompt further rounds of thought provoking front page journalism.

     A steady two hours drive away, over on the east coast, the inhabitants of a sleepy fishing community were gainfully employed, pretty much as any other, going about their daily business, one such denizen... a baby crustacean, currently marooned by the tide had taken up temporary accommodation in a beachfront rock-pool property of certain distinction, was as yet unaware of a completely different and obscure set of circumstances that would shortly be rearing his slobbering jowls and bring all four paws, the size of dinner plates, crashing down upon the unsuspecting seashore fauna... was determined while she waited to catch the next high tide home, that until such time that the right wave rolled along, would potter about in the little rock-pool, perhaps indulge herself in a leisurely bathe... and catch up on a spot of therapeutic knitting.

     So, placing the days events since breakfast into perspective...  [i]  the vehicle indemnity provider, henceforth to be named 'the party of the first part', who currently weren't cognisant of an impending claim to date, would shortly be laying eggs attempting to squirm out of all liability, due to  [ii]  the automobile, driven by a minor, fortunately for Salmon senior on private land and henceforth, the aforementioned to be called 'the third party, to the party of the second part...' which urgently needed rigorous cosmetic attention to the rear tail light cluster and surrounding bodywork so as to maintain a favourable resale mark-up price.  [iii]  Having been dragged kicking and screaming from the top of the wardrobe, the luggage had rapidly developed cold feet and cried sudden illness in the family, but were being taken to the Wake anyway.  [iv]  Wrapped around the hot water cylinder since the previous Summer, the various sundry items of holiday apparel stood united, resolute as a Union Picket line not be seen dead looking as though they'd never so much as seen the bottom of a flat-iron.  [v]  Both Red and his wife, Tina, despite wearing the same anaemic smile as the one show to the neighbours as they departed, travelling counter clockwise along the crescent so as not to unduly advertise their recent misadventure with the garage wall, were only going for the sake of the children, whilst  [vi]  River and her errant brother didn't want to go anyway dismayed at leaving the television set behind, were already missing their favourite programs, which only really left  [vii]  'mans-best-friend' who, when he wasn't actually hanging over the front seat giving dad big sloppy licks as though... 'are we nearly there yet' or perhaps... 'I need to stop and spend a penny... or you'll all know about it if you don't,' was more than content to be taking up the majority of the rear seating arrangements and with a delinquent wag of his tail, was deliriously happy to be wherever his family were.**

                                                        ­                             ...   ...   ...

a work in progress.                                                        ­                                                                 ­  1862
judy smith Aug 2016
Ten minutes is all Sabyasachi Mukherjee has. “Can you keep the interview short,” I’m asked, as the announcement of his participation in the finale of Lakme Fashion Week’s upcoming Winter Festive show is made. Is ten minutes enough to recap the 14-year journey of this master of colour, cut and construction, I wonder. But I realised that Sabyasachi in rapid-fire mode can make ten minutes seem like twenty! Excerpts:

What is it about LFW that made you return?

It’s here that I first made a mark as a designer. I’m familiar with the format, and know the people. It is like a homecoming. The good thing about LFW is that everything is taken care of – from building the set to inviting people. So I have the freedom to focus on the clothes. It is like putting together a complete show, but doing only half the work!

Finales are a challenge – given the expectations of people in the fraternity, profiles of attendees and the intangible themes created by Lakme for interpretation into garments…

Well, it’s not at all difficult for me. This is my fifth finale at LFW. Once the make-up and hair are set, it is easy to imagine the look and what the girls must wear. I’m way too senior to worry about pre-show stress. My biggest pressure comes from whether I will like what I create. Beyond that, even the critics’ reaction doesn’t really concern me.

Will this line too be about Indian-ness?

Whether I do Western, Eastern or a combination, I always use Indian handcrafts, and all my clothes are handmade. Traditional textiles, block prints, weaves and embroidery are a constant in my collections. The theme being “Illuminate”, this line is about red-carpet clothes with a strong shimmer quotient.

Sunday was National Handloom Day. Considering our diverse range of homespun textiles, do you think everyday must be celebrated as handloom day in India?

Absolutely. It is mandatory at my stores. My staff wears only handloom saris or kurtas made of hand-woven fabric. My Instagram hashtag says ‘Wearing handloom everyday.’

Social media plays a significant role in promoting tradition. Smriti Irani’s ‘I wear handloom’ campaign on Twitter and the 100 Saree Pact are recent examples. Isn’t it time designers too found new ways to promote heritage?

Yes. As more and more Western brands enter the market, our designers must first establish an identity of their own. The Zaras of the world are bringing active prêt into the country, so it is important for us to revive the market for Indian clothes. Reinventing tradition and rethinking marketing strategies are critical at this point.

Has the hustle of today’s business taken fun away from fashion? How do you strike a balance between creative expression and commercial viability?

Oh, that’s very simple. I set my own rules. For instance, this year, I had too much on my calendar. I didn’t do ramp shows, I only had a showing on Instagram. Established designers must create new templates that suit their creativity instead of allowing the market to set the pace for them. Because, at the end of the day, only if you have the time and space for creative expression, can you create beautiful clothes that determine the durability of your brand.

If you were to spell out two major problems faced by the fashion world, what would they be?

Lack of originality. Lack of self-belief.

Fashion has evolved into a glamorous industry, and today, many youngsters want to be part of it. But most of what we see on the ramp and in the retail space are risk-free repetitions.

Well, for designers to evolve, the market has to evolve. But the mood is changing. There are designers who are willing to push boundaries and clients who are ready to experiment. Facebook, Pinterest and Instagram are changing the way people see and respond to fashion. The horizons are widening. This is a wonderful time for young designers to launch their labels and sustain their inventiveness.

Very few Indian designers have taken the effort to document fashion. What about you?

Yes, I will at some point in time get down to writing about my brand. But for that, I will first have to find the right publisher!

Many corporate players are keen on collaborating with designers.

I receive so many proposals for collaborations that I refuse one every day! I am collaborating with Asian Paints, Forever Mark and Christian Louboutin. Another huge one is coming up – but I will not be able to speak about it at the moment.

Do seasons really matter any more in the world of fashion?

Global warming is making designers understand the importance of season-defying clothing. And people too, I feel, don't shop for seasons any more. They just want beautiful clothes.

Can you update us on your forays into jewellery design and interiors?

I have collaborated with Hyderabad’s Kishandas & Company to create some iconic pieces that are hugely popular — and of course, plagiarised! I have a line coming up for Forever Mark. As for interiors, I wanted to design homes, but people did not seem to have enough confidence in me! (laughs) So I ended up doing up my own stores. I have also done up the Cinema Suite for the Taj in London. Celebrities who have stayed in the hotel have appreciated it. A significant collaboration in interiors is happening in October.

Your suggestions to keep traditions going…

People need to be educated about handmade textiles and crafts. A time will come when China will lose out to India because as people become aware, they will only want to support products that are ethically sourced and foster craft communities. Surprisingly, the new millennials are in favour of luxury that is completely handmade. I see that as a positive sign.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/backless-formal-dresses
sweetestdownfall Mar 2015
If love does not exist in this world,

We will make a new world
Furnish it with
Surprisingly vibrant red walls
and flamboyant interiors.

If love will exist in the other world
Love me back
So we can hear
Our voices to resonate
In unity
In clarity

If love will never exist
Let me still love you
Because love exists
Within me.
Laurent Oct 2015
Aimons toujours ! Aimons encore !
Quand l'amour s'en va, l'espoir fuit.
L'amour, c'est le cri de l'aurore,
L'amour c'est l'hymne de la nuit.

Ce que le flot dit aux rivages,
Ce que le vent dit aux vieux monts,
Ce que l'astre dit aux nuages,
C'est le mot ineffable : Aimons !

L'amour fait songer, vivre et croire.
Il a pour réchauffer le coeur,
Un rayon de plus que la gloire,
Et ce rayon c'est le bonheur !

Aime ! qu'on les loue ou les blâme,
Toujours les grand coeurs aimeront :
Joins cette jeunesse de l'âme
A la jeunesse de ton front !

Aime, afin de charmer tes heures !
Afin qu'on voie en tes beaux yeux
Des voluptés intérieures
Le sourire mystérieux !

Aimons-nous toujours davantage !
Unissons-nous mieux chaque jour.
Les arbres croissent en feuillage ;
Que notre âme croisse en amour !

Soyons le miroir et l'image !
Soyons la fleur et le parfum !
Les amants, qui, seuls sous l'ombrage,
Se sentent deux et ne sont qu'un !

Les poètes cherchent les belles.
La femme, ange aux chastes faveurs,
Aime à rafraîchir sous ses ailes
Ces grand fronts brûlants et réveurs.

Venez à nous, beautés touchantes !
Viens à moi, toi, mon bien, ma loi !
Ange ! viens à moi quand tu chantes,
Et, quand tu pleures, viens à moi !

Nous seuls comprenons vos extases.
Car notre esprit n'est point moqueur ;
Car les poètes sont les vases
Où les femmes versent leur cœurs.

Moi qui ne cherche dans ce monde
Que la seule réalité,
Moi qui laisse fuir comme l'onde
Tout ce qui n'est que vanité,

Je préfère aux biens dont s'enivre
L'orgueil du soldat ou du roi,
L'ombre que tu fais sur mon livre
Quand ton front se penche sur moi.

Toute ambition allumée
Dans notre esprit, brasier subtil,
Tombe en cendre ou vole en fumée,
Et l'on se dit : " Qu'en reste-t-il ? "

Tout plaisir, fleur à peine éclose
Dans notre avril sombre et terni,
S'effeuille et meurt, lis, myrte ou rose,
Et l'on se dit : " C'est donc fini ! "

L'amour seul reste. O noble femme
Si tu veux dans ce vil séjour,
Garder ta foi, garder ton âme,
Garder ton Dieu, garde l'amour !

Conserve en ton coeur,
sans rien craindre,
Dusses-tu pleurer et souffrir,
La flamme qui ne peut s'éteindre.

In English :

Let us love always! Let love endure!
When love goes, hope flies.
Love, that is the cry of the dawn,
Love, that is the hymn of the night.

How does the wave tell the shores,
How does the wind tell the old mountains,
How does the star tell the clouds,
It is with that ineffable phrase: "Let us love"!

Love dreams, lives and believes.
It is to nourish the heart.
A beam greater than glory
And this beam is happiness!

Love! That one may praise them or blame them,
Always, great hearts will love:
Join this youth of the soul
To the youth of your brow!

Love, in order to charm your hours!
In order that one can look into your beautiful eyes
With those voluptuous interiors
Of mysterious smiles!

Let us love always and more!
Let us unite better each day,
Trees grow their foliage;
That our souls should grow in love.

Let us be the mirror and image!
Let us be the flower and the perfume!
Lovers, who are alone beneath the shade,
Feel as two and are but one!

Poets search for beauties.
Woman, angel of pure tastes,
Loves to refresh beneath its wings
These large blazing and dreaming brows.

Come to us, touching beauties!
Come to me, to you, my own, my law!
Angel, come to me when you sing,
And, when you cry, come to me!

We alone understand your ecstasies,
For our spirit does not mock;
For poets are the vases
Where ladies send their hearts.

I, who has not found in the world
That single reality,
I, who lets flee like the wave
All that is only vanity.

I prefer rather than that which enervates
The arrogance of the soldier or the king,
The shadow that you place upon my life
When your brow inclines to me.

All ambition kindled
In our spirit, that subtle brazier,
Crumbles to ashes or flies in smoke,
And one says: "What will remain"?

All pleasure, a flower hardly in blossom
In our dark and tarnished April,
Sheds it's leaves and dies, lily, myrtle or rose,
And one says to oneself: "It is finished"!

Only love remains. O noble lady,
If you want to remain in this base state
Guard your faith, guard your soul,
Guard your God, guard love!

Conserve in your heart, without fearing anything,
If you should cry and suffer,
The flame that cannot be extinguished

And the flower that cannot die!
Victor Marie Hugo (26 February 1802 – 22 May 1885) was a French poet, novelist, and dramatist of the Romantic movement. He is considered one of the greatest and best known French writers. In France, Hugo's literary fame comes first from his poetry but also rests upon his novels and his dramatic achievements. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem.
Valsa George May 2018
Through the country paths, I lazily loitered,
watching Nature in its changing hue
straying farther into the interiors,
sundry and sublime vistas came into view.

in response to zephyr’s warm embrace,
the silvery leaves joyously fluttered.
the bees busied themselves collecting pollen
and birds on tree tops merrily chattered

it was the *** end of verdant spring.
summer’s sun stood behind my head.
bleat of sheep was heard from far.
‘Good day to you’….. Someone said.

There stood on the hill, a boy around fifteen
obviously he was of tribal breed.
with a beaming smile, he greeted me
but on walking to him, he ran like a steed

I saw him disappear behind the trees
and enter into a hut tiny as a nest
he lived in the lap of Mother Nature,
far from the city and its sooty dust

being coaxed, he hesitantly came out.
my tone of assurance and pleasing smile,
seemed to have won his confidence
as to a friend, he shared his eventful tale.

pointing to the sheep grazing in the *****,
he said, he earned a living caring the flock.
he stayed in the woods all day long,
feeding and tending his master’s sheep.

from dawn to dusk, through woods and meads,
he leads his sheep, calling them by their name.
un vexed, with simple pleasures he is content
and with a nomad’s life, he seems to be tame

he said, at home he has his invalid mother.
bringing her back to health is his mission in life
on referring to his mother, I watched his eyes glitter
nothing other than her illness posed to him a strife

from every utterance, I could sense his filial love.
even in abundance, while shadows line many faces,
on his visage, hope lingered as a dancing flame
to me he seemed above many, rich in other graces!

While parting, I handed him a little money
pausing unbelievably, with moist eyes
he accepted it, when a breeze passed caressing us
as if over a kind gesture, Nature seemed to rejoice!
This was written sometime ago based on a real incident with a sprinkle of imagination ! The boy with his cheerful disposition in the face of adversities continues to be an inspiring memory!
judy smith May 2016
Don’t take them at face value. Several leading actresses in Mollywood have shown themselves to be keen businesswomen too. So, if Poornima Indrajith, a fashionista in her own right and designer-in-chief of fashion store Pranaah, was the lone name in the list till recently, Kavya Madhavan, Lena, Kaniha, Shwetha Menon, Rima Kallingal and the like too have joined the fray to establish their credentials as entrepreneurs.

While Kavya owns Laksyah, an online fashion store, Rima runs Mamangam, a dance school in Kochi. Lena is busy with Aakruti, her weight-loss centre. Kaniha’s focus is on health care, as a franchise partner of Medall Diagnostics in Chennai. Shwetha, meanwhile, has opened a restaurant, Shwe’s Delight, in Dubai. Mallika Sukumaran owns Spice Boat, a restaurant in Doha, Qatar… The actresses talk at length to MetroPlus about why and how they went about it, the lessons they learnt and what lies ahead.

For Kavya it was the realisation of a long-cherished dream; of starting a business venture while she is at the peak of her career. “I zeroed in on a fashion boutique from several other options, such as dance school, beauty parlour, restaurant…,” says Kavya. “It was the safest and best choice because my father had been in the textile business back home in Neeleeswaram for nearly four decades. My brother, Midhun is a graduate in fashion technology and my mother and my sister-in-law too share the same passion. Laksyah is really a family-run enterprise,” she adds. Laksyah, which sells a range of one-off designer saris and daily wear and based out of Kochi, will be celebrating its first anniversary next month.

It was a photoshoot that lead Lena to open Aakruti. She had to lose a few kilos to get in shape for the shoot and her childhood friend, Louisa David, a physiotherapist, helped her achieve that goal. “I was happy with my weight loss and so we decided to launch a physiotherapy-based slimming centre. Louisa has been running her centre at Thrissur for five years and she helped me start Aakruti, in Chevayur, Kozhikode, in September last year,” Lena says.

Kaniha, always a multi-tasker, has a solid reason for taking the health care route too. It was the closest she could get to her childhood ambition to pursue medicine! “After coming back to India from the United States, my husband, Shyam Radhakrishnan and I wanted to start something. Since I couldn’t fulfil my dream of becoming a doctor and had to study engineering instead, I thought I should do something related to healthcare and that’s how Medall happened,” says the actress.

In Shwetha’s case, her restaurant was a venture waiting to happen. “In fact, those who know me for long are not surprised with my decision to open a restaurant. I am an absolute foodie. I am so very careful about what I eat that my cook always travels with me on my shoots. I also love hosting family and friends and often hold pyjama parties at home. That’s why a restaurant was the obvious choice when I thought about starting a venture,” says Shwetha. Shwe’s Delight [“I was called Shwe by my friends in modelling circuit”], which opened its doors last month, is a North Indian fine dining restaurant. “I wanted to give expatriate Malayalis in Dubai a different taste from the usual fare. We dish up a bit of Chinese food too,” she adds.

Being a celebrity helps, most of the time, especially to get publicity, say the leading ladies. For instance, Kaniha says she could bank upon her celebrity status to get corporate tie-ups. They also talk of brand value going up when a known face opens a venture. “There is a certain level of trust with potential customers because you are a known face,” explain Shwetha and Lena. “On the flipside, you are always under scrutiny. At times, I feel acting is much easier,” adds Shwetha. Kavya says it is not easy being the face of Laksyah. “I can’t go wrong with what I wear!” she adds, with a laugh.

Celeb status and a pretty face, though, is no guarantee for a successful business. All the actresses say that they put in a lot of hard work to get their businesses up and running. “The execution part was not easy, be it finding the right location, getting the interiors done, purchasing the machinery, appointing qualified staff, training them and even finalising the colour of the uniform. But I have become more confident now that we are opening a new branch in Kochi,” explains Lena. Kaniha, meanwhile, admits that she has learnt to be “more patient and be diplomatic.” Well played.Read more at:www.marieaustralia.com/cheap-formal-dresses | www.marieaustralia.com/****-formal-dresses
K Balachandran Dec 2014
The wind speed of thought, is handy vehicle; on it mind flies.
To familiar places, where no map is needed, I journey by foot.
A car, a coach or a train, some times air planes to long hauls.
But nothing takes one far like poetry, to interior landscapes.
Nigel Morgan Apr 2013
As he walked through the maze of streets from the tube station he wondered just how long it had been since he had last visited this tall red-bricked house. For so many years it had been for him a pied à terre. Those years when the care of infant children dominated his days, when coming up to London for 48 hours seemed such a relief, an escape from the daily round that small people demand. Since his first visits twenty years ago the area bristled with new enterprise. An abandoned Victorian hospital had been turned into expensive apartments; small enterprising businesses had taken over what had been residential property of the pre-war years. Looking up he was conscious of imaginative conversions of roof and loft spaces. What had seemed a wide-ranging community of ages and incomes appeared to have disappeared. Only the Middle Eastern corner shops and restaurants gave back to the area something of its former character: a place where people worked and lived.

It was a tall thin house on four floors. Two rooms at most of each floor, but of a good-size. The ground floor was her London workshop, but as always the blinds were down. In fact, he realised, he’d never been invited into her working space. Over the years she’d come to the door a few times, but like many artists and craftspeople he knew, she fiercely guarded her working space. The door to her studio was never left open as he passed through the hallway to climb the three flights of stairs to her husband’s domain. There was never a chance of the barest peek inside.

Today, she was in New York, and from outside the front door he could hear her husband descend from his fourth floor eyrie. The door was flung open and they greeted each other with the fervour of a long absence of friends. It had been a long time, really too long. Their lives had changed inexplicably. One, living almost permanently in that Italian marvel of waterways and sea-reflected light, the other, still in the drab West Yorkshire city from where their first acquaintance had begun from an email correspondence.

They had far too much to say to one another - on a hundred subjects. Of course the current project dominated, but as coffee (and a bowl of figs and mandarin oranges) was arranged, and they had moved almost immediately he arrived in the attic studio to the minimalist kitchen two floors below, questions were thrown out about partners and children, his activities, and sadly, his recent illness (the stairs had seemed much steeper than he remembered and he was a little breathless when he reached the top). As a guest he answered with a brevity that surprised him. Usually he found such questions needed roundabout answers to feel satisfactory - but he was learning to answer more directly, and being brief, suddenly thought of her and her always-direct questions. She wanted to know something, get something straight, so she asked  - straight - with no ‘going about things’ first. He wanted to get on with the business at hand, the business that preoccupied him, almost to the exclusion of everything else, for the last two days.

When they were settled in what was J’s working space ten years ago now he was immediately conscious that although the custom-made furniture had remained the Yamaha MIDI grand piano and the rack of samplers were elsewhere, along with most of the scores and books. The vast collection of CDs was still there, and so too the pictures and photographs. But there was one painting that was new to this attic room, a Cézanne. He was taken aback for a moment because it looked so like the real thing he’d seen in a museum just weeks before. He thought of the film Notting Hill when William Thacker questions the provenance of the Chagall ‘violin-playing goat’. The size of this Cézanne seemed accurate and it was placed in a similar rather ornate frame to what he knew had framed the museum original. It was placed on right-hand wall as he had entered the room, but some way from the pair of windows that ran almost the length of this studio. The view across the rooftops took in the Tower of London, a mile or so distant. If he turned the office chair in which he was sitting just slightly he could see it easily whilst still paying attention to J. The painting’s play of colours and composition compelled him to stare, as if he had never seen the painting before. But he had, and he remembered that his first sight of it had marked his memory.

He had been alone. He had arrived at the gallery just 15 minutes before it was due to close for the day.  He’d been told about this wonderful must-see octagonal room where around the walls you could view a particularly fine and comprehensive collection of Impressionist paintings. All the great artists were represented. One of Van Gogh’s many Olive Trees, two studies of domestic interiors by Vuillard, some dancing Degas, two magnificent Gaugins, a Seurat field of flowers, a Singer-Sergeant portrait, two Monets - one of a pair of haystacks in a blaze of high-summer light. He had been able to stay in that room just 10 minutes before he was politely asked to leave by an overweight attendant, but afterwards it was as if he knew the contents intimately. But of all these treasures it was Les Grands Arbres by Cézanne that had captured his imagination. He was to find it later and inevitably on the Internet and had it printed and pinned to his notice board. He consulted his own book of Cézanne’s letters and discovered it was a late work and one of several of the same scene. This version, it was said, was unfinished. He disagreed. Those unpainted patches he’d interpreted as pools of dappled light, and no expert was going to convince him otherwise! And here it was again. In an attic studio J. only frequented occasionally when necessity brought him to London.

When the coffee and fruit had been consumed it was time to eat more substantially, for he knew they would work late into the night, despite a whole day tomorrow to be given over to their discussions. J. was full of nervous energy and during the walk to a nearby Iraqi restaurant didn’t waver in his flow of conversation about the project. It was as though he knew he must eat, but no longer had the patience to take the kind of necessary break having a meal offered. His guest, his old friend, his now-being-consulted expert and former associate, was beginning to reel from the overload of ‘difficulties’ that were being put before him. In fact, he was already close to suggesting that it would be in J’s interest if, when they returned to the attic studio, they agreed to draw up an agenda for tomorrow so there could be some semblance of order to their discussions. He found himself wishing for her presence at the meal, her calm lovely smile he knew would charm J. out of his focused self and lighten the rush and tension that infused their current dialogue. But she was elsewhere, at home with her children and her own and many preoccupations, though it was easy to imagine how much, at least for a little while, she might enjoy meeting someone new, someone she’d heard much about, someone really rather exotic and (it must be said) commanding and handsome. He would probably charm her as much as he knew she would charm J.

J. was all and more beyond his guest’s thought-description. He had an intensity and a confidence that came from being in company with intense, confident and, it had to be said, very wealthy individuals. His origins, his beginnings his guest and old friend could only guess at, because they’d never discussed it. The time was probably past for such questions. But his guest had his own ideas, he surmised from a chanced remark that his roots were not amongst the affluent. He had been a free-jazz musician from Poland who’d made waves in the German jazz scene and married the daughter of an arts journalist who happened to be the wife of the CEO of a seriously significant media empire. This happy association enabled him to get off the road and devote himself to educating himself as a composer of avant-garde art music - which he desired and which he had achieved. His guest remembered J’s passion for the music of Luigi Nono (curiously, a former resident of the city in which J. now lived) and Helmut Lachenmann, then hardly known in the UK. J. was already composing, and with an infinite slowness and care that his guest marvelled at. He was painstakingly creating intricate and timbrally experimental string quartets as well as devising music for theatre and experimental film. But over the past fifteen years J. had become increasingly more obsessed with devising software from which his musical ideas might emanate. And it had been to his guest that, all that time ago, J. had turned to find a generous guide into this world of algorithms and complex mathematics, a composer himself who had already been seduced by the promise of new musical fields of possibility that desktop computer technology offered.

In so many ways, when it came to the hard edge of devising solutions to the digital generation of music, J. was now leagues ahead of his former tutor, whose skills in this area were once in the ascendant but had declined in inverse proportion to J’s, as he wished to spend more time composing and less time investigating the means through which he might compose. So the guest was acting now as a kind of Devil’s Advocate, able to ask those awkward disarming questions creative people don’t wish to hear too loudly and too often.

And so it turned out during the next few hours as J. got out some expensive cigars and brandy, which his guest, inhabiting a different body seemingly, now declined in favour of bottled water and dry biscuits. His guest, who had been up since 5.0am, finally suggested that, if he was to be any use on the morrow, bed was necessary. But when he got in amongst the Egyptian cotton sheets and the goose down duvet, sleep was impossible. He tried thinking of her, their last walk together by the sea, breakfast à deux before he left, other things that seemed beautiful and tender by turn . . . But it was no good. He wouldn’t sleep.

The house could have been as silent as the excellent double-glazing allowed. Only the windows of the attic studio next door to his bedroom were open to the night, to clear the room of the smoke of several cigars. He was conscious of that continuous flow of traffic and machine noise that he knew would only subside for a brief hour or so around 4.0am. So he went into the studio and pulled up a chair in front of the painting by Cézanne, in front of this painting of a woodland scene. There were two intertwining arboreal forms, trees of course, but their trunks and branches appeared to suggest the kind of cubist shapes he recognized from Braque. These two forms pulled the viewer towards a single slim and more distant tree backlit by sunlight of a late afternoon. There was a suggestion, in the further distance, of the shapes of the hills and mountains that had so preoccupied the artist. But in the foreground, there on the floor of this woodland glade, were all the colours of autumn set against the still greens of summer. It seemed wholly wrong, yet wholly right. It was as comforting and restful a painting as he could ever remember viewing. Even if he shut his eyes he could wander about the picture in sheer delight. And now he focused on the play of brush strokes of this painting in oils, the way the edge and border of one colour touched against another. Surprisingly, imagined sounds of this woodland scene entered his reverie - a late afternoon in a late summer not yet autumn. He was Olivier Messiaen en vacances with his perpetual notebook recording the magical birdsong in this luminous place. Here, even in this reproduction, lay the joy of entering into a painting. Jeanette Winterson’s plea to look at length at paintings, and then look again passed through his thoughts. How right that seemed. How very difficult to achieve. But that night he sat comfortably in J’s attic and let Cézanne deliver the artist’s promise of a world beyond nature, a world that is not about constant change and tension, but rests in a stillness all its own.
judy smith May 2016
Arriving, I find her briefing three press assistants on her upcoming catwalk show while simultaneously rifling through her closet — a dressing-up box filled with animal print and lacy confections — to choose her outfit for our shoot, while Desert Island Discs plays in the background.

Tucked at the end of a row of terraced houses close to London’s Portobello Road, Temperley discovered the six-bedroom property was on the market two years ago through her close friend, the designer Jasmine Guinness. The unique two-storey villa has a studio-style extension on the back of the property designed by the Victorian architect, Richard Norman Shaw.

She moved in 18 months ago with her son, Fox, 7, and her boyfriend, Greg Williams, 43, a portrait photographer, along with his two children from a previous relationship. ‘I’ve always been a Notting Hill girl at heart. I love that it’s so green, I love the market and my offices are around the corner.’

Temperley cites the interior designer Rose Uniacke (the creative genius behind the Beckham’s Holland Park home) as inspiration for fashioning her own interiors: ‘Rose has beautiful taste, sleek, clean but still really soft.’

The house’s all-white interior provides the perfect backdrop for Temperley to hang her beloved antique cut-crystal chandeliers and floor-to-ceiling mirrors sourced from Golborne Road’s Les Couilles du Chien — famous for its historic bric-a-brac — and the Clignancourt flea market in Paris. The most striking of these is an intricately etched diptych of French brasserie mirrors that sits proudly over her living room sofa.

For colourful accents, she looked to her archive of textiles, which ranges from heirlooms from her great-grandmother’s travels around the Orient to remnants of past fashion collections: ‘I have big haberdashery drawers, which are used for storing my collection in a warehouse in Greenford,’ she says. Having such a vast collection gives her the chance to indulge in some serious upcycling; a Mexican rainbow throw livens up a plain cream sofa while a wedding cloak from Turkmenistan makes a quirky wall-hanging.

Despite the global influences, the Union Jack is a recurrent motif: ‘When I worked in New York [in the mid-Noughties] I was called ‘Little Miss English’. I loved using materials such as lace and lots of references to Victoriana — all very British.’ Look closely, and you’ll find red, white and blue accents everywhere — on teacups, Roberts radios and on silk cushions.

‘To me, being British represents being able to be individual, eccentric and not taking yourself too seriously.’

Temperley was born and grew up in Somerset on her family’s cider farm in Martock, before moving to London aged 18 to study fine art at the Royal College of Art. The countryside has an ineluctable pull for Temperley and she carves her time between her office — ‘probably 80 per cent of the time, 10 per cent of the time here, 5 per cent in Somerset at the moment, and 5 per cent everywhere else’.

But if her west London home is all breathy shades of Farrow and Ball, Temperley’s country pile — a sublime 5.6-acre regency property called Cricket Court that was once the media magnate Lord Beaverbrook’s home — is the opposite: ‘In Somerset my sitting room is dark burgundy, we’ve got black bedrooms and an ochre-coloured library.’

To bring a little of the country back to the capital, Temperley peppers her house with beautiful bunches of wild flowers, sourced from florist Juliet Glaves, who grows her own blooms in Shropshire: ‘I always loved The Secret Garden and as a child I spent hours collecting flowers and drying rose petals on every surface. I am a hopeless romantic at heart and I love British country gardens and their flowers.’

Another great passion of Temperley’s is reading and no corner, staircase or table in the house is complete without stacks of books and fashion magazines: ‘Sally Tuffin [the British fashion designer-turned-ceramicist] has got an incredible fashion library at her home in Somerset and my dream one day is to have a room lined in books.’

As for the rest of the London house? It’s very much a work in progress, ‘especially being a working mum. It’s more collecting things and putting them together in a very relaxed way. Like in fashion design, when it comes to interiors things either work together or they don’t. I have a good eye and don’t like to be constricted to just doing clothes — I’d like to go into interiors. That’s the next chapter’.Read more at:www.marieaustralia.com/red-formal-dresses | www.marieaustralia.com/black-formal-dresses
Can I explain this to you? Your eyes
are entrances the mouths of caves
I issue from wonderful interiors
upon a blessed sea and a fine day,
from inside these caves I look and dream.

Your hair explicable as a waterfall
in some black liquid cooled by legend
fell across my thought in a moment
became a garment I am naked without
lines drawn across through morning and evening.

And in your body each minute I died
moving your thigh could disinter me
from a grave in a distant city:
your ******* deserted by cloth, clothed in twilight
filled me with tears, sweet cups of flesh.

Yes, to touch ******* made us worlds
stars, waters, promontories, chaos
swooning in elements without form or time
come down through long seas among sea marvels
embracing like survivors in our islands.

This I think happened to us together
though now no shadow of it flickers in your hands
your eyes look down on ordinary streets
If I talk to you I might be a bird
with a message, a dead man, a photograph.
ATL Aug 2019
my memories are con men
spinning fibers into thread
for forging famous tapestries
sewn sweetly in sugars of lead-

smelting dead language
into covers for their feet,
they run through broken glass
just to hear a phrase repeat.
Nat Lipstadt Oct 2013
for Angelique, who found it (at) last,
and who, loved it best
--------------------------------------------


first, I read,
thus educated,
became addicted to
the musicality of word~notes,
enamored with
the artistry of
singing language,
the power to
lift, imagine,
evoke, touch
your skin,
so far away, yet
mine thru smoke,
scribed, now
mine to stroke.

explore, uncover,
the secret interiors of
what was placed
inside of
each of us,
at inception,
without exception.

the keys,
the word picks to
unlock the freedom
to be fearful,
yet courageous.

we, start, all of us,
at the same
starting line,
we, all feel
we, all believe in
the primacy,
the rightness of
I.

but then, one must
began to
observe others.
crossed over the boundary
of mine own
preemptive prepositions,
superseded the need to be
superman,
saw different truths
in the eyes
of others.

listened to the soul songs
of the R&B; breezes of
scented strange,
coming to open
ears, nostrils,
eager to learn how
wind chimes sound in
Nepal, Berlin and the Florida Keys.

standing up, stopped lying,
both up and down,
committed to be
uncommitted to the unjust
accursed ego,
rejected the sophistry of
solipsism.

then changed directions.

went back inside
to relish the passion of
pleasure of both
affection and hatred,
receptors on wavelengths
that varied, in sine,
in in side in in the
co of mr. me.

that the only way out,
to responsively accept,
that to close
the distances within,
to realize real synapses
of words,
there was only
the pathway of
the existence of
outward bound.

kindness, warmth
and generosity,
or
cruelty, inhumanity,
utmost selfishness.

needed to choose.

made my-choices.

thus provisioned and endowed,
voyaged to a place
where there was
no cover, no excuses,
only mirrors that exposed
what lay neath every artifice
conjured up by man to
mislead, deceive, and obfuscate.

There, this place,
where I was
neither the smartest,
bravest, saddest, or wisest,
I sat down and said,
said out loud
words directed to
give yourself away,
myself and anyone
who cared to listen:

”my tongue and my eyes are
one and the same,
my fingertips and my voice,
interchangeable,
my combination of words,
special even if not original,
they are as original to me
as the first prior writer and
the next,
who will create them
anew one more tme,
after he, like me,
leaned to
write them effortlessly,
and to
give yourself away...”


with out fear,
I selected a single word,
a solitary glance,
saw the poetry of an
open window's enchantment,
a head lifted momentarily
from a pillow,
then struggled mightily,  
wept for days with no
verbiage to effect,
make visions entrancing,
no skills,
butterfly net
to capture
the magic of
your loving
my signs.

disgusted by mine,
mine mediocrity,
with the greatest
of effort,
mine,
yet, yielded no results

except scraps of phrases,
that I retrieved
from crumpled sheets
that decorated the
wasteland of my first efforts.

took those phrases,
ran them over my tongue,
over and over again,
intrigued by
their lily lilt,
their unity,
the sensuous pleasure they gave.

how one word
coupled a tune,
the notes of this
new contiguous,
contagious alphabet
rang truer than most,
and moreover,
led me to another that
somehow phrased forward,
sallied forth in rhyme,
like those wind chimes,
now making perfect sense
with the one that followed,
from varied places
so distanced, but now one,
and a couplet was born.

of what did I write?
of what I knew.

no complexity,
nor trickery employed,

no matter that plain words
are my ordinary tools,
with them I scribed
the small,
the little,
what I saw.

grabbed the middle,
held onto the
gravity of the center.

simplicity my golden rule.
write they say,
about what you know best.

rely on and in the
diurnal motions,
the arc of
daily commotions,
in which
do we not all excel?

this poem flew
off my fingers,
twenty, thirty,
maybe sixty minutes,
in the skies above
these United States
of mine,
on American Airlines.

one of my
chiefest blessings
that luck threw onto
my punched ticket,
being born here.

was it effortless?

If you sat beside me,
what would u have seen?

flying fingers urgent unbidden,
neither struggling nor stopping
for the chimes were mine,
once I heard the first verse.
but first ringing was give
unto me by a reimer,
asking how,
I write so effortlessly?

the question innocuous sorta and
sorta knot,
a challenge to
my poetic essence.

I looked inward,
to look outward,
started where
all poems start,
in the quiet places
where you and
I think and thought.

unsure of the answer,
began to begin,
sing and sin,
my fingers,
simple secretaries,
transcribing lyrics
that those
selfsame wind chimes
tuned me up,
turned me on
simple thoughts,
simpler truths
herein recorded and
sworn before you,
most writ on this day that
the Americas have chosen
to recall another kind of
explorer, Columbus.

explore, explore
and then again
explore s'mores.
no matter if it is
covered ground,
covered it once more,
till you see that land
differently, colored so
no one has ever seen
them quite your way.

be an ocean pacific,
that cannot be pacified.

relish the chance,
relieve yourself
of that urge to burst,
put on paper,
gift to me and to
everyone else,
so someday,
we can say
together,
we saw *together,

through one
single set of eyes
upon a ship of
foolish words,
a real child born
in a mind!

new places re-discovered,
yet now storied stored,
living in our
Siamese chests,
to forever keep.

PostScript:

"With or without you,
I can't live,
And you give yourself away,
And you give yourself away....
Only to be with you,
But I still haven't found
what I'm looking for..."
U2.
Notes:
October 14th, 2013,
Taking the Northern route,
between the bear and the empired state,
between and over states where
coal is mined, automobiles built.

if you deem these words poetry swells,
I smile, for they are simple product of
waves of looking, seeing out, out,
an oval airplane window
what lay below,
preparing it
for storage
upon your
eyes.
take the photograph
of the photograph,
we have chinese whispers.

we have the closing of the
house soon, wonderland.

removing all things metal,
placing sweet chestnuts
in corners. the outside
paint so very shiny,

interiors.

sbm
When words fail and the song dies in your soul
The soft cushion weighs heavy, threadbare, when
Dust invites the attic attack to the last memory stroll
A fretful protest march accompanying the wood grained heart

You noticed the space in short supply, with tight breath, the
Expert bargaining skills have begun, bypassing
The weak hearts, those that are still journeying
Their healing held up in tight palms of moistoned skin

And the slide into another day begins, dreadfully
With arched pain barriers drumming their morning
Beat. Occupational hazard was on the rampage
Cracking skull caps from their skinned residence

I shone a light into the acute grey tone of those
Hearts, those whose shapes lost conviction as the light
Shot arrowed tongues from the deaf interiors of wise men
Out on the town of feeble failings, they held nothing as their companion
c quirino Mar 2013
sounds of the engorged worm’s lumbering steps,
they pierce not so stinging as the golden glow of orbs outside your window.
Quietude will find no home here.
neither will that longed-for sense.

what we want,
the ‘soul sleep,’
rests further,
further still, and away from finger tips,

gently rest me in myself,
to sweetly mine the interiors of subterranean caverns,
within which, we held exiled domain for millennia before we were men.
K Balachandran Jul 2013
1
Her thick  dark eyebrows did cast a spell first,
they are stuck there like vampire bats,
they both symbolize  a sinister plot, kept secret,
with a 'come hither' prompt, none can resist.

She attracted artists in hordes, crazy moths,
never did they look above her face,the serpents,
lay tangled and acted as if it's smooth coiffure.
Wicked lust,aroused by bitter past,
                                    made her move with keen  intent
an invisible net she carried behind her back.
She attacked at opportune moments, pretending
she is a lover, with insatiable lust in boil.
2
All crafted lies, simultaneously,she artfully solicited,
       colored moths, in her slow fire, they burned, one by one,
but one remained stuck there for life, fearing rejection every moment.
A crop of heads she reaped , wherever she went,
a kite was ever ready to fly her victim-hood colors higher and higher,
that made admirers **** in their breath and stoop,
before her to her advantage, she had no dearth for volunteers any time.
Burning words made her chants fly like fire works,
her collection of heads turned stones by admiring her
increased, as a huntress she was an ace
stuffed in her cubbyhole of a heart, heads of stone languished.
3
Medusa,you don't have sisters,
I count it the luck of those  unborn
how beautiful, you once were I still remember,
though no sun visited the north you spent your childhood.
Run, run my feared beauty, to the sun, before your heart
get charred by the heat of hatred, you bear in the  Gothic interiors.

4
I hate Perseus, don't you fear your Nemesis?
Every Athena you wrongly think your foe  and fight,
all your hair turned serpents, still I thought, love would work,
without  coming upfront, I kept my flame burning,
but all in vein, you could never love anyone, legitimately or otherwise.
Your blood, all of it, has turned venom, you spit it, slowly
its beauty amazes, even  the victims on the line next...
There is still hope for this Medusa's redemption, if only she gives up aggressive negation, sees reason, and learns that love alone can bring her back to life,  like all others....and lets go the dark dreams of destruction kept in subconscious.
judy smith Jul 2016
Veteran fashion designer Tarun Tahiliani believes that the Indian fashion industry has become more organised and a little more professional.

Best known for his ability to infuse Indian craftsmanship and textile heritage with European tailored silhouette, Tahiliani believes that the Indian fashion industry has become more strategised and cemented over the last 20 years.

"India's propensity to consume is gaining an international audience and this is changing the competitive landscape," Tahiliani told IANS in an email interview.

"It has certainly become more organised and a little more professional, and obviously the market has exploded, but I think that we still have a long way to go in terms of being more business oriented and there's still room to get more organised and professional," the designer added.

Eulogizing the new and younger crop of designers, Tahiliani, who has over two decades of experience in the industry, believes that they are doing well in terms of the handloom and textile industry.

"What's really heartening to see is that there are so many younger designers who are going places and are doing so well in terms of the handloom and textile industry... it has become more organised. I think handloom was very localised in terms of weavers with a certain look from a certain area sold through certain channels," said the Co-Founder of Ensemble -- a multi-designer boutique.

"There has been a lot more creative freedom and other regions are experimenting with textile alien to their region, especially if they are more lucrative. As long as people appreciate traditional craftsmanship and embroideries, machine work will never replace the richness of hand embroidery," he added.

Asked if the plus-size models are yet to move into the mainstream industry in India?

"Well, they should have moved into the mainstream long back. But are not normally associated with very expensive high fashion and couture," Tahiliani said.

Having draped most of the leading ladies of Bollywood like Priyanka Chopra, Aishwarya Rai Bachchan and Madhuri Dixit-Nene in his creations, Tahiliani says that fashion is his muse, not a Bollywood star.

"Art, architecture, interiors, history, travel and maharajas... My inspiration comes from many things. Sometimes it's from beautiful inlay work that I've seen in a fabulous monument; other times my inspiration can be something as simple as a beautiful kanjeevaram weave," he said.

"Ultimately, however, my inspiration comes from India's rich traditions of craftsmanship, particularly when it comes to things like embroideries that we have in India. Nothing is more amazing than beautifully executed, intricate and fine technique. I don't design clothes keeping a Bollywood star in mind, but rather for the new age contemporary woman," he added.

Tahiliani is all geared up to showcase his collection The Last Dance of the Courtesan at the FDCI India Couture Week 2016 on Thursday here. He has artistically blended fabrics like cotton jacquards, cotton silks, crepes and cutwork jamdanis with Swarovski crystals for the range.

That's not all. He will next participate in the Vogue Wedding Show and then the prestigious Lakme Fashion Week, to be held in Mumbai in August.

"I will present my Ready to Wear Autumn Winter 16-17 collection at Lakme Fashion Week. It has been inspired by the works of Mrinalini Mukherjee (late sculptor) and the journey only gets bigger and better from here," he said.Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/pink-formal-dresses
Carlo C Gomez May 2023
~
stationary now
duct tape loves
mouth and hands

inside removable interiors
heliocentric discontinuities:

the racket club
and the backstroke
the rabid club
and the hallucinogenic backchannels

swallowing too many placebos
on his balcony
facing away from the sun
blank diary entry
open on the table
'from despair to where?'

stationary in the trunk now
he says it will all
make sense soon

~
Nigdaw Jun 2019
Headlights, LED's, burning bright
Into my retinas, reflected in rear view
And side mirrors, a radiator grill just
Visible, almost the outline of a person
Behind the wheel, androgynous ghost,
Mad Max or just mad, determined
To drive to wherever, faster than
Anyone else, cocooned in black leather
Heads up display laid out across sweeping
Digital dashboard, vying to pass me;
But what of the queue plainly ahead
Stretching to far horizon, vanishing point,

Perhaps it is supernatural, absorbing traffic
Clearing the way by passing through it,
An alien craft with technology far
Advanced from our slow turning wheels
Selfishly driving alone in our home from
Home interiors, gathering subjects
For an out of this world experience
Or maybe a time machine
Like Back to the Future powered by flux
Capacitor, it will disappear and turn up
Ahead of all of us, or maybe my imagination
Has run riot and it's just another impatient
Idiot.
Carlo C Gomez Jan 2020
How did things ever get so far?
It's curtains for you, Sonny!

Big
Blue
Bedroom curtains
With a ship and anchor pattern

And

Fancy
Frilly
Yellow ones
For your mama's kitchen

It's not personal, Sonny
It's strictly business...
Claire Waters Apr 2012
nora stretches her arms like flowers
she is a tiny fighter
who grew from dry dirt

she has been hurt by men
who said they would protect her green stem
and then cracked her open
when they ripped her from the ground
she took her wounds with pluck
and let her sap guts bleed transient
liquid interiors never tasted so tranquil

nora doesn’t seem like the type
who cuts tick marks along the lines
of her floral spine
out of self pity

but maybe out of fury
she is a tiger lily
freckled cheeks and hair like
a sunset
she is obstinate
to make progress
nora wants to **** her sickness
she still has a dark scar on her shoulder
from the day she tumbled down the stairs
would have died at his hands
if her shoulder didn’t get caught
between the railing balusters
after being almost killed by a man
who tried to crack her open
like so many beer bottle caps
nora collapsed in the quiet desperation
of what he had left of her family
screaming pity the fool
who ever taught me
to love the devil
and call him a father

she wants to escape the laughter
of her classmates
pigeon holed in a tiny body
nora wants to escape her life
too often for repose
she wants to close the door
and hide huddled in the bath tub
waiting for the storm to pass
but she has not met many calm eyes
and she cannot seem to escape the storms
that pass through her like a spring in tornado alley
some days nora feels like dorothy
and she wears her red shoe escape plan
in the blood tick marks she leaves
on her arms and legs
each knife and razor blade
she uses to hack herself apart
reminds her there are other ways to crush pain
and she begins to realize
she can't run and hide but
she can fight  

nora does not beg for mercy
she waits
every day she takes another step
down the yellow brick road
leaving lilies in her wake
crawling up with hope
through every stone
she will not be worth only the
pain she counts in fives
on her skin blushing like burnt red cheeks
she hasn’t slept easy this past year
but she watches the sun rise
with the consolation
of how little she summons tears these days
of each stone she grows over
trampling her fears
with heels like roots curled around boulders
nora will survive tomorrow
understand her worth in the snaking path of flowers
she’ll turn around to stare down at
growing in the wake of her progress
part three in a series
Bansi Adroja Jan 2020
No one knows the interiors of our lives
all of the tragedies we survive on a daily basis
with the monsters in our homes
days disappeared by ghosts
our love lost
to someone
something so unworthy
Misery pit on a Friday
zebra Aug 2016
reflecting on
what drives me
the sensuality
of her willing sacrifice
every inch
a supplicant
feminine vulnerability
a badge of courage

how gorgeous
she is
my little dancer
*** perfect
foot perfect
body flexed
**** drooling tears
vessel of the Goddess
caresses that
turn a pitcher
into
Aladdin's lamp
dream maker
a philosophers stone
Aphrodite's afterbirth
hysterical elasticities
she my savior
let me eat her like Christ

sublime posed flexed
**** open
ready please she whispers
to be impaled
bat thighs like spread wings
inside dark brooding interiors
ready to be engorged
blood like ink
octupussies arms
that **** and pull
that write i love you
in writhing gasmus

Our suns last gasp
tumultuous
igniting soul quakes
eats its own
with
kisses of fire
tremulous
taking all life with it

oh jewel of night
scrambling a thousand moons
swallowed
by hells
shimmering constellations
like starved arterial glistening *****
no mercy
in the glitter of cleavers
yet all
ecstasy
ecstasy
ecstasy
My poems remain explorations of the subconscious ******
If i where a film maker or a novelist  you  would see me telling a story, not judge me, although i admit to my paraphilias  
These poems  are lunar anamorphic streams of consciousness from the deep chaotic subterranean glitz of transgressive  impulses we all share
Read them if you dare...You might find that part of yourself that you don't want you to know about and then again  you may feel more complete some how if you do....I always loved that dark thing that sleeps with in me
Simon Oct 2019
Nonsense isn’t clear when self-induce becomes derogatory. Switching off claims to promote a zero-questioning start. Only for calamities to raise the bars of victory without circumstance. Pleading you to forget what you saw and repeat after me. Nonsense without structure, is relaxing too much. Does relaxing come after nonsense when zero questioning permits the struggle of structure? I digress for the infinite that is suggesting you relax when it comes to ******* interiors giving no rise to pressure that exceeds balance. Balance in the face of consequence. Consequence in the doubt of honor. Honor in the… WAIT! It’s nonsense, right? ALL OF IT!! EVERYTHING!!! Plain examples of zero switches without direction. Promoting the structure of pleading facts rubbing with calamities. Ruining what shouldn’t have been. Illusions! All of it. Claiming something, which isn’t a benefactor to logic raising circumstances toward rising the bars of victory. Doesn’t make any sense, does it? Any of this ringing a bell people?! Good. Just relax and create your own structure. Even how awfully permitting to other appeals it might seem. Structure is without consequence. Relaxing about regular customs to oneself, permits the desire to act with a calm disposition. Everything being a confused debate of nonsense. Only adding nonsense over something that’s already a relaxing structure. Is structure without relaxation? Enough details… I’m out! Structure your own appeals?!
Pace yourself without claims to malice. Sharing views is good enough without all the NONSENSE! Clear your victories...PLEASE!
But not on a shell, she starts,
Archaic, for the sea.
But on the first-found ****
She scuds the glitters,
Noiselessly, like one more wave.

She too is discontent
And would have purple stuff upon her arms,
Tired of the salty harbors,
Eager for the brine and bellowing
Of the high interiors of the sea.

The wind speeds her,
Blowing upon her hands
And watery back.
She touches the clouds, where she goes
In the circle of her traverse of the sea.

Yet this is meagre play
In the scurry and water-shine,
As her heels foam--
Not as when the goldener ****
Of a later day

Will go, like the center of sea-green pomp,
In an intenser calm,
Scullion of fate,
Across the ***** torrent, ceaselessly,
Upon her irretrievable way.
JP Nov 2015
Enemy is a beautiful concept. You never say he is an enemy,
but you always refer, he is MY ENEMY coz he is a part
of your EGO, coz when he dies, you never be the same person
as before. We spend most of time thinking about our enemies.
That's why its easy to miss your friend but not your enemy
on the road.

If you observe, you treat even beggar as your enemy,
you never see a beggar an eye to eye coz if you, then
he will become you friend and his problem become your problem. Generally, people with whom you grow... brother/cousins/neighbor,
they are the one, who carry a small jealous about you and
your growth. coz they know your capacity and often compare you
and your growth,  and they are the one always compete with you.

In Mahabharata,  Arjuna refuse to fight against his own cousins
Kauravas, The reason, he knows very well he can
defeat Kauravas and retrieve his kingdom. But what FUN you
have, once, all your are enemies are dead, there is no fun in ruling
the kingdom. We need enemies to move our life, we need people
around us to feel jealous, that's why we buy a big house,
costly interiors, a luxury Cars,.. etc  less for us and more for
our Circle. We want every one to feel small when they
enter our house.

The Box office hit movie are successful not because of the Hero
but coz of villain, the most cruel the villain,  then, he help the
movie more interesting and also to the success of the film.
In Short,  Its your enemy determine your success. The more enemy
you have, the more drive you have towards your success.
AprilDawn May 2014
Hidden away
From prying eyes
Rooms with a view
Prime real estate
Tropic locale
Lake front property
Mature landscaping
Well lit
24-hour guard
Comfy digs
Classic interiors
Shady when needed
Sunny in its heart
Ideally suited
For family life
Or just hanging
With friends
See agent lizard
For details
To start your life
In Paradise
A bird of paradise  plant in a corner of  our  backyard in the burbs of Houston.One day my daughter and I noticed  a bunch of  mice  swinging  all over  the   flowers ! Out of my warped mind came this  cracked poem.I read this at a poetry reading ( and brought the  picture for afterward ) and   got  a  great  review  for my style  of  reporting  the  incident !
Lilly Gibbons Jan 2015
Water swept softly, caressing the malecon.
Fisherman hung tirelessly to rods unbent,
Lovers perched next to seagulls,
Looking to distant dreams,
Embracing one another, folding arms against freedom,
Denying the waves flirty approaches.

A place where coloured plates were signs of class,
Fumes of gas enveloped rusty car interiors,
Locals spoke of their better selves,
All a show, an act of unity,
Clothes hung loosely, less is more.
Skin soft from the sun's spirit.

Tourists hummed over finely tipped cigars,
Remains of better days memorilised with frames,
Sweets passed as currency for cemetario tours,
Family tombs, shines, the dog at her side,
Saint Amelia listens to gratitude for answered prayers,
Where gomez, Alvarez, gonzales make hay,
Guantalamera sung gently in the bay.

Queues formed on corners, no end to each line,
Rations existing in such plentiful times,
Disregard for professionals,
Hailing of crimes,
Hemingways cocktail maker still pouring in the Floridita,
Murals of Che plastored to the walls,
Architectural past dotted out in each street.
Lucy Tonic Nov 2012
In the bloodbath of a dream
I went sleep-walking into Eden-
It was burnt to the ground
I smelled the charcoal, tasted the flames
While in a cloud was a huge forked-tongue
That got me thinking of the letter M…
I hopped around to other worlds
Perceiving the events with a cautious schoolgirl nature
I watched chemicals and stars do their ****** dance
Twirling endlessly into each other-
Creating a carnival of colorful exploding death and rebirth
I felt the ghosts in their fortresses eye up the hourglass-
Wondering when time will be broken and they’ll be set free…
There’s blood on a rainbow down by the waterfall
It stained my soul and put my thoughts to rapture and ridiculousness
How far will they go, the demons of this world,
When a measly human breaks their code,
Smashes their hologram mirror,
And realizes that everyone everywhere has always been alone
Everyone everywhere is their own god-
And everyone else, with their dark interiors,
Is there only to torture the blamed
For a mistake they can’t remember…
Lost in the remnants of a dream
I unlocked the gates to hell
And realized that life on earth is purgatory-
There must be a heaven on another astral plane,
A dimension without pain-
Of all the universes in existence, I hope that one bleeds through
Before I wake up to a world where God is dead
An angels fall like shooting stars that wish to remain unseen-
Extinction.
zebra Sep 2016
the very sound of her voice
some where between
a warm summer rain
and inside a blue crystal jar
smooth translucent, atmospheric
like soft ****
swelling roses  
tender touches
yet separated by oceans
her voice like hot tote
swaying me
feeling the contoured interiors
of souls ache
a bending ridge pole

hearts brake open
pouring
voluptuous milk
like a tapioca
its beads
bulging blood bells

drink **** lick eat
drown if you can

we speak
rocks in the throat
hello how are you
im choking on desire
fine she says
i want to *******
we start with a phone kiss
mmmuuuhhhaaaaa

yes she says
take me open me up
pour me into your mouth
soak yourself in me
show me your raw hunger
i will eat your dark edges

im shaking apart
with tenderness
may i touch your ****
yes she says
her ***** like wet silk
can beauty bring tears
mouths touch tentatively at first
and then mouths eat mouths eat mouths
and tongues become fiends
cherry red pugilists
bites excite
im in the mood to bleed for her
eyes  smiling radiant
and souls rapture
hearts dissemble
and fuse
at a braking point
from
long hard years
of vibrant abundance
denied

trying to hold together
on broken wheels

now finding warm mud
to go bare foot in
to slide in
up-leaping
between the toes
to love you in
to roll around with you in
like fat little piggies
playing in butter
to fill you with slippery kisses in
and voluptuous caresses

that even our dreams can not apprehend
skin to skin
soul to soul
**** to ****
so eager
fire engine red
tongues licking tears
beautiful ******* to bury my face in
like baby eating cup cakes
making us whole

we continents apart
from each other
having never met
wow wow wow
yet alive again
what a phone call

we say
good night
sleep my love
later
later
tomorrow
oh yes
have to go
love you
more soon
please
yes
oh yes
kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss

then stillness
a cornucopia of emptiness
hollow husk

tomorrow may be we will give each other phone again
and the land will turn fertile green once more
kissing holding
talking ***** ***** *****
happy in loves fire
salvation
and the heart ever resounding
like tintinnabulating bells
Lucky Queue Nov 2012
I wake up and it's tour day
Bright shining sunny
The little ones line up and fidget
Go up to the street's side and watch
Some others stream into the museum
Whose insides are covered in papers
And sketched all over with crayons
Depicting a cityscape and palace interiors
The parades are full of balloons and yet empty
Then the parade has a different balloon
It's alive, regenerating, strong
A simple face exuding evil
Suddenly I know; we have to run. Now.
Children are running and crying
My friends and I glance at eachother
Anxious, fearful
I have to dash back and forth
Running, trying to calm the children
Reassuring myself and my friends doing the same
The stenches of fear and pain permeate the air
Somehow I need to get away, to escape
And run
Then two women appear
Cold, sterile, lifeless automotons
Trying to take me away
So I pretend for a bit to follow, buying time
Then I struggle away, and run back
Mad dash
I find two friends and plead help
Wyatt is willing, Max is silent, Rachel isn't there
The women are back and no time remains
After one last plea I jump the wall
Fall, climb, stand, run
Gary appears barely in time, time for what I don't know
He runs along side, pushing, pulling, somehow helping
While saying nothing, too far away to touch
We're running into eternity,
Away from a black swarming wave of putrid evil
I wake up, sweating, gasping
And I'm still running
Freaky weird dream I had a couple nights ago, wasn't literally running when I woke up, but I was mentally. Wasn't as scary as it sounds, but I didn't exaggerate either.
K Balachandran Dec 2014
One by one I find out and join the faint dots,
concealed superbly in the interiors of the poetic landscape,
a complex picture of life emerges from it, then
I don't see it there while creating it in a kind of trance
mysterious, I wonder how this could happen.
Every word carries out a mission, delve deep, be aware,
rhythm moves in waves, along the dense water plane,
the poem brims with dreams,we have woven for ages
the world it pictures is a complex microcosm
every image it evokes creates a ripple effect,
sit down, listen in your own voice , mull over
each dot, when joined makes a sense different
this is a healing potion, it's taste exhilarating
in this secret maze, I'll hide, come seek me out.
Liam C Calhoun Jul 2015
I extolled them as they went about their
Menial tasks in suits of silk;
Sunday bests amidst the concrete, the earth,
The broken shards of
Bamboo splintered skin, hiding interiors
                          And further, the broken mirrors of
                          The broken memories of the
                          Broken histories upon the
                          Broken backs become names wrought ancient.
Though further from fractured, a family calls,
Beholden to the absolute intent, but one wish –
Eternity amongst the bountiful brethren left behind
Atop tea-brimmed Mountains and a
One malevolent, revered benevolent,
Mao.

One more saga prerequisite this newer dynasty red –
                          Witness the
                          Wives huddled plowshares,
                          The daughter scribbled arithmetic
                          And sons assumed thrones to legacy.

I scrutinize soiled  – smoke amid pear peelings,
The dirtied – unscathed and archaic,
So very fatigued – just one more nail,
For his eternity, with scratch and
Sliver of blood, a sanctity upon chin
                          Beyond cradled hammer,
                          Hand hugging thumb,
                          Thumb beyond nail, iron or the
                          Heart impaled homesick;
But I and hand asserting tie, freshly pressed,
Almost gleaming with an embezzled prestige –
Born unto Arcadia, a puzzle near complete
Continued to run, with only second’s pause to admire,
So very far from the fields of, “father,” or first blink,
While Sunday’s best weep, work and wither.

This man with joint autographed, “end,” and
                          Soon to be mound, history wrought dust,
                          A chipped Henan ceramic
                          And hours in attempt to breach;
                          Behold the back of Chen.

*The title of this piece was inspired by observing constructions workers wearing suits we'd typically wear for an interview. That being said, my venture in China is near an end - years in the making. What's next? Ecuador? Japan? Morocco? Montana? Either way, I could never thank China enough for all that'd become naked before I and my pilgrimage christened, "world."
judy smith Feb 2016
For the past five seasons, the New York-based designer Rachel Comey has forgone a traditional runway show in favour of a more intimate dinner and presentation at the Pioneer Works Center for Art and Innovation in Red Hook, Brooklyn. This season, she is taking her show on the road, stepping off the New York calendar altogether. Instead, she plans to present her Autumn/Winter 2016 collection in Los Angeles in late March to support the launch of her first retail store on the West Coast, scheduled to open in April.

Located at 8432 Melrose Place, the store is the second physical retail presence in Comey’s portfolio; the first opened in June 2014 on Crosby Street in Manhattan, New York. Editors and buyers who wish to see the collection during New York Fashion Week will still be able to schedule private appointments and the designer also plans on releasing a look book of images prior to the show.

Comey is the latest of several brands — including Burberry,Tom Ford and Louis Vuitton — to stage activations in Southern California in the past year. (While Ford and Burberry did shows in Los Angeles-proper, Vuitton took to nearby Palm Springs.) On February 10, the Hollywood Palladium will host what might be Hedi Slimane's last men’s show for Saint Laurent. Indeed, Los Angeles’ emergence as a legitimate cultural capital and growing fashion hub has been well documented.

The exact date and location of Comey’s Los Angeles event has yet to be decided. But the designer said it would be similar in format and concept to the dinner theatre-style shows she has preferred as of late, with a live performance and a guest list filled with creative class types who reflect the brand’s point of view. (Notable Spring 2016 attendees included NPR reporter Jacki Lyden, actress Parker Posey, writer Zadie Smith and artist Cindy Sherman.) “I’ve been showing for a long time, but how many shows did Cathy Horyn come to before we started doing dinners. Maybe two over 13 years?” Comey said during a recent studio visit. “I get it. Shows are ten minutes and really what are you learning about the brand? The collaborative effort between the environment and the music and models and the chef feels very honest for us and what we are trying to do. It's something we really believe in."

There will be one significant change to Comey's unconventional presentation formula besides the location. Instead of simply showing pieces from Autumn/Winter 2016, the designer plans to incorporate current-season pieces into the line-up, which will be available to purchase the next day. The idea is to boost interest in the opening of the Los Angeles store, which will sit alongside The Row, Chloé, Isabel Marant, APC and several other high-fashion retailers on Melrose Place. “We want to use the show as a way to introduce ourselves and connect with people,” said Comey.

Architect Elizabeth Roberts and interior designer Charles de Lisle, both of whom worked on Comey’s New York store, are collaborating on the interiors of the 2,600-square foot space. Additionally, Los Angeles-based architect Linda Taalman has been brought onto the team to consult on the design.

Both the Los Angeles event and store opening reflect the quiet transformation of the Rachel Comey brand over the past three years, as the designer's intellectual, arts-and-crafts aesthetic has grown more popular with a broader audience in the United States and beyond. (Comey’s dropped-hem “Legion” jean, for instance, has driven denim trends for several seasons.) Her decision to shift her presentation format from a traditional runway show to a seated dinner elevated Comey’s cachet on the fashion week calendar, while the success of her New York store has helped to drive a significant evolution of the business. Direct retail — both the physical store and e-commerce — now makes up 27 percent of the company's nearly $10 million in annual sales. Roughly half the brand's sales are still generated by domestic wholesale partners, while the other quarter comes from Comey’s growing presence at international stockists.

“The [New York store] was such a game changer for us because of the connection to the customer,” she said. “I think people didn’t realise the breadth of the collection. When you’re a wholesaler, people cherry pick it however they want. Which is nice, I like that in a way. But it’s also nice to have our own store, our own space and do things the way we want to do it.”

Indeed, Comey, who has been designing womenswear under her namesake label since 2004, has found that her greatest successes have come out of staying true to her vision. “I now have the faith and confidence that if you do things that are meaningful to you — rather than stick to the industry standard — [things] will probably work out,” said the designer, who is also working on a revamp of her e-commerce site.

“We’ve never been championed by a celebrity or a powerful editor. It’s really always been by word of mouth, loyal customers and just keeping on.” Now, it’s time to test out that philosophy on the West Coast. As Comey put it, “California is the promise land.”Read more at:http://www.marieaustralia.com | www.marieaustralia.com/bridesmaid-dresses
Neha D Nov 2014
To get away from the TV set
and the cursed Internet
I sought refuge among the trees
and lunged in natural aired breeze.
I watched the orange setting sun
And clouds drift by. Oh what fun!

I heard a distant sounding moo
followed by some hullabaloo.
The sound of voices was clear now
they belonged to women, not a cow!
Two young women tall and fair
approached my grassy open lair.

Two young women in floral dresses
with auburn, curled demure tresses
and polished docile English air
having considerable savoir fair,
on the grass beside me landed
and a jewel casket to me they handed.

Trying my best not to sound rude
"Who is it?" I asked and "why intrude?"
One of them took my hand and said
"I have written the book you recently read"
"Forgive me” Said I “to not sound shrewd,
but pray tell me to which book you allude?"

The taller one again; the clear leader
spoke and said "oh dear reader,
my book was written in silent prayer,
the ****** of which you are aware
quotes of which, you cite with flair
I am the author of Jane Eyre."

"Charlotte Brontë" gasped I with glee
has come for a rendezvous with me!
My excitement no bounds knew
when the older one of the two,
who had hitherto watched silently
spoke and thus addressed me.

"I have written on sensibility,
sense,
prejudice, pride and providence.
I have written on layers of the mind
and family ties that never cease to bind.
I covered events both real & farce-y,
I am the creator of William Darcy".

"Jane Austen" said I with fervour
"I am your greatest admirer.
Your lucidity of language and verse
and the way your characters converse
have helped developed my writing style
which previously, I assure you was sterile"

"This is an honour, a considerable one,
But to deserve this tell me what have I done?"
"We are here to give you treasure
to improve your writing in measure"
I motioned to the jewelled basket,
"Is there something in that casket?"

"Does it contain secret notes?
unpublished poems and anecdotes?
maybe a magic potion or spell
That will make me write really well
Does it contain divine mediums
that will help me conjure idioms?"

"No" said Charlotte Brontë,
"It has what you need, not what you want"
I opened the jewel case with ease
expecting to find a set of keys
and so was nearly surprised when
in its interiors I found a pen

"There are no rules to follow
No magic potion to swallow.
Every accomplished writer knows:
there is no secret method to poem or prose.
So do not cloud your mind with fears
and write with blood and tears."

Birds around me began to stir
and the scene before me; to blur.
Was this a mere delusion?
A dream perhaps or an illusion?
"Remember to put pen to paper"
saying this, the women turned to vapour.

I woke up with a nervous start
and a wildly beating heart.
It was nearly breaking dawn;
I may have slept off in the lawn.
If the women were a creation of my mind,
how then in my palm did the pen I find?
My latest poem is an encounter with two women authors who give me invaluable advice on how to write.
K Balachandran Sep 2014
The gun, gleaming in the darkness of subconscious
a phallus, stiff and red with frustration.
Then, this hallucination suddenly erupts
in the crowded netherworld, dark interiors:
a doubt, whether those thrusting *******
and pouty lips tempt onlookers to make up their minds?
Are there daggers hidden in those eyes, that confront?

Hold back the wanton gun and thought that stray;
be guarded when handling those, demons
breathe deeply, wait a minute, bring sanity back in position,
learn the essentials of gun control, if you want
undisturbed sleep in your bed, all nights
Love thyself, aware of the bindings of love, the light, smiles.
judy smith Mar 2017
The streets of Paris were clogged by rallies and demonstrations on the Sunday of fashion week. At the Trocadero, a pro-rally for embattled French conservative presidential candidate Francois Fillon, blocking the route between the Valentino and Akris shows; at Bastille, an anti-Fillon demonstration.

The French elections — and ever-increasing security — were providing a tense backdrop to the autumn-winter collections, much like Donald Trump, Brexit and Matteo Renzi did on the fashion circuit of New York, London and Milan this season. Politics and the changing of the guard, women’s rights and diversity may make fashion seem irrelevant until you add up the value of the industry to the world economy. In Britain it is £28 billion ($45bn) — and that is small fry next to France and Italy.

Perhaps politics and social change have influenced the French designers for there was much less street style this season and a lot more tailored, working clothes on the catwalk. They used mostly masculine fabrics but worked in such a graceful way. You need only look at Haider ­Ackermann, Chanel, Alexander McQueen, Christian Dior, Lanvin, Akris and Ellery to see this — lots of great wearable clothes.

Karl Lagerfeld wanted to fly us to other worlds (to abandon the mess here perhaps) in his Chanel space rocket. There were checks, cream, silvery white and grey tweeds, for suits and shorts and dark side of the moon print dresses that cleverly avoided the 60s’ ­futuristic cliches. Silver moon boots, space blanket stoles and rocket-shaped handbags were as space-age-y as it got. There was quiet, seductive tailoring at Haider Ackermann — tapered silhouettes in black wool and leather softened with a knit or the fluff of Mongolian lamb for a blouson or skirt. At McQueen the asymmetric lines of a black coat or pantsuit were ­inspired by the fluid lines of ­Barbara Hepworth’s sculptures, whereas David Koma reclaimed the soaring shoulderline of Mugler’s 80s silhouette for pantsuits and mini-dresses for the brand.

Christian Dior’s uniform-inspired daywear was produced in tones of navy blue with 50s-style navy belted skirts suits, long pleated skirts and some denim workwear. “I wanted my collection to express a woman’s personality, but with all the protection of a ­uniform,” explained Maria Grazia Chiuri before the show.

There was more suiting at ­Martin Grant with voluminous trousers, cummerbunds and men’s shirting. The cut was more mannish at Ellery and Celine with ­Ellery balancing her masculine oversized jacket looks with feminine bustier tops with giant puff sleeves. The mannish look at ­Celine was styled with sharp ­lapels, slim-cut trousers under crushed textured raincoats, whereas ­double-breasted jackets (a trend) and peacoats over loose-cut trousers appeared at John Galliano.

Checks jazzed up the tailoring at Akris where there were more sophisticated double-breasted jackets and swing coats, and at ­Giambattista Valli from among the flirty embroidered dresses a dogtooth coat emerged with a waspie belt and a suit with a peplum skirt.

Stella McCartney displayed her Savile Row skills in heritage checks for her equestrian-themed show. Of course, she is crazy about riding and her prints featured a famous painting by George Stubbs, Horse Frightened by a Lion. It turns out Stubbs was another Liverpudlian, like her dad Sir Paul.

Of course Hermes’s vocabulary started with the horse and there were leather-trimmed capes and coats that fitted an equestrian, or at least country theme worn with woollen beanies and big sweaters, offering a different way of tailoring, in an easier silhouette with a soft colour palette.

The highlight of the week for Natalie Kingham, buying director at MatchesFashion.com was ­Balenciaga. “Great accessories, great coats and great execution of ideas,” she says of Demna Gvasalia’s off-kilter buttoned coats, stocking boot and finale of nine spectacular Balenciaga couture gowns reinterpreted in a contemporary way. “It was wearable, modern and the must-see show of the week.” It was also, she pointed out “the must-have label off the runway with every other person on the front row decked out in the spring collection”.

Although tailoring worked its subtle charms on the catwalk, there were flashes of brightness, graceful beauty and singularity. Particularly bright were Miu Miu’s psychedelic prints, feathered and jewelled lingerie dresses and colourful fun fur coats with furry baker boy hats. Then there was the singular look evoked by Austrian-born Andreas Kronthaler in his homage to his roots, with alpine flowers, Klimt-style artist smocks and bourgeois chintz florals worked in asymmetric and padded silhouettes for Vivienne Westwood — some of it modelled by the Dame herself.

Pagan beauty, the wilds of Cornwall, ancient traditions such as the mystical “Cloutie” wishing tree led to Sarah Burton’s enchanting Alexander McQueen show, which was another of Kingham’s favourites with its unfinished embroideries inspired by old church kneelers and spiritual motifs. “I loved the artisanal threadwork and the spiritual message that was woven throughout,” she says. The artisanal and spiritual she considers an emerging trend around the shows. “It had a slight winter boho vibe but much more elevated.”

Chitose Abe shared that mood for undone beauty with her Sacai collection of hybrid combinations of tweed and nylon for an anorak, and deconstructed lace for a parka, and puffers with denim re-worked with floral lace for evening.

There was more seductiveness at Valentino and Issey Miyake. The latter’s collection shown in the magnificent interiors of Paris’s Hotel de Ville, shimmered with the colours of the aurora borealis and used extraordinary fabric technology to create rippling movement as the models walked.

Valentino was a high point. On a rainswept Sunday Pierpaolo Piccioli cheered us with high-neck Victoriana silhouettes and long swingy dresses in potentially (but not actually) clashing combinations of pink and red in jazzy patterns of mystical motifs and numerology inspired by the Memphis Group of Pop Art. The sheer loveliness of the collection was enough to drown out the world of politics only a few blocks away.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/blue-formal-dresses
Zoe Irvine Dec 2012
Art. Rooms. Community. Eyes closed, I walk through it's entrance way, trailing my hand along the smooth wood of the wall; the hallway feels like a return to earth.

Light filters in through eyelashes and I step out of a close space into the heart of the centre - a domed, organic gallery, glowing peace; staircase to heaven spiralling out of it's core; up to studios and therapy rooms, a rainbow of colour encompassed by their interiors; soft space held by life.

The gardens sway in soft sunshine; herbs and flowers that lean towards the kitchen; a small cluster of tables basking in the scents of earthy, homely food; our chef at the helm, friend and confidante to all.

A circle of the smooth outer wall brings us to rooms alight with creativity; soft sweeps of brushes in silk and the dampened buzz of ink on skin; the gentle embrace of care and understanding, time within time. A room, full of messages, enriched with thanks and awareness and focus, for all of the experience that has helped us to feel our way to this place. We are a team, though we have not yet met.

In my head, there is a centre and it serves as the foundations for a community of those who feel. The idea grows and multiplies and I try to keep up and I hope that it is a dream that will support me with its curving, caring walls. I hope and I hope and I hope to be able to meet it, to be enough for it, to have the energy it needs to be brought to life. I hope and I dream and I trust. I let it keep me from despair, when all has gone black and full of nothing. I don't know how to get there but I am drawing the map every day.

With love and thanks for giving us this space.

— The End —