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judy smith Sep 2016
Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses
Emily Oct 2012
Broken
Everything is broken
My lungs wont fill with air
My eyes wont cry
My heart
My heart is full to bursting
Full of an ocean of salty waves crashing up and down and sideways and all over
So heavy
So swishy, swirly, salty
Makes me dizzy
My brain wont take oxygen
I get light headed and I cant see straight
Broken
I'm so broken
And it's not that I can't feel, can't love, can't be happy
It's that I don't want to
I have no desire to
You aren't here
No more laugh
Crazy silly funny laugh
No more hugs
Long warm hugs
No more kisses
Soft, sweet, sensual kisses
Oh, your kisses
No more you
Your brain
Your imagination, your humor
Your sarcastic ******* remarks trying to hide your sweet, sweet love
Oh, your love
No more love, not from you
So I don't want to love
To be happy
To have warmth and smiles and joy flowing through my heart
I want the waves
The heavy, crashing waves that carry the weight of the world
Can't breathe
Can't cry
Can't laugh
Can't even be truly sad
Not without you
Because it was me who left
Not you
When I fell, I got up and ran
I didn't let you hold me
Kiss me
Hug me
Calm the waves in my heart
I just left
So no, I don't want anything but the heavy, crashing waves trying to break through my chest and start my breathing back, but always failing, always trapped inside my thick, stupid, beating, drowning heart
My heart
Broken
mûre Feb 2013
About tea
Skinny tea, sweet tea,
Elixir exiling youth's ungainly exit
Tea and a lover, vogue tea,
Tea post ******, closing shoppe
Last call tea, homework, tea-and-a-boy
A born again tea boy
Cause she promised it was better than coffee
Kinda boy, the second steep
Citrus and swords battling them free radicals
Tea in a kiss, a sweet kiss, an oooooolong kiss
Third steep to keep and keep
Expensive swishy flower vase tea
Delicate butterfly **** **** tea
Tea time, closing time,
A steep for the road
Sleep off the load
Tea night,
Tea girl
About tea.
judy smith Nov 2016
Fashion designers love foraging through the antique markets of Clignancourt in Paris and Portobello Road and Alfie’s Antiques markets in London snuffling out vintage pieces for inspiration. The flurry of romantic Victoriana on the catwalks for autumn can clearly be blamed on this obsession.

There has been an undercurrent of reserved, covered-up fashion ever since Pierpaolo Piccioli and his former co-designer Maria Grazia Chiuri introduced a more demure aesthetic to Valentino five years ago. Longer skirts, prim higher necklines and covered arms have become the slow trend of recent seasons creating a hyper-feminine look.

Riccardo Tisci at Givenchy and Sarah Burton at Alexander McQueen have long been beguiled by the Gothic romanticism of Victorian fashion with their use of corsetry and dark dramatic lace and velvet for eveningwear.

In fact, London-based vintage fashion dealer Virginia Bates admits she doesn’t remember there ever being a time when Gothic Victoriana didn’t feature in at least one designer’s collection. “The fascination with the romantics, poets, artists and even horror [classics and films] give designers a great source of inspiration,” she says. “It’s an irresistible era.”

Certainly a lot of it has appeared on the catwalks this season at McQueen, Marc Jacobs, Burberry (shown only a month ago in the see-now, buy-now collection), Simone Rocha, Preen, Bora Aksu and Temperley London, as well as at smaller brands such as Alessandra Rich, Three Floor created by Yvonne Hoang and A.W.A.K.E.

There were dark distressed Linton tweeds, unravelling knits and black tulle in Simone Rocha’s autumn collection. Rocha was pregnant when she started designing it and was inspired by Victorian dress and motherhood, in particular the nightgowns and matrons.

“All the wrapping and swaddling of babies,” she says, before elaborating on how “the Victorian ideals of properness were made perverse with the conservative and covered-up pieces contrasted by the sheer and embroidered fabrics.”These gauzy vaporous fabrics succeeded in making her eerily romantic silhouette look rather contemporary and daring.

Subversion is key to making such a prim and proper period in fashion history modern and relevant for women today. Marc Jacobs, for instance mixed long Victorian coats, ballooning crinolines and crochet doily collars with sweatshirt tops and laser-cut leather for skirts and jackets together with some scary Goth horror make-up. Nothing is, or should be literal.

As Justin Thornton of Preen says “we love the Victorians, the laces and the white shirts, but it is the vintage pieces rather than the era that inspire us”. His partner Thea Bregazzi has collected aristocratic laces and ruffly vintage shirts from Portobello Road market for as long as he has known her and these frequently find their way into their collections, “but linings would be ripped, garments will have holes in them – it is a deconstructed look”.Virginia Bates once owned a famous vintage fashion emporium in Holland Park with a client list including the biggest names in fashion from John Galliano to Donna Karan and Naomi Campbell. Now she only works with private clients and designers and they, especially, she says were looking for genuine Victorian pieces when planning their autumn collections.

“A black fitted jacket with inserts of handmade lace [that is] embellished with crystal and jet beads, ***** and silk lined ... How exciting and inspiring is that? Silk and fine lawn shirts, soft and flowing with ruffles. Don’t we all want to wear one and live the dream?”

Thankfully a few designers do right now, and there were lots of heavenly creatures in fragile asymmetric lace dresses toughened up with leather corsetry at Alexander McQueen, and richly coloured swishy dresses at Bora Aksu. While Christopher Bailey cherry-picked the centuries in his Burberry collection, lighting upon frilled white cotton shirts, nipped in jackets and military capes from the Victorian era. Given that Victoria reigned for more than 60 years there is a lot of history for designers to plunder, so this will not be the last we will see it.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses
Sam Temple Jan 2016
it’s a god-awful small affair
to the girl with the mousy hair
10,000 hipsters stand in the square
with ***** makeup and ****** flare
prayers fly into the dim lit sky
as a generation asks god  ‘why’
it’s a god-awful small affair
to the girl with the mousy hair
I sit here in despair
for a god of whom I did care
well, just a man with a master’s eye
for making all of the people sigh…
and now I sit here with my head in my hand
just trying to understand
what this world has come unto
can there ever again be skies of blue
and while *swishy in her satin and tat

frock coat and bipperty-bopperty hat
there can never be another like that –
the morning news brought a cold chill
as the icon of us undesirables
came to be laid at rest
it’s on America’s tortured brow
leaving us to sit solemn
as old records spin
telling tales of space men
and life on mars
a little china girl
and one man who feel to earth
it’s on America’s tortured brow
the fashionista of glam rock
the birther of Ziggy
the man who sold the world
forever changing
chameleon
in smart shoes –
spinning grooves
and scattered cd’s
tears slipping away
as memories already start to fade
it’s the freakiest show
look at those cavemen go
will they ever know
just who left us
take a look at the lawman
beating up the wrong guy
it’s a god-awful small affair
to the girls with the mousy hair
now she walks with a sunken dream
and the cream that once rose so high
so too will come the time to die
and as all of us let him go
there can be a bit of hope for those
who carry a torchy flare
to the girl with the mousy hair
and will sing in the dead of night
with face paint and a big spot light
******* and the party boys
come out with their fancy toys
but it’s a god-awful small affair
if you find you’re too square to care
‘bout the goblin kings sad depart
from this earth and from hipster hearts
see these kids have no loyalty
to a man who helped define me
when the world gave me a frown
for kissing boys in a dainty gown
ole Davy gave me peace
with a confidence that never ceased
oh Mr. Jones I’m in debt to you
for turning my grey skies to blue
now I’ll forever carry this torch
from green valleys to my own front porch
but it’s a god-awful small affair
it’s nice to know some of us care…
about the earth and sun and stars
and yes
there is life
on
     Mars –
italic lines are David's
At the Matra, in a country,
Lives my elder and dear auntie,
Warmhearted, hardworker and hale,
She is from whom I know this tale.

A bumbling deerling on a day,
Went astray onto the highway,
He fell over a fallen trunk,
Breaking his leg with crack and clunk.

While the poor was sadly weeping,
The old lady stopped there, seeing.
Taking him up, right to the lap,
She took the fawn home for a nap.

Curing him and cherishing him,
Not just healing his broken limb,
But giving him fresh hay, water,
As if she were his dear mother.

Katy the cat and Doug the dog,
Nestled to him next to the stove's log,
Sharing humanely their one nest,
They could not hurt the little guest.

The fawn's leg is quickly mending,
He could dance without pretending,
He could dance since he is not *****,
However, he wasn't in the mood.

His doleful brown eyes in the far,
Are hanging on the morning star,
While the morning's red-purple lights,
Are playing on the mountain's sights.

Evening winds are chasing the haze,
Then, they get lost in the hills' maze.
"My fresh crops are waiting for you,
Come home, deerling! We all love you!"

Tears sprang into the deerling's eyes,
He wished to go back, without lies,
Only if his mother wouldn't worry,
Only if his auntie wouldn't pity.

Day and night he wants to go back,
Whither the smooth grass is his snack,
Where are fancy fields of flower,
Waiting for their deerling brother.

Where squirrels are jumping around,
Woodpeckers are hitting the trees' crown,
Cuckoos are singing gay sonnets,
And ants are wearing heavy puppets.

He's waited by the stream, by the wind,
By the running clouds there sky-pinned,
By the dewy blue-bell flower,
By the fields in colour-shower.

The old dame is weeping for him,
However, she won't hold back him,
Each one has a home to live in,
Being deer woods or human housin'.

Escorting him until the gate,
The dame must tip-tap back and wait,
Waving to him until seeing:
"Farewell, my dear little deerling!"

Pacing slowly, ambling stilly,
Door is clacking, curtain's swishy,
She is watching her dear from there,
For last, he may look back to her.

Her helpless little animal,
Hurries more and more his footfall,
And then, as fast as the lightning,
He is on the mountain, climbing.

But on the top, under the sky,
He turns back to say a goodbye:
"God bless you, field, and my old dame" -
Like the wind, he left as he came.

The summer fleets, the leaf falls down,
Every beech tree balds its ex-crown,
Snow blankets the houses, the lawn,
The old lady's living alone.

Nature's waking up, flowering,
She doesn't forget her deerling,
The Earth is turning once and twice,
The gate is knocked by someone nice.

She looks out the window lattice,
What a strange nightly guest that is?
Moonlight beems upon the country,
She opens wide the wooden entry.

Her hands opens in hugging blow:
A deer, deerling and a mother doe,
Standing there, then letting them in,
Her heart's beating, recognizing:

Her deerling became a deer dad,
Having a son now being sad:
His forefoot's broken a little;
They visited the hospital.

He asked her with his bare eyes:
Please Dame, cure my son with your ties,
Don't let him crying dear auntie,
May God return you your bounty.

Mist is afore them, fog behind,
They dressed the cape of night to hide,
Leaving their little in her arm,
Knowing, she will cure all his harm.

The little got cured one by one,
He was almost able to run,
And before the beech throws its mast,
The young buck is in the forest.

At the Matra, village border,
The Old Dame within the portal,
She's not alone why she would be,
Cold or hot, she's a busy bee.

She's surrounded by bucks and does,
They're coming back as visitors,
Winter-summer, from year to year,
They bow their head to Mother Deer.

The village folks loving her too,
They give her nicknames, one or two:
The Old Lady within the dear,
Or just simply Dear Mother Deer.

Red poppy, carnation, sage bloom,
Are decorating her mild room,
In big vases and little jugs,
Rainbow colours like made of drugs.

A flower from Steven Peter,
Another from Flower Esther,
A third one from Johhny Seral,
Surely, they'll be good persons all.

The wild flowers followed by songs,
The room's full of musical tongues,
Children singing is far and near,
While laughes and cries Dear Mother Deer.

At the Matra, in a country,
Lives my elder and dear auntie,
Warmhearted, hardworker and hale,
Her golden heart is in this tale.

Salt loaves wait the little deerlings,
Swiss rolls wait for the new-comings,
Be her guest, you too, I just say:
This is the tale's end; run away!
Fazekas Anna - "Öreg néne özikéje" translated by me, Benyamin Bensalah, from Hungarian.

12.10.2017
Sienna Luna Jan 2017
Back to the whirlwind of starting from scratch.
Alone in I sit and watch
as the world moves beneath me, around me, surrounding me and blanketing me with coolness.
Winter months are the best because they make me wonder and think clearer.
I'm waking to a fresh kind of birth where I can leave behind my struggles and venture forth into the great unknown.
And the white starkness of sky that was once bright blue awakens my true frozen heart, deep in slumber,
to pulse a red  purplish bruise that hurts, then soothes.
That's what this season is all about.

Preservation, hibernation, incubation, proclamation, prioritization.

It is the Root Cellar holding all that is dear.
It preserves the best parts of me so so I won't mold and crumble away.
I sit, soaked in vinegar, ripening.
I sleep, preserved in thick viscous jelly, not solid, but swishy.
I guess winter lets me breath as I try to wriggle out of the glass jar encasing my body.
It's hard, and a little slippery.
I am soaked in purplish red blood.
I am born to the rain soaked land, wishing it would snow.
But alas, it only welcomes me to a season so familiar that tears start to form in my eye corners.
Wet and shivering, I open the Root Cellar's door with a creak, and step into guerdon.
Sean M O'Kane Sep 2018
Crumbling Victorian concrete falls to the ground.
The crunch of rubble, levelling histories to dust.
All this is “progress”, “a bright opportunity” and “good for the economy”.
Yeah, but for who?
Those who live there? The communities forged from years of migration?
Those who take pride in the shape and feel of their own unique milieu?
It seems, no.

Look closer and you’ll find a hidden clue - the quietly mouthed magic word: “apartments”.
It won’t be long before a weekly shop will need a pay-day loan.
Or the late night fish supply shop turns into a swishy niche café.
WINZ offices relocating to where its denizens have been priced off to.
Meanwhile the newly whiter-than-whitewash feel of our once beloved suburbs,
present themselves as bastions of modernity and “progress”.
What lies in the rubble is not just dust, it’s the debris of pākehā civility.
Written in response to the (near) demolition of the original Stewart Dawson shop on the corner of Lambton Quay & Willis Street in Wellington. Now reduced to nothing more than a façade waiting on whatever ugly modern lump is placed against.

Glossary:

Fish Supply Shop - Cross between a fishmonger and a fish & chip shop.
WINZ - Welfare  benefits office.
Pākehā - Māori word for European settlers & their culture.
Brent Kincaid Mar 2018
Yes, I am angry, *******,
******* and spitting
For people who annoy me
And really deserve hitting.
I rage against people who
Never did a thing to me
I want to jail some of them
And never let them free.

I’m angry because here I am
Getting older and I’m paying
For loafers and immigrants
Do you hear what I’m saying?
Trump said it right out loud
We pay more taxes than anyone.
So we can have a lady president?
Only fools would want that done!

Women and swishy guys
And bums in the streets.
You gotta be kidding me!
Wouldn’t that be sweet?
Taking all my money so they
Don’t ever have to work.
What are they thinking?
That I’m some kind of ****?

And here I am driving in
A ten year old automobile
When some welfare mom
Is driving brand-new wheels?
And now they’ve got colored folks
And gay shows on our TV.
That sounds like communism
And socialism to me.

So, yes, I am super mad
That only the GOP cares
Dems makes up lies and create
A bunch of libtard scares.
Our country seems worse to me
For the past ten years
And is busily pulling our great
Country down around our ears.

(I wrote this because I know
By first and last names
Acquaintances and family
Who preach this kind of shame.
They get their news from outlets
That are financed by the few
That give the gripers false issues
Then they do what they're told to do.)
T2m Aug 2014
Pale blue sky
Endlessly tumbling clouds
Sleepy and drowsy sun
Waking young moon
Hush, hush distant frogs’ croaks
Swishy-swoshy, rustle of breeze blowing dry grasses.
Every lives’ moment is a movie.

Plush green fields
Sweet melody of birds chirping
The crunching sound of beach’s white sand underneath our feet
Rush, rush sound of the sea
Whistles of patrolling sea gulls
The ****, **** thumping of a heart.
Every lives’ moment is a beautiful song

Red haired dollies
The backyard trees and swings
The childhood crush
The race to meet a tired returning mother.
The humble lamp-lit dinners
The late night story tales.
Every lives’ memory is a classic painting

As a clock counts lives’ time
She drips memories, pictures and songs
This beauty untold
Infinite melodies unsung
That only a keen and positive heart can hear.
tee2emm Mar 2015
Pale blue sky
Endlessly tumbling clouds
Sleepy and drowsy sun
Waking young moon
Hush, hush distant frogs’ croaks
Swishy-swoshy, rustle of breeze blowing dry grasses.
Every lives’ moment is a movie.

Plush green fields
Sweet melody of birds chirping
The crunching sound of beach’s white sand underneath our feet
Rush, rush sound of the sea
Whistles of patrolling sea gulls
The thump thump thumping of a heart.
Every lives’ moment is a beautiful song

Red haired dollies
The backyard trees and swings
The childhood crush
The race to meet a tired returning mother.
The humble lamp-lit dinners
The late night tales.
Every lives’ memory is a classic painting

As a clock counts lives’ time
She drips memories, pictures and songs
This beauty untold
Infinite melodies unsung
That only a keen and positive heart can hear.
The dragon checked
His swishy tail
And that his breath
Was still bad enough
To catch fire.
He was all set to go,
To wreak destruction
Once more.
So he looked outside
His lair
And an ambulance
Nearly took
His head off
Then another
And another
And he saw the people
Coughing into their masks,
In the morning drizzle,
And he sensed
Their fear.
And he thought,
If they are already
Half scared to death
Where's the fun
In that.
So he went back inside
For another hundred years.
I.
Rains of TaiHu lake
Spillovers into Hangzhou
Dark clouds whisper of two cities
on earth's opposite sides
Eventually, people say
homesick birds look alike.
That explains why
she adores rain but not
Dynamic touches by mosquitoes.
Who could tell her the secret
when love attention from mosquito king?

II.
Why not just to kiss,
Tea in a kiss, a sweet kiss, an oooooolong kiss
Third steep to keep and keep,
Expensive swishy flower vase tea,
Delicate butterfly **** **** tea.”
Tea time, closing time,
A steep for the road
Sleep off the load
Tea night,
Tea girl cloud memories.
Rain, pain and strain
Mosquito pain,
Travel with Rain.
Against an exceptional long Rainy season, exploring Hangzhou under pain, rain and mosquitoes attacks.
Come on, baby
I gotcha number
I know you got mine, too
So many swishy, squishy things
The two of us could do
Dig our toes into the sand
Get lost all night in Neverland
Get beamed up, and Scotty too
(Though we'll ditch him, it's only us two)
Find some old time sweet beat box
Dance until we wear out our socks
Hit the ol' pinball machine
And at the pool table we try to keep it clean
Laugh and dance until nearly two
First dates gotta end sometime boo.

— The End —