Saturday, 14 April 2012
"EVENING EVENT: The Internet and New Media continue to challenge and change the way we discover, consume and engage with fashion. Exchange and gain knowledge from creative thinkers and digital pioneers in the industry.
We will be making the digital tangible and exploring the boundaries of fashion in the context of the open web.
Devised with Alexandra Plesner (Freelance Creative Project Manager)
Paula Goldstein (Digital Creative Director Purple Magazine)
Melanie Crete (Digital Marketing and Social Media Manager Dazed Group)
Michelle Sadlier (Digital Marketing Karla Otto)
Sarah Graham (Digital Marketing Manager Hearst Group)
Geoff Watts (Co-Founder Editd)
Chaired by Hywel Davies (Freelance fashion writer and journalist; Pathway Leader Fashion Promotion & Communication course Central Saint Martins)"
This event really opened my mind to the amazing possibilities in the style and fashion world. The online and media presence is exciting as it has opened up many avenues for consumers, facilitators and the fashion elite to interact with each other in many new ways. For example following tweets by Marc Jacobs and following Tumblr posts. One very interesting concept was the Purple boutique an online boutique linked to the Purple magazine articles/shoots which arose after readers and fans contacted Purple magazine about where they can buy for example Chloe Sevigny's hat... they are now looking at the possibility of incorporating video into the boutique concept.
The main discussion was about quality being important however there is a lot of noise with information overload with tons of tweets and many many sites and links. Bloggers can make a difference however the Fashion elite do still have strong powers. I agree with Paula Goldstein of Purple magazine that fashion shows are essentially shows and one can create a world and dream and going to shows is always going to stay as opposed to creation of merely online dreamscapes, as people like to see in reality what the dress looks like as it brushes past them.....
I will explore this area further as it is a fascinating field with new and exciting buisness models.
Monday, 9 April 2012
"I don't owe them anything",
A "Thank You" Note
There is much I owe
to those I do not love.
The relief in accepting
they are closer to another.
Joy that I am not
the wolf to their sheep.
My peace be with them
for with them I am free,
and this, love can neither give,
nor know how to take.
I don't wait for them
from window to door.
Almost as patient
as a sun dial,
what love does not understand.
what love would never have forgiven.
Between rendezvous and letter
no eternity passes,
only a few days or weeks.
My trips with them always turn out well.
Concerts are heard.
Cathedrals are toured.
Landscapes are distinct.
And when seven rivers and mountains
come between us,
they are rivers and mountains
well known from any map.
It is thanks to them
that I live in three dimensions,
in a non-lyrical and non-rhetorical space,
with a shifting, thus real, horizon.
They don't even know
how much they carry in their empty hands.
"I don't owe them anything",
love would have said
on this open topic.
Saturday, 7 April 2012
reblogged from fifi lapin http://fifi-lapin.blogspot.co.uk/search/label/chloe
how cute and creative! (words below by fifi lapin)
reblogged from fifi lapin http://fifi-lapin.blogspot.co.uk/search/label/chloe
how cute and creative! (words below by fifi lapin)
today i am feeling rather serene in my 60's inspired chloe minidress and matching eyeshadow. I am back in my fathers good books and back to pestering him for a puppy. I think some of you may have heard me talk about my longing for a little furry friend and its about time I was allowed one - as well as a louis vuitton sac chien and suhali leather collar mmm yum!
I'd quite like one like this
or maybe this
or this! awwww sooooo sweet!
Friday, 6 April 2012
Thursday, 5 April 2012
Sunday, 1 April 2012
His grandfather had now become manager of an estate near Taganrog, in the wild steppe country of the Don Cossacks, and here the boy spent his summers, fishing in the river, and roving about the countryside as brown as a gypsy, sowing the seeds of that love for nature which he retained all his life. His evenings he liked best to spend in the kitchen of the master's house among the work people and peasants who gathered there, taking part in their games, and setting them all laughing by his witty and telling observations.
When Chekhov was about fourteen, his father moved the family to Moscow, leaving Anton in Taganrog, and now, relieved of work in the shop, his progress at school became remarkable. At seventeen he wrote a long tragedy, which was afterward destroyed, and he already showed flashes of the wit that was soon to blaze into genius.
He graduated from the high school at Taganrog with every honour, entered the University of Moscow as a student of medicine, and threw himself headlong into a double life of student and author, in the attempt to help his struggling family.
His first story appeared in a Moscow paper in 1880, and after some difficulty he secured a position connected with several of the smaller periodicals, for which, during his student years, he poured forth a succession of short stories and sketches of Russian life with incredible rapidity. He wrote, he tells us, during every spare minute, in crowded rooms where there was "no light and less air," and never spent more than a day on any one story. He also wrote at this time a very stirring blood-and-thunder play which was suppressed by the censor, and the fate of which is not known.
His audience demanded laughter above all things, and, with his deep sense of the ridiculous, Chekhov asked nothing better. His stories, though often based on themes profoundly tragic, are penetrated by the light and subtle satire that has won him his reputation as a great humorist. But though there was always a smile on his lips, it was a tender one, and his sympathy with suffering often brought his laughter near to tears.
This delicate and original genius was at first subjected to harsh criticism, which Chekhov felt keenly, and Trigorin's description in “The Sea-Gull”of the trials of a young author is a cry from Chekhov's own soul. A passionate enemy of all lies and oppression, he already foreshadows in these early writings the protest against conventions and rules, which he afterward put into Treplieff's reply to Sorin in "The Sea-Gull": "Let us have new forms, or else nothing at all."
In 1884 he took his degree as doctor of medicine, and decided to practice, although his writing had by now taken on a professional character. He always gave his calling a high place, and the doctors in his works are drawn with affection and understanding. If any one spoke slightly of doctors in his presence, he would exclaim: "Stop! You don't know what country doctors do for the people!"
Chekhov fully realized later the influence which his profession had exercised on his literary work, and sometimes regretted the too vivid insight it gave him, but, on the other hand, he was able to write: "Only a doctor can know what value my knowledge of science has been to me," and "It seems to me that as a doctor I have described the sicknesses of the soul correctly." For instance, Trigorin's analysis in "The Sea-Gull" of the state of mind of an author has well been called "artistic diagnosis."
The young doctor-writer is described at this time as modest and grave, with flashes of brilliant gaiety. A son of the people, there was in his face an expression that recalled the simple-hearted village lad; his eyes were blue, his glance full of intelligence and kindness, and his manners unaffected and simple. He was an untiring worker, and between his patients and his desk he led a life of ceaseless activity. His restless mind was dominated by a passion of energy and he thought continually and vividly. Often, while jesting and talking, he would seem suddenly to plunge into himself, and his look would grow fixed and deep, as if he were contemplating something important and strange. Then he would ask some unexpected question, which showed how far his mind had roamed.
Success was now rapidly overtaking the young author; his first collection of stories appeared in 1887, another one in the same year had immediate success, and both went through many editions; but, at the same time, the shadows that darkened his later works began to creep over his light-hearted humour.
His impressionable mind began to take on the grey tinge of his time, but much of his sadness may also be attributed to his ever-increasing ill health.
Weary and with an obstinate cough, he went south in 1888, took a little cottage on the banks of a little river "abounding in fish and crabs," and surrendered himself to his touching love for nature, happy in his passion for fishing, in the quiet of the country, and in the music and gaiety of the peasants. "One would gladly sell one's soul," he writes, "for the pleasure of seeing the warm evening sky, and the streams and pools reflecting the darkly mournful sunset." He described visits to his country neighbours and long drives in gay company, during which, he says, "we ate every half hour, and laughed to the verge of colic."
His health, however, did not improve. In 1889 he began to have attacks of heart trouble, and the sensitive artist's nature appears in a remark which he made after one of them. "I walked quickly across the terrace on which the guests were assembled," he said, "with one idea in my mind, how awkward it would be to fall down and die in the presence of strangers."
It was during this transition period of his life, when his youthful spirits were failing him, that the stage, for which he had always felt a fascination, tempted him to write "Ivanoff," and also a dramatic sketch in one act entitled "The Swan Song," though he often declared that he had no ambition to become a dramatist. "The Novel," he wrote, "is a lawful wife, but the Stage is a noisy, flashy, and insolent mistress." He has put his opinion of the stage of his day in the mouth of Treplieff, in "The Sea-Gull," and he often refers to it in his letters as "an evil disease of the towns" and "the gallows on which dramatists are hanged."
He wrote "Ivanoff" at white-heat in two and a half weeks, as a protest against a play he had seen at one of the Moscow theatres. Ivanoff (from Ivan, the commonest of Russian names) was by no means meant to be a hero, but a most ordinary, weak man oppressed by the "immortal commonplaces of life," with his heart and soul aching in the grip of circumstances, one of the many "useless people" of Russia for whose sorrow Chekhov felt such overwhelming pity. He saw nothing in their lives that could not be explained and pardoned, and he returns to his ill-fated, "useless people" again and again, not to preach any doctrine of pessimism, but simply because he thought that the world was the better for a certain fragile beauty of their natures and their touching faith in the ultimate salvation of humanity.
Both the writing and staging of "Ivanoff" gave Chekhov great difficulty. The characters all being of almost equal importance, he found it hard to get enough good actors to take the parts, but it finally appeared in Moscow in 1889, a decided failure! The author had touched sharply several sensitive spots of Russian life, and the play was also marred by faults of inexperience, which, however, he later corrected. The critics were divided in condemning a certain novelty in it and in praising its freshness and originality. The character of Ivanoff was not understood, and the weakness of the man blinded many to the lifelike portrait. Chekhov himself was far from pleased with what he called his "literary abortion," and rewrote it before it was produced again in St. Petersburg. Here it was received with the wildest applause, and the morning after its performance the papers burst into unanimous praise. The author was enthusiastically fêted, but the burden of his growing fame was beginning to be very irksome to him, and he wrote wearily at this time that he longed to be in the country, fishing in the lake, or lying in the hay.
His next play to appear was a farce entitled “The Boor”, which he wrote in a single evening and which had a great success. This was followed by "The Demon," a failure, rewritten ten years later as "Uncle Vanya."
All Russia now combined in urging Chekhov to write some important work, and this, too, was the writer's dream; but his only long story is "The Steppe," which is, after all, but a series of sketches, exquisitely drawn, and strung together on the slenderest connecting thread. Chekhov's delicate and elusive descriptive power did not lend itself to painting on a large canvas, and his strange little tragi-comedies of Russian life, his "Tedious Tales," as he called them, were always to remain his masterpieces.
In 1890 Chekhov made a journey to the island of Saghalien, after which his health definitely failed, and the consumption, with which he had long been threatened, finally declared itself. His illness exiled him to the Crimea, and he spent his last ten years there, making frequent trips to Moscow to superintend the production of his four important plays, written during this period of his life.
"The Sea-Gull" appeared in 1896, and, after a failure in St. Petersburg, won instant success as soon as it was given on the stage of the Artists' Theatre in Moscow. In Trigorin the author gives us one of the rare glimpses of his own mind, for Chekhov seldom put his own personality into the pictures of the life in which he took such immense interest.
In "The Sea-Gull" we see clearly the increase of Chekhov's power of analysis, which is remarkable in his next play, "The Three Sisters," gloomiest of all his dramas.
“The Three Sisters” produced in 1901, depends, even more than most of Chekhov's plays, on its interpretation, and it is almost essential to its appreciation that it should be seen rather than read. The atmosphere of gloom with which it is pervaded is a thousand times more intense when it comes to us across the foot-lights. In it Chekhov probes the depths of human life with so sure a touch, and lights them with an insight so piercing, that the play made a deep impression when it appeared. This was also partly owing to the masterly way in which it was acted at the Artists' Theatre in Moscow. The theme is, as usual, the greyness of provincial life, and the night is lit for his little group of characters by a flash of passion so intense that the darkness which succeeds it seems intolerable.
"Unvle Vanya" followed "The Three Sisters," and the poignant truth of the picture, together with the tender beauty of the last scene, touched his audience profoundly, both on the stage and when the play was afterward published.
"The Cherry Orchard" appeared in 1904 and was Chekhov's last play. At its production, just before his death, the author was fêted as one of Russia's greatest dramatists. Here it is not only country life that Chekhov shows us, but Russian life and character in general, in which the old order is giving place to the new, and we see the practical, modern spirit invading the vague, aimless existence so dear to the owners of the cherry orchard. A new epoch is beginning, and at its dawn the singer of old, dim Russia was silenced.
In the year that saw the production of "The Cherry Orchard," Chekhov, the favourite of the Russian people, whom Tolstoy declared to be comparable as a writer of stories only to Maupassant, died suddenly in a little village of the Black Forest, whither he had gone a few weeks before in the hope of recovering his lost health.
Chekhov, with an art peculiar to himself, in scattered scenes, in haphazard glimpses into the lives of his characters, in seemingly trivial conversations, has succeeded in so concentrating the atmosphere of the Russia of his day that we feel it in every line we read, oppressive as the mists that hang over a lake at dawn, and, like those mists, made visible to us by the light of an approaching day.