Movie inspiration  of the week – Pierrot Le Fou (1965)

Leaving (for now) the Riviera Summer inspiration by means of Godard’s absurdist road movie of feelings versus ideas.

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A film is like a battleground: there’s love, hate, action, violence, death. In one word: emotion

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A noir movie in technicolor that follows the adventures of Ferdinand Griffon who is trying to fulfill his vast artistic plans, after losing his corporate job and Marianne Renoir the “ingénue fatale”, the epitome of easy French “girly style”.

 

Not to write about people’s lives anymore, but only about life—life itself. What lies in between people: space, sound, and color. I’d like to accomplish that. Joyce gave it a try, but it should be possible to do better.

A bittersweet representation of the absurd in our lives in full colour and cinemascope, Pierrot le Fou‘s self-destructive romanticism, the artistic self-consciousness, the frenetically unhinged form, the blend of emotional extravagance and cool self-mocking, the vanished boundaries between irony and sincerity and between symbol and reality is Life as loud as it gets. As an “inspiration”, for me, it goes far beyond the stylish Anna Karina whose style still resonates with designers and taste-makers worldwide.  My muse in this movie is most definitely Jean-Paul Belmondo and his tragic “Yves Klein Pierrot”. No matter what, “being afraid is [still] the worst sin there is”.

 

As in Le Mépris and Bonjour Tristesse, the Mediterranean is again the landscape of failed aspirations and human suffering but as far as Pierrot le Fou goes, I would have to agree with Michel Cournot , “I feel no embarrassment declaring that Pierrot le fou is the most beautiful film I’ve seen in my life.”

 

References and photos

Only the Cinema

Pierrot le fou: Self-Portrait in a Shattered Lens

FilmGrab

paintings in Pierrot le fou

 

On the shoulders of giants

In December 2001 Salman Rushdie visited Porto for one of the final lectures in a series of conferences about the “Future of the Future”.  In 2001 Porto was, with Rotterdam, European Culture Capital  and the discussion of a post future at the end of a year that forever changed the collective perception of our present seemed appropriate. “The Middle Ages trying to destroy the Third Millennium”, he said.

Three months after 9/11 and 12 years after the fatwa on him, Mr. Rushdie walked alone in Porto. No bodyguards. Carefree.

On the last week before Christmas shops in downtown Porto stay open at night for people like me who can’t plan their shopping in advance. As part of our mini-tradition, me and my best friend went out for some late night shopping that December of 2001. We stopped at a deserted Café Majestic for tea. In 2001 there were no lists of “the most beautiful coffee shops in the world”, there were no lines of tourists at the door, there was no Maître d’ trying to bring some kind of order to the process of sitting down. In 2001  you could actually go in and sit and be almost alone. It was late and the gentleman sitting at the far end table by the piano paid his check and got up to leave. As he made his way to the door, Mr. Rushdie walked past our table and looked at the incredulity on my face and winked and left. I was brought up in a house of books, my father is a Literature professor and  meeting or just seeing one of these “giants”in person, still makes me feel as over the moon as a teenage girl coming face to face with her favourite rock star would.

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In June 2010 Sir Salman Rushdie was the keynote speaker at a conference I was attending in Kansas City and spoke about freedom and the media and the power of Literature and novelists  “who are able to probe the truth without being beholden to facts.” After his plenary address, I and few hundred others waited in line to have our books signed. Holding my copy of The Ground Beneath Her Feet, I approached his table and didn’t ask him if he remembered that night in December 2001. That was the fantasy conversation going on in my mind.

These line focus on Salman Rushdie because of a cold night in December 2001. They could easily be about Borges, Coetzee, Murakami, Pessoa, Auster, Cortazar, Sontag or many others. These are my superheroes. The ones with no x-ray vision but that are able to pierce into your soul and help you discover yourself. The ones that can’t fly but still make your imagination soar and plant the seed of invincibility in your heart. The fearless ones that keep fighting for their truth in a world that so many times keeps telling us that intellectualism is frivolous as if, paraphrasing Orwell, the only goal was to keep ourselves alive when the ultimate objective should be to retain our humanity. Or as Flexner, ten years before 1984 was published, questioned whether “there would be sufficient opportunity for a full life if the world were emptied of some of the useless things that give it spiritual significance; in other words, whether our conception of what is useful may not have become too narrow to be adequate to the roaming and capricious possibilities of the human spirit.”

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And because I am not superhero myself, I will keep borrowing the words

The old idea of the intellectual as the one who speaks truth to power is still worth holding on to. Tyrants fear the truth of books because it’s a truth that’s in hock to nobody. It’s a single artist’s unfettered vision of the world. They fear it even more because it’s incomplete, because the act of reading completes it, so that the book’s truth is slightly different in each reader’s inner world. These are the true revolutions of literature, these invisible, intimate communions of strangers, these tiny revolutions inside each reader’s imagination. And the enemies of the imagination, all the different goon squads of gods and power, want to shut these revolutions down and can’t. Not even the author of a book can know exactly what effect his book will have. But good books do have effects and some of these effects are powerful and all of them, thank goodness, are impossible to predict in advance. Literature is a loose cannon. This is a very good thing.

Salman Rushdie, The Power of the Pen

Such is the power of Literature and the super power of writers. They may not be the kind of hero that braves  against the violence of the natural world but they are of the same kind of the ones that “do the useless, brave, noble, the divinely foolish and the very wisest things that are done by man. And what they prove to themselves and to others is that man is no mere creature of his habits, no mere automaton in his routine, no mere cog in the collective machine, but that in the dust of which he is made there is also fire, lighted now and then by great winds from the sky!“

References

George Orwell, 1984

Abraham Flexner, The Usefulness of Useless Knowledge

Salman Rushdie, The Power of the Pen

Walter Lippmann, Amelia Earhart – Herald Tribune – 7/8/37

 

Superhero

Movie inspiration of the week – Bonjour Tristesse (1958)

Costume Designer: Hubert de Givenchy

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When Jean Seberg is on screen you can’t look at anything else. Her every movement is graceful, each glance is precise. The shape of her head, her silhouette, her walk, everything is perfect; this kind of sex appeal hasn’t been seen on the screen.

François Truffaut

Bonjour 4

Contrary to the common practice in this part of the world, I did not go on holiday in August and this is, most obviously, taking its toll on me. I don’t seem to be able to get the French Riviera out of my mind. This week life is back to the black and white tones of reality and Summer has, if not technically, emotionally come to an end.

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 I should probably be writing on Otto Preminger’s talents and “virtuosity with CinemaScope framing and three-strip Technicolor” and their use in establishing a clear difference in tone and mood between the wintering, sophisticated Paris present and the sun drenched,  carefree past of Mediterranean summers. 10

BOM DIA TRISTEZA Bonjour tristesse 1958 ~ Jean Seberg ~ 025

Better yet, I should be writing about how Givenchy’s costumes are essential to understand the characters and the changes they go through, specially in the case of Cecile (Jean Seberg). As Barbara Tfank noted, “Givenchy is the customer designer, which is so extraordinary. When you see Jean in the film’s opening,  it’s the most perfect example of fashion and film”.

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But, as with Le Mépris, this a film I feel a strong emotional connection to. This is the film responsible for almost 10 years of wearing a pixie cut. Cecile inspired my visit to Monaco and my self styled movie fantasies while strolling inside the Monte Carlo Casino almost by myself. Said self styling was, fortunately, enough to convince the Maitre d’ that I was not a regular tourist.

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In its bittersweetness, it keeps reminding me that Summer inevitably comes to an end.

References and photos

Fashion and Film at the TCM Film Festival: Getting Audrey Hepburn, Kim Novak & Jean Seberg in Character

Well, Hello Bonjour Tristesse

Sunday Matinee, Bonjour Tristesse

Ferdy on Films

Films I Love #3: Bonjour Tristesse

Seduced by Bonjour Tristesse

At the end of the sidewalk 

I like cities where you can walk almost everywhere. In my case this would be almost any city I have ever visited. I have walked an average of 10 km a day in Barcelona, New Orleans and Boston. I have walked along the river in Dubai under a blazing 49 degrees Celsius. I have walked the boarder to get to Tijuana and walked around the city trying to look relaxed. I used to walk home both in Porto and London so I didn’t need to cope with overcrowded buses or subways. I have walked in  Los Angeles and got lost around Chinatown trying to walk back to somewhere. I had to follow a couple of tourists with a map in Venice after getting irremediably lost walking along narrow alleys. I can’t read maps.

I have walked all the way from downtown Atlanta to Georgia Tech even though there were no real sidewalks. Where Atlanta did have sidewalks, me and some friends where told by a screaming police officer that we couldn’t just stand there waiting for a cab. We were loitering. It was a new word in my English vocabulary, describing some kind of illegal activity that I didn’t even know I was engaging in. All four of us that night, waiting for a taxi to show up after our farewell dinner, had grown up in countries with past military or other forms of dictatorships. We all remembered stories told by our grandparents or parents about how it was forbidden to stop on the sidewalk for a chat just in case it would turn out to be some kind of conspiracy. It stroke us as really odd that this was happening to us in Atlanta.

In Porto, sidewalks have become wider, probably because the city got used to being voted “best destination” of this and that over the past few years. Wider sidewalks accommodate more tourists and make people feel safer. They are, I suppose, also more efficient, there’s more space to move quicker. According to James Petty, “all urban architecture or urban design has a level of control built into it,” pedestrian crossings and sidewalks exist to  guide the behavior of the public. The sidewalks in Brasilia have no corners. This avoids impromptu meetings that could disrupt the efficiency of the city.


I had never really thought about this before Atlanta. I’m absolutely urban, I have tried to live in the countryside for a few months and even though I enjoyed the quietness, I also missed the noise and the people and the new discoveries you make when you experience a city, your own or somebody else’s, just by walking. Even if there’s no sidewalks. It’s just easier to be a dilettante walker when the sidewalks are there. You don’t really get to understand where you are just driving around getting from point A to B. Walking allows you to stop and look, it creates a common space and it helps to experience cities beyond their efficiency, just as places of history and stories. I like cities, I like their “inclusive” character but, as Petty also notes, “you’ve got a point where that kind [urban planning] of controlling becomes direct, explicit, and targeted against certain groups and not others.” Cities with sidewalks still seem to avoid this, at least they make you feel more welcome.

Photos: my own

Sidewalk

At home with Fátima

I first started buying vintage and second-hand clothes while I was studying in England, when I moved back to Porto, after spending a couple of months in Mozambique, I met Orion (António Júlio). I remember him driving some sort of purple American convertible when I was still in high school and being mesmerized at this dark glamorous kind of Gothic urban cowboy and his entourage. Entering Amsterdam Underground, at the time on the first floor of the (now) iconic Centro Comercial Stop , I felt like an intruder arriving home. I was not Gothic, or underground but the empathy and the sense of belonging was immediate. I have spent many hours there, preparing for possibilities, sharing outrageous eccentric dreams and plans to transform a dormant city into a rainbow, checking architectural plans for his castle up North, admiring the stained glass that would decorate the windows, lusting after the Afghan rug coat that survived the 70s pilgrimage to Kathmandu and, again, missing a life that had not been mine.

In 2012 António Júlio died. Orion didn’t because constellation stars never burn out.


Being unique and unrepeatable, António Júlio had this ability to jump generations, to go against the norm, to insist, to create diversity by making our urban routes  amazing, and surprising . It is the sum of lives like this, in different areas, which make the wealth of cities

David Pontes


Fátima I met when her store, Rosa Chock Vintage,  looked like a psychedelic cloud at Rua Oliveira Monteiro, close to my former high school. I bought an amazing green 80s batwing leather jacket that still lives in my closet and gets a lot of compliments every time I wear it. “It looks so vintage” said the girl behind the counter at the coffee shop. Well, it actually is.


Fátima’s store then moved to Rua do Almada at the center of Porto’s new life but it kept it’s difference. It was never about following the retromania hype of curated new stores made up to look old and selling imaginary “retro vintage” items.


Fatima’ s store, now at Rua Formosa, is curated to the T. Curated for each individual that crosses her door and shares her love for detail and her passion for clothes with history ready to be used in new life stories. Curated for treasure hunters who enjoy the apparent chaos of the hundreds of scarves and necklaces and dresses and sequined tops and ruffles and leopard prints and stuffed animals and the old movie advertising posters bought from Orion.


Curated for all of us that still believe that a wardrobe door can be opened to enter a different dimension.


Fátima is a true vintage dealer who has worked with clothes all her life. She knows what she is selling, she knows the history, the context and she knows that clothes are never just clothes.  Like Gaultier, she knows that they are about “what you look like, which translates to what you would like to be like.”


A common friendship and a common sense of loss make me feel at home with Fátima at her larger than life albeit tiny shop but it is her expert eye, her understanding of how to match the right piece to what I have dreamed for myself that keeps me coming back. And this always feels like the truth.


Photos:

Featured image from: http://rgp-journal.ru/users/Amsterdam_Underground/page/1

Photos 3 and 7  courtesy of Fátima Leite

All others, my own

Expert

Bizarre witnesses

If they asked me, I could probably write a book on my mistakes. Not that it would amount to a very interesting read. But then, I take a long time to admit mistakes and I am not ready to talk about most of them, let alone willing to write them down.

My “Closet of Errors” is an attempt to come to terms with some of those mistakes by honoring them as intentional, mostly because my closet is full of witnesses.

In the Summer of 1992, I went to León in Spain for a paid work placement wit immigrant communities. I used part of the money I got to buy this Junior Gaultier jacket on sale. It was a super sale. It cost me 2.500 pesetas, something like €15 today or, if you are to believe that some online vintage  listings are accurate, €500. This witness still lives in my closet. I think I bought it because it was an unmissable opportunity to own a Gaultier piece (even if it was a little too small and it makes raising my arms a tad impossible) and because, in some way, it resonated with a watching, and loving, “Little House on the Prairie” when I was a kid. I think I haven’t worn it for at least fifteen years but it is not going to be easy to let this one go.

Having grown out of “Little House on the Prairie” and after a few years studying in the UK, my next Gaultier was a nod to Punk aesthetics and an attempt to keep some kind of Britishness with me. It’s now the property of someone living in New York. I though I was ready to let it go because I was selling it someone who would love it as much as I did. I wasn’t and I have the feeling that I didn’t sell it to the right person. I never got any feedback apart from the one in my mind telling me that, even though my unworn wardrobe can be an investment with an interesting return, it’s really not about the money. It is always about the lives I have lived wearing a particular piece, the lives I planned on living when I bought some other.

I planned, or better yet, I daydreamed a lot, and, in the process, started to choose the wardrobe to go with all the fabulous things I would be and for the grandiose life I would live. I have always missed places in time that I didn’t know  and prepared for them. I dreamed of being an aristocratic bohemian in Marrakesh, a flaneur who spent the time reading books and being intellectually brilliant and aesthetically striking.

Our lived lives might become a protracted mourning for, or an endless tantrum about, the lives we were unable to live. But the exemptions we suffer, whether forced or chosen, make us who we are.

Adam Phillips


I prepared myself to go live in Ibiza and lounge by the sea in never ending parties.

 I was even ready to go dancing at Studio 54.

I got ready to be a rock star wearing silver leather jackets, or maybe be a bass player for Lenny Kravitz in fringed suede pants.

I got ready for all the fantasy going around in my mind. I prepared myself for a life of eccentricity and adventure. I groomed myself to be someone else. In the process, I forgot to get ready for real life.

The witnesses to my mistakes that still live in my closet are now stories written on small papers that accompany the items I’m ready to let go or in somewhat bigger posts when they tell the stories of a life that I can’t leave behind. They are the witnesses to whom I am becoming. As Adam Phillips wisely puts it, “we share our lives with the people we have failed to be.” There’s no escaping this, “we are always haunted by the myth of our potential, of what we might have it in ourselves to be or do. So when we are not thinking, like the characters in Randall Jarrell’s poem, that “The ways we miss our lives is life,” we are grieving or regretting or resenting our failure to be ourselves as we imagine we could be. “

Coming to terms with my unlived life(s) has not been an easy process. Sometimes I get the chance to perform one of those imaginary parts for a moment and live out real scenes exactly as I imagined they would turn out. In January 2014, I dragged myself through the polar vortex and went to the opera at the Met. As I should, wearing my, never worn before or again, opera coat. I will most probably keep repeating mistakes and collecting witnesses to those repetitions.

If the unexamined life is not worth living, it’s equally true that the unlived life is not worth examining.

Parker Palmer

References

Dinah Washington,  I could write a book

Adam Phillips, Missing Out: In Praise of the Unlived Life

New Order, Bizarre Love Triangle

Parker Palmer, Naropa University Commencement Address

 

 

Witness

 

Shrunken treasures

I spent most of the last month of June traveling and had the privilege of spending a few days in Valencia and of visiting the fabulous L’Iber, Museo de los soldaditos de plomo (Museum of Toy Soldiers). Housed in the magnificent, gothic style Palace of Malferit, once the residence of Don Juan Brizuela y Artés de Albanell, master of Alcolecha, and becoming, from 1690, the residence of the Marquis of Malferit, whose third holder, Salvador Roca y Pertusa Malferit, was made one of the “Grandees of Spain” by Carlos IV in 1803, L’Iber, holding 95.000 pieces and counting,  is much more than the largest toy soldier museum in the world. As it often happens with places and spaces that make you believe that magic is real, L’Iber is the dream turned into reality of Álvaro Noguera Giménez, one of the founders of the Spanish newspaper El País, whose passion for shrunken treasures and private collection of miniatures made the museum a reality.

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I had, unfortunately, a very limited time to visit L’Iber but was lucky enough to have someone call my attention to the “Fashion History” corner from which I had to be dragged from. My photos do not make any justice either to the museum collection or to the precious work of the Pixi atelier.

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Created by Alexis Poliakoff , son of the painter Serge Poliakoff, second assistant to Claude Chabrol, Jacques Rivette and Jean-Luc Godard, painter, sculptor and master of a magic world of miniatures and lead figurines, Pixi was, from the beginning a revolutionary in the world of toy soldiers and lead figures dominated by army and war themes. Miniature soldier figurines found in Egyptian tombs have been dated to 2500 BC and were created for ritual purposes and not as playthings. Similarly, across Medieval Europe, generals and monarchs had miniature armies crafted for them in silver, porcelain, or wood for use during war-strategy sessions and only in the 18th century started being used as toys for the children of the affluent European aristocracy, evolving as toys throughout the 19th and 20th century and as objects of passion and fervent collections.

Rochas, 1934

From African Art to iconic cartoon and graphic novels characters and never forgetting the apparent triviality of our everyday life, Pixi has miniaturized everything and it’s Arts of Fashion: Haute Couture collection, that has me bound to the promise of going back to Valencia just to spend time at L’Iber, is truly a wonderful army of “fashion toy soldiers”.

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Dior 1948
Jacques Fath 1949
Jacques Fath 1949
Nina Ricci 1959
Nina Ricci 1959
Courrèges 1965
Courrèges 1965
Issey Miyake 1977
Issey Miyake 1977
Yves Saint-Laurent d'après Picasso 1979
Yves Saint-Laurent d’après Picasso 1979
Paco Rabanne 1983
Paco Rabanne 1983
Popy Moreni Universo 1984
Popy Moreni Universo 1984
J.P.Gaultier robe gaine 1985
J.P.Gaultier robe gaine 1985
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Emanuel Ungaro robe du soir 1987
J.C de Castelbajac robe Zèbre 1987
J.C de Castelbajac robe Zèbre 1987
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C.Lacroix Cigale A/H 1987-1988
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Karl Lagerfeld 1988 Fragonard
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Poiret Le choix difficile

Even though it has been coined to depict an economics concept, the phrase “small is beautiful” seems, in the words of John Mack, to be true. “Small is, indeed, very often, and by common consent, beautiful”. All miniatures result from technology and they achieve their “effect via the enchantment cast by [their] technical means, the manner of [their] coming into being, or rather, the idea one forms of [their] coming into being”.

All miniatures seem to have intrinsic aesthetic quality — and from what should they draw this constant virtue if not from the dimensions themselves?

Claude Lévi-Strauss

The “diminutive tactility” of miniatures and their magnetic powers of fascination, allow us, even if we are not the intended audience or actor of a certain reality, to form our own constructions of reality. For Lévi-Strauss, “all works of art partake of the nature of miniatures or scale models (…) a work of art is a universe in miniature” one that lets us experience  “a world in a grain of sand“.

 

 

 

 

 

All photos mine, captions from the Pixi online catalogue

Miniature

My eternal to do list

One day I’ll stop watching Poirot reruns and start organizing.


I will tame  the chaos after finally putting to use hours of reading “how to declutter” posts.


I will give my closets the professional organizer treatment and end up with a curated wardrobe of classical pieces.


I will stop buying every piece of vintage luggage that crosses my path because I will not need the extra storage space anymore.


I will keep only what is necessary.


And will try to convince myself that minimalism is sexy.


I will stop trying to keep all the things my granddad used to collect.


And after I have managed to strip my life off all the frivolity , I will finally have the time to read all the books lying around.


I have never crossed any item of this to do list. Either because I’m too lazy or too busy procrastinating.


Or because I can’t force my maximalist nature to become something else and pretend I don’t find beauty in the poetry of everyday chaos.

 

 

 

The Poetry of List-Making

There she goes, my beautiful world

If animals could speak, the dog would be a blundering outspoken fellow; but the cat would have the rare grace of never saying a word too much.

Mark Twain

My beautiful Grace, Magic Twinkletoes could not fight anymore and left today.

The smallest feline is a masterpiece.
Leonardo da Vinci

Rare

Things I do when procrastinating 

I’m  the worst procrastinator I know. I do write do to lists and visualize results and even tried to follow one or more of the popular productivity methods and tools out there and have read countless articles and posts on how to beat procrastination to no success.

Things linger until the last minute because “performing better under pressure” seems  to be my favourite excuse. Things get done but the end result is seldom as good as it could or should be. My flat mate at university used to say I was a “perfectionist afraid of perfection”. This was, of course, only a polite or kind way of stating the obvious. I was, and still am, a typical procrastinator. I avoid what has to be done. I put off projects and beginnings because the optimal conditions are never present, they will materialize tomorrow. Or Someday,  which, according to me, actually seems to be a weekday.

I am the kind of person that thinks I can do it all even if, at the same time, I am pretty sure that I am incapable of doing anything at all. Reading   James Surowiecki’s  article Later – What does procrastination tell us about ourselves?,  I was thrilled to discover myself in one of the paragraphs:

Lack of confidence, sometimes alternating with unrealistic dreams of heroic success, often leads to procrastination, and many studies suggest that procrastinators are self-handicappers: rather than risk failure, they prefer to create conditions that make success impossible, a reflex that of course creates a vicious cycle.

Just like General McClellan, I excel at planning. Realizing – making those plans  “real” – is not something that I feel confident enough to do. I tend to get lost in the wonder of new knowledge and the beauty of concepts. This was never as evident to me as when when I needed to write my PhD thesis. I had procrastinated ( a lot) during the dreaded writing phase of my master’s dissertation but managed to bring myself to do nothing else for a whole month and finish it. After all, the only “procrastination hack” that really works it’s the “just do it” one.

To know what you’re going to draw, you have to begin drawing…

Pablo Picasso

Unfortunately it was not that simple while attempting to write a lengthy, “formal document that argues in defence of a particular thesis”. I kept changing focus and approaches and adding material to my reading list and daydreaming about doing something else. One of my plans at the time was to become a découpage artist instead of continuing up (or down) an academic career path and for a few days I devoted myself to upcycling my Aldo wedge sandals into a pair of shoes that maybe Frida Kahlo would use. I’ve never been happier about the results of my action as inaction approach.

You can check the results of my procrastination or even take them home with you, here.