Sunday, August 30, 2015

Vogue 1956

For decades photographers had travelled to India and taken topographical images but Parkinson, Vogue photographer, went to India with a different eye. His plan was to take Western fashion and combine it with Indian style. And it worked, the clothes blended beautifully with the surroundings. It was an ideal marriage- the dress, the coat, the outfit, contrasted, yet complemented by, the richness of the Indian architecture and landscape.

In November 1956 when British Vogue hit the newsstands, the fashion world was stunned by Parkinson’s contemporary and fresh look at India. Parkinson had travelled throughout India from the south of Mahabalipuram to Kashmir, and he captured the mood, the ambience and above all the colour. Diana Vreeland, the then editor of Harper’s Bazaar was entranced by Parkinson’s Indian images famously proclaiming ‘How clever of you, Mr Parkinson also to know that pink is the navy blue of India.’

Parkinson’s masterful balance – particularly his use of colour and light it to observe. 








Anne Gunning in a pink mohair coat outside the City Palace, Jaipur, India, Vogue. 1956











Anne Gunning wearing an evening dress in rose red chiffon by Susan Small, India, Vogue. 1956











Barbara Mullen at the Red Fort, Delhi, Vogue. 1956












Floating with flowers, India, Vogue. Barbara Mullen floating in a cotton mousseline dress by Atrima. 1956











For coolness under the sun, India, Vogue. Anne Gunning in front of Nandi, the Sacred Bull, on Chamundi Hill above Mysore City A skirt and blouse that come together into a fragile blow-away dress by Christian Dior. 1956











Honeycomb marble st the Red Fort, Delhi, India, Vogue. Anne Gunning wearing an evening dress in rose red chiffon by Susan Small. 1956











Manifold umbrellas in Aurungabad market, India, Vogue. Anne Gunning wearing a camisole-sheath in white pique, with a navy and white spotted cummerbund by Horrockses at Chanelle, Knighstbridge. 1956











Mylapore Temple and its waterlilies, India, Vogue. Anne Gunning wearing a yellow Dorlinic dress with satin binding. 1956












Paddy Fields in the late summer, India, Vogue. Barbara Mullen wearing a rose-printed cotton shirt by Digby Morton for Simpson and slacks in leaf-green linen by Daks. 1956












The Amber Palace, Jaipur, India, Vogue. Barbara Mullen wearing a blue shantung shirt and skirt with a stylized willow pattern design both by Harvey Nichols. 1956











The pale cool of Kashmir, India, Vogue. Barbara Mullen floating in a cotton mousseline dress by Atrima. 1956












The Pillars of Quwwat-Ul-Islam Mosque at dusk, India, Vogue. Barbara Mullen wearing a gold lame Ball gown by Christian Dior. 1956











The Shore temple at Mahabalipuram, India, Vogue. Barbara Mullen wearing a white organza dress with silver embroidery and moonstone-blue organza coat by Horrockses at Chanelle, Knighstbridge. 1956











The Taj Mahal seen across the swirling Jumna River, India, Vogue. Barbara Mullen wearing a bathing dress with orange, black and white design by Emilio of Capri. 1956












Winter sunshine wardrobe in India, Vogue. 1956


"The Old Man and the Sea" Novel By Ernest Hemingway




By Ernest Hemingway, Minimalist Writer

Minimalism is defined as writing that is whittled down to the basics with the greatest weight of the work put on context rather than the use of extensive descriptive language.


The Old Man and the Sea was the last novel Hemingway published before his death. With only 27,000 words, Hemingway wrote The Old Man and the Sea in two months while in Cuba. He was proud of his own work. This slim novel received a lot of critical and commercial success.

As I am re-reading this after a really long time, I will keep on adding my fav quotes soon...


What I am loving is the definite use of symbolism in this book. He mentioned how each item in his book--the fish, for example--had two levels: the literal (the fish) and a deeper meaning.


Paper, white: The ballad of a creative block

crumbled by MICHEL FRACOIS


It sneaks up on you,
the blankness of it all.
That piece of paper you have.
Still white. Clean. Unmarked.
Blank.
Your hand waits at the ready,
For when inspiration befalls.
And when you’re ready to leave a mark.
Any mark at all.
And so you start. One stroke. Two.
A dot here and a dash there.
You pause. Furrowed brows.
It’s all wrong.
Crumple.
Again.
Beads of sweat
across your head.
Muscles tense
in your hand.
Ready.
A dance forms between your sheets.
Pen and paper mingle and intertwine,
leaving traces of themselves
over each other.
Again and again.
A rhythm ensues, a careful one.
Soon, soon.
Don’t hurry
But soon.
A sound from afar breaks your flow.
You stop, alight and awake.
A short walk,
a break for now.
That’s ugly.
What was I thinking?
Ugh.
No.
No.
With hands up in the air,
A fistful of hair,
Forehead on knee.
You surrender inevitably.
Sleep, sweet surrender.
Twas not to be.
Eyes wide awake,
Heavy breaths, restless heart.
The brain churns,
The body turns,
Like rusty wheels set in motion
The haze lifts, slowly.
Surely.
Crawl.
Scratches in the shadows,
A hunched back,
The dance continues
By the light of the lamp
Shhh don’t scare it away
Quiet, quiet.
Squint your eyes
Erase all thoughts
Make space
For that glimmer of hope
The lighting strikes
All but once
Tap, dig, move,
Make way for inspiration
When it comes.
Grasp, grasp.
Reach.
Paw, wrestle, claw.
Kiss it, embrace it,
Put it all down.
Before you go blank

forevermore.

Colorful series from New York Fashion Week - By Damien Cuypers

Peering into the seemingly untouchable realm of fashion is a guilty pleasure for me. I'm thrilled when an illustrator takes on fashion in their sketches, removing the brand, the label, the money, and the model. 


Drawn in crayon, Cuypers' choice of medium increases the feeling of simplicity in these drawings. Still, Cuypers maintains the beauty of the clothes, the person, and the setting.


He's also wonderful at capturing a moment, whether on the runway, a posed shot on a city street, or a candid moment between fashion geniuses. 



I can see in my mind's eye the photographs of the same scenes, and only then do I realize how much I prefer the drawn interpretations. 


Seeing the pieces all together they offer a bounty of bright colors, and only when you think about it do you realize there is quite a lot of gray and black in these images.

In doing this, Cuypers has represented both the fashion and the city, just by choosing the right crayon.