This is love, she thought, isn’t it? When you notice someone’s absence and hate that absence more than anything? More, even, than you love his presence?
This time, the time machine took me back to the right place.
This time, I ran outside and and nearly grabbed myself before I walked out that door to kiss you for the first time.
But this time, another me stopped me, before I could stop me, and said
“The only thing worse than missing someone, is wondering what there was to miss.”
This time, I sat down with me, and we drank and we spoke about how different things could’ve been. For me. And for me.
Later, I still kissed you for the first time. This time.
I swore never to be silent whenever and wherever human beings endure suffering and humiliation. We must always take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.
When we’re incomplete, we’re always searching for somebody to complete us. When, after a few years or a few months of a relationship, we find that we’re still unfulfilled, we blame our partners and take up with somebody more promising. This can go on and on—series polygamy—until we admit that while a partner can add sweet dimensions to our lives, we, each of us, are responsible for our own fulfillment. Nobody else can provide it for us, and to believe otherwise is to delude ourselves dangerously and to program for eventual failure every relationship we enter.
“People are often unreasonable and self-centered. Forgive them anyway.
If you are kind, people may accuse you of ulterior motives. Be kind anyway.
If you are honest, people may cheat you. Be honest anyway.
If you find happiness, people may be jealous. Be happy anyway.
The good you do today may be forgotten tomorrow. Do good anyway.
Give the world the best you have and it may never be enough. Give your best anyway.
For you see, in the end, it is between you and HIM. It was never between you and them anyway.” ― Mother Teresa
I understand how people feel when they see their ex with someone else.
I feel the same way when I see the pizza guy at someone else’s house.
Kate Moss and Jamie Hince
“Statistically, the probability of any one of us being here is so small that the mere fact of our existence should keep us all in a state of contented dazzlement.”
Details at Mary Katrantzou Spring 2012 Collection
If you want to spot me, my apartment is on Rue du Platre. I’m usually shaking my ass in the window. Come say Hi. — Snejana Onopka
Snejana: ‘hmmm I’m so perfect God sent me to show you how to walk’
Gemma: ‘I didn’t send anyone’
Issey Miyake Spring 1994
Alexander McQueen Fall 2003 “Scanners”
This collection is called Scanners. The invitations to this particular collection were brain scans, and the brain scans were actually of McQueen’s own brain scans when he was born. And the actual set was inspired by an Antarctic tundra. Above the tundra, two models were shown struggling against the wind. One of them was wearing a white parachute, and one we see here was wearing an oversized kimono. The elements featured very highly in McQueen’s collections and in his runway presentations. The wind was just another manifestation of McQueen’s deep engagement with nature and the natural environment.
Alexander McQueen Fall/Winter 1998 “Joan”
This collection was called Joan. McQueen didn’t really have muses. He was often inspired by women throughout history—people like Catherine the Great, Marie Antoinette, and in this case Joan of Arc. He liked women who he called “doomed women.”
The finale of this particular collection involved a woman walking down the runway styled like molten ash that has solidified. And at the end of it, she had centered herself on the catwalk and a ring of fire sprung up around her. The collection itself had many references to Joan of Arc—garments that were made out of chainmail, but also garments inspired by menswear. Joan of Arc was famous for contravening the conventions of gender in her dress.
McQueen rarely used supermodels, beyond Kate Moss. He preferred models who were not that well known, or if they were, he liked disguising their features on the runway with treatments that in a way obliterated their identities. So this particular piece is quite typical of McQueen in terms of the fact that it is covering her face. We are totally unaware of who the actual model is. He did really want the artist to focus more on the artistry of the clothes, rather than the identity of the model.
Alexander McQueen Fall 2006 Widows of Culloden
This hologram of Kate Moss was the finale to the collection Widows of Culloden, and this was an example of a collection that was profoundly autobiographical. Widows of Culloden referred to the last battle of the Jacobite Risings between the Scotts and the Brits and referenced McQueen’s Scottish heritage.
What was interesting about this particular ending was that it references a nineteenth-century practice called “Pepper’s ghost,” a device that gives the illusion of a spirit, often used in séances in the nineteenth century. And his choice of model here is interesting. He chose Kate Moss at a time when major design companies were dropping her because of the cocaine scandal, which McQueen always felt was deeply hypocritical. So his choice was political. Part of McQueen’s interest in Scottish history, beyond his own Scottish legacy, was the fact that he always reacted against romantic images of Scotland, which were all about tartan or haggis. When he did reference his Scottish heritage, it usually was in relationship to its turbulent political history.
The worst thing you can try to do is cling to something that is gone, or to recreate it.
“So I sent an email to 7 of my friends, including Sarah, and I said, ‘Does anyone want to go see ‘Lost in Translation’ tonight?’ and then I sent an email immediately afterwards to the 6 of my friends who weren’t Sarah and I said, ‘NOT YOU.’”
|—||John Green, on how he asked out his wife for the first time.|