Medusa, Vincenzo Gemito
Italian, Naples, 1911 - Parcel-gilt silver - H: 9 1/4 in.
UN Women Goodwill Ambassador Emma Watson attends an event at Parliament in Montevideo, Uruguay on Sept 17th
Costume design by Riccardo Tisci, Givenchy’s creative director, for a ballet of Maurice Ravel’s 17-minute composition Bolero, based on the Spanish dance, a collaboration between Marina Abramovic and Belgian choreographers, Sidi Larbi Cherkaoui and Damien Jalet; photographed for Dazed & Confused July 2013
Speaking of his initial costume inspirations, Riccardo Tisci said, “I wanted to create something very strong, very sexual. And very me. I was inspired by romance. The skeleton design is very dramatic but the nude colour of the fabric has a sense of romance- I wanted the dancers to feel naked. For me, the skeleton balanced death and beauty. I decided not to use materials associated with classic ballet, such as feathers and beading. I wanted to keep it minimal but also strong, because the bolero is about jealousy and intensity. I began with the black cape, because it has been key to my career. I imagined the men and women turning in the cape. I imagined the moment they would remove the cape, and underneath would be a nude catsuit in illusion tulle embroidered with a lace skeleton. They shed several layers as they dance, just like the lifecycle of animals or flowers losing their petals. They became these moving skeletons, strong and fragile at the same time.”
For the medieval man and woman, the eyes and their gazes were an important part of sexuality. In her book, Medieval Life, Roberta Gilchrist explains that according to medieval theories about sight, “the eye was not a passive receiver but was instead active in sending out rays of sight toward the object of vision. The very act of looking could stimulate desire in the observer and the observed.” Women were typically advised to avoid looking at men so as not to tempt them.
Andy Warhol at Gristedes supermarket, New York (1962)
↳ Richard Papen as sentimentalism
He strives for the picturesque, always taking notes and keeping the events of his life documented in ways that make them seem more beautiful than they actual were. He’s in love with the idea of love, with the idea that even the most terrible of things can be glorious in their own way.
Léa Seydoux, photographed by Nan Goldin for V magazine, winter 2013.
u know when u really like someone and literally every little thing they do is cute and no matter what face they make they always look perfect to you