Saturday, November 9, 2013

Melancholy Starlet & 1962 Cadillac Deville











A Souvenir‘ October 2013, Marie Claire Italia, model: Antonia Wesseloh, photography: Jacques Olivar, styling: Elisabetta Massari, hair: Martyn Foss Calder, makeup: Régine Bedot (touchpuppet).

The Cadillac Deville (at least that is what I think it is) is such a sinister vehicle, , all the classics are, in a way. I guess cold blue light can turn anything sinister, but the older things get the more apparent it becomes that there is a dark side to everything. At one point people (Victorian) thought those little black shoes with the laces and the pointy toes were simple, practical, innocent shoes. Now we see them and think only witches would wear them. 

For some reason the "dark" side is often not apparent when we look at new things. It is new so it must be good, better than that old thing that caused trouble/was around when that unfortunate thing happened/was made with methods we now know to be regrettable/whose luster had worn off. I think optimists prefer the new because they somehow feel that it's a fresh start, the same things won't go wrong with the new thing, the thing will make life better, and most importantly, the new thing is free from any negative associations the old thing might have come to acquire, simply though existing. At least that's how I feel whenever I become excited about a new thing coming out. By the way, there are new things, I don't believe that nonsense about every new thing being an old thing in disguise. 

The point in writing this, with these pictures is to say that if one embraces the old, as above, one might not get sucked into the illusion that every time one buys a new thing one has gained absolution, that the past is really behind them, and that the future can only get better. 

Sure they want to sell the clothes. The method is admirable though. It does not promise renewal though shopping. If anything the clothes create a link with the past; the new is not all good and the past has much to offer as well.

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