Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Thomas Bettinelli

Happiness is just a hairflip away.
Chris Crocker


"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
Tom Ford


Dries van Noten

Salvador Dalí and Marilyn Monroe enjoyed a surreal imaginary dialogue, the artist picturing the actress as Mao Zedong in 1952. We might wonder if that's what inspired Andy Warhol's progression from Marilyn to Mao two decades later. One thing we know for sure is that it had something to do with the collection Dries van Noten showed for this season. The voices of Dalí and Monroe chattered away in the aural tapestry that Kid Koala created to underscore the presentation. John Lydon's voice was there too, his nasal howl an incongruous dissonance in the mix. His post-punk wardrobe, on the other hand, was a key factor in the collection : the high-waisted, voluminous trousers hanging off suspenders; the leopard-spot coat. That leopard spot also referenced Elsa Schiaparelli, another of the "creative provocateurs" that DvN drew inspiration from. There were embroidered lobsters, and beaded firebirds, and palm trees that echoed her work. Kid Koala dropped in an abstract little snatch of the B-52s' "Rock Lobster" for emphasis. There would have been some Elvis too, if the estate had been more cooperative. Getty Images, on the other hand, was perfectly agreeable, so DvN got to use Marilyn on anything from a double-breasted suit to a pair of boxing shorts and a capacious poncho. Knitwear claimed one of MM's eyes and her lips, adapting Erwin Blumenfeld's classic 1950 Vogue cover. A polo shirt featured a photoprint of a beautiful, poignant poolside snap. We got it that Dries van Noten was orchestrating icons in his collection. And it was an impressive tribute to her durability that the young models in his show actually knew who Marilyn Monroe was. But that didn't diminish the eeriness of seeing tragic Marilyn's face writ so large on a man's suit or a long fluid robe. And the collection's color palette seemed to recognize that. It had a Hollywood gothic flavor, gilded and shadowy. One of the best ensembles featured a palm tree-printed silk shirt edged in leopard spot and photoprinted sequins, paired with gold shorts printed with Schiap's lobster and trimmed by a supine pinup Marilyn -donned by Laurie Harding. And this supercool, gorgeous gray checked suit with shorts -worn by Max Streetley. It's not often that a collection leaves you hankering for a good read. This one did. The book ? Kenneth Anger's Hollywood Babylon. Even though this offering as a whole was somewhat disappointing. It was a little short of divine decadence.

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