13 8 / 2014


Vous l’aviez peut-être déjà repérée chez griffes il y a un mois ; moi je ne l’ai pas oubliée, je suis retournée voir ce qu’elle fait et c’est superbe.

Anna Valdez compose une oeuvre très personnelle, à base de plantes grasses, tissus et tapis chamarrés, imprimés ethniques comme on dit. Le cadre de ses toiles est saturé. Horror vacui. Je la comprends.

(via mothspeaker)

13 8 / 2014


this video of twigs gouging > your life

(Source: supernova-grrrl, via thuglifexiamfashion)

29 7 / 2014



Lana Del Rey’s Americana shows its demand for a feminine desire that knows how to long for death.

Lana Del Rey uses the imagery of American nationalism to construct the kind of iconic girlhood that white America goes crazy for. But her relation to this history feels complicated. She aims to be “classic,” an aesthetic throwback to a bygone time when music was music and men were men and so on. But something is wrong with the picture. Ostensibly, she gives white America what it wants—an image of itself as lethal but beautiful, guilty but forgiven, an image of violence as indistinguishable from romance. If a straight white man hitsyou, it means he wants to kiss you—get it? The albums sell, but it’s not enough; critics berate her for not being convincing. But maybe it’s not Del Rey’s fault that this gloomwashing of whiteness (“Okay, we suck, but look how much we hate ourselves!”) doesn’t work. Maybe the material can no longer be made convincing.

Del Rey’s whiteness is unstable because it seems somehow faintly disturbed by the knowledge of its formation. Why else the death wish? Why else do her lips circulate independently of her face? Her lips are so plump and pleasingly symmetrical that when she first became famous a lot of people thought they were fake. The mouth became a phenomenon in its own right, signifying some kind of excess that couldn’t be assimilated. There was an exposé of her alleged “lip-enhancement surgery” and a Tumblr where someone Photoshopped the mouth onto images of celebrities. With a couple of exceptions, most of the famous faces enhanced with Lana lips on this blog belong to white people. Evidently the joke doesn’t work so well when the lips are transposed onto black people’s faces. When thick lips belong to black people, they are part of the apparatus of racial and racist identification. But on a white girl, big lips are sexy and suspicious. They must be fake meaning they look fake might be interchangeable with they better be fake. In the context of American whiteness’s paranoid relation to what it perceives as the blood taint of blackness (which is also the taint of white guilt), false full lips might be deeply preferable to a real full mouth, even if they are superficially derided.

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07 7 / 2014


Between us
twenty years of age
between your lips and my lips
when they meet and stay
the years collapse
the glass of a whole life shatters.

The day I met you I tore up
all my maps
an my prophecies
like an Arab stallion I smelled the rain
of you
before it wet me
heard the pulse of your voice
before you spoke
undid your hair with my hands
before you had braided it

There is nothing I can do
nothing you can do
what can the wound do
with the knife on the way to it?

Your eyes are like a night of rain
in which ships are sinking
and all I wrote is forgotten
In mirrors there is no memory.

God how is it that we surrender
to love giving it the keys to our city
carrying candles to it and incense
falling down at its feet asking
to be forgiven
Why do we look for it and endure
all that it does to us
all that it does to us?

Woman in whose voice
silver and wine mingle
in the rains
From the mirrors of your knees
the day begins its journey
life puts out to sea

I knew when I said
I love you
that I was inventing a new alphabet
for a city where no one could read
that I was saying my poems
in an empty theater
and pouring my wine
for those who could not
taste it.

When God gave you to me
I felt that He had loaded
everything my way
and unsaid all His sacred books.

Who are you
woman entering my life like a dagger
mild as the eyes of a rabbit
soft as the skin of a plum
pure as strings of jasmine
innocent as children’s bibs
and devouring like words?

Your love threw me down
in a land of wonder
it ambushed me like the scent
of a woman stepping into an elevator
it surprised me
in a coffee bar
sitting over a poem
I forgot the poem
It surprised me
reading the lines in my palm
I forgot my palm
It dropped on me like a blind deaf
its feathers became tangled with mine
its cries were twisted with mine

It surprised me
as I sat on my suitcase
waiting for the train of days
I forgot the days
I traveled with you
to the land of wonder

Your image is engraved
on the face of my watch
It is engraved on each of the hands
It is etched on the weeks
months years
My time is no longer mine
it is you


Nizar Qabbani (translated by W.S. Merwin and Lena Jayyusi), “Between us” (via larmoyante)

07 7 / 2014


"Return of the Rudeboy" Exhibition at Somerset House.

This summer,from mid-June to mid-August, London’s Somerset House is highlighting one Jamaica’s most influential exports on British fashion, music and style.

Birthed on the streets of Kingston, Jamaica, the Rudeboy (or Rudie) came to represent the young rebels who wore distinctively sharp sartorial styles such as Mohair suits, thin ties and pork pie hats. Much of their identity was rooted in aesthetics but their style was also closely connected to the music movements of the time, notably American Jazz and R&B musicians.

Curated by prolific photographer and filmmaker for music’s most wanted Dean Chalkley and fashion-industry favourite creative director Harris Elliott, this interactive exhibition focuses on and highlights the origins of Rudeboy culture in Jamaica, as well as its presence in the United Kingdom through various subcultures, through a series of portraits, installations and set pieces. In the past year, Chalkley and Elliott have photographed over 60 sharply dressed individuals from across the UK, whether it be on the streets of Shoreditch or Savile Row, all of whom embody the essence of what it is to be a Rudeboy (or Rudie) in the 21st century, to document the life, style and attitude of this growing urban group.

In addition to these portraits, all of the individuals pictured have provided their signature playlist, which has been fused along with curators’ and collaborators’ choices, into a soundtrack to capture the spirit and soul of the Rudeboy, and a complimentary sonic addition to the visuals of the exhibition.

And if all that isn’t awesome already, to highlight the essence of grooming as part of the Rudeboy aesthetics, the space will host a pop-up ‘grooming station’ on Thursdays and Saturdays, from Saturday 21 June, where visitors can book appointments to get their hair cut or beard trimmed by a top Rudeboy barber.

Celebrating Rudeboy culture is important for several reasons. Not only is it one of the biggest movements that has largely shaped 20th century British identity, it also highlights some of the impact and contributions that have been made in Britain and the UK at large through the Jamaican diaspora.

13 June – 25 August 2014
Daily 10.00-18.00 (last entry 17.30)
Until 21.00 on Thursday 3 July (last entry 20.30)

Terrace Rooms, South Wing
Free admission

More events.

07 7 / 2014

(Source: helainetieu, via daniiphae)

04 7 / 2014

I need a bae to deliver  honey mangos to my door because london is hiding them from me

04 7 / 2014


check http://instagram.com/miamatangi for styles and

see names of styles and specify in “ Add special instructions to the seller:


(via thuglifexiamfashion)

04 7 / 2014




if you dont make this face when dancing,
who are you




if you dont make this face when dancing,

who are you

(Source: fuckyeahsol-angel, via thuglifexiamfashion)

04 7 / 2014


Mirror mirror, Donna Dotan