May 12, 2012
Doesn’t everyone just love stories of people who weren’t trained in a specific field and still manage to make a name for themselves in spite of it?
“Because for one, perfume is very French—there has been this hierarchy in the industry for so long. Which is good because you have incredible talent, and a refinement, but it’s also become stagnant. So for me, it was all about simplifying, for better or for worse. So as opposed to working with fifty, seventy or eighty raw materials for a fragrance, I work with maybe five or ten. There are these beautiful raw materials—I fight with Chanel to buy specific Neroli—and I thought it was a shame to mask them and cover them with different stuff. Maybe it’s something to do with the Swedish ethos, the simplicity…it was just simplifying in terms of creating a clear idea. So when you smell Accord Oud, you get it. You like it or not.”
“If I took you in the lab for two weeks, and showed you a spectrum, you would probably be able to show me things that remind you of specific memories. You would be able to develop your vocabulary to create a perfume. And that was the first phase for me, trying to understand the possibilities. Now when I walk down the street I can smell a lot more—dirty laundry, etc. I don’t think it’s a heightened sense of smell, it’s just awareness.”
“Because I didn’t go to school for this I had to catch up, but at the same time I didn’t want to become too technical, because I had this possibility to work with two very talented perfumers that do a lot of big work and are immensely creative, and I didn’t want to offset their process. So my idea was to push them in the right direction. I did that with words and raw materials, but also with images, emotion, music and poetry. My briefs were about sitting in a room and getting them to feel something. And hoping I would land close enough to.”
Ben Gorham (x)
May 11, 2012
“After a week of in-your-face colors and dizzying prints, Francisco Costa served up a palette cleanser for Spring.(…) What was new was the softness and the femininity. Occasionally in the past, Costa’s minimalism has erred on the conceptual side. He’s been slowly moving away from the sculptural constructions that used to define his work, but he said good-bye to them for good this season.
In their place were slipdresses that by their very definition had a real sense of the body.”
Nicole Phelps (x)
“In Francisco Costa’s hands, everything was as light and fragile as thistledown, the palette an ethereal blend of face-powder pinks, ice blues, and mauves, and pale vanilla yellows like Jazz Age lingerie. In fact, many of the dresses resembled lingerie of the type that Daisy Buchanan might have worn.”
Hamish Bowles (x)
May 9, 2012
“Those chic, sweeping black lines, kicking up sexily at the corners and made iconic by Monroe, Bardot and Hepburn, remain one of my all-time favourite looks.”
Sali Hughes (x)
May 9, 2012
Now that summer’s in full swing again, it’s back to working out on a regular basis. A nice side effect, that isn’t mentioned very often I find, is that because one sweats out all the toxins my face tends to completely clear up. Also, it’s true what they say – there really is such a thing as a runner’s high.
Mostly, I’ve just gone running regularly & every now and then I do one of those 20-minutes (limit of my attention span) 30-Day Shred videos.
And not to come across as too shallow, but as a result I’ve finally managed to loose all the weight I gained in Paris. Nothing too major, but still it’s nice to have dropped those kilos. That whole “French Women Don’t Get Fat“-concept — I don’t get it. But then again, the boulangerie down my street made the butteriest and most delicious croissants that ever were & together with some raspberry jam, who could say no. The French, apparently.
Also, God can we talk about how good freshly squeezed grapefruit juice is?! So good. If you haven’t tried it, please do.
“You can influence your mind by being serious about your body.”