aesthetics of joy

Socks are a secret way to be joyful, even (especially!) in serious situations. No one has to know that inside your shoes are rainbow stripes, or polka dots, or a pair of owls on ice-skates. Your feet are your own territory; you’re free to decorate them as you choose.

I’ve always loved colorful, patterned socks. My philosophy is, “Why not?” No one has to know they’re there, and the act of putting them on in the mornings perks me up. Taking them off at the end of the day, I smile again, remembering that they were under there, my true joyful self under all the emotions that came and went.

Joyful socks don’t have to be expensive. They shouldn’t be! They only need to be bright and comfortable. Yesterday, I fell in love with these charming pairs at the Gap. I couldn’t resist them, and they’re on sale. The fox has a stocking cap. The penguin is bundled up. The owl is headed for Rockefeller Center. Are they too cute? Probably, but that never hurt anyone. It’s a gloomy, drizzly day in Brooklyn, but I’m inside mulling cider and contemplating a winter with warm, happy feet. Wishing you the same!

Have you seen the madness that is the installation created for the Dior 2012 AW haute couture show? These photos leave me a bit breathless. Giddy, like I could forget the clothes entirely, see a show of forty models in paper bags, and rave that it was the best thing I’d ever seen in fashion. Flowers can make even the sanest person lose their mind.

This joyful superabundance is the work of Raf Simons (and dozens of floral stylists — view the “Making of…” here), who debuted as Dior’s new creative director with this show. Clearly, he felt he needed to make an impact. The inspiration is Christian Dior’s own idea of the “flower women,” referring to his famous, very feminine silhouettes of the 40s. Beyond that, I don’t think we can get too analytical about it. The show notes are mostly gobbledygook. (A sample:  ”This is one of the ways Christian Dior’s ‘Flower Women’… become contemporary in the collection; the architecture of flowers is analysed in a different way for the contemporary world.”)

Anyway, the experience speaks for itself. This isn’t about the architecture of flowers, it’s about the pleasure of flowers. It’s about a fantasy made real. It is pure, immersive, sensory joy. There’s really only one thing to do with it, and that’s to enjoy it. Happy daydreaming!

Via: The House That Lars Built

And if you want more flowers, check out the technicolor landscapes of the Netherlands as the tulips are blooming.

New York magazine’s Lady Gaga cover story this week again had me thinking about joy. She’s so playful with fashion and identity that I can’t help but feel a sense of delight at her style choices. In December I considered some of Gaga’s outfits and concluded that the bubble dress was the most joyful. So it gave me a little burst of joy to read that Lady Gaga seems to feel the same way:

Gaga was very taken with her new “bubble dress” at this point, and we talked about its unreality, the beauty of the imaginary. Everyone wanted that dress, but it wasn’t a dress at all—it was a bunch of plastic balls. “On my tour,” she declared, “I’m going to be in my bubble dress on a piano made of bubbles, singing about love and art and the future. I should like to make one person believe in that moment, and it would be worth every salt of a No. 1 record.” She dropped the accent for a moment now—the real girl, unartificed, was right underneath—and leaned in. “I can have hit records all day, but who fucking cares?” she explained. “A year from now, I could go away, and people might say, ‘Gosh, what ever happened to that girl who never wore pants?’ But how wonderfully memorable 30 years from now, when they say, ‘Do you remember Gaga and her bubbles?’ Because, for a minute, everybody in that room will forget every sad, painful thing in their lives, and they’ll just live in my bubble world.”

That’s joy, right? Something evanescent but memorable, something that stays with us in a way that is compelling, repeatable, and a little bit timeless. A little bit of the imaginary where it doesn’t quite belong.

My studiomate Rikki sent me a link to these joyful spinners months ago and I’m just now getting to post them. The installation is Les Danseuses by Swiss design group Atelier Oï, and it was displayed in the Vitra showroom in Zurich. (It looks particularly gorgeous in these photos.) They remind me of flamenco dancers or whirling dervishes, and they make me wonder what other wonderful things you could create with a bare ceiling fan mount as a starting point.

Something about the display reminded me of these striking images from Prada’s “Waist Down” exhibit from a few years ago.

The displays are delightful acts of transformation. Arranged this way, the pieces cease to be skirts — they are visual metaphors: a cabbage leaf, a tutu, a circular painting, a textile doughnut. Then, while digging up the images, I found that the Prada exhibit, designed by OMA, used an identical spinning device to the one in the video above to show some of the skirts, right down to the mirrors on the floor reflecting upwards.

Which came first? The Prada exhibit occurred in the mid-2000s, while the Les Danseuses is dated 2009. Is it a creative homage or just a case of “great minds think alike”? I dunno, but for me the edge goes to OMA for execution. I guess when your raw material is Prada, it’s pretty tough to make it look anything but beautiful.

What else could you put on a spinner? And what else spins? I’m envisioning some kick-ass joyful store displays using record turntables, toy tops, and a merry-go-round…

From time to time this blog needs to consider serious subjects. Fortunately, today is not one of those days. This week the NYT style section gives us a thoughtful discussion of Lady Gaga’s significance to fashion culture, accompanied by a retrospective of sorts in slideshow-form. With so many examples and such a diverse array of looks to choose from, it’s hard not to have favorites. (See more looks here.) But which are the most joyful?

The overly burlesque looks are out of contention, as too much sex crosses the line from joy into some other sort of emotion. The fact that we’re going for inner child here, and not inner sex kitten, rules out a lot of looks. Most of her looks are evoking cool, or anti-cool, or just plain weird. While the ethos is playful, the aesthetics are by and large very adult.

But I found a few examples joyful aesthetics in the mix. The bubble-dress, below, has my vote for the most absurdly, childishly delightful look of the bunch. It’s almost as if she got swept away by a cluster of dishwashing suds and dropped onto the stage with no time to change. I love the way the colored lights reflect in the surfaces of the spheres, iridescent. The radiating hair-halo, above, also has a joyful quality to it — a costumey echo of a Medieval nimbus, or a warm, golden sun. I also like the reflective, light-scattering quality of the mirror ball look (bottom). The curves of the skirt have a joyful arc, but the sharp triangular panel earns demerits. Sharp things trigger a primal fear reaction deep in a part of the emotional brain called the amygdala. The heightened alertness and emotional intensity of sharp things is odds with joy, though it’s probably just right for the kind of reaction Gaga is typically going for.

Any other Lady Gaga styles that give you a sense of delight? Any joyful looks I overlooked?

NYT: When Lady Gaga Appears, So Do Her Many Influences

Taking a momentary break from self-imposed writer’s isolation period because I could not resist sharing this. Did you know that joyful mobile-maker Alexander Calder also designed jewelry? Of course, he’s designed many joyful things, besides mobiles — his Circus for one, which was at the Whitney last year, and a variety of toys. But it was a delightful surprise to me to learn that he created about 1800 pieces of jewelry in his lifetime, many for his wife, Louisa.

I love the radiating gestures of the pieces — like a sun, stars, or fireworks. Also, isn’t it interesting how the image of Louisa’s dressing table (below) kind of looks like a mobile?

{via Birds of Ohio}

Yesterday “Stripes!” and today “Fela!”  This might be the week of exclamation point titles. They’re the most joyful punctuation, and with all the work and so little sleep, I’m getting a little punchy. Perhaps tomorrow I’ll write about those bushmen whose name has the ! at the beginning, the !Kung, and then finish the week out with some Lichtenstein paintings!

Please, don’t mind me. Sleep deprivation makes me giddy. (!)

But back to the order of the day, which is a short note about Fela! the musical, a biopic about the legendary founder of the Afrobeat genre of music Fela Kuti, which has just moved to the Eugene O’Neill from Off-Broadway. My friend Maggie scored free tickets to the Saturday night preview show and I just could not stay at home with the laptop with that on offer. It would not have been the joyful thing to do.

I arrived flustered and let’s just be honest, more than a little cranky. I left light as a feather. What happened in between? Music, of course — Fela’s soul-stirring, body-shaking sounds, brought to life by Antibalas, a Brooklyn Afrobeat band, charismatic lead Sahr Ngaujah and the sensational Lillias White. Dancing — not just by men who seem born in motion and women whose bodies seem to be all hips and no spine, but by you too, every last gangly uncoordinated one of you. And the color and energy of costumes that are positively kinetic in their vibrancy.

I couldn’t help but dig up a little history. This video shows Fela in concert — his songs were known to run 20 minutes or longer — so you can get a feel for the music and the joyous performance style if you aren’t familiar with it.

On the revolutionary music blog Revolucion, No you can find lots more about Kuti’s music, as well as these great images of his “queens,” the women who were his dancers and also his wives. These really give you a sense of the gorgeous energy that inspired Marina Draghici’s wonderful costumes and sets.

The translation from history to real life is so vivid, so immersive, that you can’t help but feel that you’re in a completely different world for a few hours. You’re certainly a long way from Broadway!

Read the NYT review: Making Music Mightier Than the Sword
See images of the sets and costumes from the show
Get tickets here

So it’s finally Friday. For real this time. (You’ll have to forgive me — one month out from finishing a masters thesis tends to make all the days look the same!)

These ebullient ethnic print looks from Tina Kalivas’s latest collection really fit my Friday mood, though. All the cutting, folding, and layering transforms the vibrant prints with an effervescent new energy. It’s as if all the tiers and pleats create a third dimension to the patterns, translating their graphics into form, animating them with texture and life. The whole effect is festive, but in a very “celebrate everyday” sort of way.

I hope you’re celebrating something this weekend, aesthetically or otherwise. Happy Friday!

{via Refinery 29}

Wrapping up the post-game fashion week joyfinding, it’s time to let the inner child out. The Barbie-loving, Bubble-Yum chewing, magenta tutu-wearing little girl inside of me danced around the apartment when she saw these light, confected pinks, and then ran off to eat pashmak for breakfast.

The cotton candy vibe extended weirdly even to the hair at some shows, where technicolor riffs on afros (almost none of them black) sweetly framed the traditional model death-stares. Vuitton took the cake for volume, but it was Rei Kawakubo’s stiff, fuzzy ponytails that managed the fine balance between kawaii and cool, and really captured the irrepressible joy of spring.

L to R, Top: Paul Smith, Lanvin, Carlos Miele. Bottom: Luella, Louis Vuitton (I almost wrote Vuitoon – Freudian slip?), and Commes des Garcons. There were candy colors (not just pinks) at tons of other shows — Giles, V+R, etc. Also, Tavi made a rainbow of Lanvin dresses that is worth a peek.

I’m lying low this weekend to work on the book (the rainclouds above have thoroughly endorsed this plan) so you may see a few atypical weekend posts. Happy Friday!

While there was a lot of lingerie-inspired sexiness on the runways for spring, there was also a kind of angelic transparency that was sweeter and more innocent. The looks feel less like they fell out of a dainties drawer and more like they floated in on a wisp of cloud or took inspiration from a pair of lacy dragonfly wings.

L to R. Top: Three As Four, Jil Sander, Valentino. Bottom: Fendi, Colette Dinnigan, Chado Ralph Rucci.