I don’t want my daughters to believe that it is their white half that makes them attractive, or that they owe anyone an answer to the question “What are you, exactly?”
interesting article that i thought i’d share, since i’m about to be the parent of a mixed race child.
An Ode to Madame Gres
Queen of draping and known as the Sphinx of fashion, Madame Gres’ designs were ahead of her time. She used silk chiffon as though it was second nature and manipulated fabric unlike no other. These two dresses are also made from silk chiffon cut on a bias to create that languid drape effect. The shirring of the bodice on the right was quite a challenge as I carefully tucked the delicate folds to take the form of the wearer’s bustline. I would also like to note that the lovely lady for whom this gown was made for is a stunning statuesque goddess of a woman who mused me through and through. I added a few godets to the circular skirt to create a train in the back. It is embellished with a simple belt with a vintage Art Deco buckle called a Duette. I also created detachable capped sleeves made from the finest beaded French Chantilly lace. The dress to the left is also draped with delicate pleatwork detailing at the front bodice and swags of lightly folded chiffon at the hip area. This dress reminds me of the Goddess Fortuna, patroness of wealth and good fortune. It has a very thin panel of deconstructed chiffon to create a ” feathered” look and adds to the relaxed charm of the gown. Both dresses have rolled baby hemlines which has a tendency to curl here and there creating a wavy hemline illusion that is just so dreamy. Working with chiffon cut on a bias is not for the faint at heart, but I must have drank lots of coffee that day when I was conjuring and channelling Madame Gres, and I hope I did her some justice even for just a quick glance. LOL !
that’s my dress on the left!!! thank you Carlyn for making my dress even better!!! xx
i have 2 friends that are currently working at an orphanage in Rwanda. this is a blog link to their amazing experience. please check it out.
my 2 cents…
1). the chick from the green team/team ‘big brother’ could possibly be the most annoying person on TV. holy cow, she is the w o r s t!
2). so sad the Kentucky guys didn’t make it to the finale and win :( so much heart those 2!
3). also bummed that those brothers (the soccer player & the rock star) didn’t last longer. they are ridiculously hot. ridic.
4). very happy rachel & dave beat art & jj.
As the Trayvon Martin case draws national attention, we look at another fatal shooting of an African-American male that has received far less scrutiny. Kenneth Chamberlain, Sr., a 68-year-old African-American Marine veteran, was fatally shot in November by White Plains, NY, police who responded to a false alarm from his medical alert pendant. The officers broke down Chamberlain’s door, tasered him, and then shot him dead. Audio of the entire incident was recorded by the medical alert device in Chamberlain’s apartment….
this makes me so sad.
oh my! i. am. obsessed. get this book! that’s an order.
just returned from the most brilliant trip to Rio. the people are colorful and beautiful. and i felt safe and at home. this video is amazing, but do yourselves a favor and put Rio’s Carnivale on your ‘vision board’ or ‘bucket list’ or ‘one day penny savings jar’. it is something you should experience. i feel very blessed that i have.
man how i wanted to be her growing up. rip.
Los Angeles police said Mr. Cornelius, creator of the television dance show “Soul Train,” shot himself to death Wednesday morning at his home. He was 75.
written by Allison Samuels.
Charlize Theron surely meant no harm. The actress genuinely thought she was complimenting fellow thespian Viola Davis during this year’s Newsweek Oscar roundtable when she told Davis, “You’re hot as shit.’’
Their exchange revolved around Davis’s comments on finding work as an African-American actress. Davis, who has won praise for her starring role in The Help, was attempting to explain the difficult plight of being black and female in the movie industry. “I’m a 46-year-old black woman who really doesn’t look like Halle Berry, and Halle Berry is having a hard time,” said Davis.
No doubt hoping to forge a sisterly bond, Theron rushed in to reassure Davis that she was indeed “hot’’ and naively implied that a simple change of attitude would make a world of difference. Her exact words—“You have to stop saying that, because you’re hot as shit.’’
In Hollywood, where even legendary filmmaker George Lucas had to fight and ultimately use his own money to get an all-black film (Red Tails) made, black actresses still struggle to find quality work. When they do, they are rarely cast as ideals of beauty or objects of desire. On the odd occasion that they are, only a certain look will do. Berry, who is biracial, has long been viewed as Hollywood’s most beautiful black actress, and some would argue that much of her success is based on that belief. Apparently Theron didn’t get the memo that mainstream culture strictly dictates what beauty is—and by those narrow standards, Viola Davis doesn’t fit the bill. Has Davis graced the covers of any of the beauty and fashion magazines that Theron lands with ease, whether she has a project or not? She hasn’t. Davis’s only covers on major publications such as Entertainment Weekly andThe Hollywood Reporter also featured her costars from the film or George Clooney. Her “hotness” was apparently not enough to warrant a solo appearance despite the fact that she may soon snag her second Oscar nomination for The Help. The reasons for this are as varied as they are disturbing, and Theron’s overly simplistic advice only underscores the lack of understanding many have around a reality they either don’t comprehend or don’t fully appreciate.
How sweet of Theron to say, and how thoroughly misguided and offensive as well. Davis was honestly confronting a number of painful and complicated issues faced by many women of color in Hollywood today—issues Theron (who was born in South Africa to parents of European descent) more than likely has never encountered and would have done well to listen to. The Oscar roundtable was the perfect forum for such a discussion, and yet Theron’s verbal charity managed to downplay the importance of Davis’s point. What difference does it make if Davis stops speaking a truth if the reality remains?
Davis’s work has been consistently stellar throughout her career, yet her most celebrated role to date may just be that of a maid to a white family during the ’60s in the Deep South. Some viewed The Help as another stereotypical representation of black life, but Davis still found a way to shine in her work. Diverse and well-defined parts such as the ones Theron enjoys—a ruthless killer in one film, a dying woman in love in another—aren’t offered to Davis, nor are well-paid endorsement deals with Christian Dior. In the world Davis lives in, you take a role like the one of Aibileen inThe Help because you’ve long given up on the notion that more balanced, nuanced parts about women who look like you are on the horizon. You understand that even in major films that feature African-American male stars, you may not get to costar as the wife, girlfriend, or partner because big studios get more “bang for their buck” when the female is of another race.
As one studio executive pointed out, “black man, black women, black kids equals black movie.” So when Will Smith does a film like Hitch, Eva Mendes gets to play his love interest and not Viola Davis. As well meaning as Charlize Theron is, she has no clue what it means to be a dark-skinned African-American woman whose beauty is seldom showcased in national commercials for perfumes or on mega billboards on Sunset Boulevard or even celebrated in the latest video by the hottest rappers. In the world Theron lives in, simply not saying something makes it go away. In Davis’s world, it doesn’t.