Jil Sander ‘Past Tense’
A book with a rigid cover and a stony smell of warehouse. There is white thread along its spine. Very compact paper like pressed chalk. As the hand goes through its coarse dermis, dry residue comes off.
The shots are magnified, locomotion light on the runway, up-close.
The faces are niveous and held by high zygomatics, white silks fall into the pores of black wools. Loose hands and thin wrists.
Stills of bare trees thin out in silver filaments coming through cashmere drapes handled by hands that lift into exposing pearlescent ribs, the body's shell set against flat natural landscapes. Everything comes as it is, and the hair is clean and elastic like fresh parsley. Chunky sans-serifed bottles of mineral sunscreen.
Pliable black on the clavicles of Amber Valetta. The same black against vetiveric glass and lacquered walnut. And the strong argument that may be made in favour of hair be bleached and tapered against black silk-jersey whilst passing balding trees.
Ectoplasmic liquid lids. All prelude svelte bodies of water and white botanicals taken by the camera so close that the pixels look like powdered chlorophyl.
Ends with words by fredernic sanchez: “dialogue from jean luc goodard's contempt... talking heads... reduction that takes place in opulence and opulence in reduction.. ultimate design is about giving a person a frame that creates euphoria”.
I recommend the book taken in a high-necked, bone-white poplin shirt sitting on a 20th Century Beige "Soriana" Leather Sofa By Tobia Scarpa For Cassina, a newspaper at hand to catch the debris of the grain, Optrex to keep the pupils white, Hotel Monterey (1973) playing on the background, and a window open to hear the women come and go.
Stills of bare trees thin out in silver filaments coming through cashmere drapes handled by hands that lift into exposing pearlescent ribs, the body's shell set against flat natural landscapes. Everything comes as it is, and the hair is clean and elastic like fresh parsley. Chunky sans-serifed bottles of mineral sunscreen.
Pliable black on the clavicles of Amber Valetta. The same black against vetiveric glass and lacquered walnut. And the strong argument that may be made in favour of hair be bleached and tapered against black silk-jersey whilst passing balding trees.
Ectoplasmic liquid lids. All prelude svelte bodies of water and white botanicals taken by the camera so close that the pixels look like powdered chlorophyl.
Ends with words by fredernic sanchez: “dialogue from jean luc goodard's contempt... talking heads... reduction that takes place in opulence and opulence in reduction.. ultimate design is about giving a person a frame that creates euphoria”.
I recommend the book taken in a high-necked, bone-white poplin shirt sitting on a 20th Century Beige "Soriana" Leather Sofa By Tobia Scarpa For Cassina, a newspaper at hand to catch the debris of the grain, Optrex to keep the pupils white, Hotel Monterey (1973) playing on the background, and a window open to hear the women come and go.