Beauty and the beasts

A few years ago, I found myself at London fashion week. 

I certainly wasn't in the front row, but I could clearly see the faces on the other side of the catwalk, familiar from the pages of high-end glossy fashion magazines. Among them was the renowned ice-queen Anna Wintour, the editor of US Vogue. Her face was an unsmiling mask of groomed perfection, the white glare of the catwalk reflecting in her glittering dark glasses.

The atmosphere was high and tight as we all sat perched on tiny seats, casting quick, sideways glances at each other. At one end of the catwalk, a literal heap of photographers lay in wait. Many of them were balancing on precarious ladders with enormous, heavy and expensive-looking equipment slung about their bodies.

Finally, with an explosion of light and a roar of music, the models emerged and began to pound down the runway. They were wearing gossamer light, ghostly clothes that floated and rippled against their long and lean limbs.

But I was shocked at how young and fragile the girls appeared. They were like fawns freshly captured from the forest – idealised examples of unspoiled glossy beauty, stalking like herons on their delicate, stilt-like legs. They were marching straight towards the slavering jaws of the wolf-like pack of photographers, and in response, the flash bulbs feverishly popped and flickered in a relentless, blazing barrage.

Very quickly, it was all over. All around me, people were getting up and clambering out of their seats, while I sat for a moment longer, trying to absorb the experience.

It's something that's stayed with me – that interesting and slightly disturbing dichotomy of vulnerability, dressed up and presented as fierce bravado.



The magic of courage

A friend forwarded the image below to me via Instagram, and I love it.

Something about the way the creature is looming out of the darkness – with that scary-yet-non-threatening demeanour, takes me right back to childhood feelings.

I've spent a bit of time digging around on Google, but so far I haven't been able to track down who the artist is. I don't think the person who painted this put the image together with the words, but I like the sentiment – it's something to keep in mind.




Liminal days

In the supermarket aisles, amid the scents of pumpkin spice and gingerbread, the glint of green plastic catches my eye.

A witch's mask, complete with straggly black hair and a wart or two.

It's the time of year when society at large seems to acknowledge magic on some level, albeit a ghoulish, mischievous kind. I've seen such fabulous costumes – amazing creativity and inventiveness.

There really should be good reason to dress up all year round, in my opinion!

Meanwhile, here's something I've copy-and-pasted from Wikipedia, about the origins of Halloween...

Samhain was seen as a liminal* time, when the boundary between this world and the Otherworld could more easily be crossed. This meant the Aos Si, the 'spirits' or 'fairies', could more easily come into our world. Most scholars see the Aos Sí as remnants of the pagan gods and nature spirits. At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink were left outside for them. The souls of the dead were also thought to revisit their homes seeking hospitality. Feasts were had, at which the souls of dead kin were beckoned to attend and a place set at the table for them. Mumming and guising were part of the festival, and involved people going door-to-door in costume (or in disguise), often reciting verses in exchange for food. The costumes may have been a way of imitating, and disguising oneself from, the Aos Sí. Divination rituals and games were also a big part of the festival and often involved nuts and apples. In the late 19th century, Sir John Rhys and Sir James Frazer suggested that it was the "Celtic New Year", and this view has been repeated by some other scholars.

*Definition of 'liminal':

  1. relating to a transitional or initial stage of a process

  2. occupying a position at, or on both sides of, a boundary or threshold


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