#Femme de Rochas

[moratoirenoir]

[angelitam]

Parfums chyprés

Parfums chyprés, intenses et magnétiques. Mitsouko de Guerlain Un accord majeur facetté de fleurs, de fruits et d’animalité qui fait scintiller un art du clair-obscur pour inspires les parfumeurs et chavirer les cœurs. Parfums chyprés C’est un accord de matières premières qui forme la famille olfactive la plus riche, la plus énigmatique, la plus audacieuse. Le terme vient de l’île de Chypre –…

[saintfelina]

i'm still a slut for animalics

i'm back with more! as we enter a new year, i've realized nothing will ever top my love of animalics. to me this is the peak of femininity--not florals or gourmands, but the raw sex appeal of this perfume category embodies every thing i want to be. and this time i'm upping the ante. we're moving away from softer musks and honey notes, instead we're going full blown sweaty and skanky with cumin, and civet. these are difficult and they're supposed to be. so to make things more interesting we're gonna explore older, vintage animalics versus newer animalics and see how they differ and compare.

vintage animalics are notable for their use of animal products. the practice has been thankfully discontinued but i can't lie and say i don't smell the difference. they were richer, dirtier and overall more potent. therefore if you want the full experience i recommend ebay, facebook marketplace, vinted and estate sales for older bottles.

(1932) the oldest on the list, tabu was beloved by old hollyword stars for its sultry, spicy ultra-feminine scent. crafted by perfumer jean carles, he was reportedly given the scandalous instructions to make a perfume for "whores" and that he did! its lush and rich, projecting far and making an appearence before you step into the room. a favorite of dorothy dandridge it's no surprise this was favored by many a screen siren. however i suggest you look on ebay for vintage versions as theyre easy to come by and aren't too expensive. the new reformulations just don't cut it!

(1944) femme rochas is next, this scent was famously worn by mae west and its shapely bottle matches her figure perfectly. the peach mimics soft, warm skin and its spiciness adds depth and sensuality. a perfume that makes you want to wear nothing else. while vintage bottles are best, the modern reformulations are also lovely.

(1944) another 40s creation, bandit isnt as favored as fracas (notably worn by stars like madonna) as it's more androgynous, edgy and quite frankly tough. perfect for marlene dietrich who was known for her transgressive roles and star power. bandit is a vetiver forward fragrance with a rich leather and civet drydown. this isn't for the frivolous type. if you wear this you're on top.

(1962) bal à versailles is extremely animalic. deep, spicy and resinous it's a highly polarizing scent. the powdery notes are either cloying or comforting, and this is one where all reformulations are pretty good, but there's enough differences where some prefer one over the others. as vintage as it gets and not for the faint of heart.

we're gonna break away from the old girls (affectionate, reverent) and we're gonna meet the new hussies. these animalics are created with synthetic animalics or by replicating it with non animal scents like cumin. don't sleep on these, as they're staying strong in a wave of florals and gourmands.

(2006) kicking off this century we have putain des palaces, another perfume for whores (it's name translates to palace whore) and its made to envoke a whore's boudoir: lace, powder, skin musk. her nightly routine. its a sensuous fantasy, and it's powdery notes make her delicate, and skinlike.

(2012) mad madam is a very carnal rose. well its not just the rose, but the whole bush thorns and all. it's like you stumbled out scratched and a little bloodied after an illfated idea to take a tumble. it has a nice greenness to them, very sexy and luscious. its dirty earthiness gives it an edge over other roses.

(2015) here we have salome. and this is a raunchy girl befitting her name. to many this smells like straight up sex, or at the very least how you smell after having sex and you put on a fur coat instead of a robe. the florals come in and give it a bit of class but not much, and its dry and sweaty and honestly? a little perverse. an animalic very much in the vein of her foremothers.

(2017) you thought i wouldn't add another scent by the queen of animalics?? well this time we're venturing into under my skin by francesca bianchi. this is sensual, warm, and completely fits its name with its skinlike scent. this isnt clean skin but it isnt dirty skin either, this is the human smell of your body after its sweated in the warm sun. blends well and and settles smoothly like all her other creations.

(2021) now in this decade we have rosenrot intense, created by the metal band rammstein . this perfume is odd in a good way, this is animalic by way of a tiger with a bloodied face after a feast. but dont be too scared of the blood note, it's really not that prominent i just like exaggerating. i'd say the incense note is more prominent, making this more of a smoky animalic rose with a slight metallic undercurrant.

(2024) les cahiers secrets is a perfume with a backstory catered to me. the brand jouissance based it's scents over female erotica writers, and this one in particular is based on anais nin. it's another powdery skin scent. and i don't mean skin scent as in close and soft, but in that it mimics skin. it's slightly sweaty, and the mid notes give it a makeupy scent. perfect for banging out smut for a dollar a page.

(2024) i'm not gonna lie and say black dog is easy (or well...good) but it's interesting. the durian note makes it a rough opener, but it settles into something darker, more mysterious and a little gothic as the licorice and animalic notes of the base come out. i'd be scared of this one, but intrigued.

(2024) lastly we have super sexy skunk, another rough go from d.grayi but also very interesting! it's cannabis notes are potent, and thats where the skunk widely comes from. but its almost nostalgic like being in the back of a nissan altima smoking weed way too young. it truly is super sexy, and also very dangerous with its oud and animal notes. even the chocolate gives it some edge.

[90sjenniferconnelly]

i wanna get a neat wearable perfume thats like melancholy and weird and a touch animallic. something that has the same quality of fleur dorange and feminite du bois where theyre both gorgeous but a little dirty and artful, but something thats more sad and aloof, but oddly comforting and cathartic in a weird off putting way. ive been circling putain des palaces, l’otpheline, rochas femme, and under my skin, but i need more to choose from. i know lheure blue is a classic of the genre and i will revisit it bur the last time i smelled it it reminded me of urinal cakes. i need something new in my life. none of the perfumes i have and use are moody enough. its either warm, sultry, comforting or sweet dumb bitch confections which i love but im craving something kind of emo and weird and understated.

[catspittle]

A list of things Crane does not enjoy due to legitimate trauma reasons, non-comprehensive:

- smooth, white tile

- blank rooms

- gold plated ceramic bathroom wall decorations, specifically 1950's-1960's Americana era

- blood

- bathtubs as a broad general

- condescending tones

- Femme de Rochas, the smell and also the bottle shape

[whileiamdying]

« Je suis toujours là » : le combat existentiel d’une femme face à la disparition de son mari

Walter Salles choisit de retracer l’histoire (vraie) de Rubens Paiva, ex-député de gauche disparu sous la dictature militaire au Brésil, à travers le regard de son épouse, combattante et mère courage.

Par Jacques Mandelbaum Publié le 15 janvier 2025 à 13h00

Eunice Paiva (Fernanda Torres), dans « Je suis toujours là », de Walter Salles.  STUDIO CANAL

L’AVIS DU « MONDE » — POURQUOI PAS

Sur la route du cinéma brésilien moderne, pour tracer les choses à très gros traits, trois noms reconnus du public international s’impriment. Le volcanique et possédé Glauber Rocha, figure de proue du « cinema novo » dans les années 1970. Le romanesque et engagé Walter Salles, qui émerge dans les années 1990. L’intellectuel critique Kleber Mendonça Filho, que l’on découvre à compter des années 2010. Le premier, comme brûlé à son propre feu, est disparu de longue date. Le troisième, patient artisan que le règne de l’ex-président d’extrême droite Jair Bolsonaro n’a pas aidé, ourdit à pas lent son prochain film. Le deuxième, perdu de vue depuis de nombreuses années, revient aujourd’hui avec un titre qui, pour concerner au premier chef son héroïne, pourrait aussi bien le désigner.

Révélé mondialement avec Central do Brasil en 1998, en retrait depuis Sur la route, en 2012, une adaptation du roman de Jack Kerouac qui n’avait pas entièrement convaincu, Salles réalise aujourd’hui un film qui connaît un gros succès au Brésil et remet en jeu deux motifs récurrents de son cinéma : l’absence ou la disparition d’un proche, singulièrement d’un père et d’un mari, et conséquemment la survie de ceux qui restent. Situation qu’il installe ici sur le fond du chapitre le plus tragique de l’histoire brésilienne contemporaine : la dictature militaire qui cadenassa et meurtrit le pays de 1964 à 1985. L’histoire, comme on dit, est tirée de faits réels. L’arrestation, en 1971, de Rubens Paiva – un ingénieur qui avait été député du Parti travailliste et se livrait à une résistance pacifique sous la dictature – suivie de sa disparition.

Il laissait derrière lui sa femme, Eunice, et cinq enfants, soudain confrontés au vide, à l’arbitraire, au néant, à l’impossible deuil. Walter Salles met en scène son récit en deux périodes. Une première demi-heure est consacrée à la vie d’une famille heureuse, dans une belle maison moderniste proche de la plage de Rio. La musique, le décor et les tenues, les couleurs du monde et le grain de la pellicule, tout ici, jusqu’au tournage de certaines séquences en super-8, donne l’illusion d’une exacte contemporanéité entre l’époque et le filmage. Tout y est par ailleurs si serein, si joyeux, si ouvert au monde, si aimant, si cool que le spectateur, averti du sujet du film et anticipant la tombée du couperet, se met prudemment à distance d’une plénitude dont il pressent la fonction dramaturgique.

Focalisation mélodramatique

A compter de l’arrestation de Rubens, père et mari exemplaire, un autre film, infiniment plus sombre, commence. Walter Salles prend le parti de le restituer à travers le regard d’Eunice, la femme de Ruben, depuis sa propre arrestation quelques jours après son mari jusqu’à l’époque contemporaine où on la retrouve, très âgée, à Sao Paulo, en compagnie de sa nombreuse descendance. Cette part du film est un portrait de femme qui conjoint une histoire de souffrance indicible et de résilience. L’une et l’autre auront permis à Eunice d’élever ses cinq enfants, de devenir avocate pour les droits des autochtones et de ne jamais abandonner la mémoire de son mari, en recherchant inlassablement les preuves de sa disparition.

[leehamwriting]

Un homme sous les nuages - Jana ROCHA - 2024 - Ed. Ex Aequo

Quatrième de couverture De passage dans un village du Nord de l’Argentine, le Guadeloupéen Joël Lemaître se retrouve en mauvaise posture lorsque Marcela, la femme d’un riche épicier, disparaît la nuit de son arrivée. Tania, une jeune femme polyglotte, vient à sa rescousse malgré lui. Elle entraîne Joël dans ses recherches sur les causes de la disparition qui agite le village. Lors de ce voyage à…

[blogperfumes]

Rochas Escapade Exotique Eau Toilette

Marcel Rochas marca a moda do seu tempo - sem cultivar apenas o clássico, ele vai sempre adiante, obcecado pela perfeiç��o. Lança o seu primeiro perfume “Femme”, sendo um sucesso de imediato. Em 1953, no auge da sua carreira, Marcel Rochas decide fechar a sua casa de alta-costura, determinado a dedicar os seus últimos anos à conceção de fragrâncias. Eau de de Rochas é um perfume icónico que continua a reinventar-se e conquistar os corações do público, desde a sua primeira criação em 1970. Ano após ano, Eau de Rochas transforma-se, tomando ares mais ou menos opulentos, carregando com frescura ou sensualidade. No entanto, desde 2016, a Rochas adoptou o hábito de desenvolver uma edição especial limitada à temporada de verão. Estes perfumes efémeros são o prazer de colecionadores e estão reunidos numa coleção chamada Les Escapades de Rochas.

A nova respiração frutada e solar de Eau de Rochas Escapade Exotique

Mais uma vez, em 2019, a Rochas apresenta-se com um de seus sucos solares e de verão. Desta vez, a sua nova composição é chamada Eau de Rochas Escapade Exotique. Desta vez, mais do que nunca, Rochas escolheu levar-nos para uma terra distante. O tempo é exótico e Escapade Exotique convida a fazer as malas para uma praia paradisíaca.

O Eau de Rochas Escapade Exotique é inspirado numa ilha aquecida pelo sol, forrada de areia branca e atingida pelo mar. Assim, o aroma desta nova fragrância mistura calor e frescura. Esta fragrância é um novo encontro com a brisa do verão; uma viagem a uma ilha tropical quente e calma, cheia de vegetação exótica. Um lugar de paz e tranquilidade, onde os únicos sons para desfrutar são as ondas do mar e as canções dos pássaros que descansam nas palmeiras. Escapade Exotique contém um aroma surpreendente e luminoso, do qual predominam as notas frutadas desde o primeiro momento. Escapade Eau de Rochas Exotique pertence à família olfativa Floral Fruity para mulheres. O seu aroma exótico aparece com um desfile de notas energéticas e femininas de groselha preta e otimista laranja, junto com um coração frutado de melão, melancia e jasmim. Todo este coquetel de notas é baseado num fundo subtil de almíscar e cedro branco que dão calor a este perfume. A GARRAFA DE ESCAPADE EXOTIQUE A garrafa que envolve o aroma Eau de Rochas Escapade Exotique continua com as formas da clássica linha Eau de Rochas. Uma garrafa de vidro com um look vintage, tingiu um gradiente rosa fúcsia. Uma garrafa coberta com um bujão esférico cheio de ranhuras. Frutas exóticas e o calor do verão são emanados dentro desta fragrância.

As notas de topo são Maçã, Cassis ou groselha preta e Laranja sanguínea. As notas de coração são Melão, Jasmim e Melancia. As notas de fundo são Extrato de Cedro branco, Almíscar e Ambroxan. Rochas Escapade Exotique está disponível em 100ml Eau Toilette. Read the full article

[moratoirenoir]

[singularidadesdouniverso]

A noite, o silêncio do quarto, da alma, da mente...permitem que a sintonia dos pingos de chuva se façam canção. Melancólica...

E eu aqui tentando trilhar o caminho de volta, tentando entender em qual passeio eu me perdi...me deixei entre a mata observando aquele por do sol, onde eu quis eternizar o momento....ou fiquei parada sobre o leito do rio ouvindo a melodia da água que sutilmente deslizava entre as rochas, sinuosamente...sem alardes, moldando seu próprio caminho, ou talvez me esqueci tentando compreender a perfeição das flores do campo naquele afloramento esquecido, elas balançavam com o vento e pareciam querer minimizar os rastros do descaso e colorir nossa visão. Quem sabe eu desligada que sou, me esqueci observando a grandeza e o poder de Deus, extasiada com tanta beleza no Cânion, lendo na paisagem as marcas do passado, e como tudo isso estará em um futuro mais distante, com a certeza de que tudo muda, nada é estático. Onde foi que me perdi, onde deixei minha sensibilidade, onde está minha poesia...minha leveza...onde esqueci a minha crença no amor, onde deixei os meus sorrisos espontâneos, meu barulho quietinho, minha voz mansa, meu gesticular desajeitado...mas tão meu, tão eu. Será que eu me deixei no azul....no azul de Paul Valery, que um dia alguém me deu.... "Patience, patience, Patience dans l’azur ! Chaque atome de silence Est la chance d’un fruit mûr ! Viendra l’heureuse surprise : Une colombe, la brise, L’ébranlement le plus doux, Une femme qui s’appuie, Feront tomber cette pluie Où l’on se jette à genoux !"....

[lmarodrigues]

Maria por Maria (da Graça Morais)

Maria uma mulher que nasceu , viveu e morreu com a idade de noventa anos, numa pequena aldeia de cerca de cem habitantes, isolada entre montanhas, de fraguedos, vinhas e olivais. Vieiro, lugar onde eu, Maria da Graça, nasci, vivi e observei sempre com emoção as Marias que hoje repousam no cemitério da Aldeia.

Em criança eu desenhava nas fragas com bocados de telhas e pedrinhas e cedo me apercebi que havia marcas muito antigas nessas enormes rochas que existiam nesse Trás-os-Montes majestoso e brutal. Mais tarde, em 1991, seriam descobertas as primeiras gravuras do Côa, a cerca de 40km da aldeia do Vieiro.

Essas mulheres, as Marias, viveram tempos de fome, de emigração dos seus familiares para o Brasil, mais tarde para a França, Alemanha e Suíça e também viveram com dor os dramas das partidas dos filhos para a guerra colonial em África, Angola, Moçambique, Guiné, nos anos sessenta até 1974, ano da revolução dos cravos, do 25 de Abril.

Foram mulheres lutadoras e resignadas, encontrando algum conforto na Fé católica e nos rituais sagrados e profanos daquela pequena comunidade, ligando-as numa forte identidade para continuarem a resistir e lutar por uma vida melhor.

Maria guardava no rosto as rugas da terra lavrada, das cascas das árvores, oliveiras, videiras, sobreiros e do tempo. O seu olhar e sorriso era sábio e silencioso, como o da mula, animal de carga, com quem manteve toda a vida uma cumplicidade nos trabalhos dos dias e das noites, cheios de solidão e dureza.

Realizei esta obra em 1982, numa sala transformada em atelier na casa do meu avô materno, durante um período de grande isolamento e forte necessidade de voltar às raízes, à terra onde nasci e onde durante gerações todos os meus antepassados nasceram, viveram e morreram. Maria trabalhava a terra e eu, Maria da Graça, pintava as telas.

Esta pintura, Maria, representou-me na XVII Bienal de São Paulo em 1983, com grande impacto junto da crítica e dos artistas presentes, e teve como consequência convites para exposições individuais nos Museus de Arte Moderna de São Paulo e do Rio de Janeiro, exposições que se realizaram nos anos de 1984 e 1985.

Desejo que esta obra Maria, valorize e emocione os visitantes da exposição Préhistomania no Musée de l'Homme, tal como sempre me emocionaram as exposições realizadas neste museu, num encontro entre a Arte e a História da Humanidade.

Graça Morais, Outubro de 2023

Traduction en français

Maria par Maria (par Graça Morais)

Maria, est une femme qui est née, qui a vécu et qui est morte dans un petit village d'une centaine d'habitants, isolé dans les montagnes, les vignobles et les oliveraies, à l'âge de 90 ans. Vieiro, c’est le lieu où moi, Maria da Graça, je suis née, j'ai vécu et j'ai toujours regardé avec émotion les Marias qui reposent aujourd'hui dans le cimetière du village.

Enfant, je dessinais avec des morceaux de tuiles et des cailloux sur les rochers et je me suis vite rendu compte qu'il y avait des marques très anciennes sur ces énormes roches qui existaient dans ce Trás-os-Montes, majestueux et brutal. Plus tard, en 1991, les premières gravures de Côa ont été découvertes, à environ 40 kilomètres du village de Vieiro.

Ces femmes, les Marias, ont vécu des périodes de famine, d'émigration de leurs familles vers le Brésil, puis vers la France, l'Allemagne et la Suisse, et elles ont également vécu les tragédies du départ de leurs enfants pour les guerres coloniales en Afrique, en Angola, au Mozambique et en Guinée dans les années 1960 jusqu'au 25 avril 1974, l'année de la Révolution des œillets.

Elles étaient des combattantes et des femmes résignées, trouvant un certain réconfort dans la foi catholique, les rituels sacrés et profanes de cette petite communauté, forgeant une identité forte pour continuer à résister et à lutter pour une vie meilleure.

Le visage de Maria portait les rides de la terre labourée, de l'écorce des arbres, oliviers, vignes, chênes-lièges et du temps. Son regard et son sourire étaient sages et silencieux, comme celui de la mule, sa bête de somme, avec laquelle elle a été complice toute sa vie des travaux des jours et des nuits, remplis de solitude et d'épreuves.

J'ai réalisé ce travail en 1982, dans une pièce transformée en atelier de la maison de mon grand-père maternel, au cours d'une période de grand isolement et d'un fort besoin de retourner à mes racines, à la terre où je suis née et où, depuis des générations, tous mes ancêtres sont nés, ont vécu et sont enterres. Maria travaillait la terre et moi, Maria da Graça, je peins des toiles.

Cette peinture, Maria, m'a représentée à la 17e Biennale de São Paulo en 1983, et a eu un grand impact sur les critiques et les artistes présents. Elle a donné lieu à des invitations pour des expositions individuelles dans les musées d'art moderne de São Paulo et de Rio de Janeiro, expositions qui ont eu lieu en 1984 et 1985.

J'espère que cette œuvre, Maria, enrichira et émouvra les visiteurs de l'exposition Préhistomania au Musée de l'Homme, tout comme j'ai toujours été ému par les expositions de ce musée, dans une rencontre entre l'Art et l'Histoire de l'Humanité.

Graça Morais, Octobre 2023

[theunstablejester]

Number one, Julian "Hellion" Keller. He literally has her team's name as his own, half of her bad blood against Laura came from her fearing she would hurt him. Emma would probably kill Julian's parents to officially make him a Frost, she literally did the: "Come to my office, I will scold you." to do nothing but praise him and she adores him so much she projected her daddy issues and fear of parenting into her relationship with him.

Number two, Celeste Cuckoo. As much as everyone is like: "Esme is the favorite Cuckoo!" let us be real, Emma at a certain point only refered to Celeste instead of the Cuckoos in general. Which like... fair, she was the first one break into her own and start to take a leadership role.

Number three, Kitty Pryde. We have to be honest, if Emma could she would absolutely exchange a Cuckoo for Kitty in order to have her as her official daughter. It would probably be Sophie... it would be Sophie.

Number four, Esme Cuckoo. She likes that she is a crazy ass femme fatale yet it is obvious that Emma would kill her if needed so she truly acknowledges her as a true Frost.

Number five, Monet St. Croix. If there was a student on Gen X that Emma ended up adoring enough to turn on her teaching streak back it was Monet.

Number six, Phoebe Cuckoo and Mindee Cuckoo. I do not think Emma has been capable of telling them apart since they returned to blonde hair.

Number seven, Sophie Cuckoo. Emma, why did you carry Sophie's dead body just to prove to Quentin how he had fucked up? I know that the Diamond Form fucks with your feelings but come on.

Number eight, Manuel de la Rocha. If Emma had had nine seats in her table for the characters in this list she would hide one if Manuel was close, if Emma buys Christmas presents she would give Manuel coal, if Emma ever gave Julian Frost International she would record it and and show it to Manuel, if she had to make a team and she needed someone that could control emotions she would activate Cerebra and find a new mutant.

[fruitchouli]

hello lovers time for the next sale ❤️

Salvador Dali La Belle et L’Ocelot (2014) 3.4oz 95% full - old-school 80s soapy spiced floriental meets modern fruitchouli, with orange, apricot-y osmanthus, patchouli, benzoin, and incense. for fans of Coco Noir - SOLD

Montale Intense Cafe (2013) 3.4oz 98% full - “like opening a box of rose flavoured Turkish delight, sweet, sickly, slightly cloying and strong notes of rose and vanilla” -aspicmyopic on basenotes - $54

Bond No 9 Chinatown (2005) 3.3oz 95% full (cap is loose, so I put a layer on tape on the inside for it to fit more snug) - “takes the idea of the likes of Rochas Femme and Mitsouko of knitting waxy peach/plum skins together with spicy flowers and leaving them to musty up a bit inside lacquered woody chinese boxes” -pandarapt on fragrantica - $102

DS&Durga White Peacock Lily (2016) 3.4oz 88% full - naturalistic dew-kissed lily and jasmine. stemmy, salty, translucent. perfect for The Lady of the Lake - SOLD

Caron Yatagan (1976) 4.2oz 99% full - this classic green woody, and a little animalic, masculine conjures images of an herbalist mountain man cutting herbs and veggies that he will later add to stew - $34

Thierry Mugler Alien Oud Majestueux (2015) 3oz 99% full (gold paint on bottle has chipped) - this discontinued Alien flanker amps up the original with saffron, cardamom, and an industrial oud - SOLD

Estée Lauder Youth Dew Amber Nude (2005) 2.5oz 80% full - under the direction of Tom Ford, this is a streamlined take on the dusty old classic with a sparkling grapefruit ginger ale top and a spiced golden amber base. for fans of Youth Dew and Cinnabar - SOLD

Etat Libre d’Orange Putain des Palaces (2006) 3.3oz 95% full - sensual powderpuff in a fur coat. Marie Antoinette if she was hot - $56

Alaia Paris Alaïa (2015) 1oz 83% - fresh violets, mountain air, and musky suede. Luca Turin said this smells like the interior of a Concorde jet; leather mixed with perfume from past passengers - SOLD

Guerlain Apres l’Ondee (1906) 2.5oz 98% - “purple flowers deluged by foggy air” “airy, pastel pointillism impressions of spring gardens” -pandarapt on fragrantica. “the prototypical cold and melancholy perfume. Simplicity, aching nostalgia, and unadorned beauty.” -Luca Turin. a favorite of Isabelle Adjani - SOLD

Kenzo Kenzo Jungle l’Elephant (1996) 3.4oz 95% full - big sweet spicebomb of clove, caraway, licorice, cardamom, mango, and vanilla. lets you live your opulent Moroccan spice market, or your Christian girl autumn, shopping at Joann Fabrics fantasy - SOLD

Guerlain Mitsouko EDP (1919) 2.5oz 70% full - sepia toned dry fuzzy peach skins and spicy flowers on a bed of oakmoss. worn by Charlie Chaplin, Jean Harlow, Ingrid Bergman - SOLD

Robert Piguet Bandit (1944) 3.4oz 90% full - this classic leather-centered green chypre from WWII was designed to be the butch to Fracas femme. “bitter, dark yet fresh, beguiling without any softness, and several unlit streets ahead of every other leather chypre”- Luca Turin - $179

Lush Fresh As (2019) 3.4oz 99% full - originally conceived as Fresh As Fuck, this scent is described as grassy meadows and pines after the rain, combined with earthy orris and fruity marigold - $46

Prada Infusion d’Oeillet (2015) 3.4oz 98% full - soft spicy carnation and sandalwood in the signature soapy/expensive hotel lotion Prada Infusion line style - $48

Lolita Lempicka L’eau en Blanc (2012) 3.4oz 90% full - like sitting at your grandma’s vanity and seeing her pale pink powderpuff - $52

Kenzo World Intense (2017) 1.7oz 98% full - plummy synthetic candy sweetness with fresh peony - $35

Gucci Gucci Oud (2014) 1.6oz 99% full - safe and entry level rose saffron oud with a jammy sweet rose - $62

Hermès Twilly Eau Poivrée (2019) 1.6oz 95% - twist on the original white floral and ginger scent with added aspects of a fruity pink pepper and a sweet woody rose - SOLD

US only, free shipping😋❤️, payment through venmo or friends and family on paypal and please don’t leave a comment about it being a perfume, just do a cute emoji or something (so the tax man doesn’t find me) thank you!!

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[PREVIEW 2022] Nos albums et films les plus attendus de 2022 ! 💿🎬✨ ALBUMS : JANVIER 15/01 : Molly Nilsson - Extreme 21/01 : Boy Harsher - The Runner OST 28/01 : Beirut - Artifacts QuinzeQuinze - Vārua EP FÉVRIER 04/02 :  Black Country, New Road - Ants From Up There Animal Collective - Time Skiffs Mitski - Laurel Hell Los Bitchos - Let The Festivities Begin! Cate Le Bon - Pompeii 11/02 : Big Thief - Dragon New Warm Mountain I Believe in You 18/02 : Beach House - Once Twice Melody Metronomy - Small World Blue Hawaii - My Bestfriend’s House EP 25/02 : caroline - caroline MARS 04/03 : Nilüfer Yanya - Painless 18/03 : Yumi Zouma - Present Tense 25/03 : Aldous Harding - Warm Chris Barrie - Barbara AVRIL 08/04 : Father John Misty - Chloë and the Next 20th Century Wet Leg - Wet Leg Et ceux bientôt annoncés de : Arcade Fire, Desire, Fishbach, Foals, Frank Ocean, Moodoïd, Mount Kimbie, Muddy Monk, Phoenix, Romy, Saint DX, Sinead O’Brien, Tess Roby, Toro y Moi, Vampire Weekend, Warpaint, Jimmy Whispers, The xx… EXCLU : Interview de Black Country, New Road à venir ! 🌟 FILMS : Sous réserve de changements : JANVIER 03/01 : ‘The Green Knight’ de David Lowery (Amazon Prime Video) 05/01 : ‘Licorice Pizza’ de Paul Thomas Anderson ‘Mes frères et moi’ de Yohan Manca 12/01 : ‘Ouistreham’ d’Emmanuel Carrière ‘Vitalina Varela’ de Pedro Costa ‘Jane par Charlotte’ de Charlotte Gainsbourg 14/01 : ‘The Tragedy of MacBeth’ de Joel Coen (Apple TV+) 17/01 : ‘Spencer’ de Pablo Larraín (Amazon Prime Video) 19/01 : ‘Nightmare Alley’ de Guillermo del Toro 26/01 : ‘Un monde’ de Laura Wandel ‘Nos âmes d'enfants’ de Mike Mills ‘Une jeune fille qui va bien’ de Sandrine Kiberlain ‘Adieu Paris’ d’Edouard Baer FÉVRIER 02/02 : ‘The Souvenir Part I’ et ‘The Souvenir Part II’ de Joanna Hogg ‘Red Rocket’ de Sean Baker ‘Introduction’ de Hong Sang-Soo ‘Arthur Rambo’ de Laurent Cantet ‘H6’ de Ye Ye 09/02 : ‘Great Freedom’ de Sebastian Meise ‘The Innocents’ d’Eskil Vogt ‘Vous ne désirez que moi’ de Claire Simon 11/02 : ‘Bigbug’ de Jean-Pierre Jeunet (Netflix) 16/02 : ‘Un autre monde’ de Stéphane Brizé ‘Piccolo Corpo’ de Laura Samani ‘After Blue (Paradis sale)’ de Bertrand Mandico 23/02 : ‘Les Poings desserrés’ de Kira Kovalenko ‘Ils sont vivants’ de Jérémie Elkaïm MARS 02/03 : ‘Rien à foutre’ d’Emmanuel Marre ‘Viens je t’emmène’ d’Alain Giraudie 09/03 : ‘Petite Nature’ de Samuel Theis ‘Soy Libre’ de Laure Portier 16/03 : ‘L'Histoire de ma femme’ d’Ildiko Enyedi ‘Moneyboys’ de C.B. Yi ‘Medusa’ d’Anita Rocha da Silveira ‘A plein temps’ d’Eric Gravel 23/03 : ‘De nos frères blessés’ de Hélier Cisterne ‘Plumes’ d’Omar El Zohairy 30/03 : ‘Retour à Reims (Fragments)’ de Jean-Gabriel Périot AVRIL 06/04 : ‘Contes du hasard et autres fantaisies’ de Ryusuke Hamaguchi ‘Employé / patron’ de Manolo Nieto ‘Libertad’ de Clara Roquet 13/04 : ‘Et il y eut un matin’ d’Eran Kolirin ‘Face à la mer’ d’Ely Dagher ‘Toute une nuit sans savoir’ de Payal Kapadia ‘Le Dernier Piano’ de Jimmy Keyrouz ‘Apples’ de Christos Nikou 20/04 : ‘Murina’ d’Antoneta Alamat Kusijanovic ‘Qui à part nous’ de Jonás Trueba 27/04 : ‘Hit the Road’ de Panah Panahi MAI 04/05 : ‘Nitram’ de Justin Kurzel 11/05 : ‘The Northman’ de Robert Eggers ‘Suis-moi, je te fuis’ de Koji Fukada 18/05 : ‘Fuis-moi, je te suis’ de Koji Fukada 25/05 : ‘Clara Sola’ de Nathalie Álvarez Mesén JUIN 15/06 : ‘Sweat’ de Magnus Von Horn ‘Jusqu’ici tout va bien’ de Quentin Dupieux JUILLET 20/07 :  ‘L'Année du requin’ de Ludovic & Zoran Boukherma AOÛT 03/08 : ‘Nope’ de Jordan Peele SEPTEMBRE 14/09 : ‘Chronique d'une liaison passagère’ d’Emmanuel Mouret DÉCEMBRE  14/12 : ‘Avatar 2’ de James Cameron Et ceux bientôt annoncés : ‘Eureka’ de Lisandro Alonso ‘Asteroid City’ de Wes Anderson ‘Cow’ d’Andrea Arnold ‘The Whale’ de Darren Aronofsky ‘Disappointment Blvd.’ d’Ari Aster ‘Irma Vep’ (série) d’Olivier Assayas ‘The Last of Us’ (pilote de série) et ‘Monica’ de Kantemir Balagov ‘White Noise’ de Noah Baumbach ‘Les Herbes sèches’ de Nuri Bilge Ceylan ‘Coma’ et ‘La Bête’ de Bertrand Bonello ‘Don Juan’ de Serge Bozon ‘Ecole de l’air’ de Robin Campillo ‘Decision to Leave’ et ‘The Sympathizer’ (série) de Park Chan-wook ‘Babylon’ de Damien Chazelle ‘The Brutalist’ de Brady Corbet ‘Infinity Pool’ de Brandon Cronenberg ‘Humane’ de Caitlin Cronenberg ‘Crimes of the Future’ de David Cronenberg ‘Disclaimer’ (série) d’Alfonso Cuarón ‘Tori et Lokita’ de Luc et Jean-Pierre Dardenne ‘Avec amour et acharnement’ et ‘The Stars at Noon’ de Claire Denis ‘Pinocchio’ et ‘Cabinet of Curiosities’ (série) de Guillermo del Toro ‘Frère et sœur’ d’Arnaud Desplechin ‘La Nuit où Laurier Gaudreault s’est réveillé’ (série) de Xavier Dolan ‘Blonde’ d’Andrew Dominik ‘Stranger Things 4’ (série) de Matt & Ross Duffer ‘Incroyable mais vrai’ et ‘Fumer fait tousser’ de Quentin Dupieux ‘Second Tour’ d’Albert Dupontel ‘Tár’ de Todd Field ‘The Killer’ de David Fincher ‘Men’ d’Alex Garland ‘L’Innocent’ de Louis Garrel ‘La Lune crevée’ de Philippe Garrel et Jean-Claude Carrière ‘Moussa’ de Romain Gavras ‘Barbie’ de Greta Gerwig ‘La Zone d’intérêt’ de Jonathan Glazer ‘Savagery’ de Miguel Gomes ‘Armaggedon Time’ de James Gray ‘Bones and All’ de Luca Guadagnino ‘Earwig’ de Lucile Hadzihalilovic ‘Shining Sex’ de Lucile Hadzihalilovic, Sion Sono, Hélène Cattet, Bruno Forzani, Bertrand Mandico et Kleber Mendonça Filho ‘Un beau matin’ de Mia Hansen-Løve ‘Where to Land’ de Hal Hartley ‘May December’ de Todd Haynes ‘The Lost Daughter’ de Joanna Hogg ‘Le Lycéen’ de Christophe Honoré ‘Twisted Strings’ (série) de Hou Hsiao-Hsien ‘Prayers for the Stolen’ de Tatiana Huezo ‘Bardo (or False Chronicle of a Handful of Truths)’ d’Alejandro González Iñárritu ‘The Actor’ de Duke Johnson ‘Blossoms Shangai’ (pilote de série) de Wong Kar-Wai ‘Memory Police’ et ‘lQ83’ (série) de Charlie Kaufman ‘Mektoub My Love : Intermezzo’ et ‘Mektoub My Love : Canto Due’ d’Abdellatif Kechiche ‘Broker’ de Hirokazu Kore-Eda ‘Poor Things’ et ‘Pop. 1280’ de Yorgos Lánthimos ‘Apollo 10 ½’ de Richard Linklater ‘The Way of the Wind’ de Terrence Malick ‘Conan La Barbare’ de Bertrand Mandico ‘Ferrari’ et ‘Tokyo Vice’ (série - pilote) de Michael Mann ‘L’Envol’ de Pietro Marcello ‘La Favorite’ de Maïwenn ‘The Banshees of Inisherin’ de Martin McDonagh ‘Occupied City’ de Steve McQueen ‘Empire of Light’ de Sam Mendes ‘Three Thousand Years of Longing’ de George Miller ‘To the Edge of Sorrow’ de Christian Mungiu ‘Les Cinq diables’ de Léa Mysius ‘The Orphan’ de László Nemes ‘Kock at the door’ de M. Night Shyamalan (prévu pour 2023) ‘Molly in the Darknet’ de Gaspar Noé ‘Oppenheimer’ de Christoher Nolan (prévu pour 2023) ‘The End’ de Joshua Oppenheimer ‘Triangle of Sadness’ de Ruben Östlund ‘Peter von Kant’ de François Ozon ‘Die Glücklichen’ de Christian Petzold ‘Acide’ de Just Philippot ‘Flee’ de Jonas Poher Rasmussen ‘Le temps d’aimer’ de Katell Quillévéré ‘Polaris’ de Lynne Ramsay ‘Showing Up’ de Kelly Reichardt ‘La Chimera’ d’Alice Rohrwacher ‘The Dark Half’ d’Alex Ross Perry ‘Passages’ d’Ira Sachs ‘The Curse’ (série) de Benny Safdie et Nathan Fielder ‘In Front of Your Face’ de Hong Sang-Soo ‘Master Gardener’ de Paul Schrader ‘Killers of the Flower Moon’ de Martin Scorsese ‘Kitbag’ de Ridley Scott ‘Un petit frère’ de Leonor Séraille ‘Bora Bora’ d’Albert Serra ‘Limbo’ de Ben Sharrock ‘La Colline parfumée’ d’Aberrahmane Sissako ‘Kimi’ et ‘Full Circle’ (série) de Steven Soderbergh ‘The Fabelmans’ de Steven Spielberg (prévu pour 2023) ‘Flux Gourmet’ de Peter Strickland ‘Women Talking’ de Miriam Toews ‘Anatomie d’une chute’ de Justine Triet ‘Young Sinner’ de Paul Verhoeven ‘Dune : Partie 2’ de Denis Villeneuve (prévu pour 2023) ‘Families Like Ours’ (série) de Thomas Vinterbeg ‘The Kingdom Exodus’ (série) de Lars Von Trier ‘Ripples of Life’ et ‘Mr Crane Is Back’ de Shujun Wei ‘Human Flowers of Flesh’ de Helena Whittmann ‘Revoir Paris’ d’Alice Winocour ‘I Am Going to Kill You’ de Nicolas Winding Refn ‘The Son’ de Florian Zeller ‘What Happens’ d’Andrey Zvyagintsev EXCLU : Interviews de Joanna Hogg et Shujun Wei à venir ! 🌟 A&B

[blogperfumes]

Fragrâncias: 7 fragrâncias cientificamente concebidas para aumentar a auto-confiança

O sentido do olfato está intimamente ligado à memória e às emoções, e certos cheiros podem evocar sentimentos de conforto, felicidade ou até mesmo confiança. Quando alguém usa uma fragrância que associa a boas lembranças ou que a faz sentir-se bem consigo mesma, isso pode ter um efeito positivo na auto-confiança. Além disso, muitas pessoas usam perfumes ou colónias como parte da sua rotina de cuidados pessoais, o que pode contribuir para uma sensação de preparação e confiança para enfrentar o dia. Sentir-se cheiroso e bem-cuidado pode aumentar a auto-estima e a confiança de alguém na sua aparência e presença geral. No entanto, é importante notar que o efeito das fragrâncias na auto-confiança pode variar de pessoa para pessoa, e nem todas as fragrâncias terão o mesmo efeito em todos. O mais importante é escolher uma fragrância que faça sentir-se bem e confiante, independentemente das opiniões externas. Houve a "Rive Gauche" de Yves Saint Laurent, cuja reivindicação anunciava que "esta não é uma fragrância para mulheres modestas", a "Femme" da Rochas, que tem vindo a celebrar a independência desde os anos 50, e mais recentemente a famosa "Girls can do anything" de Zadig & Voltaire. E se a fragrância se tornasse novamente o padrão de feminilidade poderosa e inequívoca? Depois de uma antologia de criações sem género, novos aromas encarnam uma expressão de feminilidade assertiva em sintonia com a evolução da sociedade. O perfume actua como uma saída libertadora, permitindo-nos ousar, definirmo-nos, fazer uma declaração forte sobre a nossa própria identidade. Estudos científicos demonstraram que 75% das emoções são despoletadas pelo olfato. Por isso, sim, uma fragrância pode fazer-nos sentir mais fortes, mais confiantes. De acordo com o catálogo de materiais aromáticos para fragrâncias e aromas, o cedro, o jasmim e o neroli são considerados como sendo capazes de trazer confiança e coragem, enquanto o gengibre, a mirra e o ylang ylang são considerados como sendo capazes de encorajar o desprendimento. Mas as coisas são de facto mais complexas do que isso. Se quisermos ter a certeza de que uma fragrância tem um poder emocional comprovado, temos de utilizar ferramentas neurocientíficas para nos ajudar a criá-la. É difícil associar matérias-primas a um estado de espírito específico. É a interação entre os ingredientes, a composição como um todo, que irá desempenhar um papel na provocação de emoções. Sabemos, por exemplo, que os citrinos, com as suas propriedades energizantes, dão um impulso de elevação. As madeiras proporcionam uma sensação de firmeza e a energia libertada pelas especiarias permite-nos avançar.

7 Fragrâncias que aumentam a auto-confiança

1 - Prada Paradoxe Intense Esta fragrância contrastante celebra as facetas da feminilidade na sua forma mais forte e delicada. Como se fosse levada à ebulição, a doçura do neroli irradia, uma super infusão de jasmim agarra os sentidos e a baunilha completa as coisas.

2 - Divine, Jean Paul Gaultier Jean Paul Gaultier não esperou até 2023 para celebrar tudo o que é feminino. 30 anos após o lançamento de Classique, a casa criou o primeiro gourmand marinho. Uma braçada de flores brancas com uma brisa salgada está aninhada no frasco de silhueta de culto, que está mais moldado do que nunca.

3 - Libre Platine, Yves Saint Laurent Foram necessários 7 anos para criar Libre, uma das fragrâncias mais estimulantes da atualidade. O calor envolvente da flor de laranjeira é perfurado por aldeídos de efeito gelado e um acorde vivo de lavanda branca, que parece espalhar-se pelo frasco até à Cassandra.

4 - Fame Parfum, Rabanne O trio de perfumistas ao leme de Fame multiplicou por dez a sua força de ataque. O resultado é uma nova fragrância inspirada na parisiense independente e de espírito livre, na qual cada ingrediente (incenso + jasmim + almíscar) é exaltado. https://youtu.be/vsrLm6rGBE4?si=LGXnhTTKwF_djLjJ 5 - Sì Eau de Parfum Intense, Giorgio Armani Cate Blanchett, Sadie Sink, Matilde Gioli, Eugenia Silva… Esta procissão de mulheres poderosas avança em uníssono na nova campanha Sì, uma mistura densa de néctar de groselha preta e baunilha cremosa. "Sì é a escolha de dizer sim às infinitas possibilidades da vida e de aceitar cada faceta de si próprio", diz Giorgio Armani.

6 - Téméraire, La Collection Particulière, Givenchy A tuberosa, a íris e o jasmim formam o trio de estrelas desta fragrância imponente, com o seu misterioso acorde de tinta e tons de especiarias. Um sopro de poder na pele, sensual e intrépido. Em suma, muito Givenchy.

7 - Portrait of a Lady, Editions de Parfums Frédéric Malle É indiscutivelmente a flor mais feminina que existe, e um único frasco desta fragrância contém 400 delas. A rosa turca eleva-se em majestade em Portrait of a Lady, juntamente com framboesa cintilante e notas amadeiradas chiques. Um perfume que encontrará uma vez e nunca mais esquecerá.

Em suma, as fragrâncias têm o poder de influenciar não apenas o nosso sentido do olfato, mas também as nossas emoções e, consequentemente, a nossa auto-confiança. Ao escolher uma fragrância que nos faça sentir bem e confiantes, podemos aproveitar os benefícios adicionais que ela pode trazer para a nossa vida diária. No entanto, é importante lembrar que a verdadeira auto-confiança vem de dentro, e uma fragrância pode ser apenas um complemento para realçar essa confiança pessoal. Read the full article

[creativeprocesssophielindsay]

LOUISE BOURGEOIS

Louise Bourgeois, Femme Maison (1946-47)

http://unahumana.blogspot.com/2014/05/louise-bourgeois.html

Louise Bourgeois, Ode A L’Oubli, 2002

https://www.moma.org/collection/works/98440

Louise Bourgeois, The Blind Leading the Blind (1947-49)

https://www.smithsonianmag.com/smithsonian-institution/weekend-events-louise-bourgeois-kirkikou-and-the-sorceress-40400043/

Louise Bourgeois Femme Volage (Fickle Woman) (1951)

https://www.lofficielmexico.com/arte-y-cultura/5-minutos-conocer-louise-bourgeois

Louise Bourgeois, Forêt (Night Garden) (1953)

https://www.invaluable.com/auction-lot/louise-bourgeois-foret-night-garden-other-31-c-67lxlzrq19

Childhood

Louise Bourgeois was born in Paris in 1911 and named after her father Louis, who had wanted a son. Most of the year, her family lived in the fashionable St. Germain in an apartment above the gallery where her parents sold their tapestries. The family also had a villa and workshop in the countryside where they spent their weekends restoring antique tapestries. Throughout her childhood, Bourgeois was recruited to help in the workshop by washing, mending, sewing, and drawing, overseen by her mother Josephine, with whom she was very close. As an adolescent, Bourgeois attended the elite Lycee Fenelon in Paris.

Despite all appearances pointing to a thriving family in which the young artist was exposed to certain privileges, there were persistent tensions in the household. This was because her father's mistress (who was also Bourgeois' tutor) resided with the family. This circumstance marked the pivotal trauma that would later come to inform Bourgeois' highly autobiographical artworks surrounding family, motherhood, relationships, fidelity, abandonment, the body, and trust.

Early Training

Bourgeois received an extensive education. In the early 1930s, she studied math and philosophy at the Sorbonne, where she wrote her thesis on Blaise Pascal and Emmanuel Kant. After the death of her mother in 1932, she began studying art, enrolling in several schools and ateliers between 1934 and 1938, including the Ecole des Beaux-Arts, the Academie Ranson, the Academie Julian, and the Academie de la Grande-Chaumiere. Her first Paris apartment was on the rue de Seine in the same building as André Breton's Galerie Gradiva, where she became familiar with the work of the Surrealists. In 1938, she began exhibiting her work at the Salon d'Automne and opened her own gallery in a sectioned-off area of her father's tapestry showroom, exhibiting prints and paintings. Through this short stint as an art dealer, she met and married art historian Robert Goldwater, with whom she'd relocate to New York City later that year.

Mature Period

Upon arrival in New York, Bourgeois enrolled at the Art Students League and focused her attention on printmaking and painting. She also had three children over a four-year period. Throughout the 1940s and '50s, Goldwater introduced Bourgeois to a plethora of New York artists, critics, and dealers, including most importantly, Alfred Barr, the director of the Museum of Modern Art, who bought one of her works for its collection in 1953. In the late '40s and '50s, she had several solo shows in various New York galleries. Her husband received a Fulbright grant and they returned with their children to France in the early 1950s, during which time her father died. Bourgeois began psychoanalysis in 1952, which she continued and off until 1985. In the 1960s, she began experimenting with latex, plaster, and rubber, and travelled to Italy, where she worked with marble and bronze.

Late Period

Bourgeois' husband died in 1973, the same year she began teaching at various institutions in New York City, including the Pratt Institute, Brooklyn College, and Cooper Union. It was during this time that she started hosting Sunday salons in her Chelsea apartment, which would become legendary. At these intimate sessions, students and young artists would bring their work to be critiqued by Bourgeois, who could be ruthless, referring to the gatherings, with characteristically dry humour, as "Sunday, bloody Sunday." Nevertheless, her accessibility and willingness to advise younger artists was exceptional for an established artist of such standing.

She also participated in several exhibits in the 1970s and '80s and began presenting performance pieces. In the 1970s, Bourgeois became politically active as a socialist and a feminist. She joined the Fight Censorship Group, which defended the use of sexually explicit imagery in art and made several of her own sexually explicit works related to the female body, such as Fillette (1968). Marking her prestige in the art world, Bourgeois had her first retrospective in 1982 at MoMA, which was the first given to a female artist at that institution. In 1993, Bourgeois, who became an American citizen in 1955, was chosen to represent the USA in the Venice Biennale. She died in 2010.

The Legacy of Louise Bourgeois

Bourgeois' work always cantered upon the reconstruction of memory, and in her 98 years, she produced an astounding body of sculptures, drawings, books, prints, and installations.

Bourgeois' work helped inform the burgeoning feminist art movement and continues to influence feminist-inspired work and Installation Art. The first Assemblages of Louise Nevelson, for example, were produced a few years after Bourgeois had been experimenting with similar environments, such as Bourgeois' Blind Leading the Blind (1947-49) and Night Garden (1953). Her focus on both male and female genitalia during the 1960s was an important precursor to Feminist artists such as Lynda Benglis and Judy Chicago, whose works address similar interests.

Her work on diffusing the complexities surrounding sexuality, processing its strands in our lives, and dissecting the reverberations of its presence on our emotional, intellectual, and physical existence has informed male artists as well, like Robert Mapplethorpe, who has given her credit for opening up new ways to consider the body, its relations, and its unique identity in his own photography.

Her marriage of tapestry and fabric with sculptural principles has also been seen in the world of fashion, as noted designers such as Comme Des Garcons and Simon Rocha, conceived collections based on her interconnecting shapes and forms.