tag:blogger.com,1999:blog-83728481875300330612024-02-07T10:17:42.639+01:00Rastaquouèrerastaquouère [ʁas.ta.kwɛʁ] n.m. et adj. – 1880 ; hispano-amér. rastracuero « traîne-cuir », désignant des parvenus ♦ fam. Et péj. Etranger aux allures voyantes, affichant une richesse suspecte. fam. 2. rasta. « C’est un rastaquouère ! […] Un chevalier d’industrie, un aventurier ! » (Duhamel). – Adj. Propre aux rastaquouères. 2. rasta.Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.comBlogger191125tag:blogger.com,1999:blog-8372848187530033061.post-43111606982570274592020-09-28T01:57:00.007+02:002020-09-28T19:38:24.304+02:00"Be in but not of the university..."<p></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit; text-align: justify;">It was entirely foreseeable that mainstream media was going to riff on sensationalist violence (frustrated white males with persecution fantasies and emboldened alt right groups in the UCP's Alberta clashing with anti-racists and land defenders) and mine personal stories of trauma in their reporting - individualized storytelling and the drawing of false equivalencies under the umbrella of abstract liberalism do not, after all, undermine the racial status quo and its power differentials and the role of mainstream media in sustaining these. It was also entirely foreseeable that the Twitterati of the university wasn't going to pass on a chance to leverage student activism for personal publicity stunts and ego strokes whilst they kept their WokeAF</span><span style="background-color: white; font-family: inherit; text-align: left;">™ asses comfortably off campus on a Saturday afternoon.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;">So, for those who need to hear or rehear it, I've made available audio from a speech I was invited to deliver at yesterday's (September 26th, 2020) anti-racist student protest held at Mount Royal University's East Gate. I argue that it will not be enough to simply add more dark faces, more safe spaces, more training and a more comprehensive curriculum to an institution designed to manage and perpetuate the "existing unjust and unacceptable allocations of dignity, wealth and power" (G. Lipsitz) and that Black students shouldn't relinquish their agency and grant legitimacy to neoliberal places of higher harming by pleading for inclusion and recognition within an institution incapable of loving them. Instead, I ask them to consider Fred Moten and Stefano Harney's advocacy for refuge in and sabotage from the undercommons: "It cannot be denied that the university is a place of refuge, and it cannot be accepted that the university is a place of enlightenment. In the face of these conditions one can only sneak into the university and steal what one can."</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxmvDkUtuQmh417A2SSKFCmkZyvrS9gVBtyezK8NrDLJlyuK1EXo02BOACt_MoCjDOD-pLA3cngA4ZpHP39-g' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /> <p></p>Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-17273747442132659882020-06-07T20:58:00.003+02:002020-06-07T21:29:08.652+02:00No Black Lament For This "Nation"...<span style="line-height: 107%;"><span style="font-family: inherit;">Rinaldo
Walcott and Idil Abdillahi on what it means in the era of Black Lives Matter to
continue to ignore and deny the violence that is the foundation of the Canadian
nation state. What is meant by the ongoing destruction, erasure and death of
Black people in this “country” all made acceptable throughout white western culture,
enacted by state structures draped under the benevolent lie of multiculturalism
and modernist ideology that regulates our thinking on migration and movement.
What it is for BlackLife to survive exhausted as Dionne Brand states, “in this
inexplicable space”. “Canada” has consistently been in denial of its deep
imbrications in the Atlantic world of slavery, its practices, its economies,
its ideologies and its logics and so has always had a problem with Black folx. “Canada”
smugly and tellingly states that it is “anything but the USA” so that it may
keep at bay its lethal fear of how blackness there occupies a contestatory
space vis a vis whiteness and so that it may continue to cajole itself with its
white fiction of national founding. </span></span><br />
<span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span>
<span style="line-height: 107%;"><span style="font-family: inherit;">From <i>BlackLife: Post BLM and the Struggle for Freedom</i>, 2019.</span></span><br />
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<span style="font-family: inherit;">“In George Grant’s (1965) “Lament for a Nation: The Defeat
of Canadian Nationalism” he trades in the continued lie, or to be more
generous, the myth of the “two original peoples” who founded Canada. These two
peoples in Grant’s nationalist and ethnocentric fears he termed “French and
Catholic, British and Protestant, united precariously in their desire not to be
a part of the Great Republic; but their reasons were quite different”. One
could read Grant’s comment here as a kind of collusion – a collusion that works
against all the others. While Grant is defending Canadian-ness vis a vis
disdain for the US and its mid-twentieth century empire, his defence – his lament
– consecrates the myth of the founding of the nation as one that is both
ordained in a certain way as English and French and also destined to be so. The
logic of Grant’s claim is to place all those outside the category of (white)
English and French as adjuncts to the nation. Multiculturalism later formalizes
these adjuncts into communities, allowing for some to enter whiteness against
the block of non-white others.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Now, of course Grant is also writing against the USA. And it
would not be too trivial to suggest that blackness bears down heavily on what
is at stake for him, even when he does not directly address blackness. At the
time of Grant’s writing the civil rights movement is at its peak and the
spectre of blackness haunts his text in all kinds of ways. Thus we might also
read Grant’s fear of the US as too steeped in the fear of how blackness there
occupies a contestatory space vis a vis whiteness and its own claims of
national founding. One significant way that Grant’s lament works is to also
rhetorically deny blackness historical space in Canada. This denial that is
endemic to Grant’s text runs across the works of Canadian white male
philosophers like Harold Innis and Marshall McLuhan too.<o:p></o:p></span></div>
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<span style="font-family: inherit;">A Canada that cannot or refuses to conceptualize its
relation to transatlantic slavery and its formation, as a part of the
post-Columbus slave-world is a Canada that will continually have difficulty
with Black people. This argument goes beyond making the evidence of slavery in
Canada appear and be present and a part of our conservation, to also suggest
that Canada’s own place in the Atlantic world is imbued with slave logics; the
evidence of slavery’s existence here is but only one part of a larger history,
dynamic and consciousness. We think, for example, of Canada’s historic trade in
salted cod used to feed those enslaved in the Anglo-Caribbean as one example of
the suppression of Canada’s deep imbrication in the Atlantic world of slavery,
its practices, its economies, its ideologies and its logics. Indeed, Grant and
Innis, in particular, in their attempts to produce a political philosophy that
centres Canada as a nation-state have both failed, one might argue, or
deliberately decided to engage Canada’s place in the slave-holding Atlantic
world as central to its founding and thus its ongoing existence.<o:p></o:p></span></div>
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<span style="font-family: inherit;">The myth of two original peoples then allows for others to
be imagined in the nation as always recent, as always having just arrived, just
migrated. And it simultaneously allows white settlers to claim a natural
belonging and to have a history of arrival at the same time. Indeed, to inhabit
a history of arrival and to offer reconciliation is a masterful political move.
In that move a new compact is being created; it is a compact that [not only] asks
Indigenous peoples to enter Canada (…) but also to enter a Canada that was
founded to always already exclude them. (…) [R]econciliation is not much
different from Bartolom<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span> de las Casas in his decree that Indigenous peoples had a
soul and therefore should not be enslaved, but Africans were fair game for the
brutal subjugation of mining and plantation slavery. Reconciliation, then,
still demands an Indigenous less-than-human-self that might be rescued, but it
is a self nonetheless. Black selfhood remains in this moment still outside the
category of European Man. In this moment the question is one of how national
institutionality responds to reconciliation from multiple sites of guilt,
privilege and power to exactly state what reconciliation looks like. And, we
should be clear that reconciliation is not transformation, remaking and
decolonization.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Flowing from this, Canadian (literary, cultural, social and
political) Studies’ liberal multicultural approaches to Black Canada remain
steeped in (anti-)blackness as only constituting the example to and for
something else. In real terms, then, Black people and their gifts are still
commodified in service of producing whiteness and white people in an unbroken
relation to slavery (with their adjuncts now sometimes more included). How many
of you are working to institute forms of Black knowledges and their production,
meaning Black thinkers, into your various institutions? How might it be in this
moment of white reconciliation that white people, especially white scholars,
speak a “we of settlers,” meant to enfold Black people in that plurality? How
is the thought, the idea, even possible, if Grant’s thinking is still not in
some way underwriting what Canada is and means? And if Black people’s
enslavement remains out of the purview of the definition of colonization being
used? We pose these as dead serious questions because in this moment of
reconciliation, white desires, demands, and order of knowledge continue to
proliferate. We pose these as questions seeking to ask how might Black
knowledges show up as more than possessions for white performative identity
making? We pose these as questions because we see continually who moves across
our institutions, who matters to them, who gets the call for the interview, who
gets the job. We are exhausted by Canadian (literary, cultural, social and
political) Studies’ anti-blackness posing as engagement with Black people and
their expressive cultures. One might make the analogy between the use of Black
literary products and knowledges as not unlike the historic trade in salted
fish and rum. White folks profit, once sugar is king, until no longer needed;
bounty then, now obsolete. And in that process from profit to obsolescence the
story of Black people’s relation to the formation of Canada goes missing. We
are exhausted by a Canadian (literary, cultural, social and political) Studies
that prefers Black products minus Black people; as Dionne Brand states, “Our
inheritance in the Diaspora is to live in this inexplicable space”. Such an
inexplicable space is one in which Black people get folded into the category of
settler by white people and some Indigenous people, but never do Black people
get others to account for the theft of our subjectivity as the enslaved in the
Americas. How do you reconcile that?"<o:p></o:p></span></div>
<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-4621008295389232022020-05-14T03:17:00.001+02:002020-05-14T04:19:52.966+02:00The Real Prairie McCoy<div style="clear: both; text-align: justify;">
<span style="font-family: inherit; font-size: small;"><span style="background-color: white; color: #262626; text-align: left;">Friday Pattern Co.'s Wilder Gown made from a remnant of gold laminated and rose printed Italian silk Georgette by Paolo Rossetti found at Joel + Son Fabrics and Mokuba silk satin ribbon. Worn with Clyde </span><span style="background-color: white; color: #262626;"> s</span><span style="background-color: white; color: #262626;">ueded angora wide brimmed hat and Coclico clogs.</span></span></div>
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<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-34611905973952435772019-12-23T08:54:00.001+01:002020-05-14T04:13:45.928+02:00Jumpsuit Realness<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><span style="background-color: white; color: #262626; text-align: left;">Channeling all of my inner Pam Grier + Stevie Ray Vaughan in this bombass vintage Zandra Rhodes jumpsuit (Vogue 1617) stitched from a carnival striped + monogrammed Nina Ricci silk crêpe de Chine </span><span style="background-color: white; color: #262626;">+ navy heavy silk habutai.</span></span></div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-46469848953472662552019-07-29T01:17:00.003+02:002020-05-14T04:14:11.146+02:00So White So Toxic<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><span lang="EN-CA" style="background: white; mso-ansi-language: EN-CA; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">@stragiertissus , the luxury historical Belgian
fabric mill, haberdasher and store, has decided to grace our inboxes with a
poem. For those that don't read French, it goes a little something like this...</span><span lang="EN-CA"><o:p></o:p></span></span></div>
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<span lang="EN-CA" style="font-family: inherit;">* Born To Be White * <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">We like its freshness, its brightness, its purity. <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">Ageless, it is at once the symbol of innocence and the colouring of wisdom.
<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">The colour of empty space, it opens the doors of liberty onto the realm of
possibilities. <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">Determined and solid like marble <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">Cold and ephemeral like snow <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">Luminous and enigmatic like the moon <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;">White is so simple and yet complex at the same time… <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit;">The July 30<sup>th</sup>, 2019 newsletter, titled ”White Party” is peppered
with "inspo" photos of white, cis, able-bodied female models of stick
thin, heteropatriarchal, white supremacist proportions and all white decors. It
highlights a handful of white fabrics described as an “overview of fabrics void
of artifice; for the sake of the beauty and elegance of sobriety”. This is how
ytness is hammered into all of us on the daily from the minute we are born to
the one we expire, through seemingly discrete, innocuous and dismissible means
like this one, positioning itself and reminding all of us through repetition,
visual and otherwise, of its globalized reach, aspirational value, absolute virtue
and domination. The white racial frame and its requisite world racial order is
in constant operation. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span lang="EN-CA" style="font-family: inherit;">Interestingly, Stragier's poets, in an idiotic play on the Steppenwolf song
title “Born To Be Wild” (an homage to toxic yt male settler colonial violence)
have used the English "white" in the title instead of the French
"blanc". This “born to be white” is also an unabashed illustration of
yt racial capital that includes not only economic, political and educational
capital but also value assignation and symbolic capital. Joe Feagin explains:”
This valuable capital is at best half-consciously recognized by most whites.
Among other features, it encompasses the shared assumptions, understandings,
and inclinations to interact in certain traditional ways that whites have
mostly learned in families and other networks. Symbolic capital, including
white skin privilege, is a central part of the dominant racial frame and
operates to relate and link both white acquaintances and white strangers.
Perceiving and accenting white skin privilege in daily interactions is one
outcome of holding that dominant frame in one’s head. (…) Whites do not have to
say explicitly to other whites that “I am white like you and need to use my
racial capital to gain privileges” in order to get privileges and benefits.
Symbolic capital enables whites to avoid many interactive problems (…) and it facilitates
positive interactions among whites in many social settings (…). Messages of “I am
white like you” are routinely sent out by the physical and cultural markers of
whiteness. Living in a society where the dominant framing constantly maintains
the prized white identity, and denigrates the identities of racialized “others,”
a white person is typically taken as having positive symbolic capital and thus
worthy of racial privileges. This symbolic capital makes it much easier for
whites to interact in most societal arenas, and it often shapes how decisions
are made and what their outcomes will be. The everyday use or operation of this
symbolic capital is often subtle and hard for many whites even to see.” I am
white like you. We were born white and we deserve the world on our white
plates.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit;">I have already briefly discussed (in
IG posts on a recent exhibition, “Le modèle noir” at the musée d’Orsay in
Paris) France's state prescribed and legal, cultural, social reinforcement of irrational, wish fulfillment colourblindness, zealous assimilationist republicanism, willful white supremacist denial, racial illiteracy and auto-congratulatory epistemologies of ignorance as seen through the unwillingness to name the race-making colours (of its own slaveholding and colonial doing) in its own language. This example is certainly illustrative
of this (Belgium is a neighbouring francophone country and similarly, a former colonizing nation). Not naming racist realities in your own language and with your own words means that you are able to forget and forego confronting your racist realities through othering and exotifying in another language, with other words. Moreover, the use of the English "white" within a French
text is in keeping with the English language's colonization, past and ongoing,
of global linguistic and cultural spaces – a fitting partner and vehicle, then,
for global white supremacy. “Blanc” is named only once at the end of the text,
reminding us that ytness circumvents naming, it simply is, naturally,
unquestionably, under the guise of cataphora with pronouns like “il” (it) and possessive adjectives
like “sa” (its).<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-CA" style="font-family: inherit;">The use of “white” to
designate Europeans and European descended colonists came into regular use
during the seventeenth century. Feagin again: “In the English language of the
colonists, prior to the development of African American enslavement, the word “white”
had uses that were mostly positive, such as “gleaming brightly,” as for a
candle, while the word “black” had mostly negative meanings like “sooted.” The
word “black” had long been used by residents of England metaphorically, to
describe evil and the devil. It was soon adopted by the early English colonists
for the purpose of naming dark-skinned Africans. (…) Both “white” and”black”
were not temporary or unattached words, for they were defined and delimited
within the ever growing white racial frame. In its racial usage the word “white”
was mainly conceptualized in contrast to the word “black” – initially and most
powerfully by those who defined themselves as “white.” These English language
developments were a clear indication of the thorough institutionalization of
African American slavery [and arguably, chattel slavery the world over] and of
its racialized rationalization. Increasingly, the word white defined who European
Americans [and Europeans] were, and who they were not. Whiteness was indeed a “terrible
invention” as W.E.B. Du Bois once put it, one that further solidified European
thinking into an extensive either/or framework and that came to symbolize for
whites civilization and the “ownership of the earth.” <o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-CA" style="font-family: inherit;">This limp lyrical saunter
stresses whiteness as a distinct entity and with it, a shared cultural heritage
inscribed in a clear hierarchy where the refuse gets triaged out. What the poem
implies, stopping short of saying it out loud is that <i>coloured complexions </i>are not fresh, bright and pure, are not wise
and free of artifice, are not Liberty’s doors held wide open to the feast of possibility
and taking and taking and taking, are not determined and solid and cold and
rational and therefore judicious and valid, are not luminous and moonlike, are
not elegant and sober and beautiful. </span></div>
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<span lang="EN-CA" style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-CA" style="font-family: inherit;">If it's a market for pure white percale sheeting Stragier is looking for, the oldest running terrorist organization in the world is constantly renewing its wardrobe (cross burnings be messy). White is so predictable and yet so harmful
at the same time…<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-CA" style="font-family: inherit;">You know what to do: <a href="mailto:info@stragier.com"><span style="color: windowtext;">info@stragier.com</span></a> @stragiertissus</span></div>
Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-56534110391321506222019-02-21T08:49:00.001+01:002020-05-14T04:17:38.458+02:00The Trouble With Whiteness<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfbtZORFFtg8kPw9XTboYqc0oZRfBFxSumfZMBv02LG13FNpASgoQ2vMPIaxVknXtnA0KW1QKqzvLO06pygLbgifdx4znaOrLZgtl4Y4zGe3DpdwbBiQ-WpxgyH2WhAmtOXnZQJTz54b4/s1600/21423bc1-0205-41e2-bd45-e9c4985f6a26.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="780" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfbtZORFFtg8kPw9XTboYqc0oZRfBFxSumfZMBv02LG13FNpASgoQ2vMPIaxVknXtnA0KW1QKqzvLO06pygLbgifdx4znaOrLZgtl4Y4zGe3DpdwbBiQ-WpxgyH2WhAmtOXnZQJTz54b4/s400/21423bc1-0205-41e2-bd45-e9c4985f6a26.jpeg" width="400" /></a></div>
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<span style="font-family: inherit; font-size: xx-small;">Montage from slate.com with images from Prada, Moncler and Gucci</span></div>
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<br /></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">In 1979, Ahmed Ali
Giama, a homeless Somali man, was burned alive for being black and poor in the
Piazza della Pace, in the centre of Rome. In 1985, Giacomo Valent, a 16-year-old,
was stabbed 63 times in a frenzied racist attack. In 2008, Abba, a young
Afro-Italian was beaten to death with a crowbar, his killer claiming he hadn’t
paid for a packet of biscuits. In 2012 an Italian right-wing extremist shot two
street sellers dead and wounded three others in a racist rampage. In 2018, Idy
Dienec, a Senegalese street vendor was shot dead at close range as he sold
leather bags, umbrellas and trinkets on a bridge in Florence, one of Italy’s
most popular tourist destinations. Earlier that same year a neo-Nazi
sympathizer with ties to the League, (an anti-immigrant party, recently electorally
crowned second biggest in the Italian parliament with a penchant for portraying
migrants as criminals) opened fire on African migrants in the city of Macerata,
wounding six before he was captured. Italy’s 2018 parliamentary election of the
League and the 5-Star Movement, which emerged as the largest party in the vote,
both have promised to ramp up deportations of irregular migrants. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Michelle
Bachelet, the United Nations high commissioner for human rights, announced that
she was sending staff to Italy to look into the protection of migrants
after an “alarming escalation of attacks” against asylum seekers and Roma
people. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Elaborate and persistent webs of denial and tales of
victimization spun by the state, the academe and the media have allowed Italy
to consistently escape blame and responsibility for massive atrocities
committed before and during the Second World War. Of more than 1,200 Italians
sought for war crimes in Africa and the Balkans, not one has faced justice.
Mussolini's soldiers murdered many thousands of civilians, bombed the Red
Cross, dropped poison gas, starved infants in concentration camps and tried to
annihilate cultures deemed inferior. American University of Rome historian
James Walston states, "There has been little or no coming to terms with
fascist crimes comparable to the French concern with Vichy or even the Japanese
recognition of its wartime and prewar responsibilities". </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Italy didn’t
require Hitler’s help in concocting its 1938 discrimination laws against
Italian Jews. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Italy’s colonising of Libya, Eritrea, Somalia and its occupation
of Ethiopia, its gassing of, raping of, humiliation of Black subjects, its
discriminatory laws and segregation of space, its poisoning of African land, its
racist legacy and coloniality remain largely silenced and unaddressed. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Cécile
Kyenge, Italy’s minister for integration and the country’s first Black
minister has faced constant racist abuse and death threats and lives under
police protection. A fellow Italian MEP, Mario Borghezio, called her
appointment “a shitty choice” by a “bongo-bongo” government, adding that she
had “the face of a housewife”. A former vice-president of the Italian
Senate, Roberto Calderoli, said in a public meeting: “When I see pictures
of Kyenge I can’t help but think of the features of an orangutan.” Other
extreme-right politicians have called her “Zulu” and “Congolese monkey” and
have used imagery on social media to depict
the minister as an ape. Matteo Salvini, the interior minister from Lega,
compared African immigrants to slaves prompting Luxembourg’s foreign affairs
minister seated nearby to angrily respond in French: “Merde, alors !” </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Present day
Italy is, by all accounts, a historically sanctioned and ongoing toxic stewpot of Afrophobia,
anti-Black racism, antisemitism, anti-Muslim hatred, xenophobia, anti-migrant
hatred, homophobia, class domination, patriarchal misogyny, cissexism and heterosexism.<o:p></o:p></span></div>
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<br /></div>
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</div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">I want you to think of
all of these things when luxury fashion brands like Prada, Gucci, Dolce & Gabbana
and Moncler currently embroiled in racist scandal and widespread criticism,
wring their hands in public and claim racial ignorance and cultural naiveté
when they get caught assed out. These racist corporate goblins know exactly
what they are doing. They have been trained in colonial imagery and mythmaking
and primed for the racial status quo. They bask, like gnocchi in butter, in carefully
cultivated hatreds, generations old. This they enforce with relish, beknighted
as they are by centuries of white racial legitimacy and superiority and
artistic untouchability. At worst, they know the old adage to be true, bad
publicity is still publicity. Don’t expect moral compasses where ruthless
capitalism and engagement stats prowl. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">When Alessandro Michele, Gucci designer
behind the blackface balaclava valiantly grasps at straws and laments that this
was no blackface but indeed an homage to the late Leigh Bowery, a performance
artist, club promoter and fashion designer fond of flamboyant face makeup and
costumes; and a cursory Google search of Bowery reveals a slew of images of
exaggerated makeup on exclusively white foundations, know that this is
whiteness protecting itself at all costs even and especially when this runs
counter to basic logic. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">When Marco Bizzarri, Gucci’s president and CEO, states
that “the lack of knowledge of diversity and the consequent understanding are
not at the level we expected, despite all the efforts we did inside the company
in the last four years” and that Gucci is now “evaluating all the processes” to
ensure “the right level of awareness and visibility” understand that this is
rich white man speak for a continued agenda of rich white man gatekeeping with
a light spackling of commodified, tokenized, whitewashed, ineffectual black and
brownness unthreatening to white supremacist hierarchies and interests. </span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 150%;">Current
luxury fashion cannot be reformed for “diversity” and “inclusion”. It is unfit
for sustainability. Unfit for humanity. Unfit for existence on this planet. It
is not salvageable. It needs to be scrapped. To believe that this industry can
be made to care about Black bodies and to be attentive to Black pain is ahistorical
foolishness. Concentrating on individual racist imagery and products,
individual brands and designers is also problematic as it obscures the larger
poisonous picture – the systemically racist society from which they emerged and
which continues to cultivate, institutionalize and normalize colonial
imperialism, capitalist violence and white supremacist ideals.<o:p></o:p></span></div>
<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com2tag:blogger.com,1999:blog-8372848187530033061.post-32955247071795600692019-01-10T22:33:00.001+01:002020-05-14T04:18:54.505+02:00Deconstruction as Healing<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw9CTck9mh07BJWZTjbyeOmqfx73Ips_351t5NPjUEatakIIovcUlw0-opRSe9CMRWThG2y_T9_09dXPm5CoHtGraUsxbl0a0cZLWqI5zVrAIS7k25Epc0itdta15uCXSB9J7J4S2XgGM/s1600/Hanna+Barczyk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="1023" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw9CTck9mh07BJWZTjbyeOmqfx73Ips_351t5NPjUEatakIIovcUlw0-opRSe9CMRWThG2y_T9_09dXPm5CoHtGraUsxbl0a0cZLWqI5zVrAIS7k25Epc0itdta15uCXSB9J7J4S2XgGM/s400/Hanna+Barczyk.jpg" width="400" /></a></div>
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<span style="font-family: inherit; font-size: x-small;">Illustration by Hanna Barczyk</span></div>
<br />
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<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">There are serious and dangerous consequences to giving platforms to
proponents of white supremacist capitalist patriarchal systems of oppression
and exploitation and packaging social and climate justice issues as a
dichotomous showdown between two equal and equally legitimate parties –
something the white helmed mainstream media in Canada has a hard time
comprehending, perhaps because they too also participate in and benefit from
these self-affirming systems. This false equivalence or the fallacy of inconsistency is a readily occurring phenomenon in modern day journalism that relies on oversimplification, generalization, dominant viewpoints and ignorance to make its points quickly in the blitzkrieg format it is forced to operate in. In this case, journalists would want you to consider the hand-wringing anxiety and rage of a couple of professional white wailers who represent, benefit from and perpetuate oppressive white supremacist, patriarchal and capitalist systems that threaten Indigenous survival and well-being and who have un-ironically appointed themselves as beleaguered, as holding the same weight and as being worthy of the same consideration as the fight for justice and self-determination of historically disenfranchised Indigenous peoples standing against and protecting themselves from the unending violence of white supremacist systems. White journalists in Calgary were unable or
unwilling to identify and call out a freely operating white supremacist troll
in their ranks. When the spewing of toxic untruths and bias is left
unaccompanied and unchecked by a critical frame through which they can be
viewed and broken down, these words are left to resonate as legitimate,
reasonable and accurate in the minds of many. So let’s do something Canadian
media thinks we’re too stupid to do… grab your brains and your metaphorical
scissors, we’re gonna deconstruct some of the egregious bile and bullshit,
filmed, transmitted and left uncommented, that came out of the mouths of angry,
white men at the indecent counter rally that took place in front of the glistening
corporate beacon of colonial spoliation that is TransCanada HQ in the place
white people stole and called Calgary.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">A note also before beginning… <span style="background: white;">This
took me an evening to write and contains knowledge gleaned through years of
study, unlearning and examination. I don’t take this burden lightly, it’s
important and necessary work to do. But it is a choice that costs. A lifetime of
writing and reading, some of it excruciating, a lifetime of learning how to decolonize, deconstruct, heal and build
fresh, raw exposure to the pain and alienation caused by misogyny, white wrath, resentment and
denial - this is my daily reality. White people, white men are allowed to contaminate and destroy, self-righteous and
unimpeded as they have always done, as they have been taught is their
historically and racially sanctioned right to do - this is their daily reality. Their pollution is immediate
and hallowed in minute long news segments. Don’t you dare tell me that this is
a just world.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;">“These people have to
respect the rule of law.”<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">‘These people’ is textbook othering. Othering allows the speaker to keep
the inherent humanity of those that he others at bay, making the deriding, the
dismissal and the ultimate destruction of their persons and their demands that
much easier to accomplish. Claims that 'others' should be respecting the rule of
law is especially rich coming from representatives of white settler society –
Canadian history is littered with broken treaty promises on the part of the
white settler state and, as we have seen unfold, Canada and its provinces have
repeatedly proven themselves incapable of respecting their own laws, Supreme
Court rulings, undertakings and signed declarations (UNDRIP) where Indigenous
title and rights and law are concerned. Furthermore, white men’s laws and
injunctions have no bearing on unceded Indigenous territory and do not supersede
Indigenous duty to stewardship and protection of the land, the water, their
beings and for future generations. Claiming otherwise is a clear alignment with
white racial and white cultural supremacy theories and views. The settler "legal" system has been wielded against Indigenous peoples and their territories time and time again and must therefore be systematically and critically scrutinized.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;">“You all came here in
your cars. You all wear Gore-Tex and have phones in your pockets made from
petroleum products. The indigenous heat their homes with natural gas.”<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">Speak for yourself colonizer! My entire wardrobe on that day, save for
the elastic in my underwear, was made from plant, mineral and animal material
and was made and bought within my fibershed. I have never owned a mobile phone.
I took collective transportation to and from the rally. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">The white racial lens
or the white racial frame of reference is universalism on white supremacist
crack and posits that white consumer experience of the world is a centralized, universally
shared experience, the only way anyone experiences the world. I wear Gore-Tex
therefore you wear Gore-Tex. I take my SUV to the Costco and fill it full of
shit I don’t need and so do you. I trash the Earth for profit therefore you
must do the same. Not naming the power that implemented unsustainability as a
forced lifestyle for everyone is not only bad faith argumentation, it serves to
maintain the dominance and the interests of the speaker. Petroleum based
products, fossil fuel energy sources and associated lifestyles are considered inevitable,
inescapable and final whilst still being painted as a choice. If I truly had
choices at my disposal, if ancestral knowledge hadn’t been hammered out of my
lineage through slavery, displacement, colonization, assimilation and
oppression, if life on this planet was not ruled by unequal access to capital,
if I wasn’t obligated to live in the sterile concrete of cities, if cities were
not built of sterile concrete, if the housing stock available to us wasn't systematically outfitted with unsustainable heating and cooling systems, I would not be heating my house with natural
gas. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><span lang="EN-CA" style="line-height: 115%;">By not naming industrialisation, forced assimilation and relocation, the stripping of agency away from everyone not identified as white, the foundational violence and politics of erasure of settler societies, Eurocentric notions
of progress, globalization and urbanisation under white supremacist,
capitalist, imperialist and patriarchal systems that ruptured and swept away
older, small scale, local and harmonious land based modes of existence as the
reasons behind our current unsustainable lifestyles, dominant white power and
interests are never acknowledged and challenged, cowing us into submission and
postponing effective exploration of better alternatives.</span> This is something that I often repeat to myself in my textile practice
as a mantra, and is inspired by Kate Fletcher’s work: <i>Realize that things are the way
they are now because dominant cultural conditions intentionally created and
maintained the current set up, squeezing out alternatives or making them appear
unattractive</i>. We deserve better alternatives. The first step towards this is
liberating ourselves from the imposition of unsustainable white capitalist
power and narratives and their insistence that they be our only reality.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><o:p><br /></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;">“TransCanada has the
approval of First Nations’ along the pipeline route.”<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">Knowing that the so-called “negotiations” regularly carried out between
Indigenous communities and representatives of the white settler state and
corporate colonialists are never conducted on truly equal footing, the word
“approval” rings with hyperbolic mendacity. Arthur Manuel, in his book,
“Unsettling Canada: A National Wake Up Call” traces a history of capitulation
through coercion, trickery and desperation as the regular modus operandi during
these “termination” table talks. One also has to address the problems within
Indigenous communities of internalized racism and the espousal of white settler
values garnered through state sponsored impoverishment, forced assimilation,
cultural genocide, inter-generational trauma, interrupted knowledge inheritance
systems and flat out “extinguishment” schemes and the problems of compromised and
out of touch Indigenous leadership warped by decades of government and
corporate funding. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">One of the Indigenous organizers of the solidarity event in
Calgary declared on camera that for her, consent was “working hard to get a
yes”. When colonial governments and corporations control the outcomes of any
negotiation with First Nations and refuse to change anything in policy or
approach or ends, when the inevitability of capitulation is accepted as a given
on both sides, when opportunistic and self-serving Indigenous leaders and “the
professional Indian negotiating class (…) negotiate to create processes because
processes ensure them jobs and money, since government processes come with
government funding pots” (A. Manuel, “Unsettling Canada”)… we are no longer
talking about negotiation, we are not talking about approval and we are
certainly not talking about consent. This is a tragic vaudeville paid for by
impoverished Indigenous communities punished on all sides. The white man and
those allied to his power don’t get to define the terms of consent. As
explained previously, white men’s laws and injunctions have no bearing on
unceded Indigenous territory and do not supersede Indigenous duty to
stewardship and protection of the land, the water, their beings and for future
generations. White Canada does not have and has never had the free, prior and
informed consent of the Wet’suwet’en hereditary chiefs and therefore has no claims to development
on this land. The approval of elected band members who operate only within the confines of their individual jurisdictions does not supersede or challenge the refusal of the hereditary chiefs. White settler illiteracy in understanding Indigenous hierarchies and the terms of engagement of Indigenous leadership is here greatly apparent.<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;">“We won’t be ruled by
a minority.”<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">The historical silencing of oppositional and marginalized voices by
those in dominant positionalities is nothing new. How does this claim work? Accustomed
to being top dog, anything contravening what is deemed as the natural order,
the unassailable status quo, is met with aggressive silencing tactics and
rationalization of oppression. Here, the threat is clear – settler whiteness
painted as the right kind of majority will put its righteous boot in the face
of the wrong kind of minority brown-ness. The numbers game is used to
legitimize certain views and dismiss those who do not share in these views and
stand opposed to their unhindered continuation. A perceived white majority can
bowl over the claims of a perceived brown minority and their unwashed hippie
allies because this sort of oppression is seen as human nature and inescapable,
reinforced by history told through a white racial frame of reference and white
supremacist socialization. The perceived reversal of this status quo is
considered heresy, unnatural and translates the terror of white men at losing
their dominant positionalities. White men in power, white men with money will
do whatever it takes to maintain that power and that money and the systems that
produce that money and that power at the expense of those that they see as
expendable. They will also not hesitate to be bad at math – a couple dozen corporate
clowns and underlings and their political overlords vs. a country up in arms and
a world discovering Canada’s true trappings does not a majority make.<o:p></o:p></span></div>
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<span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-CA" style="font-family: inherit; line-height: 115%;">“They use the courts when it suits their
purpose and get angry when it doesn’t work.”</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span lang="EN-CA" style="font-family: inherit; line-height: 115%;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="font-family: inherit; line-height: 115%;">White settler society needs to understand that Indigenous peoples are
not beholden to white legal frames. Colonial legal recourses are used, and
often at great cost to Indigenous communities, when they are seen as beneficial
to upholding Indigenous rights and title. This is illustration enough of the
insidious ways in which white supremacy operates – that those whose
responsibility is chiefly to the land and to future generations and to all life
forms, must make their plight fit into short sighted, anthropocentric white
legal and cultural frames of reference in the hopes of being heard, respected, understood
and frankly, left the fuck alone by white settler society’s grubby, grabby,
capitalist hands. The inability by the white settler state to respect the rulings
of its own colonial courts – the landmark <span style="background: white;">Delgamuukw-Gisday'wa ruling that recognized continued Indigenous
proprietorship over their territories and the Tsilhqot’in decision that
recognized Aboriginal title on the ground to almost two thousand square
kilometres of Tsilhqot’in territory by the Supreme Court of Canada and the
signing of the United Nations Declaration on the Rights of Indigenous Peoples
by Canada in 2016, is proof that white people’s words aren’t worth the paper
they sully. Indigenous peoples are rightfully angry and tired of being
repeatedly bullied and discounted by the hypocritical, ethnocentric white
settler state. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="line-height: 115%;"><span style="background: white; font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="line-height: 115%;"><span style="background: white; font-family: inherit;">Article 40 of UNDRIP states: “Indigenous peoples have the right
to access to and prompt decision through just and fair procedures for the
resolution of conflicts and disputes with States or other parties, as well as
to effective remedies for all infringements of their individual and collective
rights. Such a decision shall give due consideration to the customs,
traditions, rules and legal systems of the indigenous peoples concerned and
international human rights”. In short, Indigenous peoples have right of access
to fair and just legal procedures. There is no downside to Indigenous peoples
seeking justice and demanding that we respect their right to
self-determination. We are all saved (often from our own damn selves) by this. Those
who have been serving as stewards of the land for thousands of years, who have
that knowledge and commitment woven into their cosmologies and cultures, the
very things that we lack or have been divorced from, are the ones best suited
to build a better, fairer, sustainable world for all of us. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="line-height: 115%;"><span style="background: white; font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-CA" style="line-height: 115%;"><span style="background: white;"><span style="font-family: inherit;">It is important to
note the white victimhood at play in this statement – when white people don’t get
their way, they lash out or start crying, and as any black or brown person
knows, white tears are toxic and burdensome and potentially lethal. White
victimization – the ability of dominant groups to swap the cloak of power for
the one of persecution at will whenever their unending stream of privileges is
interrupted or threatened - insulates white society from taking a hard and long
look at itself and addressing the ugliness of its truth. Whiteness also has a history of whitewashing its crimes. The media has played a central role in the amplification and the justification of this, normalizing the white racial frame and pushing white perspectives and writers, racist ideology and the justification of racist animus to the fore. White settler interests paint themselves as benign, at worst, and usually beneficial and legitimate. Any challenge is therefore seen as an unforgivable attack, necessarily illegitimate that must be quashed at once. This statement
invalidates Indigenous peoples seeking justice by reducing this quest to some
sort of game stacked against self-appointed white victims. Relaying it, providing a platform for its free and unchallenged expression demonstrates complicity and vested interest in the racist status quo. The need to entertain the opinions of neon nazis and angry corporate colonizers should always be resisted.</span><span style="font-size: 12pt;"><o:p></o:p></span></span></span></div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-63805055036259993962018-11-12T06:24:00.000+01:002020-05-14T04:15:17.832+02:00Wades Dress<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: inherit;">La robe "Wades" à manches chauve-souris (Vogue 1482 de Rachel Comey) avec poche cachée dans la couture diagonale devra attendre la chaleur des beaux jours. Réalisée en crêpe de Chine de soie Liberty, dessin Wildflowers de Su Blackwell.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifVic_Nts_enlpkQ_Tvzq7wR8EvYFwnF8fRUHoZ_2KToZsJt7bCPwfd6XjX2WvGxarwbxZsDj_hwr3A3sDGLwx0ZMcD1eYvyRaMmGO1z1qo4G9tiT4IyvP-LwmMsCSDhJUUolkiYCmpUc/s1600/44296648_289105381945520_380957327797398825_n%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="884" data-original-width="708" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifVic_Nts_enlpkQ_Tvzq7wR8EvYFwnF8fRUHoZ_2KToZsJt7bCPwfd6XjX2WvGxarwbxZsDj_hwr3A3sDGLwx0ZMcD1eYvyRaMmGO1z1qo4G9tiT4IyvP-LwmMsCSDhJUUolkiYCmpUc/s400/44296648_289105381945520_380957327797398825_n%25281%2529.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMowv_ec3EcsTy5aA_UGUEZt4o0kFrDyE728PEHorNcwS-Eo9YipYg36m_T2Yn_uiv6LUH46q5I0f29LyTOgG-rbRfTFpCT0QgK9u_H3IIkZe9XfeSCm23E6ebzlua8Nj7H-MDLtnVjRE/s1600/44663056_250374432503506_9219453030196362452_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMowv_ec3EcsTy5aA_UGUEZt4o0kFrDyE728PEHorNcwS-Eo9YipYg36m_T2Yn_uiv6LUH46q5I0f29LyTOgG-rbRfTFpCT0QgK9u_H3IIkZe9XfeSCm23E6ebzlua8Nj7H-MDLtnVjRE/s400/44663056_250374432503506_9219453030196362452_n.jpg" width="400" /></a></div>
<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com2tag:blogger.com,1999:blog-8372848187530033061.post-40289563156832377582018-04-13T00:20:00.004+02:002018-04-13T00:38:07.122+02:00Un mot sur les prix littéraires...<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmKWMz6vF3tx1B0KdKV5XvO65_XzEGPT9qfsJLkHN2r8QF56ITPSc5fR2OJS4JvWnVw6HkmTjtYe_pTZxCK_dw5bBDwfGq8Cwa5pcg6fNEiKnANbt4_6DgdfWlfChBMKAnzxoncVxgxnU/s1600/thumbnail_Untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="605" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmKWMz6vF3tx1B0KdKV5XvO65_XzEGPT9qfsJLkHN2r8QF56ITPSc5fR2OJS4JvWnVw6HkmTjtYe_pTZxCK_dw5bBDwfGq8Cwa5pcg6fNEiKnANbt4_6DgdfWlfChBMKAnzxoncVxgxnU/s400/thumbnail_Untitled.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Je n'écris pas pour les vivats ni les bravos et ça fait bien longtemps que j'ai compris que ma place était bien aux marges de la machine littéraire. Les prix littéraires ne reconnaissent ni la qualité ni l’originalité. J'ai soumis le même texte au même concours à 4 reprises différentes entre 2010 et 2017. J'ai été finaliste 2 fois. Je suis passée à la trappe les 2 autres fois. L'arbitraire de la chose m'interpelle - dans un système fait d'inégalités, quelle est la valeur attribuée à la production littéraire ? Pourquoi le consensus devrait-il constituer un but ? Quelles histoires choisit-on de raconter et pourquoi ? Qui produisent ces histoires et que véhiculent nos sociétés en les mettant à l'honneur ? Quelles histoires occulte-t-on ? De quoi se prive-t-on en excluant les histoires de ceux ne faisant pas partie de groupes dominants ?</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">
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<span style="font-family: "georgia" , "times new roman" , serif;">Pourtant, qu'il est plaisant d'être reconnue par ses pairs ! Surtout lorsque cette reconnaissance recèle une connivence, une compréhension mutuelle et à contre-courant ! La sélection de mon texte en tête de liste parmi 800 soumissions et l'appréciation complète de l'écrivain, critique culturel et journaliste indépendant, Ralph Elawani, m'ont mis du baume au cœur...</span></div>
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<blockquote class="tr_bq" style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">« Un tour de force de méchanceté qui se lit comme on regarde une série de diapositives en compagnie d’une personne hargneuse. Une histoire qui exprime toute la logique derrière l’idée de l’impossibilité de « traiter les représentations comme des actes réels ». Toute la complexité de la dimension psychologique de cette femme (cette vioque) qui en sait (ou en pense) un peu trop ne doit donc pas être négligée, au profit d’un souci de rectitude langagière. La vieille devient ici une sorte d’inconscient mis à nu ; une créature sans surmoi, en compagnie de laquelle on aborde le quotidien en se disant « cap au pire ». De loin le rythme le plus juste et la langue la plus effilée de tous les textes. La plus belle image résumant cette voyeuse est peut-être celle ceci : « La vioque tartine son quignon d’une épaisse couche d’entrailles de volatile[s] » – oui, volatile, comme ces images, ces jugements, ces moments d’une réalité fabulée que la fiction se vole à elle-même pour se nourrir. »</span></blockquote>
<span style="font-family: "georgia" , "times new roman" , serif;"></span><br />
<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">J'ai quelque peu déchanté en découvrant<a href="https://ici.radio-canada.ca/prix-creation-litteraire" target="_blank"> la mosaïque des 24 finalistes </a>du Prix de création de la nouvelle de langue française de Radio-Canada. Ma jolie tête de linotte racisée était la seule dans un raz-de-marée blanc. Résidant toujours dans ma province natale de l'Alberta, j'étais la seule finaliste hors Québec, la lecture des noms de lieux d'origine de mes comparses ressemblant à un survol cartographique de la seule "belle province". Quelques recherches cursives dans les annales du Prix de la nouvelle remontant à 2013 ont révélé que les finalistes racisés et les finalistes résidant dans des provinces autres que le Québec pouvaient se compter sur les doigts d'une seule main (2 doigts pour être exacte). Ce ne sont pas de malheureux hasards. Ce sont les manifestations très réelles de mécanismes d'invisibilisation, d'exclusion et de contrôle du système dominant. </span><br />
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<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">On aura beau me dire que je suis jalouse, mécontente de ne pas faire partie des gagnants, ce serait mal me connaître (voir la phrase 1), ce serait mépriser mes capacités critiques et balayer d'un revers de la main le discours d'une marginale qui voit plus clairement les travers du pouvoir systémique à l'œuvre que ceux qui y baignent et en jouissent dès la naissance sans se poser de questions sur son existence et ses effets. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
<span style="font-family: "georgia" , "times new roman" , serif;">
</span>
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<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">On aura beau me dire que les textes sont lus et jugés de façon anonyme - ce serait ne pas reconnaître que la langue trahit d'elle-même son origine et qu'un tri, souvent inconscient, peut s’effectuer sur cette base. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">On aura beau me dire que les prix sont décernés sur leur seul mérite - ce serait ne pas reconnaître ce que sont et comment fonctionnent les systèmes de domination culturels et sociaux, leur normalisation et les mythes, tel celui du mérite, qui gardent ces systèmes fermement en place. </span></div>
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<div style="text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;">On aura beau me dire que tous les Canadiens d'expression française sont invités à soumettre des textes - ce serait ne pas reconnaître la hiérarchisation des francophones dans ce pays, le schisme est/ouest et la dévalorisation historique du franco-canadien non-québécois. Ce serait refuser de voir les règles tacites qui dictent le sentiment d'ayant-droit des uns et le sentiment d'infériorité des autres, ceux qui soumettent leurs textes et ceux qui ne peuvent ou ne le font pas, qui ne prennent pas la plume ou qui la couche trop tôt. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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On aura beau me dire qu'il y a plus de francophones au Québec qu'ailleurs au Canada, ce qui n'est pas faux (près de 1 100 000 francophones hors Québec contre près de 6 400 000 Québécois francophones), mais ce serait faire préjudice aux cheminements historiques et culturels propre à chaque province, ce serait déprécier la résilience linguistique de communautés francophones établies dans des milieux bien souvent hostiles à leur présence prônant l'assimilation anglophone à tout prix. </div>
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Lorsque le Québec s'arroge la primauté de la francophonie au Canada, lorsqu'il insiste à surplomber toute la littérature francophone, ne reconnaissant que la sienne comme légitime, lorsqu'il s'octroie le luxe d'écarter les voix franco-colombiennes, franco-albertaines, fransaskoises, franco-manitobaines, franco-ontariennes, franco-ténoises, franco-yukonaises, franco-nunavutoises, franco-téneliennes, franco-édouardiennes, franco-brunswickoises, franco-écossaises, et celles des diasporas francophones de par le monde, c'est toute la francophonie canadienne, c'est toute la francophonie mondiale et c'est tout le champ littéraire qui trinquent. L'entre-soi appauvrit le terroir littéraire. Lorsqu'on refuse d'ouvrir les champs du possible et qu'on demeure incapable de mesurer la violence de positions identitaires qui mettent à mal le droit à l'auto-détermination et l'intégrité des autres, on s'ampute soi-même : notre humanité fond comme peau de chagrin. </div>
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Le Québécois a t-il déjà oublié l'anglophone colonial et raciste lui martelant, il n'y a pas si longtemps, le péjoratif "Speak white!" ? Le Québécois, pour exister, doit-il asseoir une soi-disant ascendance et anéantir le reste du Canada francophone, le reste des communautés francophones ? Est-il incapable de voir qu'il est lui-même le fruit de multiples hybridations et que c'est une richesse ? A-t-il tout simplement voulu prendre la place de l'anglophone qui l'a si longtemps dévalorisé et malmené, troquant son rôle de victime pour celui d’oppresseur ?<br />
<blockquote class="tr_bq">
speak what<br />
comment parlez-vous<br />
dans vos salons huppés<br />
vous souvenez-vous du vacarme des usines<br />
and the voice des contremaîtres<br />
you sound like them more and more</blockquote>
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Marco Micone, Speak What, 1989</blockquote>
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<span style="font-family: "georgia" , "times new roman" , serif;">Veut-on nous faire comprendre que la production culturelle franco-canadienne institutionnalisée ne peut qu'être blanche et endo-québécoise ? Crisse de câlice de tabarnak d'osti de sacrament de marde que non ! Primées, pas primées, moi, je veux entendre toutes les voix, je voudrais qu'on se sente tous habilités à raconter nos histoires et que celles-ci soient toutes considérées comme vitales, qu'on ne puisse plus dire, "mon histoire est plus importante que la tienne"! </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">La méchanceté de ma "vioque" n'est peut-être qu'une forme plus digeste, plus dicible de la colère de ceux qu'on insiste à ne pas voir, de ceux qu'on néglige et qu'on méprise, de ceux qui refusent de se taire, de ceux qui s'apprécient, malgré tout, malgré un monde qui leur tourne le dos.</span></div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-60585738323145792412017-11-20T06:54:00.000+01:002017-11-20T06:54:15.548+01:00La robe JC de Castelbajac<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;">Ça fait un bail depuis <a href="http://rastacuero.blogspot.ca/2015/01/churchill-les-modeuses-quelques.html" target="_blank">la toile</a>, et plutôt qu'une version en drap de laine rouge, la robe maxi poche de Castelbajac se décline dans le mélange soie sauvage et coton tissé main de la maintenant défunte filature du Tennessee, TN Textile Mills. <span style="background-color: white;">D'une apparente simplicité, la robe cache d'astucieuses techniques de montage, notamment au niveau des manches raglan et des poches surdimensionnées. Le col, doublé de bourre et quilté, est un joyau tactile et imite intelligemment les côtes d'un pull tricoté, un rappel de l'uniforme de l'attachant gaffeur et écolo avant l'heure, Gaston Lagaffe.</span></span></div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-5636323769230432612017-09-05T00:44:00.000+02:002017-09-05T05:03:24.277+02:00Roads Less Travelled<div style="text-align: justify;">
La robe Pallas d'il y a <a href="http://rastacuero.blogspot.ca/2016/02/la-robe-pallas.html" target="_blank">quelques temps</a> de sortie dans la ville quasi-fantôme de Dorothy dans le sud-est de l'Alberta. L'inventaire des villes fantômes de ma province est un projet photo que je chéris depuis belle lurette. Il était temps de le mettre en route ! Ciels changeants, champs dorés, étendues désertes, patrimoine oublié, paysages hallucinants, âcre poussière, omniprésence du monde naturel... bienvenue dans les Badlands canadiens !</div>
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<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com2tag:blogger.com,1999:blog-8372848187530033061.post-17342457580102464152017-06-05T13:39:00.000+02:002017-06-05T18:38:04.159+02:00The Red Dress<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">Kim Adonizio's <i>What do Women Want?</i> homage in dress form...</span></div>
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<span style="background-color: white; text-align: start; text-indent: -16px;"><span style="font-family: inherit;">I want a red dress. </span></span></div>
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<span style="background-color: white; text-align: start; text-indent: -16px;"><span style="font-family: inherit;">(...)</span></span></div>
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<span style="font-family: inherit;">When I find it, I’ll pull that garment </span></div>
<div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-align: center; text-indent: -1em; vertical-align: baseline;">
<span style="font-family: inherit;">from its hanger like I’m choosing a body </span></div>
<div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-align: center; text-indent: -1em; vertical-align: baseline;">
<span style="font-family: inherit;">to carry me into this world, through </span></div>
<div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-align: center; text-indent: -1em; vertical-align: baseline;">
<span style="font-family: inherit;">the birth-cries and the love-cries too, </span></div>
<div style="background-color: white; border: 0px; margin: 0px; padding: 0px 0px 0px 1em; text-align: center; text-indent: -1em; vertical-align: baseline;">
<span style="font-family: inherit;">and I’ll wear it like bones, like skin, </span></div>
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<span style="font-family: inherit;">it’ll be the goddamned </span></div>
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<span style="font-family: inherit;">dress they bury me in.</span></div>
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<span style="font-family: inherit;">Made from matching garnet red Duchess satin silk, silk Georgette crêpe and silk Marocain crêpe dyed and woven in Belgium and based on Marcel Ostertag's Autumn/Winter 2015 Lava gown. Photographed in Blois amidst the historical town center's old stone.</span></div>
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<span style="font-family: inherit; font-size: x-small;">image from www.spiegel.de</span></div>
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<span style="font-family: inherit; font-size: x-small;">"Hier zeigen Designer ihre Skizzenbücher"</span></div>
Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com1tag:blogger.com,1999:blog-8372848187530033061.post-19034096293519033592017-05-06T16:12:00.000+02:002017-05-06T16:12:46.778+02:00The Revolution Will Not Be Televised<div class="separator" style="clear: both; text-align: center;">
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<h1 style="background-color: white; border: 0px; font-size: inherit; font-stretch: inherit; font-variant-numeric: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;">Coupla things now that the great selfie extravaganza is over, H&M and friends have flung some boilerplate around and hijacked the conversation with dubious corporate greenwashing; and elected representatives are contemplating their pat replies... Don't give up, don't give in, don't satisfy yourself with corporate speechifying, keep questioning, keep badgering, keep finding out, keep learning, call bullshit out wherever it is encountered (can we talk about the elephant in the room here... "celebrity" sewing bloggers and fast crafting with Frankenfabric... ahem!), stay out of the mall, discover your fibershed, learn how to sew or knit or weave or mend, meet and support your local and domestic makers and growers, make your own colour, grow your own colour, know where the seeds came from, know the pH of your water, challenge what you have been taught is normal, convenient, clean and respectable, challenge the hegemony of fast (food, tech. fashion, love...), know that guilt can be a way forward - and yes, I know that's anathema on this hedonic treadmill we're on, value activities that can't be marketed, read! (knowledge is not a commodity, check out your local and university libraries), realize that things are the way they are now because dominant cultural conditions intentionally created and maintained the current set up squeezing out alternatives or making them appear unattractive, remember that the status quo is not the only possible state of affairs and that different, varied, fairer plans of action are underway!!! </span></span></h1>
<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-86647869544807362742017-04-09T03:58:00.000+02:002017-04-09T03:58:25.043+02:00Rigueur Ricaine<div class="separator" style="clear: both; text-align: center;">
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Silence radio côté couture depuis un moment mais je ne chôme pas pour autant. Mon temps a été accaparé par la confection d'un modèle Ralph Rucci (Vogue American Designer 1404). Pas question d'utiliser de la microfibre ou du thermocollant synthétiques : la robe ajustée et évasée a été faite dans un satin cuir en soie <i>vintage</i> Lanvin, doublée de pongé de soie, surpiquée au fil Gobelins d'Au ver à soie et l'ourlet, entoilée d'une fine bourre traditionelle américaine en coton bio. Le tissu est somptueux, charnu et tient bien sa forme. Le satin, joue avec la lumière à sa guise. Les multiples surpiqûres de l'ourlet et la légèreté de la bourre assurent l'évasement sans raideur du bas de la jupe.</div>
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Le designer américain, Ralph Rucci n'est pas vraiment très connu de tous bien qu'il ait réussi l'exploit d'être le deuxième américain seulement, après Mainbocher soixante ans avant lui, à être invité à montrer ses collections à Paris par la Chambre syndicale de la haute couture. Peintre et diplômé en philo de Temple University, Rucci se forme chez Halston ainsi que sous la tutelle d'un modéliste de chez Balenciaga. Galanos et lui se vouent un culte mutuel. Ses inspirations sont multiples - Cy Twombly, Francis Bacon, Louise Nevelson, le symbolisme japonais. Ses robes se trouvent, entre autres, dans les collections du Victoria and Albert Museum à Londres, du DeYoung à San Francisco, de l'Institut du costume du Metropolitan Museum of Art à New York, L'exactitude parfois austère, la perfection de la construction, le détail poussé jusqu'au vice mais jamais ostentatoire et souvent visible seulement de près, l'hyper-esthétisation, et la maîtrise totale du métier, évidente dans ses créations, le mettent dans une catégorie à part dans le paysage de la mode américaine éprise de confort négligé.</div>
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L'obsession quasi-constante de Rucci avec la coupe et les découpes et les lignes de couture se retrouve ici joliment illustrée dans cette robe issue de la collection de prêt-à-porter printemps 2013. Elle a été photographiée dans le quartier historique d'Inglewood à Calgary, devant une ancienne pension pour chevaux aujourd'hui centenaire, connue localement sous le sobriquet, "la grange blanche" pour la distinguer d'une consoeur de couleur rouge à quelques encâblures plus loin. Un rare example de grange avec un toit à deux pentes à avoir survécu aux boules de démolition et à l'avidité des promoteurs immobiliers. Une bonne raison de faire la fête !</div>
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Et si vous vous demandez si j'ai un crustacé sur la tête, la réponse est oui ! La crevette en question est l'oeuvre de <a href="https://tamibarlev.com/" target="_blank">Tami Bar-Lev</a>, une modiste de Tel Aviv aux créations déicieusement saugrenues et fantasques. Sandales <a href="http://www.santonishoes.com/fr/femme.html" target="_blank">Santoni Rose Collection.</a></div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-32715412656710330622017-03-06T19:51:00.000+01:002018-01-17T20:32:48.336+01:00<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-CA" style="background: white; font-family: inherit;"><span style="font-family: inherit;">Ladies! On March 8th, we hit
the patriarchy where it hurts! Please remember that striking is a RIGHT that
was fought for and won by the historically disenfranchised and NOT a form of
bourgeois entitlement or elitist privilege. Labour rights are critical to
healthy economies and societies. As a Canadian, as a woman, as a sentient
being, I am deeply ashamed of the tepid route taken by WM Canada which has
winsomely glossed over the International Women's Day Strike and with it, true
engagement in issues of women's labour, economic disparity and insecurity in
favour of what is largely, a curated shopping list. Social activism is
disruptive and inconvenient. Social activism does not espouse the status quo.
Social activism often implies sacrifice and is sometimes messy. Social activism
is not a privilege. It is a necessity borne out of a moral imperative when
faced with an imminent threat. Our diverse and intersecting identities as women
affect our social and economic existences differently. In spite of this or because
of this, we all have a significant role to play and everyone’s involvement
signifies an equal commitment to the day. Our solidarity shatters capitalist
and patriarchal stipulations that people's lives have different value. So, if
you can... </span><o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: small;"><br /></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">1. Refrain from paid and unpaid work, including
emotional labour and caregiving. <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">2. Refrain from shopping in stores or online.
Exceptions include supporting small, local businesses and women-owned
businesses and businesses that support women. Boycott misogynists and companies
using sexism. (#GrabYourWallet has a list of corporations best avoided... yes,
you too Canada... here's looking at you Hudson's Bay...) <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">3. Wear red in solidarity with the strike. <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">4. Ask male allies to lean into caregiving and use the
day to call out decision-makers at the workplace and in the government to
extend equal pay and adequate paid family leave. <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">5. Attend rallies and marches, support local groups,
and build community. Find out about labour rights in your part of the world,
organize and stand up against workers' rights abuses. <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">6. Strike from calcified gender roles and stereotyped
identities. Interrogate the systems that created them, the hierarchies and
power structures that maintain them. Confuse expectations. Disidentify. <o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: small;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">#IStrike in honour of all of the loving, fighting
women that came before. #IStrikeFor all of my seen and unseen, paid and unpaid
sisters and gender oppressed peoples, especially those most vulnerable who are
unable to join the strike. <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">More info: <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">https://www.womenstrikeus.org/ <o:p></o:p></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;">https://www.womensmarch.com/womensday <span style="color: #555555;"><o:p></o:p></span></span></div>
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<span lang="EN-CA" style="color: #555555; font-family: inherit; font-size: small; mso-ansi-language: EN-CA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: FR;"><br /></span></div>
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<span lang="EN-CA" style="font-family: inherit; font-size: 9.0pt;"><span style="font-size: small;">#DayWithoutAWoman #InternationalWomensStrike
#WomensMarch #endgenderviolence #endeconomicinequality #reproductivejustice
#labourrights #lgbtqiarights #indigenousrights #socialprovisioning #antiracism
#antiimperialism #feminism #environmentaljustice #civildisobedience
#grèveinternationaledesfemmes</span><span style="color: #555555;"><o:p></o:p></span></span></div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-17176698228132930462016-10-05T10:13:00.000+02:002018-01-17T20:30:17.231+01:00La ville que j'aime...<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJI4SsOSxkfqxUnhySQj9O_2KZyfDm4WNTMzpC7GeMDAuF1_FadxAw-oXvjS_a6_rNOz1C7BNFBr17KQzmokC4gfZwcpSnPeN109b0PuZxKXM8_LYZj1YCEzAHpGCRgae8imKtC9kMKVE/s1600/14272242_887741118026000_1126680818_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJI4SsOSxkfqxUnhySQj9O_2KZyfDm4WNTMzpC7GeMDAuF1_FadxAw-oXvjS_a6_rNOz1C7BNFBr17KQzmokC4gfZwcpSnPeN109b0PuZxKXM8_LYZj1YCEzAHpGCRgae8imKtC9kMKVE/s400/14272242_887741118026000_1126680818_n.jpg" width="400" /></a></div>
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<span style="font-family: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">« Nom plutôt dense que sonore, doté de grande capacité par l'a qui l'ouvre tout grand en son milieu, et que gonfle de substance l'expansion de la syllabe nasale sur laquelle il s'articule. Nom beaucoup plus féminisé par sa désinence que je ne le percevais d'abord, de contours un peu flous, un peu flottants, mais que le pluriel vient nuancer d'une opulence étouffée, aussi substantielle que peu soucieuse de s'afficher. Nom que l'eau aussi féminise et vient imbiber de toutes parts, par la forte connotation nautique de sa sonorité, dès longtemps renforcée pour moi par l'emblème de la ville que je lisais sur la paroi de ses tramways jaune-crème : une nef sous voiles et la devise : Favet Neptunus eunti (Neptune favorise le voyageur). Nom plus fortement marié à l'élément liquide que la ville ne l'est elle-même, nom qui vient, sans vraie justification, enluminer plus fréquemment qu'un autre les chansons de l'ancien folklore maritime. Ville difficile à cerner, emmitouflée dans son nom capitonné comme dans une défense élastique. Ni tout à fait terrienne, ni tout à fait maritime : ni chair, ni poisson - juste ce qu'il faut pour faire une sirène. » </span></div>
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<span style="font-family: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">(Julien Gracq, La forme d'une ville)</span></div>
</span>Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-43951810372932868792016-09-02T17:14:00.000+02:002016-09-03T12:44:54.534+02:00British Bohemia<div class="separator" style="clear: both; text-align: center;">
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1) Sauver, in extremis, une vieille chaise ayant appartenu à une aïeule peu aimable, d'une fin de vie poussiéreuse certaine dans le showroom de l'Emmaüs le plus proche. De mémoire de (mon) homme, elle a toujours traîné triste et abandonnée dans un coin de la morne maison.</div>
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2) Trouver que sous ses effroyables oripeaux synthétiques (ma doué ! c'est que l'ancienne ganache avait mauvais goût !), elle a une saine structure et de belles lignes.</div>
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3) Se débarrasser des dits oripeaux, poncer le bois, tester les ressorts.</div>
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4) Décider qu'une nouvelle jeunesse s'impose par le biais d'un bain de couleur... et puis pourquoi pas cette nouveauté chez Farrow&Ball, Vardo, un joli et gai bleu vert qui rappelle un coloris utilisé dans la décoration des roulottes tziganes traditionnelles tirées par des chevaux (ça aurait fait bondir la méchante rombière).</div>
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5) Se convaincre que ce Harris tweed jaune citron irait, ma foi, fort bien avec le vert nomade.<br />
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6) Se réjouir que le cahier des charges écolo et éthique a été respecté - la gamme de peintures Farrow&Ball est élaborée selon des méthodes de production ancestrale et ses formulations acryliques aux pigments naturels ont une teneur en COV minime. De plus, l'entreprise s'inscrit dans le patrimoine industriel britannique depuis la fin de la Deuxième Guerre mondiale. Le Harris tweed teint et tissé à partir de laine vierge par les habitants et bien souvent <i>crofters</i> des Hébrides extérieures en Ecosse, est la seule étoffe au monde qui soit protégée par sa propre loi au parlement britannique. Bien plus qu'un artifice de mode ou simple ornement, ce tweed est empreint de tradition et contribue à la survie économique et sociale d'une des régions les plus isolées et dépeuplées du Royaume-uni.</div>
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7) Se dire qu'elle n'est pas mal du tout cette vieille chaise devenue tout à coup pop et pimpante, que la vieille bique aurait détesté, que c'est tant mieux et que c'est une belle revanche, somme toute, pour une chaise si longtemps délaissée !</div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-90082628853442338982016-08-19T10:51:00.000+02:002016-08-20T01:05:46.551+02:00The Heart of Dixie Dress<div class="separator" style="clear: both; text-align: center;">
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<h1 style="background-color: white; border: 0px; color: #333333; font-family: Georgia, serif; font-size: inherit; font-stretch: inherit; font-weight: inherit; line-height: 18px; margin: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "georgia" , "times new roman" , serif;">Cinq mois de broderie et de couture pour assembler cette robe et cette jupe très Dixie mais qui vont tellement bien avec une fin de journée d'août sur la côte sauvage croisicaise. Le jersey de coton bio américain qui a servi à l'élaboration de la robe a été teint en deux nuances distinctes de bleu pastel par les maîtres teinturières du malheureusement disparu Bleu de Lectoure dans le Gers. Je suis redevable à Denise Lambert et à sa petite équipe qui a su, avec, ô</span></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;"> combien de talent, déchiffrer mes envies de bleu ! Toutes les broderies ont été faites à l'appliqué inversé sur la base du motif "Hearts" disponible gratuitement chez </span><a href="http://alabamachanin.com/resources/hearts-stencil-artwork" style="font-family: georgia, "times new roman", serif; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; line-height: inherit;" target="_blank">Alabama Chanin</a><span style="font-family: "georgia" , "times new roman" , serif; font-size: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;"> et transformé en pochoir par le biais de </span><a href="http://www.umake.ca/" style="font-family: georgia, "times new roman", serif; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; line-height: inherit;" target="_blank">Umake</a><span style="font-family: "georgia" , "times new roman" , serif; font-size: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;"> à Montréal. Un métissage entre traditions textiles venues des deux côtés de l'Atlantique.</span></h1>
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<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com3tag:blogger.com,1999:blog-8372848187530033061.post-34101562791041028992016-08-09T17:31:00.001+02:002016-08-17T11:42:40.485+02:00Les mains dans le lin<div class="separator" style="clear: both; text-align: center;">
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Indissociable du patrimoine breton, le lin est inscrit dans le paysage. Kanndi, routoirs, enclos paroissiaux, maisons de tisserands et de marchands : ce sont les témoins d'une prospérité, d'échanges et d'un enrichissement culturel qui ont fait vivre une population importante plusieurs siècles durant. Historiquement, c'est le plus vieux textile du monde utilisé par l'homme. Des fibres portant des traces de torsion et de teinture et vieux de 36 000 ans ont récemment été découverts dans une grotte en Géorgie. Aux usages multiples, le lin s'est prêté à tous les emplois - billets de banque, papier à cigarette, litière animale, engrais, décoration, alimentation, habillement, habitation... Aujourd'hui, 80% de la production linicole européenne se passe en France et 85% de la production linicole mondiale est assurée par l'Europe, sa plus forte concentration s'étendant du nord de la France et de la Belgique jusqu'aux Pays-Bas. C'est la seule fibre végétale textile indigène d'Europe et les conditions nécessaires à son bon développement en font une culture naturellement non-délocalisable. La fibre est florissante dans des climats océaniques tempérés avec une pluviosité bien répartie et de faibles écarts de température. Autant dire que notre petit bout de presqu'île en Bretagne sud se prêtait très bien à quelques expériences pédagogiques dans le jardin !</div>
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<span style="font-family: inherit;">Les graines de lin textile de variété Damara semées proviennent du GNIS (</span><span style="background-color: white; font-family: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;">Groupement National Interprofessionnel des Semences et plant). </span><span style="background-color: white;">La Damara est un lin de printemps résistant et productif ce qui rend caduc toute utilisation de pesticides. </span><span style="background-color: white; font-family: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;">Pour vous en procurer gratuitement, il vous suffit d'en faire la demande. Je l'ai fait à partir du site </span><a href="http://www.lelin-cotenature.fr/" style="font-family: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; line-height: inherit;" target="_blank">Le lin côté nature</a><span style="background-color: white; font-family: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;"> qui regorge d'infos sur la culture et l'histoire du lin. </span></div>
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<span style="background-color: white; font-family: inherit; font-style: inherit; font-weight: inherit; line-height: inherit;">D'une empreinte environnementale minimale, le lin ne nécessite aucune irrigation à part celle, naturelle des eaux de pluie. Il est exploitable jusqu'à la racine et n'est transformé que par voie mécanique. Il ne supporte qu'un minimum d'intrants et stocke un maximum de carbone, ce qui, sur la seule surface linicole européenne, permet d'éviter l'émission de 342 000 tonnes de gaz à effet de serre. Ces avantages font du lin une culture éco-responsable par excellence. Une quantité de nouveaux procédés d'ennoblissement et de finissages écologiques peu gourmands en énergie et en eau viennent rehausser encore un peu plus l'éclat écolo de la fibre de lin. Combiné à des propriétés naturellement anti-bactériennes, une grande simplicité d'entretien, une longévité certaine grâce, notamment à sa fibre longue et un recyclage presqu'infini, le lin contribue à une vie sur Terre durable.</span></div>
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En parallèle à ces incursions horticoles, il fallait bien accoucher d'un projet couture... place au haut à nœud de l'américaine Rachel Comey fait à partir du patron Vogue 1507 et taillé dans le lin blanc Como stone wash à la finition lavée et au touché doux de l'EPV<a href="http://www.lindefrance.com/" target="_blank"> Lemaitre Demeestere</a> - l'une des cinq plus anciennes entreprises textiles de France et le seul tisseur français à faire partie du club Masters of Linen qui garantit la traçabilité et la qualité du lin 100% européen car bien que la France produise et teille son lin, les usines de filature appartiennent à un passé révolu et la <span style="font-family: inherit;"><span style="background-color: white; line-height: 16.8px;">quasi totalité des </span><span style="background-color: white; border: 0px; box-sizing: inherit; line-height: 16.8px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">lins teillés</span><span style="background-color: white; line-height: 16.8px;"> partent en Chine pour être filés, tissés et confectionnés. Il existe néanmoins quelques filatures européennes en Belgique, en Italie et dans l'ex bloc soviétique. Lemaitre Demeestere reste l'un des rares tisseurs français </span></span><span style="background-color: white; font-family: inherit; line-height: 16.8px;">de lin.</span></div>
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Si vous vous attelez à ce haut, il est sûrement préférable de choisir la taille en dessous de votre taille habituelle car ce modèle, large d'encolure et fendu de partout (ce qui en fait toute son originalité et qui le rend appréciable par ces chaleurs estivales) risque sinon de vous glisser des épaules.</div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-79757735679994416652016-07-09T15:09:00.000+02:002016-07-10T12:48:58.245+02:00Bourbon for Breakfast<div class="separator" style="clear: both; text-align: center;">
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Il y a peu, je me suis mise à découvrir la gamme de produits Noble de chez <a href="https://www.mikuniwildharvest.com/" target="_blank">Mikuni Wild Harvest</a>. Les vinaigres sont un pur bonheur - déglacez des fruits de mer au <a href="https://www.mikuniwildharvest.com/shop/product/noble-tonic-04-pharaohs-heirloom-lemon-matured-white-wine-vinegar/" target="_blank">#4</a> et vous verrez ! Et au rayon sirop d'érable, que de délicieuses surprises. Mon préféré reste le <a href="https://www.mikuniwildharvest.com/shop/product/noble-tonic-01-tuthilltown-bourbon-barrel-matured-maple-syrup/" target="_blank">#1</a> - un sirop d'érable québécois ambré moyen vieilli avec un soupçon de bourbon brut en fûts de chêne américain carbonisé en provenance de la distillerie de Tuthilltown dans la vallée de l'Hudson, la plus vieille micro-distillerie de whiskey new-yorkaise depuis la Prohibition qui s'efforce d'utiliser des variétés de maïs, de pommes et de céréales locales et anciennes dans l'élaboration de leurs alcools. Un goût de bourbon très présent sur fond d'érable et de chêne et les gaufres délicates de Laurent Jeannin (chef pâtissier au Bristol) comme support. La recette de gaufres est tiré du très beau livre, <i>Pâtisseries au fil du jour</i>.</div>
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<i>A little while ago, I started discovering and indulging in <a href="https://www.mikuniwildharvest.com/" target="_blank">Mikuni Wild Harvest's</a> Noble line of products. The finishing vinegars are bottled moments of happiness - try deglazing shellfish with <a href="https://www.mikuniwildharvest.com/shop/product/noble-tonic-04-pharaohs-heirloom-lemon-matured-white-wine-vinegar/" target="_blank">tonic #4 </a>and you'll see! Their maple syrups were a delicious surprise. My favourite is <a href="https://www.mikuniwildharvest.com/shop/product/noble-tonic-01-tuthilltown-bourbon-barrel-matured-maple-syrup/" target="_blank">tonic #1</a> - a medium grade amber maple syrup from Quebec's orchards aged with a hint of bourbon in charred American oak barrels from the Hudson valley's Tuthilltown distillery, New York's oldest small batch whiskey distillery since Prohibition that uses only local and heirloom corn, apples and grains. A real bourbon kick floating on notes of maple and oak served on Laurent Jeannin's (the Parisian Bristol Hotel's head pastry chef) delicate waffles. The recipe is from his beautiful book, "Pâtisseries au fil du jour".</i></div>
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<span style="font-family: inherit;"><b>Gaufres</b></span></div>
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<li style="text-align: justify;"><span style="font-family: inherit;">5 œufs</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">250 g de lait</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">100 g de crème épaisse</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">80 g de beurre</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">250 g de farine (type 55)</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">50 g de sucre semoule</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">30 g de levure chimique</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">2 g de vanille en poudre</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">5 g de sel</span></li>
<li style="text-align: justify;"><span style="font-family: inherit;">huile pour le gaufrier</span></li>
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<span style="font-family: inherit;">Casser les œufs en séparant les blancs des jaunes. Monter les blancs en neige avec le sucre semoule. Faire fondre le beurre.</span></div>
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<span style="font-family: inherit;">Dans un bol, mélanger au fouet la farine tamisée, le sel et la levure. Ajouter les jaunes d’œufs, la crème, la moitié du lait, la vanille et le beurre fondu. Fouetter de sorte à ne plus avoir de grumeaux. Incorporer les reste du lait.</span></div>
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<span style="font-family: inherit;">Incorporer les blancs d’œufs délicatement au mélange lait-farine à l'aide d'une maryse. </span></div>
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<span style="font-family: inherit;"><span style="font-family: "georgia" , "times new roman" , serif;">Chauffer le gaufrier, l'huiler et </span><span style="background-color: white; line-height: 18px; white-space: nowrap;">verser une louchée de pâte. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 18px; white-space: nowrap;">Faire cuire la gaufre 2 à 3 minutes. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 18px; white-space: nowrap;">Continuer jusqu'à l'épuisement de la pâte.</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 18px; white-space: nowrap;"><i><b>Waffles</b></i></span></span></div>
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<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>5 eggs</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>250 g of milk</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>100 g of heavy cream</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>80 g of butter</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>250 g of all purpose flour</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>50 g of granulated sugar</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>30 g of baking powder</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>2 g of powdered vanilla beans</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>5 g of salt</i></span></li>
<li style="text-align: justify;"><span style="line-height: 18px; white-space: nowrap;"><i>oil for the waffle iron</i></span></li>
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<span style="line-height: 18px; white-space: nowrap;"><i>Separate the egg whites and yolks. Whip the egg whites with the sugar </i></span><br />
<span style="line-height: 18px; white-space: nowrap;"><i>until stiff peaks form. Melt </i></span><i style="line-height: 18px; white-space: nowrap;">the butter.</i><br />
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<span style="line-height: 18px; white-space: nowrap;"><i>In a bowl, mix together the flour, the salt and the baking powder. Add </i></span><br />
<span style="line-height: 18px; white-space: nowrap;"><i>the egg yolks, the cream, </i></span><i style="line-height: 18px; white-space: nowrap;">half of the milk, the vanilla and the melted </i><br />
<i style="line-height: 18px; white-space: nowrap;">butter. Whisk together until there are no lumps left. </i><br />
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<span style="line-height: 18px; white-space: nowrap;"><i>Whisk in the remaining milk.</i></span><br />
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<span style="line-height: 18px; white-space: nowrap;"><i>With a spatula, fold the egg whites delicately into the flour and milk </i></span><br />
<span style="line-height: 18px; white-space: nowrap;"><i>mixture.</i></span><br />
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<i><span style="line-height: 18px; white-space: nowrap;">Heat the waffle iron, oil it and pour in a ladle of waffle dough at </span></i><br />
<span style="line-height: 18px; white-space: nowrap;"><i>a time.</i></span><br />
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<span style="line-height: 18px; white-space: nowrap;"><i>Cook waffles for 2 to 3 minutes each.</i></span></div>
Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-81625797013765259622016-07-04T22:03:00.000+02:002016-07-04T22:08:36.025+02:00Damn right, I've got the blues!<div class="separator" style="clear: both; text-align: center;">
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<span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "georgia" , "times new roman" , serif;">Jersey de coton bio américain teint en deux nuances distinctes de bleu pastel par les maîtres teinturières du Bleu de Lectoure dans le Gers et broderies à l'appliqué inversé qui signalent le lent début d'une autre robe. Un mariage heureux (on l'espère !) entre traditions venues des deux côtés de l'Atlantique.</span></span></h1>
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<span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
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<span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Woad dyed organic cotton jersey grown in the USA and dyed in two different shades of blue by the master dyewomen at Bleu de Lectoure in the Gers region in France and reverse appliqué embroidery spell the slow start of a new dress. A (hopefully!) happy marriage between traditions from both sides of the Atlantic.</i></span></span></h1>
<br />Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-517851252181214402016-04-20T19:49:00.000+02:002016-10-10T21:32:31.134+02:00#Ethicsofuse<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrT05DiTzTFCpuxud8ovPcUo0ID0-HXjKP-HDxzLgQ_yAduDYrr5E0rNZhhjRYx_yzWcs00EfjGhYS9jewUcReRoxBDXoz9xdtsbqSosXH3g9gifHWu3FvLagDxCVtkNOKBa2KBvrHk9w/s1600/12940795_656184551199716_1786849235_n%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrT05DiTzTFCpuxud8ovPcUo0ID0-HXjKP-HDxzLgQ_yAduDYrr5E0rNZhhjRYx_yzWcs00EfjGhYS9jewUcReRoxBDXoz9xdtsbqSosXH3g9gifHWu3FvLagDxCVtkNOKBa2KBvrHk9w/s400/12940795_656184551199716_1786849235_n%25281%2529.jpg" width="400" /></a></div>
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<div class="MsoNormal">
<div style="text-align: justify;">
<span lang="EN-CA">I had just
been cast in an avant-garde British play and realized that my carefully
curated, and in all manners, as ethical as possible wardrobe was just not going
to do during the rehearsal process. This theatre thing was going to involve
rolling around on the floor and making out with perfect strangers. Wincing, I
thought that this was probably going to consist of sweatpants. Like any
self-respecting Canadian on default survival mode, I strode into the nearest mall and picked
out the least ugly looking pair of cotton jersey pants I could force myself to
find. Last minute impulse buying. Not good. The memory of the put on cheeriness of the Gap
girl at the till soon faded to zero. I hated myself almost immediately. What
had I done? Bought into human exploitation and the pillaging of the Earth’s assets
because I figured myself a last minute actress? But what was I going to do?
Rehearsals were in a couple of hours. I had already signed the contract! I
forced myself into those cheap cotton sweatpants and proceeded to roll around
on the floor and make out with perfect strangers. I also decided that closing
night was going to spell the end of this last gasp chance at an acting career;
after which I was left with an unwanted and guilt-inducing pair of sweatshop
sweatpants. </span></div>
</div>
<div class="MsoNormal">
<span lang="EN-CA"><br /></span></div>
<div class="MsoNormal">
<div style="text-align: justify;">
<span lang="EN-CA">They got stashed in a forgotten corner of my closet until I pulled
them out again one day. Out of defiance. And necessity. Gardening, painting and
refinishing furniture, airbrushing, textile dyeing, house cleaning, baking.
They soon became indispensable to every dirty task I needed to accomplish. I
found that they were much more comfortable than jeans to crouch around in when
cutting and piecing fabric together on the floor and to my surprise, became the
companion to many memories. I wore them when I stroked and tried to soothe my
tired horse cast in Spring mud and slush as he struggled to get back to his
feet surrounded by three neighbours, a vet and a tractor. I wore them when I
attempted to help shovel the damage out and some life back into fellow
citizens’ houses, more unlucky than I, during the Alberta flood of 2013. I wore
them when I planted and later, victoriously harvested my very first garden of
fruits and herbs. I wore them when I failed repeatedly and finally conquered
making macarons. Whether I liked it or not, these unremarkable, cut-rate pants
which were at odds with my worldview and which I had written off as a mistake,
had become an integral part of my life. <o:p></o:p></span><br />
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<span lang="EN-CA">With time,
the inferior jersey has broken down, especially around the knees and the seat
of the pants. I have mended rips, tears and holes over the years with large
patches of straight stitched scrap fabric recycled from other projects.
Sometimes, I leave the holes be a little while, to see where they go and when I
am too tired to pick up another needle. The mending itself is crude and
unexceptional, a far cry from the surface treatments that I usually indulge in,
but it has created its own narrative and more importantly, it has extended the
lifespan of a garment otherwise doomed by planned obsolescence. I often joke
that these pants are my ship of Theseus, that one day I will have replaced all of the
original parts with my scraps. Didn’t Louise Bourgeois say, “You repair the
thing until you remake it completely.” (Louise Bourgeois: The Fabric Works,
Germano Celant)? </span></div>
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<span lang="EN-CA"><br /></span></div>
<div class="MsoNormal">
<div style="text-align: justify;">
<span lang="EN-CA">Japan’s mended and patched nineteenth century rural indigo rag
textiles known as boro encompass the concept of ‘mottanai’ meaning, “too
precious to waste”. Borne out of necessity and happy coincidence, the cloth
transcends its utilitarian origins. Whilst I am not dealing in hand loomed and
hand dyed cotton indigo from old Japan and whilst it might seem, at first,
utterly ridiculous and counterproductive to spend any quantity of time or material
resources in repairing such a disposable item of clothing, I have come to learn
otherwise – a copious amount of the Earth’s resources, human hands and lives
were mobilized and involved in the making of this garment and these are far “too precious to
waste”. I have taken care of something that should have ended up in a landfill
many moons ago and in so doing I feel that somewhere, I have sought to honour
the work, the skill and the life of the unknown garment workers who toiled for
little to make this pair of pants, the anonymous weavers, spinners, dyers, cutters, machine operators and
cotton farmers who produced the material and the finished cloth; the Earth and
her wealth that we plunder mindlessly every goddamn day. I have also made these
pants mine, outside of consumption heavy marketing and advertising schemes. In
many ways, this humble, patched beyond belief, stretched out and past their
prime pair of sweatpants is my personal “fuck you!” to the fat cats at the top
of the inhuman heap that is the fast fashion industry. That feels good, so
unbelievably good.</span><br />
<span lang="EN-CA"><br /></span>
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<div class="MsoNormal">
<span lang="EN-CA">I am
further buoyed by Kate Fletcher’s recent “Craft of Use : Post-Fashion Growth”… <o:p></o:p></span></div>
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<i><span lang="EN-CA"><br /></span></i></div>
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<div style="text-align: justify;">
<i><span lang="EN-CA">“For maintaining what we have, keeping garments
in active use, can involve something as simple as approaching a piece with
attention and imagination. There is also some ‘inconspicuous consumption’ of
resources involved in on-going use, including that associated with laundering
garments. Yet, perhaps, because use practices are enabled by, but not rooted in
industry and commodity products, perhaps because they are distanced from the
drivers of economic growth, they are often resource effective over time.</span></i></div>
</div>
<div class="MsoNormal">
<i><span lang="EN-CA"><br /></span></i></div>
<div class="MsoNormal">
<div style="text-align: justify;">
<i><span lang="EN-CA">The activities embedded within the paths of use
are also human-scale. They are pragmatic and within the realm and reach of us
all. They cast their narrators as practitioners, craftsmen and women of use.
They are fashion practitioners not because they are designing a new collection,
but because they are using what they have with dedication and passion. They
show insights, ideas and new ways of wearing and thinking about clothes that
builds towards a satisfaction with what people already have. They draw on
well-established practices of thrift, of domestic provisioning, of care for
others, on the gift economy, on the informal channels through which clothes pass
between friends and family. They stretch resources qualitatively and
quantitatively, making them go further, appreciating them in greater detail,
infusing them with human warmth and memory, folding them into others’ lives.
This gives satisfaction: aesthetic pleasure, social regard, an ethical concern
for others, the taking of responsibility for material effects.<o:p></o:p></span></i></div>
</div>
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<i><span lang="EN-CA"><br /></span></i></div>
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<i><span lang="EN-CA">[…] The craft of use is replete with material
and ideological manipulation of garments and the agency to produce the world
differently. On-going use is an affront to the consumer society, a slur on
throwaway culture. It is fashion in a space where we choose ‘to want what one
has’ and one where we revel in the power, imagination and possibility that it
offers. American environmentalist Bill McKibben describes the change in
priorities thus: ‘After a long period of frenetic growth, we’re suddenly older.
Old, even. And old people worry less about getting more; they care more about
hanging on to what they have, or losing it as slowly as possible… your goal
becomes to husband that wealth.’</span></i></div>
</div>
Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-58854373339305001202016-04-18T08:10:00.001+02:002016-04-18T08:10:52.437+02:00Freight train, freight train, run so fast...<div class="separator" style="clear: both; text-align: justify;">
La robe Black Gold de sortie à Calgary et dans la petite ville de Nanton dans le sud-est de l'Alberta... silos à céréales et chemins de fer abandonnés, poussière des prairies et inimitable ciel bleu.</div>
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Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com0tag:blogger.com,1999:blog-8372848187530033061.post-60232435432305313672016-03-16T23:13:00.000+01:002016-03-16T23:13:09.916+01:00Black Gold<div style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; line-height: 19.32px; margin-bottom: 6px; text-align: justify;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 19.32px;">"Because the point of arrival is enigmatic, elusive, receding, because it wavers like a mirage on the road, always before us and only briefly with us, devoting oneself to mastering a practice unexpectedly leads through a time warp where past, present, and future commingle. I find the contradictory notion comforting. Contemporary life is all excerpts, fragments, reversals, and interruptions; it offends and delights us with its astounding, noisy discontinuity, but the work of ma</span><span class="text_exposed_show" style="display: inline; font-family: Georgia, 'Times New Roman', serif; line-height: 19.32px;">stery is very much as it was when artists thousands of years ago carved Cycladic figures or cast the Benin gold. </span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 19.32px;">[…] </span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 19.32px;">Our common creative labors restore older, more familiar rhythms of humanity, and by doing so they ground us and temper the particular fragmentation and disconnections that define our age."</span></div>
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<span style="line-height: 19.32px;"><span style="font-family: Georgia, Times New Roman, serif;">(An Absorbing Errand: How Artists and Craftsmen Make Their Way to Mastery, Janna Malamud Smith)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; color: #333333; line-height: 20.8px; text-align: justify;">Robe trapèze faite sur la base du modèle d'Alabama Chanin en </span><span style="background-color: white; color: #333333; line-height: 20.8px; text-align: justify;">deux épaisseurs de jersey de coton bio noir travaillées à la technique dite de l'appliqué inversé. </span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; color: #333333; line-height: 20.8px; text-align: justify;">Commencée à la mi-mai 2015, elle a été complétée sept mois plus tard.</span><span style="background-color: white; color: #333333; line-height: 20.8px; text-align: justify;"> </span></span></div>
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<span style="background-color: white; color: #333333; line-height: 20.8px; text-align: justify;"><span style="font-family: Georgia, Times New Roman, serif;">#buildawardrobe2016</span></span></div>
Rastaquouèrehttp://www.blogger.com/profile/13899083232741773402noreply@blogger.com5tag:blogger.com,1999:blog-8372848187530033061.post-16490874496503020342016-03-08T17:53:00.000+01:002016-03-08T17:53:39.100+01:0008.03.2016<div class="separator" style="clear: both; text-align: center;">
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