terça-feira, 10 de Novembro de 2009
segunda-feira, 9 de Novembro de 2009
Escarrinho de Génio
Se nos é impossível permanecermos puros, não tentemos ser artistas.
Katherine Mansfield
Escarreta Actual
O sucesso é para os políticos. Os escritores vivem sempre na medida exacta do seu fracasso, que, romance após romance, se torna mais notório: cada vez é mais difícil, cada vez é mais pessoal. O sucesso completo significaria que era inútil escrever mais livros.
João Tordo, in Jornal i
Escarro de Génio
A arte de viver - dado que para viver é preciso fazer sofrer os outros (ver vida sexual, ver comércio, ver qualquer actividade) - consiste em habituarmo-nos a fazer todas as patifarias sem abalar o nosso equilíbrio interior. Ser capaz de todas as patifarias é a melhor bagagem que um homem pode possuir.
Cesare Pavese, in "O Ofício de Viver"
domingo, 8 de Novembro de 2009
Escarrinho de Génio
A amizade e a gratidão nada podem contra a ambição.
Marie-Madeleine de La Fayette
sexta-feira, 6 de Novembro de 2009
domingo, 1 de Novembro de 2009
quarta-feira, 28 de Outubro de 2009
terça-feira, 27 de Outubro de 2009
segunda-feira, 26 de Outubro de 2009
sexta-feira, 23 de Outubro de 2009
quinta-feira, 22 de Outubro de 2009
segunda-feira, 19 de Outubro de 2009
sábado, 17 de Outubro de 2009
quinta-feira, 15 de Outubro de 2009
quarta-feira, 14 de Outubro de 2009
domingo, 11 de Outubro de 2009
quinta-feira, 8 de Outubro de 2009
domingo, 4 de Outubro de 2009
sexta-feira, 2 de Outubro de 2009
quinta-feira, 1 de Outubro de 2009
quarta-feira, 30 de Setembro de 2009
Sabia que...
The Royal Academy of Arts presents a major solo exhibition of the work of the internationally acclaimed artist Anish Kapoor, winner of the 1991 Turner Prize and one of the most influential and pioneering sculptors of his generation.
The exhibition surveys Kapoor’s career to date showcasing a number of new and previously unseen works, including a select group of Kapoor’s early pigment sculptures, beguiling mirror-polished stainless-steel sculptures and cement sculptures on display for the first time. The exhibition also includes highlights such as the monumental work Svayambh, the title of which comes from a Sanskrit word meaning ‘self-generated’. Emblematic of Kapoor’s interest in works of sculpture that actively participate in their own creation, Svayambh moves slowly through the galleries across the entire breadth of Burlington House. Another major exhibit is Shooting into the Corner, a work of extraordinary complexity and drama that builds up against the walls and floor of the gallery. Tall tree and the eye, a major new sculpture, is on display in the Annenberg Courtyard. Infinitely repeating and reflecting its surroundings, like much of Kapoor’s work, this object both disorientates and distorts, challenging our traditional notion of form and space...
The exhibition surveys Kapoor’s career to date showcasing a number of new and previously unseen works, including a select group of Kapoor’s early pigment sculptures, beguiling mirror-polished stainless-steel sculptures and cement sculptures on display for the first time. The exhibition also includes highlights such as the monumental work Svayambh, the title of which comes from a Sanskrit word meaning ‘self-generated’. Emblematic of Kapoor’s interest in works of sculpture that actively participate in their own creation, Svayambh moves slowly through the galleries across the entire breadth of Burlington House. Another major exhibit is Shooting into the Corner, a work of extraordinary complexity and drama that builds up against the walls and floor of the gallery. Tall tree and the eye, a major new sculpture, is on display in the Annenberg Courtyard. Infinitely repeating and reflecting its surroundings, like much of Kapoor’s work, this object both disorientates and distorts, challenging our traditional notion of form and space...
26 September - 11 December 2009
Royal Academy of ArtsBurlington House, Piccadilly, London
segunda-feira, 28 de Setembro de 2009
domingo, 27 de Setembro de 2009
sexta-feira, 25 de Setembro de 2009
Entretanto em Londres
sexta-feira, 18 de Setembro de 2009
quinta-feira, 17 de Setembro de 2009
quarta-feira, 16 de Setembro de 2009
Sabia que...
In recent seasons, digital fashion film has been gaining momentum as an emotionally charged and cost-effective presentation format. But this season is the first time designers have started using film in a way that tightly complements their runway shows and lets them extend their presence across multiple fashion weeks, in different geographic markets.Yesterday evening, English enfant terrible Gareth Pugh, who has been showing in Paris for the last two seasons, established his first presence at New York Fashion Week by showing not one, but four short films. Created in collaboration with fashion filmmaker Ruth Hogben, the films set the tone and outlined the inspirations for Pugh’s upcoming Spring Summer 2010 collection to be unveiled on the Paris catwalks in early October.
Inspired by the four elements – earth, water, wind and fire – the four films were presented on four sides of a monolithic cube designed by Simon Costin. Accompanied by a soundtrack by Matthew Stone that was at once futuristic and medieval, the cube sat in the darkened loading dock at Milk Studios, before editors including Suzy Menkes and Jefferson Hack, looking like it had landed from somewhere far away, carrying the elemental essence of Mr. Pugh’s forthcoming collection with it.
terça-feira, 15 de Setembro de 2009
sábado, 12 de Setembro de 2009
quinta-feira, 10 de Setembro de 2009
O Escarrador Recomenda
"…it is something of a sensory path, evoking snapshots of one's past as you smell it. It has the power to transport you from the room in which you stand, to a place buried within the depths of your memory. I wanted to demonstrate that scent can take you on a journey.In making this film I wanted to avoid any element of exclusivity. I believe that ideas are free. That in order to engage with an idea, you should share it. The prospect of strangers stumbling across my film online and perhaps passing it on, is gratifying. I'm not a commercial person. It is the creative process that fascinates me. This is not an advertisement for the perfume, it is a film inspired by the essence of scent."
Daphne Guinness
Sabia que...
This September, the Levi’s® brand is partnering with celebrated emerging men’s fashion designer Robert Geller to unveil a limited-edition, high-end collection that unites the denim leader’s DNA with Geller’s strong, sophisticated aesthetic and tailoring. The Robert Geller for Levi’s® assortment will be introduced at select Bloomingdale’s stores and on Bloomingdales.com at the beginning of New York Fashion Week on September 10th. Select pieces will be available at key Levi’s® Store locations across America starting on September 21st and in Japan later this fall.
terça-feira, 8 de Setembro de 2009
sábado, 5 de Setembro de 2009
sexta-feira, 4 de Setembro de 2009
Sabia que...
Bamford Watch Department has worked with colette on a special version of the Rolex Milgauss. The watch comes with a black case and wristband and features the dial in the signature colette blue. The watch will be released at colette in September.
quinta-feira, 27 de Agosto de 2009
quarta-feira, 26 de Agosto de 2009
Escarreta Actual
Perante a enorme e maravilhosa complexidade da realidade, todos devemos ter a humildade de a respeitar e admirar. É verdade que os esforços da ciência levam alguns a esquecer essa atitude. Mas nada gera mais arrogância que a ignorância.
João César das Neves, in Diário de Notícias
terça-feira, 25 de Agosto de 2009
quarta-feira, 19 de Agosto de 2009
terça-feira, 18 de Agosto de 2009
Escarreta Actual
O egoísmo pessoal, o comodismo, a falta de generosidade, as pequenas cobardias do quotidiano, tudo isto contribui para essa perniciosa forma de cegueira mental que consiste em estar no mundo e não ver o mundo, ou só ver dele o que, em cada momento, for susceptível de servir os nossos interesses.
José Saramago, in Diário de Notícias
Sabia que...
Absolut worked with designer Natalia Brilli, who is known for wrapping things in leather. This time she of course wrapped the iconic Absolut bottle in leather and added studs to it as well, giving it a real rock vibe. For the occasion Absolut organized a massive launch event in Berlin. Natalia Brillis leather instruments were on display, along with artist guitars and more.
quinta-feira, 6 de Agosto de 2009
segunda-feira, 3 de Agosto de 2009
domingo, 2 de Agosto de 2009
Sabia que...
Dr. Martens continues to work on all fronts. The brand has put out lots of interesting boots in their main line these past months and also the collaborative efforts are appreciated. After working with Yohji Yamamoto and Raf Simons in the high fashion arena, they continue this Fall/Winter. Today Escarrador can give you a small teaser look at two upcoming boots in collaboration with French luxury goods designer Jean Paul Gaultier.
Escarrinho de Génio
Não há nada no mundo, nem recompensa, nem castigo, o que há são consequências.
Robert Green Ingersoll
sábado, 1 de Agosto de 2009
quarta-feira, 29 de Julho de 2009
terça-feira, 28 de Julho de 2009
segunda-feira, 27 de Julho de 2009
Sabia que...
domingo, 26 de Julho de 2009
sábado, 25 de Julho de 2009
Escarro de Génio
Os povos primitivos não conheciam a necessidade de dividir o tempo em filigranas. Para os antigos não existiam minutos ou segundos. Artistas como Stevenson ou Gauguin fugiram da Europa e aportaram em ilhas onde não havia relógios. Nem o carteiro nem o telefone apoquentavam Platão. Virgílio nunca precisou de correr para apanhar um comboio. Descartes perdeu-se em pensamentos nos canais de Amsterdão. Hoje, porém, os nossos movimentos são regidos por frações exactas de tempo. Até mesmo a vigésima parte de um segundo começa a não mais ser irrelevante em certas áreas técnicas.
Paul Valéry, in 'A Busca da Inteligência'
Crazy Horse
When Madonna showed up at the Met’s Costume Institute gala earlier this year dressed like an elegant escapee from the Crazy Horse, complete with rabbit-ear headgear, little did I suspect we were getting a sneak preview of the fall Louis Vuitton campaign... In this video, Marc Jacobs takes us behind the scenes of that Steven Meisel shoot, starring Madonna and featuring cameo appearances by the hairstylist Guido, the makeup artist Pat McGrath (who sports her own set of mini-bunny ears) and the stylist Marie-Amelie Sauvé. “Clothes to me mean nothing,” Marc insists. “It’s the person in them that gives them the life and personality.” Bags, I presume, are another story.
Resistance is Futile
Once again Dr. Martens worked with Raf Simons for Fall/Winter 2009. The designer added some new flavors to the otherwise classic UK footwear range and worked with metallic colors this season. Different kind of low top and high top boots are featured in the line-up, all coming with gold, silver and bronze metallic uppers. Look out for a release in the coming months.
sexta-feira, 24 de Julho de 2009
Sabia que...
There's a story to be told about Isabella Blow's life, and two different biographies, both scheduled for 2010, are in the works, reports the New York Observer. The first, Blow by Blow: The Story of Isabella Blow, is co-written by Isabella's husband of 18 years, Detmar Blow, and author Tom Sykes, who first met Isabella when he was 20 and his sister Plum Sykes was her assistant at Vogue.
The September Issue
Bootlegged copies of The September Issue have been circulating amongst fashion insiders in London. The new 90 minute documentary featuring Anna Wintour of American Vogue is not due to hit U.S. and U.K. theatres until later this Summer, but it is already providing much fodder for industry conversations over mid-Summer cocktails and pre-collection appointments.The film revolves around the development, execution and advertising sales for the September 2007 issue of US Vogue, an 840 page tome featuring Sienna Miller in a feathered Marchesa dress on its cover and reaching almost 13 million people. Anna Wintour carves a clear path throughout the film, with a singular vision for her magazine. Industry luminaries young and old tremble in her presence, as she serves up her trademark quick, clear, sharp feedback to designers, businessmen and editors alike.
Stefano Pilati, the Creative Director of Yves Saint Laurent questions his collection based on Wintour’s feedback and stylist Edward Enninful exclaims “I wanna kill myself,” after a meeting with his notoriously demanding boss. American ingenue designer Thakoon Panichgul admits that his hands couldn’t stop shaking during his first meeting with Anna and even heavyweight fashion photographer Mario Testino feels the wrath of nuclear Wintour when he fails to deliver an image she was expecting of Sienna Miller outside the ancient Roman Colosseum.
But Wintour also comes across as slightly misunderstood by an industry that paints her as evil and scheming. Rather, she simply does what she thinks is best and is singularly focused on her professional output and achieving her vision. Whether you agree with the vision is a different story, but as an operator, she runs a tight ship and achieves the results she wants.
At one point in the film, Burt Tansky, the Chairman of Neiman Marcus, even asks for Wintour’s help in dealing with the poor deliveries of designer fashion brands. “We are waiting longer and longer for deliveries,” he says. Wintour responds that the problem is that many designers just need to do more editing. There is too much product. “Less is more,” she declares, well before the economic meltdown which hit the industry one year later.
The foil to Wintour’s more commercial approach to editing Vogue is the magazine’s Creative Director, Grace Coddington, who slowly reveals her endearing passion for fashion through honest interviews peppered throughout the movie. The 20 year Vogue veteran started in front of the camera before a car accident ended her modeling career leading her to British Vogue where she was junior editor. Coddington comes at fashion from different angle than Wintour, completing the creative partnership that lies at the heart of the most powerful fashion magazine in the world. The tension between them is also part of the magazine’s success.
“I never dreamt to be a model or never, never dreamt to be a fashion editor, but I just love the pages and the pictures,” she says, looking out on the grand boulevards of Paris during the Couture. Remembering Norman Parkinson, the legendary fashion photographer, she adds “he taught me to always keep your open and never go to sleep the car. Keep watching because whatever you see out the window…it can inspire you.”
quarta-feira, 22 de Julho de 2009
Escarro de Génio
O sofrimento não tem menos sabedoria do que o prazer: tal como este, faz parte em elevado grau das forças que conservam a espécie. Porque se fosse de outra maneira há muito que esta teria desaparecido; o facto de ela fazer mal não é um argumento contra ela, é muito simplesmente a sua essência. Ouço nela a ordem do capitão: «Amainem as velas». O intrépido navegador homem deve treinar-se a dispor as suas de mil maneiras; de outro modo, não tardaria a desaparecer, o oceano havia de o engolir depressa. É preciso que saibamos viver também reduzindo a nossa energia; logo que o sofrimento dá o seu sinal, é chegado o momento; prepara-se um grande perigo, uma tempestade, e faremos bem em oferecer a menor «superfície» possível. Há homens, contudo, que, quando se aproxima o grande sofrimento, ouvem a ordem contrária e nunca têm ar mais altivo, mais belicoso, mais feliz do que quando a borrasca chega, que digo eu! E a própria tempestade que lhes dá os seus mais altos momentos! São os homens heróicos, os grandes «pescadores da dor», esses raros, esses excepcionais de que é necessário fazer a mesma apologia que se faz para a própria dor! Não lha podemos recusar! São conservadores da espécie, estimulantes de primeira qualidade, quando mais não seja porque resistem ao bem-estar e não escondem o seu desprezo por essa espécie de felicidade.
Friedrich Nietzsche, in "A Gaia Ciência"
Escarreta Actual
A cultura é uma forma de pensar e trabalhar sobre todas as coisas da vida, e não um berloque que se põe e tira de acordo com as circunstâncias.
Inês Pedrosa, in Expresso
CopyCat Culture _ The Shape of Things
Sometimes, a mere glimpse of a product’s silhouette is enough to tell which designer or fashion house created it: the Chanel No 5 pefume bottle, the toe of a Berluti shoe, the unique shape of the Fendi baguette. Today, there is renewed interest in these kinds of classic products as shape and design have made a return in making a product desirable, especially now when consumers don’t want their products to scream with logos and bling.As they look for unbranded products that are recognisable for their design, this also raises the question of whether there is adequate legal protection for these more subtle indications of provenance. This will almost certainly reignite a debate for strong design right protection, but it might also mean that the shape of a product is worthy of trademark protection in and of itself.
The fashion industry is currently fighting two battles on the intellectual property front. The first is against counterfeiters exploiting trademarks and logos. The second, more complicated battle is against those not-so-imaginative designers from within the industry who are simply aping the designs of their peers. This second fight is the one that is most harmful to creativity, investment and reputation. The main weapon against knockoffs is design right protection, but this is not an option if the design isn’t new. So, timeless products without obvious trademarks but which are instantly recognisable — think the classic Hermès Kelly bag — are in a sort-of legal limbo.
In the EU, it is in principle possible to protect a (three-dimensional) shape as a trademark. In practice, however, it has proven extremely difficult to convince courts that a shape has a sufficiently “distinctive character” to be registered. For many years, European courts have been of the opinion that consumers are not in the habit of making assumptions about the origin of products based on their shape. They argue that consumers need a sign or word element to make that connection.
Last week, an EU court restated this long-standing position in a case concerning the shape of the Bounty chocolate bar. The court’s view is basically that the shape of a product must be more than a variant of a common shape of the type of product in question. Only then can it fulfill the function of a trademark indicating origin. Assessing whether that is the case should be done from the point of view of “the relevant public”, described as the “average consumers of the products or services in question, who are reasonably well informed and reasonably observant and circumspect.”
Still, a closer look at this general reasoning makes one wonder if we haven’t actually arrived at a point where at least some consumer groups make the connection between a shape and a product’s origin. While the shape of the Bounty bar might not be sufficiently distinctive for a trademark, the case of luxury products is fundamentally different. These are sophisticated products whose design is born of an intellectual process, tells a message and (if all goes well) transcends generations. What’s more, the very essence of luxury products arguably creates a consumer group that is well above average when it comes to being informed, observant and circumspect about details, other brands and look-alikes.
If luxury consumers are willing to pay for quality in design and shape, shouldn’t it be possible to protect the required and underlying investment and creativity?
The fashion industry is currently fighting two battles on the intellectual property front. The first is against counterfeiters exploiting trademarks and logos. The second, more complicated battle is against those not-so-imaginative designers from within the industry who are simply aping the designs of their peers. This second fight is the one that is most harmful to creativity, investment and reputation. The main weapon against knockoffs is design right protection, but this is not an option if the design isn’t new. So, timeless products without obvious trademarks but which are instantly recognisable — think the classic Hermès Kelly bag — are in a sort-of legal limbo.
In the EU, it is in principle possible to protect a (three-dimensional) shape as a trademark. In practice, however, it has proven extremely difficult to convince courts that a shape has a sufficiently “distinctive character” to be registered. For many years, European courts have been of the opinion that consumers are not in the habit of making assumptions about the origin of products based on their shape. They argue that consumers need a sign or word element to make that connection.
Last week, an EU court restated this long-standing position in a case concerning the shape of the Bounty chocolate bar. The court’s view is basically that the shape of a product must be more than a variant of a common shape of the type of product in question. Only then can it fulfill the function of a trademark indicating origin. Assessing whether that is the case should be done from the point of view of “the relevant public”, described as the “average consumers of the products or services in question, who are reasonably well informed and reasonably observant and circumspect.”
Still, a closer look at this general reasoning makes one wonder if we haven’t actually arrived at a point where at least some consumer groups make the connection between a shape and a product’s origin. While the shape of the Bounty bar might not be sufficiently distinctive for a trademark, the case of luxury products is fundamentally different. These are sophisticated products whose design is born of an intellectual process, tells a message and (if all goes well) transcends generations. What’s more, the very essence of luxury products arguably creates a consumer group that is well above average when it comes to being informed, observant and circumspect about details, other brands and look-alikes.
If luxury consumers are willing to pay for quality in design and shape, shouldn’t it be possible to protect the required and underlying investment and creativity?
Escarro de Génio
Fazer qualquer coisa ao contrário do que todos fazem é quase tão mau como fazer qualquer coisa porque todos a fazem. Mostra uma igual preocupação com os outros, uma igual consulta da opinião deles - característica certa da inferioridade absoluta. Abomino por isso a gente como Oscar Wilde e outros que se preocupam com seres imorais ou infames, e com o impingir paradoxos e opiniões delirantes. Nenhum homem superior desce até dar à opinião alheia tal importância que se preocupe em contradizê-la.
Para o homem superior não há outros. Ele é o outro de si próprio. Se quer imitar alguém, é a si próprio que procura imitar. Se quer contradizer alguém, é a si mesmo que busca contradizer. Procura ferir-se, a si próprio, no que de mais íntimo tem... faz partidas às suas próprias opiniões, tem longas conversas cheias de desprezo e com as sensações que sente. Todo o homem que há sou Eu. Toda a sociedade está dentro de mim. Eu sou os meus melhores amigos e os meus verdadeiros inimigos. O resto - o que está lá fora - desde as planícies e os montes até às gentes - tudo isso não é senão paisagem...
Para o homem superior não há outros. Ele é o outro de si próprio. Se quer imitar alguém, é a si próprio que procura imitar. Se quer contradizer alguém, é a si mesmo que busca contradizer. Procura ferir-se, a si próprio, no que de mais íntimo tem... faz partidas às suas próprias opiniões, tem longas conversas cheias de desprezo e com as sensações que sente. Todo o homem que há sou Eu. Toda a sociedade está dentro de mim. Eu sou os meus melhores amigos e os meus verdadeiros inimigos. O resto - o que está lá fora - desde as planícies e os montes até às gentes - tudo isso não é senão paisagem...
Fernando Pessoa, in 'Reflexões Pessoais'
Sabia que...
Bounty Hunter presents their latest vinyl toy – the Kidz Bounch figure. The figure comes in a black/white colorway and is now available at Bounty Hunter flagship stores in Japan.
sexta-feira, 17 de Julho de 2009
Escarreta Actual
Qualquer político sabe que para vencer eleições e resistir aos choques tem de se transformar numa celebridade.
Clara Ferreira Alves, in Expresso



































































































































































































































































