Love the nod to Stendhal (yes, I am a very well-read Shiba)! Ratatouille on the nose! Sanguine/iodine Cabernet Franc notes are very present. Strong tannins. Good structure with acidity. These guys are clearly passionate makers of natural wine. Awesome wine!
Cabernet Franc, Merlot
Is it really wrong that a cute shiba inu is convincing me to buy more wine?
Invisible. That is what Phoebe Philo’s clothes for Céline make you feel. Not romantic, like Valentino. Or dark and edgy, like Saint Laurent. Simply invisible. A woman in a perfectly cut shirt and a pair of pants. And, oh, what a relief! Because we are busy. We work. We wipe our children’s mouths with the backs of our hands as we rush out the door. We don’t have time to consider whether our prints match or our buttons align. To try on different outfits each morning, like so many different personalities. To fuss and preen. That seems silly, somehow weak. Despite Philo’s many best efforts, there is a Céline uniform: large, slouchy trousers; a collarless shirt; flats; a tuxedo jacket — preferably in navy, black or cream. The clothes are quiet and not meant to make a statement. And so you look invisible. Able to be viewed for more than your surface appearance. This is power dressing.
If there’s one truth that lingers between all of us, one universal belief held sacred, it’s that love is an all-consuming hell of a beast. It’s a force that has the power to, not only rid us of our sanity and possess our beings in a way that unravels the world before it, but can also provide the most immense and profound pleasure humanly possible. Its depths of despair and highs of potent sensation drive us mad and leave us helpless in its clutches.
Yes, love can be the most isolating and desolate ache that rests between your bones, but when its reciprocated, when your entrenched in a passionate mutual affection, it’s the world most delicious experience—and one that we desire forever. Love isn’t just a feeling but something we hold sacred, even in the pain it causes.
Mono no aware (物の哀れ?), literally “the pathos of things”, and also translated as “an empathy toward things”, or “a sensitivity to ephemera”, is a Japanese term for the awareness of impermanence (無常 mujō?), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.
Japanese director Yasujiro Ozu was well known for creating a sense of mono no aware, frequently climaxing with a character very understatedly saying “Ii tenki desu ne?” (いい天気ですね?, “Fine weather, isn’t it?”), after a familial and societal paradigm shift, such as a daughter being married off, against the backdrop of a swiftly changing Japan.