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Fashionable U-turn – Elegance and feminine flair a la Couture

January 29, 2019 by Aynura Maye

Cheers to the fantasy function of our mind not to let us die from the cold reality.

I can’t attest for others but what my eyes saw was a different kind of couture from the last year’s. This was definite comeback of the elegant feminine flair, sometimes exaggerated, but in general quite wearable in fact.

Chanel Couture Spring Summer 2019 Paris, Photo: NowFashion.com

This couture was feast of sequins, feathers, layers and layers of organza and tulle put together with painstakingly delicate hand-work. Colors deserve a special mention – from pastel colors of tranquility to splash of bright colors (yes, talking about Chanel and Valentino). Sincerely, I see this U-turn as a manifestation of the regenerative and compensatory function of our psyche for the latest tumultuous couple of years we’ve lived. Our longing for hope.

Balmain Couture Spring Summer 2019 Paris
Photo: NowFashion.com

The Mirror of Our Times a la Couture

Well, until Maison Margiela hit the runway. Right at the U-turn are exactly two radically different tendencies (oh, that regular contradictory nature of opposites, right?) – Comeback of elegance – soberly composed yet delicately suggestive feminine flair on one side expressing cry of our soul to pull our fragmented mind together and John Galliano yet again artistically putting on runway the cold reality – our already disturbingly fragmented state of mind. He rightfully calls his work the show of the excess, the artifice, the decay. Yes, the whole show is very colorful and artisanal but clogged, just like our clogged mind and badly functioning memory. I can’t help seeing striking similarities with the works of Marta Minujin, an Argentine artist, who is famous for recreating the “mess” of our fragmented mind and clogged memory.

Maison Margiela Couture Spring 2019 Paris
Photo: NowFashion.com

His previous couture horrified me a year ago, not that it was bad, just because it was like a not loved mirror that reflected the flaws one doesn’t want to see. This time around he has taken it to a whole new level – sincerely, I find it as a theater inside a fragmented mind living a trauma or I must say the concussion came with digital disruption in the era of consumerism.

Schiaparelli, Couture Spring 2019, Paris. Photo: NowFashion.com

Beauty Stripped Off Its Beauty

Talking about the concussion of disruption, I think we are still good. True, suddenly the fashion herd had painfully revealed that it can’t survive in its isolated glossy bubble anymore, the “ideal beauty” had a major blow while fashion turned into tool and chaotic platform of resistance against canonized societal restrictions and flaws. At another note, the silent majority got a platform to scrutinize and question the once-cherished-but–turned-to-hypocritical-cliché liberal values, which gave rise to populism leading to the most unexpected election results in certain key places.

Which naturally was followed by “high way – my way” attitude that led to borders and nations suffer from isolation and race for self-gain. Big masses simply preferred to shut doors and windows tight, burying the sense of collaboration and empathy, the greatest lessons of the devastating two world wars. We literally live memory concussion intensified by the disruption. And living with the bare reality as John Galliano has put it is really tough. It is freezing cold there.

Givenchy Couture Spring Summer 2019 Paris, Photo: NowFashion.com

But again, I think we are still good. Sometimes it seems to me the great world wars had somehow stemmed from the industrial revolution, the disruption of those days. Of course, the speed of time was different back then. I mean the concussion and memory clog caused by disruptions could be that bad if we choose to roll with the one-sided cold reality.

Valentino Couture Spring Summer 2019 Paris, Photo: Internet

Again, back to fashion. Last year the Anglo-Saxon fashion and media played a crucial role in bringing fashion down to the terrestrial dimension where we mortals live and struggle with social issues every single day. As I said above, the “ideal-beauty” had its quite duly generous dose of scrutiny. Being well-grounded and tackling social issues through the grace of fashion is a strong weapon to readjust already canonized rules and frames.

Desire for Fantasyland

However, burning the bridge to our fantasyland, the source of our hope would backfire. We can’t uproot ourselves off. Our cold and meaningless reality is too much for us to carry. Call it hope, beauty, ideal, fantasy  – whatever label we put on – it is the source of hope. It is what gives meaning to our gray reality and reason to roll into the next day. How we have canonized this concept (hanger thin silhouette or curvy, fluffy softness) doesn’t matter. It is the compensatory function of our mind. The more we suppress it, the stronger it makes its comeback.

Last year the fashion world was swept by the cold reality of flaws and wrongs of our earthly life and viola. This year we are flooded by the products of our fantasy land to compensate the bitterness of reality – sequins, layer and layers of tulle, organza, feathers. The pieces might have been exaggerated, but they were elegantly composed and even suggestive. Even mens’ collections from the previous weeks were somehow soberly composed.

This time I saw cry of our soul for some fantasy, wishfulness. I saw our need for fairy tale that will house our unprotected soul in face of our disturbing reality. The sheer attempt of our mind to compensate for what is missing in our physical dimension.

Filed Under: Fashion Tagged With: alta moda, Balmain, couture, fashion, fashion symbols, Givenchy, Haute Couture, high fashion, luxury, Maison Margiela, Paris, PFW19, Valentino

The Untold Story of Hermès

January 14, 2019 by Aynura Maye

Sky-rocketing price and unaffordability aside who doesn’t love the sight of the Hermès Birkin bag and the stories revolving around it? Even my Google news feed sometimes pops up articles about the celebrities who were seen with it. The enigma of this House is not only about its products, but also its name. The general story is that the Fashion House took its name from the namesake Messenger God. Obviously Hermès was born as a brand specialized in travel accessories (back in times when travel accessories meant horse tack and supplies). So the name of The God who is believed to travel all the time seems to be the right fit. But what kind of messages he used to deliver?

Hermès as a symbol of full transcendence – coming from the depth of underground going upwards to paradise.
Photo: the Internet

The God Hermès that everybody knows

The typical description of the God Hermès goes like this: Hermès is a “psycho-pomp” – that is to say soul-guide. Its statue is a piece of stone – Herm that has Twined Snake around a staff on one side and an Erect Phallus on the other. Next to him there is a sort of tree in a very simple form. Let’s call this composition statue. This statue used to be placed in crossroads alluding to its capacity to travel between worlds. Because like a shaman, Hermès used to guide the dead to the underworld and bring messages from there (bizarre huh?)

Let’s leave behind the logical reasoning and dive into a dimension where concepts transcend the rational and limited meaning we ascribe to them. Then we’ll see what Hermès really represents for us.

Design detail – winged feet of Hermès. Photo: the Internet

If I have to sum up in simple words, Hermès symbolizes the transmutation of soul through the history of evolution.

Not Messenger Only God Hermès

This myth talks us about times when an early man started to rise from the darkness of instinctual life (symbolized as the underground world) towards his/her way to acquire rational thinking (terrestrial life). This young Hermès has a metamorphose nature. He is not a underground force only (meaning, the purely instinctual element of the unconscious). He is also connected to the conscious life. However with capacity to still descend into the dark layers. He symbolizes the process of transcendence. While having a foot in the underground he travels from one dimension to another. How? This part is really funny.

Herm – the initial and simple version of the God Hermès. Photo: Man and His Symbols, C.G.Jung

He penetrates thru darkness of the unconscious into the light of terrestrial life (a.k.a light of reasoning) with his Erect Phallus. I know you are laughing now. But it turns out this is how our mind works at very deep levels. That childish and archaic mode of thinking is still there. Erect phallus is overly sexual of course. But in that dimension, phallus translates into fertility and not physical fertility only, but creative power of the psyche, fecundating, life giving power as well. The twined serpents are in sexual union. Again, sexual not taken literally, but equal union of the opposites that is transcendental, wholesomeness.

Almost as a rule, terrestrial and water animals symbolize our instinctual drives, forces of the “underground”. Reptiles being intermediate creatures with a capacity to live in two different environments, allude to this transcendence – arising from the depth of dark uncontrolled mass towards the world of light – the conscious reasoning.

Hermès – the symbol of full transcendence

Hermès is a living symbol that has been subject to elaboration. In middle ages, it acquired wings which denotes to rising from terrestrial life towards spiritual transcendence.  Wings symbolize this transformation. Even the caduceus in his hand that is a symbol of healing got wings at the top of the serpents. Thus our little fellow acquired a power of full transcendence – coming from the depth of underground going upwards to the paradise.

Not by chance, in the chain of living things we are the only ones who come from darkness of instinctual world of animals with aspirations to mature into spirituality of paradise. We are the terrestrial beings just between underground compulsive forces and heavenly angles.

To close, the soul each of us carry is Hermès destined to evolve through these stages. So, every time, you see an Hermès item, remember, there is a small Hermès inside you too and is way more valuable than anything money can buy.

Filed Under: Fashion & Myths Tagged With: depth psychology, fashion, fashion symbols, greek mythology, Hermes, high fashion, luxury, myth, mythical characters, mythology, the Birkin bag

Gucci’s Ark of Noah. Why are we all Noah?

October 16, 2018 by Aynura Maye

Now that I am on water symbol, I’ll have one more post to dig a bit deeper on water. Gucci just released its new theme for #GothicCampaign recreating the Ark of Noah and this is perfect one to pick on.

Gucci #GothicCampaign - recreation of Noah's Ark. Photo: Internet
Gucci re-created the Ark of Noah Ark for #GothicCampaign
Photo: Internet

Now Alessandro Michele takes on Deluge and the Ark of Noah, one of the early stories of Genesis. It is one of those themes that we know can’t be true, yet some part of us secretly believes that it may be true. And surprisingly it is, but in a symbolic way. Because it talks about some parts of our existence that is unknown to us obscured in the dark abyss of our psyche. We are well aware that the myths are not history, or biography or some sort of historical record. Then what is it about that touches us so deeply? In a nutshell, they are about the psychic processes happening inside us expressed through symbols in an exaggerated fashion. We sense that they tell us something, but can’t discern what it is. It is that dreamy symbolic language that puzzles us.

The Deluge and the Ark of Noah Ark is the story of our consciousness (or Ego) taking control over the unconscious content narrated in the highly symbolic language of the unconscious. Every object in the myth is purely symbolic and holds certain meaning. Let’s try to “translate” this myth.

Deluge

In psychoanalysis and dream analysis water is symbol of the unconscious – the dark abyss which is house to uncontrollable and powerful instinctual urges. The darker and the more turbulent the water, the more unease in the unconscious. So we know what Deluge stands for – the unc­ontrollable and wild nature of our unconscious.

Noah

One of the earliest prophets of the mankind is very symbolic of the very process of the birth of the consciousness. This is the element of our psyche that is in power to take control over the unconscious urges and impulses and give direction – make decisions. By the way, we’ve laboriously developed this precious “skill” over millions of years and with it we’ve distinguished ourselves from the rest of the living things and the dark totality of our unconscious. This is the reason why “prophets taking control of waters in ark or over some sort of fish” is a recurrent storyline in many religions. It is kind of the way our unconscious has registered the evolutionary process in its peculiar symbolic language.

Animals and the perfect harmony

The next question is of course, what about the animals and the perfect peace between animals and humans? Again, let’s have a look at recurring image of prophets – a good shepherd. Do we remember Orpheus? Who created perfect harmony when he played his lyre? Or Jesus? Yes, he was Shepherd too. Noah himself is kind of good shepherd who created perfect harmony among living things. Animals notoriously stand for our biological or instinctual impulses, in other words our low animalistic drives. Good shepherd is the one who through the virtue of the consciousness and wisdom has tamed his animalistic impulses and created harmony in his soul.

Translation into our common language

The myth of Noah is the story of how we gradually “woke up” from the pure instinctual life and separated ourselves from the animal kingdom and developed the consciousness (Ego). He is symbol of mankind, who has learned to navigate on the dark waters of the unconscious without being absorbed by back by it. And even give direction to his/her life.

What Noah means for each of us

We all pass this “Ark of Noah” period when we start to develop consciousness when we are babies at early toddler age. So he is a living symbol inside us. Also, as long as we tend “to lose our mind”, in other words, fall victim to our impulses and feelings, the Deluge will be an ever-present danger for us. Because those emotions are rooted at powerful forces deep inside. In the background we always live with the peril of our consciousness being devoured by the Deluge, in other words, literally lose our minds.

I wonder who will bring so much mysticism with hippy twist to Gucci besides Michele Alessandro. Who will touch so gracefully to this ever-present stories of our soul in fashion industry. I found the video just brilliant. Very much looking forwards to his creations on this theme.

Filed Under: Fashion & Myths Tagged With: Alessandro Michele, Deluge, depth psychology, fashion, fashion symbols, Gothic Campaign, Gucci, myth, Noah's Ark

Veil – the secret of secrecy

July 9, 2018 by Aynura Maye

Last week was definitely a week of headpieces in Paris. Besides all the flamboyant masks and headwear, we were not short of the veils either – black and white, structured and freely flowing, tiny detail and statement piece – all types. And we loved them. Every time I returned to go over a certain collection, I unnoticeably clicked on the looks that came with either a headpiece or a veil. They are catchy, really.

Ashi veil, Paris Haute Couture, Fall 2018. Photo: Internet
Ashi veil, Paris Haute Couture, Fall 2018. Photo: Internet

But the veil is not like any other symbolic headpiece that is poised to exert power. It is quite different, more subtle. Not only it looks romantically beautiful, but also gives an air of secrecy, mystery. It is sublime and tenderly suggestive, calling one to look again to see who or what is behind.

Interestingly, we rarely see a man with a veil. At least, I do not see that happening. Still not in fashion. Because our creativity doesn’t go farther than what our mind produces. In the dark depth of our mind the femininity and the veil go hand-in-hand. The veil makes a female present, yet hidden. Not totally hidden, yet not entirely exposed – something mystical, spiritual is there. It is the hidden mood, deep state of mind. The female is the medium – between celestial and terrestrial.

Georges Chakra veils, Paris Haute Couture, Fall 2018. Photo: Internet
Georges Chakra veils, Paris Haute Couture, Fall 2018. Photo: Internet

Related article:
The “A La Gucci” Great Hermaphrodite and Why We Hit Mid-Life Crisis

Who else thought of a bridal veil at this moment? Yes, right, we are now talking about the same concept. The moment a groom unveils his bride and kisses her for the first time, he commits to unite with his other, spiritual half. Across the cultures, throughout the history – the altar may not be there, the color of the veil may not be white, but the veil itself is there doing the same job. Does it explain why we feel that enigma around when we see a veiled feminine figure?

Veil, Giambattista Valli, Paris Haute Couture, Fall 2018. Photo: Internet
Veil, Giambattista Valli, Paris Haute Couture, Fall 2018. Photo: Internet

So, no matter in what shape a veil comes. They all come with the same story. We do not wear that as an everyday accessory any more. But that doesn’t matter. When we see it, we have that same emotions – let it be on the runway or over a graveyard. It emits that enigma. As it happens, the fashion critics are the ones to experience that moment on the front rows, in an arm distance from the runway with all the mystery, charm and glam of the couture masterpieces. Does it explain, why the more creative the veils get, the higher flying praises come from the fashion critics?

To sum up, want to look secretive? – Get your veil on. Want to be even more enigmatic? – add some dark color.

Filed Under: Fashion & Myths Tagged With: couture, Fall/Winter, fashion, fashion symbols, Haute Couture, high fashion, Iris van Herpen, Paris, veil, veils

Instabeautiful vs humarespectful – Couture a la Ronald van der Kemp

July 7, 2018 by Aynura Maye

The Paris Haute Couture Fall Winter’18 kicks off with RVDK, the label of the couturier of the modern times – Ronald van der Kemp, who I guess, I can comfortably call the King of Leftover Fabrics. As usual, his looks bear details from the period that is his “inextinguishable fountain of inspiration” – the 60s-90s. But to me, in this collection the looks are more romantic, the lines are softer, loose, flare and whimsical. The creations again sport bold colors and combinations are playful. As usual, the focus is on empowering models with garments and fabrics, not on the set.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

All in all, I must confess that not all pieces are to my taste in this “wardrobe” as I am a retro-type person. I love to have fun with peaked shoulders, accented waist etc. that were the staples of the previous wardrobes. However, in general, these pieces of RVDK are quite strong and sure to boost confidence.

Yet I choose to write about this label for another reason – its “humarespectful” couture of RVDK versus “instabeautiful” craze of our days. Because its founder is somehow capable of avoiding all the distractions and cacophony in the fashion world and doing things his way consistently.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

It doesn’t mean that his pieces are not worthy of instahype, in fact, totally opposite. He is very instaworthy. Yet, I guess, the below reasons will make one feel more awesome in his pieces because of the values he sticks to:

The approach to couture:

RVDK couture is usually not “inspiration” or “theme” based. His way of creating couture is relaxed, experimental, spontaneous thus playful and more relatable.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

The approach to fashion:

He calls his collections “wardrobe”. Because, one may pull up a piece of some good years from her wardrobe to wear. It is not about being seasonal. It is about mindful consumption. It is about building a wardrobe that has both – old and new.

RVDK, Paris Haute Couture, Fall-Winter 18
RVDK, Paris Haute Couture, Fall-Winter 18, Photo: Internet

The guts:

In our times it is hard to resist the mainstream and not get pushed into the “acceptable frame” of the time. Somehow he is capable of doing it. While the leviathans and behemoths of the fashion world roar on Instagram and elsewhere, he is whispering his values through his work and commitments. He takes stance, just like any other successful label. But not by creating a public stir, by going out and giving his contribution without noise.

Respect for resources:

In the first paragraph I called him the King of leftover fabrics and it was for a reason. He is notoriously known for his use of leftover and vintage fabrics. Besides being a very responsible and “couture” way of doing it, to me, the results are eccentric with sometimes remarkable and colorful patches.

Empathy:

For the wardrobe of the last year he employed refugee labor. Attention, we are talking about it in a time when Europe probably lives the darkest days of refugee crisis so far.

Preference for nature-given looks

The label vehemently bashes the Instagram filters. And I agree. We use filters to a point, when I lift my head out of my excessively filtered virtual world, I find the colors in the real world quite boring. And this is no good. It makes me depressed.

Well, in a short while, I guess I’ve complied quite a list of reasons for those who choose to create deeper bond with their garments, rather than use them to create another personality.

Again, do not worry, the label is as much instabeautiful as it is humarespectful.

Filed Under: Fashion Tagged With: couture, fashion, fashion symbols, high fashion, recycled fashion

Instagram – Friend or Enemy of Fashion?

June 5, 2018 by Aynura Maye

The Barren Land and the Phenomenon of Alessandro Michele –
My thoughts upon seeing GucciCruise19.

Sometimes things touch us so deeply. They stir certain inexplicable emotions to the point we feel our hair stood on end yet we can’t explain why, like Promenade Des Alyscamps as venue of the GucciCruise19. Because the choice of venue talks about something that is known, yet unknown. Something that we knew once, but have forgotten long ago – the wisdom that once upon a time death wasn’t the end of life, it was the way of receding of the old for the new life to bloom. Life cycle was considered circular not linear, the concept behind the Ouroboros – recurring symbol in Gucci design. That is why the birth of a new collection in the land of death was so fascinating to many. But it takes quite some effort to make this connection to realize why such a choice unconsciously hits the “soft spot” and triggers such deep emotions.

GucciCruise19 - death as inspiration for new collection. Photo. Internet
GucciCruise19 – death as an inspiration for new collection. Photo: Internet

I intend neither to describe nor to analyze another much-debated, much-intriguing and much-putwhateveryouwant show of Gucci for Cruise19. First, people talked enough about it in just one day. Secondly, a thorough analysis of all the concepts and all the symbols would take days and days (which actually I am doing slowly). On the contrary, I’d like to share my opinion on what kind of paradox the Instaeuphoria created for the world of fashion and how his genius Alessandro Michele “reversed the flow” tapping this paradox online and on the runway.

Promenade Des Alyscamps - Cemetery turned into a Promonade. Venue for GucciCruise19. Photo: Gucci.com
Promenade Des Alyscamps – Cemetery turned into a Promenade. Venue for GucciCruise19. Photo: Gucci.com

Two faces of Instagram

The day Instagram went viral it paved a way to a paradox for the world of fashion that has been ripening silently. Precisely, the obsession of our eyes for ephemeral beauty and the cry of our souls for eternal grace.

Captivating the world with the spell of picture-perfect ephemeral beauty was the main card for the world of fashion in those good old paper days. But when ‘gram made picture-perfect beauty so mundane, the internet got inundated with beautiful images without depth. Instahype broke the “beauty” spell of the fashion world. Fashion started to feel like sex without love. It felt good right at that moment, but nothing to remember couple of minutes afterwards. Minds bloated with another “barren” beautiful image started to look for something more meaningful than just good looks. Something that could stir deep emotions within and leave some traces in the memory. This was the paradox. While the whole fashion herd rushed to Instagram to harness fame and awareness, they exhausted the bullets of the strongest weapon they had – captivating power of ephemeral beauty.

Disarmed beauty, bloated minds, inundated Instagram

No matter how much one loves ephemeral beauty there is a limit to which point one can stomach. After hitting the saturation point, we start to search for something that talks of depth. Something that doesn’t talk about egoistic and snobby individualism (that was and still is central to modern beauty), but something that goes farther. Something that talks about continuity of life, participation in society, courage to experiment, embracing identity – all of which give sublime messages of hope. Here enters the stage Alessandro Michele.

Thousand faces of beauty

This is exactly what he does resiliently and persistently. The looks he runs through the runway can hardly be called beautiful by the modern standards instilled in us. Yet, every show hails like a storm in the Internet. He questions the ephemerality of the very concept of beauty by re-creating thousand faces of beauty across ages and cultures. In the same time, the core concept for his creations goes beyond the ephemerality of physical look. The imagery always offers depth and refers to symbols that are impossible to comprehend with rational thinking. They in a sense talk about inexplicable hope. Hope for regenerating capacity of our nature – something new, yet something was once known but forgotten, the Ouroboros.

In times when we feel like lost souls in the ocean of information with no horizon in sight, deep inside we are desperately looking for some clues to navigate our way. When something resonates with us so deeply, we realize that is the clue we’ve been looking for. The clue is the in conventional wisdom that lies in our memory deposit. That is where we feel at home, recharge and make our way back into the future.

Related articles:

Gucci sends fashion back to roots – RTW Fall/Winter 2018

Filed Under: Fashion Tagged With: Alessandro Michele, fashion, Gucci, GucciCruise19, Ouroboros, symbols

Lamb – Not Your Usual Animal

May 21, 2018 by Aynura Maye

What’s in there for me: An eye-opening fact that would make us think twice before making “religiously discriminating” statements. Here it goes – To our consciousness Lamb maybe only a household animal, but not for the unconscious. Just to scratch the surface, Lamb, at least for the descendants of Abrahamic religions, is a symbol of humility, willingness to surrender to higher power or higher order. It symbolizes acceptance of and repentance for shortcomings and malevolent deeds. The sacrifice of Lamb means to symbolically exterminate the aspects of human nature that have tendency to inflate to the point that may hurt others. For example, our anger, ego, jealousy, self-importance, among others. It is a mechanism of our psyche to keep our worldly attachments in control.

This post makes part of the post “The Secret Stories for Symbols“. Click the link to read more about the wonderfully secretive nature of the symbols. 

Full post starts here

Me and the Lamb

These days, when one talks about Lamb as sacrifice, automatically our mind associates it with Islam. Does this symbol really belong to Islam only? From what I found out, absolutely NO.

While in Argentina when I started these studies, one of the things I was surprised to find out was that one of the names of Christ was also The Lamb. He himself represents sacrifice in this case.

Lamb in religious symbolism together with symbols of Evangelists. Group of four elements is typical in religious depictions. Photo: Internet
The Lamb together with symbols of Evangelists. In general, group of four elements is typical in religious depictions. Photo: Internet

Currently I live in Rome and this place is just heaven for those interested in evolution of thought. Just by walking down the street one can learn so much by carefully observing monuments. This city is also home to the oldest catholic churches, which still carry old facade paintings. This is what I love about Rome. History is live here. Cut to the chase, about 4 blocks from my home there is an old church. Over the façade of this church there is an image of the Lamb right at Christ’s foot. After seeing this I started to inspect the facades of other churches. Interestingly, I found a handful of them with similar illustrations. So this has been a recurrent symbol.

The Secret Story of Lamb

True, The Lamb is almost a forgotten image in Christianity these days. However, I guess, everybody knows that it is a very living symbol in Islam. It is a symbol of Muslim holiday Eid-Mubarak. Again, it is a symbol of sacrifice. Also, Torah mandates Jews perform sacrificial ritual of Paschal Lamb on the eve of Pass Over (Pasqua).

To sum up, to our consciousness Lamb maybe only a household animal, but not for unconscious. Just to scratch the surface, Lamb, at least for the descendants of Abrahamic religions, is a symbol of humility, willingness to surrender to higher power or higher order. It symbolizes acceptance of and repentance for shortcomings and malevolent deeds. Sacrifice of Lamb means to symbolically exterminate the aspects of human nature that have tendency to inflate to the point that may hurt others. For example, our anger, ego, jealousy, self-importance, among others. It is a mechanism of our psyche to keep our worldly attachments in control.

Why such a bloody ritual? Pain in body makes soul suffer and suffering is fundamental for spiritual growth. Just like a famous expression goes: Light enters through wound.  That’s why normally religious rituals are violent and harsh.

This post makes part of the post “The Secret Stories for Symbols“. Click the link to read more about the nature of the symbols.

Filed Under: The (Un)Conscious Tagged With: alta moda, fashion, high fashion, lamb, mystery, mythical characters, religious symbols, symbols, the conscious, the Lamb, the unconscious

Gucci’s Garden of Earthly Delights …. Where to Look for It?

May 14, 2018 by Aynura Maye

What’s in there for me: Something big – a solid answer for this much debated topic of humanity. It would be naive to take The myth of Creation as a historical record. In fact, the first stories of the Garden of Eden date to a much later date than the earthed bones of early hominids, Homo Habilis. I mean, we talk about some 2 million years of difference. So, at the time the Eden’s Story was born, our ancestors already had some sort of clothing. It was not Gucci obviously but they had already covered their private parts. In short, this story is not a historical record. It is not biography of Adam and Eve either. It is a symbolic illustration of how our psyche has experienced the process of evolution, namely, the birth and separation of the consciousness. It is the way how our unconscious translated the process of growing consciously different from the rest. And it is also the story of hope. Hope for what? Read the full post to find out.

Read the blog post “That wasn’t technically fire – what was it?” to learn more about the nature of the conscious and the symbols that illustrate the pain of being consciously different.

The full post starts here.

With arrival of Alessandro Michele, Gucci has become a Garden of mystery. Some interpretations are unnerving to me, I accept. Regardless, I love scrolling their Instagram feed full of mystical and historical references.

This is my first try of Gucci and I’ve chosen a widely known myth of Garden of Eden with “fashionable” touch of Ignasi Monreal.

Rework of Bosch's Garden of Earthly Delights by Ignasi Monreal for Gucci. As usual, he beautifully mixes mythical with mundane.
Rework of Bosch’s Garden of Earthly Delights by Ignasi Monreal for Gucci. As usual, he beautifully mixes mythical with mundane. Photo: Internet

Our First Parents? Dressed in Gucci Style or Nude?

The original version of this retouched artwork is visually somehow different from “conventionally accepted” image of Garden of Eden as it carries quite some touch of author’s own visions. But the storyline is similar. We are talking about origins of universe and emergence of our first parents.

It is amusing to learn the fact that the first stories of Garden of Eden date to a much later date than the earthed bones of early hominids, Homo Habilis. I mean we talk about some 2 million years of difference. In other words, talking chronographically, when Adam was kicked out of that Walled Garden of Eternity and landed on mortal Earth, this place had already been populated with his fellow species long, long time ago. I am sure, he didn’t feel lonely. By the way, I guess they already had some sort of clothing.

Part of the original art "Garden of Earthly Delights" by Bosch. Photo: Internet
Part of the original art “Garden of Earthly Delights” by Bosch. Photo: Internet

Life in Garden of Delights – Not as Stylish as Gucci’s

Let’s see before being kicked out how was his life. Adam was in Garden of Delights enjoying his lazy and solitary yet immortal life. At the center of this Garden there were two trees – the Tree of Knowledge and the Tree of Immortality. There were four rivers in the garden, flowing from inexhaustible sources in four directions to keep the world refreshed. He was bored, so God created his counterpart, Eve out of his rib.

The treacherous serpent curled around the Tree of Knowledge whispered about the marvelous forbidden fruit of the Tree to the woman. Obviously she gave in, because, she herself is a symbol of temptation (in the eyes of Adam). She even convinced Adam. They tried the fruit of the Tree of Knowledge and suddenly became aware of their differences and got ashamed. They got expelled from the Garden for eating that fruit. To make things worse, the God put two wrathful protectors in front of the gates so that they couldn’t sneak in.

I am writing another post about this lower relatedness aspect of woman as homage to the Gucci’s Great Hermaphrodite art work. Also a separate post about Snake. Stay tuned.

Absurdity All the Way

Although ridiculously absurd, this story runs along the texts of all of Abrahamic religions. Even uncontaminated cultures have their own versions with similar symbolism – precisely, the Tree and the Snake. How one can believe in this bizarre story and actually consider it as actual records of beginning of the universe while our facts are telling us a totally different story? Now one needs to ask this question – did really this place exist?

Answer from psychoanalysis is yes and no. No, because, there is no Paradise (walled enclosure) on an already well-explored Earth. Yes, because, it is our inner reality and this explains why such a weird absurdity has managed to gain so much fame. It is not a historical record of the origin of the universe. Yet it is how our psyche has experienced the process of evolution, namely, birth and separation of the consciousness. This story is manifestation of man’s longing for pre-conscious sense of totality in symbolic language of unconscious. But it is not only about longing, it also talks about hope.

Second Look at Symbols

Let’s get into translation. It turns out that it was the Knowledge, the Awareness that put us behind the protected doors. It was time for us to get out of that Garden. So that treacherous Snake – the symbol of “Eternal Wisdom” set up the “plan”.

At some point in evolution, we developed a capacity to judge everything in terms of good and bad which we perceive as fear and desire. In mythological language, our first parents “ate the fruit of knowledge” and became self-aware – the characteristic feature of consciousness. So it was the nature of our reasoning that closed those doors to our face.

Self-awareness was not the only revelation. Then it downed upon them that there is a thing called death while they are lustful creatures with desire to live. So fairy tales abound with stories about search of elixir of life and man’s desire to transcend mortality. Because, although we can’t taste that bliss any more, we haven’t lost the knowledge that there is a dimension of our nature that transcends mortality.

The Cost of Being Consciously Different

This differentiation of ourselves, development of consciousness has cost us to lose that “eternal, timeless completeness” – the period now babies experience from the moment of conception until early development of consciousness (does that explain why they are good at being happy?). Then for the rest of life try to experience it again.

Read the blog post “That wasn’t technically fire – what was it?” to learn more about the nature of the conscious and the symbols that illustrate the pain of being consciously different.

Religions are our cry for such transcendence – our hope to transcend this carnal world of duality to experience that “timeless delightful state”. Because it is when the “self-aware” consciousness will let go its petty “me and mine” game and will experience transcendence through self-sacrifice and submission to higher order. Enduring spirituality is where he hopes to experience these delights that are beyond duality of opposites – worries and desires, temptations and fears, light and dark.

Paradise… Where is it?

But not all is lost. That walled eternal land still resides inside each of us, in the depth of our dark psyche, protected by cultural ogres, fire breathing dragons, many-headed scary creatures, which we come across in myth and fairy tales. They are personifications of our worldly attachments and survival instincts. Remember, the God put two frightful monsters in front of the doors?  We are talking of the same thing now. The way to return there is to defeat all these roaming instinctual forces and give back that “fruit”, which made us aware of ourselves and our surrounding. In other words, sacrifice our consciousness. Precisely, the way to immortality goes through Death, let it be physical death or symbolic death to our worldly attachments.

Only thru total renunciation of ego-oriented attachments the return is possible to that state of eternal bliss free of worries and temptations. But this time the experience is not that of a baby. It is that of a mature person in the form of immortality of spirit. Nothing carnal.

Related posts:

That wasn’t technically fire – what was it?
The Secret Story of Symbols”
The Unconscious – The Great Mother, The Conscious – Overconfident Kid

Filed Under: Fashion & Myths Tagged With: Alessandro M, Alessandro Michele, alta moda, art, conscious, fashion, Garden of Earthly Delights, Gucci, high fashion, Ignasi Monreal, Paradise, psychoanalysis, unconscious

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Aynura Maye

Currently exploring the know how of Made in Italy through the stories of those who create it. Individuals.

Also, tracking fellow youth from my land Azerbaijan who built themselves in Italy.

Enjoy xx

Aynura

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