Doll-faced princess Lisa Cant wears the sweetest silk beaded top from Valentino along with a shimmery chiffon skirt and flowers as she plays the sugar plum fairy in the fairytale themed editorial ‘Pantomime’ shot by Tim Walker for Vogue UK December 2004
• 5 April 2014 • 433 notes
Cuteness is a way of aestheticizing powerlessness. It hinges on a sentimental attitude toward the diminutive and/or weak, which is why cute objects—formally simple or noncomplex, and deeply associated with the infantile, the feminine, and the unthreatening—get even cuter when perceived as injured or disabled. So there’s a sadistic side to this tender emotion, as people like Daniel Harris have noted. The prototypically cute object is the child’s toy or stuffed animal.
Cuteness is also a commodity aesthetic, with close ties to the pleasures of domesticity and easy consumption. As Walter Benjamin put it: “If the soul of the commodity which Marx occasionally mentions in jest existed, it would be the most empathetic ever encountered in the realm of souls, for it would have to see in everyone the buyer in whose hand and house it wants to nestle.” Cuteness could also be thought of as a kind of pastoral or romance, in that it indexes the paradoxical complexity of our desire for a simpler relation to our commodities, one that tries in a utopian fashion to recover their qualitative dimension as use.
— Sianne Ngai, in an interview for Cabinet
(Source: reichsstadt, via arabellesicardi)
• 26 March 2014 • 861 notes
"Women on the Verge of a Nervous Breakdown", starring the talents of Sherie Rene Scott, Laura Benanti, Patti LuPone, Danny Burstein, de’Adre Aziza, Brian Stokes Mitchell and many more, closed after only 69 performances at the Belasco Theatre on Broadway on January 2nd, 2011.
• 25 March 2014 • 414 notes