|25th May 2013||#1|
Join Date: July 2005
Editorial from a Nobler Era
By far this year's most significant forum thread remains the write-up that we posted several months ago concerning the reconstruction of Berlin's Königliche Schloß, the Prussian royal palace which once dominated the heart of the German capital until it was razed by the resentment-driven communist regime.
The destruction of that Stadtschloß, the greatest royal palace in European history, was a physical manifestation of the war that Cultural Marxists have waged throughout the 20th and 21st century to eradicate Western Civilization and to suppress its Beauty ideal.
Likewise, the planned partial reconstruction of the Königliche Schloß over the next few years, right in the heart of Germany--the nation that has been most thoroughly victimized by the hostile elite which holds the tiller of cultural power in the world today--is the most vivid, tangible expression of the aesthetic restoration that struggles to thrive in our anti-Romantic modern world, despite the ongoing efforts by our cultural hegemons to suppress that restoration.
(The parallel between the reconstruction of Berlin's royal palace and the rise of plus-size modelling is self-evident: both constitute attempts to resurrect the Western ideal of timeless beauty and to restore it to cultural prominence.)
Alas, as seen in our Stadtschloß forum post, because most of the images that survive of the Schloß predate the last world war, they exist only in an imperfect, aged, black-and-white form, partially washed out, with lighter and darker patches. However, they do show the opulent beauty of the Renaissance, Baroque, Neoclassical, and Historicist interiors of that mighty palace.
Now, when we posted our Schloß essay, we merely intended to imply an association of full-figured beauty with historic architecture. Never did we imagine that a contemporary photographer would find a way to demonstrate this association in physical form, by taking a pair of plus-size models veritably back in time and shooting them in just the kind of historicist environment that the images of Prussia's Royal Palace of Prussia depict.
But that is exactly what acclaimed Montreal photographer Anthony Turano accomplished, in a recent plus-size-model editorial published in Fashion Institute Magazine called "Bold and Beautiful."
For this editorial, not only did the photographer situate a pair of plus-size models in the kind of 19th-century environments that evoke the interiors of the Königliche Schloß (or of any opulent palace circa 1890), but he also adjusted the images to give them an aged look, matching the partially washed-out appearance of surviving centuries-old photographs.
Notice how skilfully past and the present mingle in this image. The décor is entirely unmodern, gorgeously so, from the carpet to the mirror to the exquisite Baroque-looking chair and footstool. In a touch of styling brilliance, the model's bracelet and shoes appear to be wrought in the same kind of elaborate, sculptural forms, and coated in the same manner of gold leaf, that distinguishes the ornament of the plump chair on which she sits. Her curvy figure, of course, embodies the kind of well-fed, feminine appearance that would have been idolized in the time period in which this lush environment was created. Furthermore, her sensually languid manner of reposing on the chair and footstool evokes the alluring qualities of indolence and vanity that distinguished beautiful women of wealth and privilege in the eras that the décor recalls.
The finest image in the editorial is the following, showing a magnificent four-poster bed so opulent and ornate that it truly would have been worthy of the Prussian Stadtschloß. The sculpted, gilded forms along the bottom panel continue the theme of elaborately wrought, gold-leaf embellishment seen in the previous photograph. The sturdy legs of the bed's four posts, carved into ferocious lion's heads, convey an impression of masculine power protecting the soft, feminine goddess who lounges so seductively on the bedcovers, kicking up her legs in a playful manner, existing only for pleasure and comfort.
In this picture, both models nestle on the bedcovers, casually displaying their décolletage. One imagines them almost as Dracula's Brides in the Francis Ford Coppola movie, Bram Stoker's Dracula, their dark sensuality abundantly apparent. The escutcheon on the headboard recalls a royal coat-of-arms.
The next image is another captivating study in feminine lassitude, with the model sinking heavily, with an alluring weight, into the cushy sofa, her expression rapacious and hungry. The vintage fabric of the couch, the elaborate carpet, the exquisitely carved cabinet, decorative wallpaper and painting all give the image a convincingly historic quality. Only the model's hairstyle and intimate apparel appear contemporary; in all other ways, this seems to be an image from another, better time than our own, an era that revered beauty and richness. The fur coat adds to the impression of the model as a seductively pampered, spoiled vixen, whose beauty has entitled her to a life of ease and wealth.
The final image shows the model arranged in a different yet quite seductive manner on the couch, while the other, dressed in an expensive necklace, bares a heady amount of décolletage. The angle of the photograph encompasses more of this splendid room, with the magnificent fireplace (itself emblematic of an older, nobler time) and the historic brickwork prominently displayed. In every way, the models and their soft, unmodern bodies appear to belong in this environment, as if they were shaped by the same beauty-loving artistic taste that resulted in the creation of the gorgeous décor.
Bravo to Mr. Turano for an editorial that is not only artistically accomplished, but also thematically compelling, underscoring the association between the timeless ideal of full-figured femininity and the beautiful, maximalist appearance of interior design that prevailed in Western culture throughout its history, especially in aristocratic circles.
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