ELEGANCE AND CRITICAL SENSE
For: Marinella Calzona
To continue the fashion today and to be elegant is necessary a big critical sense: the patterns with big flowers, the smooth ones of violent tones, the textiles of network, the laces and the transparences, the bras imitation guêpière, the intimate pledges that turn into garments, the embroidered shoes, the jeans with crystal incrustations, the bellybuttons to the air, etc., are elements “of risk”.
Some of them are absolutely unacceptable, others might be taken in consideration only after having asked for advice with humility.
The fashion has need to appear and to be exhibited herself. Not this way the elegance that flees of the ostentation. To be elegant is to happen unnoticed and to be remembered by the personal tact. The elegance is natural and unconscious: who possesses it does not speak about her, who is elegant does not worry about what it wears. To take elegantly a hat it is necessary to forget that is worn; to take without ostentation a nice jewel, it is necessary that there is considered to be a beautiful object that it adorns, not the sign of the personal economic or social value. It is necessary to forget that is possessed.
The elegance cannot be explained. Like the beauty, it is possible only to show. It is not codificable. It is not possible to prepare a handbook to which having come in case of doubt; the elegant person finds in herself the way of behaving and of dressing itself. It is, nevertheless, a small personal code that feeds on the experience, the memory, the personal tradition; it is nourished from the interior perception of the beautiful thing, of the personal custom of the taste by the beautiful thing. A small code that, every day and with measurement, is renewed; it is not elegant the one that always dresses of the same way, it always repeats the same gestures, always in the same way behaves, but who, in new circumstances, can find the new way of behaving, is renewed. The elegance moves, therefore, between the traditional rhythm and the tensions of the new thing.
The elegance has like budget that the suit answers at the age, to the personality, physical shape who takes it and meet in harmony the place and the circumstance in those that it takes. It is revealed, also, by the details, it is the sum of few and small elements: a jewel, a belt, the shoes or the purse, the hairstyle, etc.
To go “to the fashion” is not always to be elegant. Often the fashion is a factor of... lacking in elegance if it is not leaked by the personal esthetic criteria: a fashionable deposit that consists of the proper extract, the way of presenting before itself, of acting, of moving and of dressing itself that they have caused in each one his personal style.
If what is fashionable is for elegant, enclosed himself himself who does not have this style it covers few dangers on having taken it... but if the fashion of for itself it is not, it is very easy to fall down in the vulgarity. To continue the fashion today and to be elegant is necessary a big critical sense: the reproductions of scales of lizards and snakes; the textiles of network, laces and transparences; the reproductions of the forests in the textiles; the bras imitation to guêpière; the intimate pledges that turn into garment; the worn out, embroidered and stamped footwear; the waist lower and lower that leaves to the air the bellybutton, “even that of the pregnant woman”, etc., there are elements that need a strong critical evaluation because they are or can be, they themselves, lacking in elegance, if not vulgar.
Who has style is supported far from all this and it will take of this modernity a small detail that is not out of tune with the proper personality, age and social situation. Perhaps before doing it will be able to ask for advice with humility.