The novelty - and relief - of imperfection
Resisting homogeneity
Appreciating the asymmetrical
I’ve always had a bias towards things that are a bit askew or off-kilter, pun intended. For me if it’s not a little wrong then it’s somehow not quite right. The appeal of an irregularity is its uniqueness - in a face or piece of art or a room - something that can’t be easily replicated. Though the apex of beauty has long been defined by the perfect proportions of the Golden ratio, I sometimes find symmetry can present as a bit bland and soulless. How many times have you stumbled across some jaw-dropping photograph, too good to be true…because it is. A computer generated image, impossible in reality.
Obviously the AI tidal wave is coming for us, resisting is futile - and as Fran Lebowitz astutely pointed out in a recent profile with Harper’s Bazaar “I’m more worried about human intelligence than I am worried about artificial intelligence”. However I do think that as much as we have to accept all this technological advancement and enhancement it’s important to hold onto what we know as real - the flawed and ephemeral.
Keeping up Appearances
Most of the recent discourse around public figures who’ve chosen not to align themselves with the standardized Hollywood mold (unaged and unblemished) has been refreshing. Pamela Anderson in her makeup free era has possibly received as much admiration as she did during her high glamour, overtly sexualized Baywatch years. White Lotus stars (icons) Aimee Lou Wood and Charlotte Le Bon’s unveneered and somewhat wayward teeth were met with rapturous praise at seeing authentic smiles again. A bit OTT, maybe even a bit condescending, but perhaps a shift in the right direction, superficially speaking.
Of course a pendulum swing was inevitable, even if via the intended light hearted humour of an SNL joke where, inserted within a pretty solid White Lotus/state of US politics sketch was a dig at Aimee Lou’s appearance, apropos of nothing. Not a backlash as such but a reminder that we are still a long way from any kind of enlightened acceptance of nonconformity. The boulder rolls back down the hill again.
We’re all losers - or are we all winners?
The constant scrutinizing of perceived imperfections or ugliness is mean spirited, yes, but it’s also just so boring. On the other end of the scale the same can be said for the shaming around “fixing” said ugly things - very damned if you do damned if you don’t. Having the option to change something you find distressing, that might allow you to move through the world a bit easier - or just spend less time obsessing in the mirror - is a good thing. Also, as Cher rightly clapped back after it was suggested that she had gone too far with plastic surgery, “if I wanna put my tits on my back it’s nobody’s business but my own”. Sounds sort of hard to figure out a comfortable sleeping position - but as long as it makes her happy I’m all for it.
I don’t think opinionless neutrality is an achievable or even desirable solution, but the chatter could be a bit less noisy. Stopping yourself from being overly critical is challenging - I know all too well (one of my classic moves is to pass judgement following it up with the exemption, “to each their own” - a total cop out). It just so obviously serves us all to give everyone a bit more grace under the constructs of societal pressures, allowing as much as we can for people to present as they like, altered or not.
To borrow a Gen Z phrase, “it’s just not that deep”. Next time you feel your beady eyes narrow, try not to judge someone so much because of their looks. Judge them because of their shit personality.
Peggy G - a crooked nose and a sharp eye
There are countless cultural pioneers, tastemakers (another term I hate but it’s sometimes accurate) who’s own appearances were considered unconventional, often undesirable. I’m thinking in particular of Peggy Guggenheim, one of the first people to have plastic surgery and who’s disastrously botched nose job is detailed in both a 2015 documentary and her autobiography “Out of this Century: Confessions of an Art Addict” (a great holiday read - tales of her brazenly bohemian lifestyle, galavanting around Europe with various husbands and even more various lovers, smuggling paintings out of France in between pots and pans during the Nazi occupation).
She chose not to ever have her nose corrected, which didn’t seem to deter from her attractiveness to others:
“During the war I wanted to buy a Brancusi,” she recalls. “‘Bird in Space’ was one of [his] favorite sculptures. I used to go and see him every day… the awful thing is, I thought if I had an affair with him the ‘Bird’ would be cheaper.
“When I went back to take away “Bird in Space”, Brancusi brought it out in his arms, and tears were strolling down his cheeks. I never knew if it was because he was parting with me or his favorite ‘Bird.’”
Her appearance was really most notable for her fashion choices, accessorizing with outre designs commissioned by artist friends - those butterfly glasses by Edward Melcarth and sculptural earrings by Yves Tanguy and Alexander Calder (who also made her the metal headboard that lives rent free in my brain). Fabulous.
100 years of Surrealism
Peggy’s greatest legacy is of course an immeasurable contribution to the art world, in particular her championing of Surrealist and Abstract Expressionist artists. Works that were considered too strange, too nontraditional by the Louvre to store during WWII ended up hanging on its walls mere decades later.
I managed to catch the travelling Surrealist retrospective at the Centre Pompidou last year just before it closed. It has now moved on to MAPFRE in Madrid, from where it will go to the Hamburger Kunsthalle in July, ending the tour at the Philadelphia Museum of Art later this year. If you happen to be travelling to any of these cities while its on I highly recommend paying a visit. An amazing collection has been assembled with art by De Chirico, Miro, Ernst and Magritte as well as many female artists integral to the movement such as Leonora Carrington and Dora Maar. One of my favourite exhibitions of 2024.
Wabi Sabi & Kintsugi - Japanese approaches to imperfection
It’s high tourism season in Japan and I can’t get enough, there’s not a cherry blossom picture too many for me. I’ve been enjoying the spread on all things Japanese in T Magazine’s culture issue, in particular this piece on the transience of nature.
Japan always seems to get just about everything right. A country so synonymous with precision also has a whole vocabulary - a whole way of living founded on finding beauty in the imprecise. Wabi-sabi’s teachings put it particularly succinctly - to be content with less and embrace all that which is impermanent, imperfect and incomplete.
As an aesthetic movement it’s certainly had widespread influence, the trend for raw plaster and lime washed walls is as strong as ever. I loved this article on how interior designers choose to incorporate flaws into their projects. Perhaps the philosophical movement will eventually catch on as well…
I’ve long been a fan of both the concept and look of Kintsugi, the Japanese art form of repairing broken pottery with precious metals. A method that highlights the damage instead of concealing it! I’ve had many a platter or serving bowl crack that I wish I’d mended instead. Humade seem to do one of the better looking kits on the market, with videos showing you how to properly mix the metallic powder with epoxy glue. A fun repair job - that saves waste and money.
The imperfect table (that also happens to be sustainable!)
One of my favourite jewellery brands, British based Alighieri, has successfully branched out into home accessories with their line CASA.
Per founder Rosh Mahtani, the designs are “modern heirlooms that celebrate the beauty of human imperfection and vulnerability.” I particularly love the “Life-Aquatic” bottle opener and doorknobs - a great way to jazz up an old cabinet or bedside table. Each item is made of 100% recycled bronze, silver or gold, done using local manufacturers to ensure a low carbon footprint. Responsibly stylish!
The Picture of Dorian Gray - the cost of chasing youth
There are a number of brilliant plays on in New York at the moment including West End transfer “The Picture of Dorian Gray”, with Sarah Snook in the titular role - and all the other roles - adapted and directed by Kip Williams. I saw it twice last year - a powerhouse of a performance by Snook who deservedly took home the Olivier for Best Actress.
With one actor playing all 26 parts it demonstrates technology as an asset in theatrical staging, her interactions are seamless. A particular on the nose moment (quite literally) occurs when DG attempts to distort his face using a smartphone app that exaggerates his features - a vanity exercise which only ends up in caricature.
The run has been extended until June 29th - go go go!
*Also enjoyed this rapid fire interview for Variety between Kieran Culkin and Sarah Snook about their respective stage performances - fake siblings but real life BFFS.
All My Sons - A theatrical trifecta
Looking ahead to the autumn season I’m most excited about a new version of Arthur Miller’s “All My Sons”, on at the Wyndham Theatre in London. Directing is Ivo van Hove who 10 years ago received rave reviews for another of Miller’s plays, “A View from the Bridge” at the same location. With a cast this strong - Marianne Jean Baptiste, Bryan Cranston and Paapa Essiedu - there seems to be too much in its favour for it not to be worth going for advance tickets. A risky projection…but I’m betting on this one. On sale now for a limited run from November 14th - February 7th 2026.
Remake Revile - Wuthering Heights and Harry Potter
There is always some kind of disproportionate outrage when a beloved story gets a “makeover”, retold in any way that’s not faithful to the original incarnation (see Disney’s latest less successful forays). Everyone is entitled to have favourites…but there is plenty of space for thoughtful adaptations and interpretations. Different iterations keep stories alive for new generations - that doesn’t negate or cancel out anything that’s come before.
A couple of recent casting announcements has caused a lot of virtual foot stamping - Emerald Fennell’s production of Wuthering Heights and the new Harry Potter TV series under HBO. Unlike much of the internet I am here for both of them!
The consternation around Jacob Elordi as Heathcliff is understandable. Bronte’s description of the beloved, brooding antihero is of a man with dark skin and dark eyes - to my knowledge only depicted as such in Andrea Arnold’s 2011 version - we’ve seen him 20 other times through variations of handsome white men.
I’m not sure however that it’s fair to immediately castigate Fennell’s choice, who is nothing if not a boundary pushing filmmaker. It would be going against her earlier work (Promising Young Woman, Saltburn) to do anything remotely conservative or traditional - I think it’s a case of wait and and see before kicking off.
The casting of Paapa Essiedu in another highly covetable role - Professor Snape - has caused trolling in the inverse, with racist “DEI nonsense” being thrown about. To which I say, you know we’re talking about wizards? I don’t think we have to be hung up on realism or accuracy here. IMO it’s smart casting him in a different image, a more obvious comparison to Alan Rickman’s genius would inevitable fall short. Essiedu is also just brilliant - I’m excited to see what he does with it.
Whether actors stick around given J.K. Rowling’s recent activity is another matter. I hope people are able to separate the art from the artist and that the story, the magical world that has brought so much to so many can exist beyond her words and actions outside of her authorship.
Surrounded Islands: Biscayne Bay 1983
In celebration of earth week I will leave you with an image one of my favourite environmental installations by Christo and Jean Claude, the islands wrapped in pink as an ode to Monet’s water lilies. An illustration of the connection between art, nature and urban life.
