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29-10-2011
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She reminds me of Gaga so much! She can look downright elegant and pretty, and then look all crazy and weird- I guess that is what it is all about!!

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29-10-2011
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For me-and this is JUST my opinion-Daphne and Gaga aren't alike. Daphne, with all her extravagance, manages to be classy-and I can't say that about Gaga.

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29-10-2011
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I absolutely love her in that McQueen fw07 gown, the green velvet is so rich with the gold beading, always been my fav gown from that collection, definitely a good choice to pull out of the archives.

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29-10-2011
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Quote:
Originally Posted by evve View Post
For me-and this is JUST my opinion-Daphne and Gaga aren't alike. Daphne, with all her extravagance, manages to be classy-and I can't say that about Gaga.
100% Agree!

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31-10-2011
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Quote:
Originally Posted by evve View Post
For me-and this is JUST my opinion-Daphne and Gaga aren't alike. Daphne, with all her extravagance, manages to be classy-and I can't say that about Gaga.
I kind of agree with you. Gaga tries for performance art and always looks like she's wearing a costume. Daphne looks like her extreme looks are just a natural evolution of her style.

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05-11-2011
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ELLE Ukraine November 2011 ebook30.com

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12-11-2011
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Daphne for MAC: first promo pics


misslipstick.free.fr

Oh,I adore the colour of lipcreme.


Last edited by evve; 12-11-2011 at 07:06 AM.
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12-11-2011
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The MAC campaign looks very promising! Love that preview shot, looks like she's teaming with Klein again.

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12-11-2011
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New shots from Interview Magazine.


source: interviewmagazine.com


Unfortunately I can't find the article that accompanies the images but there was an interesting mindmap type of thing on her favourite things I found on the site: http://www.interviewmagazine.com/con...ss-consumption

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12-11-2011
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Love that MAC makeup pic. Flawless job. No stupid werido contacts.

I spy McQueen Spring 2010 bustier.

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13-11-2011
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I'm not sure if this has been posted but I thought I'd share anyway.

Daphne Guinness at home by NewYorker.com

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13-11-2011
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^Never seen that thanks Her apartment is beyond sick! And love the Mac ad she is perfect for them

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13-11-2011
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I think my wallet will be much thinner when this MAC collection is out

I adore Interview shots. She's 'dressed' almost entirely in jewellery-impeccable!


Last edited by evve; 13-11-2011 at 07:40 AM.
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15-11-2011
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Part 1 of 3

Quote:
Daphne Guinness
By Peter Brant II


I am told that I first met Daphne when I was a child. I cannot ellaborate upon this because I have no recollection of the meeting, but I can say the first time that I remember meeting and connecting with Daphne was last year, when she walked in Naomi Campbellís charity fashion show to benefit the victims of the earthquake in Haiti. Even though I was only 16, we were able to talk late into the night about fashion, history, and art. Daphne is one of those fantastically eclectic people who is knowledgeable about everything from art-deco jewelry to ancient Roman history. Sheís a true character, someone who cannot be placed in a single archetype or described in one image. When I was asked to start doing interviews for the magazine, she was the first person on my list simply because I knew the fluid, open dynamics of the conversation would in all likelihood produce something interesting. After all, Daphne isnít just an heiress of the Guinness family or a muse to photographers like Steven Klein or David LaChapelleóboth longtime friends of hers. Sheís also tackling her own projects, most notably a 100-piece exhibition of her clothing and personal accessories on view at the Fashion Institute of Technologyís museum, the creation of a diamond-encrusted, armor-inspired glove in collaboration with British jeweler Shaun Leane, and the founding of her own film production company, Mnemosyne. I have never in my life interviewed anyone, and to be honest, I wasnít sure how our threads of dialogue would translate in print. Itís really too bad that you canít see our hand gestures, because they would lead you to a greater understanding of usóand I did at one point accidentally knock over a vase in my excitement.

We conducted this interview at Daphneís apartment, just across from the Metropolitan Museum of Art, in September, on the day after her grand FIT opening.


GUINNESS: I like that. It adds context and dimension. For example, you canít be ironic in print. Irony doesnít translate. So the meaning of what you say can be misunderstood.

BRANT II: I know. When I was at the Alexander Wang show, Linda [Evangelista] walked by and I got up to say hi to her and kiss her. We talked for a bit, and someone wrote down what we said to each other and put it in an article in The New York Observer.

GUINNESS: Oh, man!

BRANT II: But they wrote it down wrong. The tone of the article was completely off. They made it sound like I attacked her and then she didnít answer me! Just because they didnít hear what she said.

GUINNESS: But youíve known her forever.

BRANT II: Sheís one of my godmothers! And it made it sound like I was badgering her and she was shying away from me. I was very upset.

GUINNESS: I bet you were. Iíve been really upset sometimes when Iíve been misquoted. And itís the one thing they use in big print. Or itís taken out of context. Thoughts are fluid and words are sticky. Thatís the thing.

BRANT II: That should be a saying right there.

GUINNESS: Thatís why I really try to understand what people are saying and answer as honestly as I can. But sometimes itís like they try to tie you into knots. Thatís why I mostly steer clear of the popular press. I try not to read . . . Well, I never read gossip press. I just read books. And I never switch on the TV any more.

BRANT II: What books are you reading right now?

GUINNESS: I am reading Nietzsche at the moment. But Iím always reading many books at a time. It might be quite unorthodox, but what I do is, since Iím always surrounded with books, Iíll read a page of physics, and then Iíll read a chapter of a novel that I really love, and then Iíll say, ďOh well, what does that mixture do in my head?Ē I adore reference books. I love encyclopedias. I also like just going back to original texts, because a lot of these self-help books todayó

BRANT II: They are based on something from the past.

GUINNESS: Yes, they are based on Platoóor on the Old Testament or the New Testament . . . The writings are already thereóall people have to do is go to the library and look them up. In fact there is this book you have to read by Roland Barthes [the French theorist]. He died in the í80s. Itís called SystŤme de la Mode or The Fashion System.

BRANT II: Oh, I havenít read it.

GUINNESS: Youíll love it. He really breaks it down. Heís very cool, Barthes.

BRANT II: Iíve been reading a book by Thorstein Veblen called The Theory of the Leisure Class, written at the turn of the last century. Itís a fantastic book that I have yet to finish because itís excruciatingly complicated.

GUINNESS: They are complicated, and sometimes you have to re-read them. My basic mathematics is rather weak, so when some of the theories are broken into equations, I get rather lost.

BRANT II: Sometimes Iíve had to re-read every page like three times before I actually understood what Veblen was saying. But itís very interesting. Itís about the philosophy and psychology behind class, and everything itís come to signify in modern society.

GUINNESS: Iíll tell you, I realized quite a long time ago that England and Japan are very similar, having a monarch or an emperor, and that produced in England a class systemóbut contrary to popular belief, this doesnít really exist anymore. It started petering out after World War II, really. People love to think that it still exists for various reasons.

BRANT II: Itís kind of just a vanity thing at this point.

GUINNESS: Certain parts of the press use class as an issue more out of reflex. When blame needs to be appropriated, they go for the aristocracy, but the aristocracy really doesnít have any real power. But itís a very touchy subject . . . Take fashion. Fashion is not just about trends. Itís about political history. You can trace it from the ancient Romans to probably until the í80s, and you can see defining moments that were due either to revolutions or changes in politics. At the end of the Roman era, there was this whole move against togas, because that was the signifier of the Roman Empire. In the same way, the í60s were a reaction against the í50s and so on. But now weíve been feeding on a sort of cadaver. At the moment, weíre just endlessly recycling the past.

BRANT II: Itís interesting how a certain period of time has to pass before something becomes fashionable again. In this book, On Human Finery, which Iíve also been reading, the author did a study where he asked students in the í70s what they thought of fashion in the í60s. They thought it was the most horrible thing in the world. In the í80s he asked the exact same thing to his students, and they thought the pictures of í60s fashion were retro and the coolest thing in the world. A certain time has to pass in order for something to be considered retro, and thatís when it is deemed historical.

GUINNESS: How do you think the last 10 years will be defined? I canít think of how.

BRANT II: I canít think of anything either. Itís hard to imagine. What are they going to call this period, this time in society?

GUINNESS: Corporate.

BRANT II: The Age of Advancement.

GUINNESS: Corporations.

BRANT II: The Age of the Consumer?

GUINNESS: There hasnít been anything real since grunge. That was the last movement led by music or an art form.

BRANT II: Everything has been accepted as beautiful at some point. But itís interesting about the psychology of style, that somehow by wearing clothes that are not considered fashionable we somehow make ourselves ugly.

GUINNESS: When I was at school, I would go to a place called Kensington Market and get as many items as possible to wear for school. I was always a kind of outsider. I didnít want to be part of only one club. I guess I always identified with those who were slightly a little moreó

BRANT II: Eccentric?

GUINNESS: Eccentric is a difficult word because itís come to mean crazy. Avant-garde would be better. Eccentric is not ďcentricĒ in terms of having a center. Because sometimes itís used in a derogatory context.

BRANT II: I embrace eccentricity. I think itís the most fantastic thing in the world.

GUINNESS: Yes, in the true sense of the word, but not in the way that people think that youíre a lunatic. Tell me about the book The Theory of the Leisure Class.

BRANT II: Itís a socioeconomic theory dealing with the wealthy class of society. Itís based around the idea of conspicuous leisure, which is the idea that when people have money, they live in a public way that displays their money on purpose.

GUINNESS: Like in Versailles.

BRANT II: Exactly. But not only that. Itís all about class distinctionóalmost in the way that heels are conspicuous leisure because they show that youíre not working. Youíre unable to perform work in them.

GUINNESS: I wear heels like sneakers. I feel weird in flats. Bare feet, fine . . .

BRANT II: In flats you feel shaky.

GUINNESS: Itís because Iíve got high arches and Iím a gymnast. I suppose itís the way oneís body is built. And everybodyís body is built differently.

BRANT II: According to Veblen, conspicuous consumption would be like when someone wears as many diamonds as they canójust the largest amount of disposable income you can wear on your body at one time. Thereís a point where it goes from being elegant to becoming grotesque.

GUINNESS: It does. But it also depends on how the diamonds are set. Because if you wear a lot of diamonds and theyíre set really, really well, or if you mix them up, then thatís fine.

BRANT II: When did you start working with David LaChapelle? Because I know youíve worked with him as a collaborator as well as a subject for some time now.

GUINNESS: David was working with Issie [Isabella Blow] in 2003, and she would drag me along to help, and suddenly Iíd end up working on the shoot because Issie would be off doing something else. She was great at the big picture, but sheíd be off having tea or lunch with someone and David would say, ďWhere is she?Ē So Iíd overcompensate. We did this series where we had this pop-up box and were going backstage at all of the couture shows. Weíd barge our way in and try to get the models to stay after the show. Your mom was actually the best because she was a really good sport. Some of the models were nincompoops and didnít know David was such a great photographer and didnít want to stay. David always made these props. He always needs a context. He would think these things through very carefully, and the models could never understand why they were being asked to hold certain things like a FedEx package or a newspaper. Issie was working for Tatler at this point, which had a very tiny budget, so David and the rest of us were basically doing it for free. David recently found those pictures in his archive and gave them to me as a birthday present.

BRANT II: When is your birthday?

GUINNESS: It was last November.

BRANT II: That means itís coming up again. Are you doing a party?

GUINNESS: No. Iím not very good at celebrating myself. Thatís why I felt very uncomfortable last night. It felt weird to have pictures of myself all over the room.

BRANT II: What do you think about politics right now?

GUINNESS: I think itís a very odd time in politics. It should be mostly about good governing. We need a government, not politics. Because thereís too much politics. Of course there should be debate. But there seems to be so much pettiness and not enough good faith. It is civilized to agree to disagree and this idea is slowly disintegrating. The great statesmen of the past knew this, and I think it helps drive civilization.

BRANT II: I feel like sometimes these politicians are more interested in a popularity contest. They go around and they try to prove how inexperienced they are, because theyíre just like you.

GUINNESS: Yes, exactly. That is precisely what I donít want. I want someone who is great at running a country.

BRANT II: You want someone who is better than you!

GUINNESS: From perhaps Watergate to Monica Lewinsky, the presidency has been demystified.

BRANT II: People stopped trusting the president. Before that, he was just untouchable . . . Do you remember earlier this year there was a scandal, because Michelle Obama, at a reception at the White House, wore a dress that was by Sarah Burton for Alexander McQueen, and American designers were very upset because it was a dress by a British design house and not an American design house, and she wore it to a state function?

GUINNESS: But what about Jackie Kennedy?

BRANT II: Exactly. Thatís what I said. All she wore at first were French designers. Itís also part of that whole demystification of the presidential officeóthat they canít get away with as much because people donít trust their government any more.

GUINNESS: Guess what? The Alexander McQueen show cleared millions for the Met. Thatís great for New York, actually. I mean, letís face it, that did something for New York City.

BRANT II: What do you think of Kate Middletonís style?

GUINNESS: I havenít really figured that out. I mean, I havenít really seen enough pictures of her, but I liked the wedding dress. I thought it was beautiful and simple. And I thought Sarah [Burton] did a fantastic job.

BRANT II: Very similar to Princess Graceís.

GUINNESS: Sarah was under such pressure. I remember I was trying to get hold of her during the run-up to that, because I hadnít been following the whole royal wedding. Then when I saw Sarah here, she said, ďI wasnít allowed to say anything, because it was, like, top secret.Ē Technically, she could have been tried for treason. Of course, she wouldnít have been. But she said, ďIf Iíd spoken to you, I wouldnít have been able to stop myself from telling you.Ē But Kate Middleton? From what Iíve seen, she keeps it simple, and sheís very pretty. I think she sort of gets it right most of the time. But I havenít seen enough of her really.

BRANT II: A lot of celebrities nowadays trust in a stylist to do all of their clothing choices. They all end up having the same stylist, so they all end up looking the same.

GUINNESS: Itís really bad. Thatís what happened in the í90s.

(interviewmagazine.com/fashion/daphne-guinness)


Last edited by Dear kitty; 15-11-2011 at 12:47 PM.
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15-11-2011
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Part 2 of 3

Quote:
BRANT II: I want to know your opinion on that. In Hollywood, fashion isnít going anywhere, because a small group of stylists are controlling what everybody wearsóand theyíre also getting paid by designers.

GUINNESS: Guess what? Stylists are getting paid by the celebrity and the designer.

BRANT II: When someone decides to wear a dress by a French design house thatís innovative and beautiful and elegant, theyíre criticized in the press because itís different from what everyone else is wearing. I have friends who do lots of red carpets, go to the Golden Globes and things, and they say that theyíre afraid to wear something different because theyíre worried theyíll end up on a ďWorst-DressedĒ list or something.

GUINNESS: Listen, Iím always on a worst-dressed listóand I really donít give a ****. You canít. I think they shouldnít be afraid. They should just take the bull by the horns. Frankly, if you feel like going in jeans and a T-shirt, do that. Elizabeth Taylor never had a stylist . . . Okay, some of the older stars were styled by the studio system in the í50s and í40s and whatever. But Audrey Hepburn had a great deal of say in what she wore!

BRANT II: Itís all about setting yourself apart from everyone else.

GUINNESS: Then you have your own look.

BRANT II: Exactly. You want to have your own look. You donít want to have everyone elseís look. Itís because thereís all these young starlets, and theyíre told that their style, that their opinion is wrong, and that they have to follow what someone else says if they want to be successful.

GUINNESS: Itís pathetic, actually. Whatís so awful is that when you see them on the red carpet, and then you see shots of them in day-to-day life, itís such a difference. Itís insane. You just think, Well, that person is not inhabiting their look. The thing about clothes is that it is a fact that everybodyís got to wear clothes. Otherwise weíd be naked, probably in breach of the law and probably cold. So you might as well wear what you want, inhabit what you want, whatever your budget is, and not be dictated to by other people. It doesnít invalidate you as a human being to be dressed in which ever way you see fit. Frankly, look at the tribal systems in Africa or in Papua New Guinea. Thatís what human beings do. They differentiate themselves tribally by that sort of thing.

BRANT II: Thereís a story in the book I was talking about about a tribe in turn-of-the-century Africa where the women would wear these blue beads, and all the highest women in the tribe wore these beads because they were very expensive and rare, and they only came in once every two years from the Middle East through traders. All the head tribesmen would buy them for their wives. It was a status symbol. Then when trains started coming to that area, and they started bringing barrels filled with these beads because they were in high demand . . . Suddenly all of the most important women in the tribe refused to wear them because everyone else had them.

GUINNESS: I grew up in a chapel in Spain. I was looking for skulls all the timeóIíve always loved skulls. I was making all these skull bracelets. Then, suddenly, everyone was wearing skulls and crosses and I thought, ďEww, I donít want to wear skulls anymore.Ē

BRANT II: Letís talk about the glove you had made with Shaun Leane.

GUINNESS: Iíve got it here, actually. Itís a sculpture rather than anything else. And then I set some of my diamonds into it.

BRANT II: I saw a necklace that he did for Boucheron with a button that makes the flowers open. It was so beautiful.

GUINNESS: This is a sculpture. It was conceived as such that you should put in a bell jar. This is a piece of art. It was made because Alexander [McQueen], Shaun [Leane], and I, one night, were at a party, huddled in the corner, and I was thinking, ďI just want to be protected anonymously where I donít have to see anyone.Ē They are just too terrifying, these events. The germination of the glove sparked there, and thatís when we started making it.

BRANT II: Itís armor?

GUINNESS: Itís against the world. I am just going to armor myself up to the teeth until no one can get me.

BRANT II: Itís so fantastic.

GUINNESS: Itís a real collaboration between me and him. Blimey, it took a long time to make!

BRANT II: Are you excited for the Elizabeth Taylor jewelry sale?

GUINNESS: You know, I met her with Philip Treacy. Iím so sad that itís all going to be broken up. Philip kidnapped me off a shoot. I was in the middle of a shoot with him, and Elizabeth Taylorís assistant called up. We were in a studio in west London, and he went, ďElizabeth Taylorís assistant just called now saying that she wanted a hat.Ē Then she called up again, like, half an hour later. So what we did was just wrapped up the shoot, and they shoved me in the back of the car, because I had this hat on with all these diamonds. We couldnít take the diamonds off because of the insurance, and he was shooting me with these kind of brooches and what have you. So they couldnít leave me behind . . .

BRANT II: Because you had them on.

GUINNESS: We get to the Dorchester. Iím standing in the corridor, sort of hovering because Iím too embarrassed to go in . . . She said, ďWhoís that person outside? Come in, my child,Ē that sort of thing, and I was really shy . . . But she brought out all her jewelry and she started showing everything. Philip is such an artist and heís so generous. He gave her like 60 hats. He gave them from his heart. She was like, ďWhich one do you think I should buy?Ē He was like, ďYou can just have all of them.Ē Then she started talking to me, and I couldnít think of what to ask her. I was sort of slightly tongue-tied.

BRANT II: Iíd really love to have met her.

GUINNESS: She was in a wheelchair, and she wasnít very well. But she had such allure, such beauty. She looked amazing, she really did. She had this really lovely aura about her. I just thought of one question that I really wanted to ask, which was: ďWas costume part of the narrative in your films?Ē She said, ďSuch a good question. Absolutely. I knew what lines I had to speak. I had some of the lines sewn in the back of the clothing, and so did the person I was speaking to.Ē The costume, plus the script, plus the director . . . I mean, everybody worked in unison . . .

BRANT II: The big picture houses still use all the old costumes that they used before in period films.

GUINNESS: As we were both saying before, you can delineate history by costume. And weíre the only creatures on earth that can clothe ourselves.

BRANT II: Itís the most public form of self-expression thatís always with you. Itís just a way of taking whatís inside and putting it out there for everyone else to see.

GUINNESS: Itís an emotional thing, you know. Itís like Issie. It was very much her art form. It was because she loved it, and because that was just the way she felt inside. But she always wanted to cover her face, because she didnít like the way her eyes . . . She had beautiful eyes, but she didnít like the way her eyes looked, so she liked to have her eyes covered.

BRANT II: Getting back to fashion, I wanted to ask you . . . A lot of people are saying that haute couture is dying . . .

GUINNESS: It is.

BRANT II: Itís stopped becoming clothing made for people to wear, and started becoming just kind of an advertisement for the brand. Itís really a kind of dying art form, in a way.

GUINNESS: People didnít know the difference between prÍt-ŗ-porter and couture for ages, because there wasnít the Internet, they werenít online. Youíd have the show, and then youíd read the Herald Tribune the next day about it, and thatís it. The popular newspapers wouldnít run the couture shows at all, so it was very underground. Sometimes, people would see a Chanel jacket that would be a couture jacket, but they wouldnít understand why it wasnít in the stores. Then it died because they didnít have the clients and the manpower to do it. And once you sort of start losing all those artisans that knew how to make those things, itís like cutting down a forest. Itís not going to grow back. They stopped making things in France. They stopped making the lace. Thank god Chanel bought Lesage and the beading . . . The reason itís dying is because of the rise of the machine, and people outsourcing to China . . .

BRANT II: I think also the Internet has something to do with it, and the way that images make their way around the world within seconds of being shown to the public.

GUINNESS: Thatís why Tom Ford was very clever not to show online. Just have the pictures come out when the things are ready . . . If you show it online, itís ripped off.

BRANT II: How do you feel about whatís happened to John Galliano?

GUINNESS: Well, I think what he said was absolutely awful. That is inexcusable. But heís not like that when heís sober. Itís not an excuse. He said it. But he was bullied for exactly those reasons when he was growing up at school. I think he was terribly unhappy. Terribly unhappy . . .

BRANT II: Well, he was designing like 17 collections every year . . .

GUINNESS: Yes! You canít do that. Look what happened to Alexander [McQueen]. He ended up hanging himself. You just canít put people under that sort of pressure. But it doesnít excuse what he said. But you know what? Heís the most gentle person when you meet him normally. Iíve never seen him like that . . . Racism is the worst.

BRANT II: A lot of people refer to you as a muse. How do you feel about being called that?

GUINNESS: I donít know if Iím a muse or not. Thatís not me being coyómuse is a lovely term. Itís a great compliment. But Iíve never felt Iím a muse. I just kind of do my own thing.

BRANT II: I was told recently that you are an opera singer.

GUINNESS: Yeah. [laughs]

BRANT II: I didnít know that. Tell me about that.

GUINNESS: Well, before I got married [to Spyros Niarchos], I was going to go to Guildhall and study classical music, and then to train as a singer. Well, love, I had three children instead, so I didnít pursue that. But actually, funny enough, I started again the other day.

BRANT II: Iím told youíre very, very talented.

GUINNESS: Well, Iíll tell you what it is. I have relative pitch, so I can learn by ear very easily. But itís un-useful in that, when it comes to kind of writing music technically, I will do it all by ear. So Iíll be very sloppy about the actual music. Maybe Iíll miss out a quaver or a semi-breathe or something in it, because Iíve already learned it like that. Itís a curse and a blessing, because it means that sometimes Iím not as rigorous with the music itself as I should be because I learned it by rote. I used to do that with the piano, too.

BRANT II: Iím musically challenged. I love music, but I canít play . . . When I was little, I wanted to be a child prodigy, but I was awful at the piano.

GUINNESS: I had an accident with my right hand, so I stopped playing. It had to do with a lawn mower. Can you imagine? Iíve still got scars. Iím almost ambidextrous as well. So Iíve always had this kind of left hand-right hand problem anyway, but my writing on this hand is almost calligraphical now. I donít know why, because I didnít ever learn it. My hands kind of work separately. But singing was always very, very, very easy for me. I know in the last few months it doesnít look like Iím afraid of putting myself out there, but I also have terrible nerves. I donít think Iím going to be performing any time soon, but I might join a choir.
(interviewmagazine.com/fashion/daphne-guinness)


Last edited by Dear kitty; 15-11-2011 at 12:46 PM.
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