A Quote by Cameron Russell
For the past few centuries, we have defined beauty as tall, slender figures, femininity and white skin.
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To the "masculists" of both sexes, "femininity" implies all that men have built into the female image in the past few centuries: weakness, imbecility, dependence, masochism, unreliability, and a certain "babydoll" sexuality that is actually only a projection of male dreams. To the "feminist" of both sexes, femininity is synonymous with the eternal female principle, connoting strength, integrity, wisdom, justice, dependability, and a psychic power foreign and therefore dangerous to the plodding masculists of both sexes.
My favourite beauty look is definitely '70s beauty - sun kissed skin, wavy hair and defined eyes.
I'm very sensitive about the fact that there's not a lot of good work for women in cinema that also deals with strong characters. But 'strong character' doesn't mean 'masculine character' - but something that finds the strength in femininity and the beauty in femininity. And something that says you can find femininity in men in some way.
A tall, broad-shouldered man with dark skin and a gap tooth - I wasn't the image of 'old Hollywood beauty.'
Mass literacy is a phenomenon of the past few centuries, and one that has reached the majority of the world's adult population only within the past 75 years.
The beauty one can find in art is one of the pitifully few real and lasting products of human endeavour. The beauty endures. A work of art lives...through the generations and centuries.
Beauty and femininity are ageless and can't be contrived, and glamour, although the manufacturers won't like this, cannot be manufactured. Not real glamour; it's based on femininity.
Sometimes, though only in my most unguarded moments, I can still think of Annette Winters as my first love. At fifteen, she was tall, slender, very dark: an intelligent, sly girl possessed of what I think of now, though I didn't think of then, as a kind of debatable beauty.
Over the past few years, many of us have increasingly begun to question the direction and meaning of our society as it has developed over the past several centuries.
Why should anyone think a white skin superior in evaluating the qualities of human life? I did not really admire a white skin so much myself. Did I not prefer the brown skin that came with exposure to the sun?
The great and rare mystics of the past . . . were, in fact, ahead of their time, and are still ahead of ours. In other words, they most definitely are not figures of the past. They are figures of the future.
Beauty is a hard thing. Beauty is a mean story. Beauty is slender girls who die young, fine-featured delicate creatures about whom men write poems. Beauty, my first girlfriend said to me, is that inner quality often associated with great amounts of leisure time. And I loved her for that.
Growing up in London, with a hippie mom, I don't know that I'm most people's definition of what a black person is. I'm mixed, yes, but in the world I'm defined as black before I'm defined white. I've never been called white.
Brown people and black people and red people swarmed through our great halls, until those who were white looked simply faded-out human beings beside them. Indeed, I came to see that white is not a color in skin any more than in textiles, and if it had not quality, it had no value even for humanity. I saw that color in skin had a certain advantage in strength and warmth as a means of beauty.
I definitely think the fact that I come from a multicultural background, my mother living life in a white skin and having white skin privilege from the time I was little, I was aware of that.
Traditional paintings have few figures in them and value negative space. Japanese calligraphy and brush paintings are in black and white. Haiku is the shortest poem form in the world. These are a few examples of a minimalistic aesthetic in Japanese art and culture.
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