A Quote by Elizabeth Bowen

Exhibitionism and a nervous wish for concealment, for anonymity, thus battle inside the buyer of any piece of clothing. — © Elizabeth Bowen
Exhibitionism and a nervous wish for concealment, for anonymity, thus battle inside the buyer of any piece of clothing.
I treat clothing or a piece of jewelry like it was a piece of art.
Even you, who’ve lived inside your body for 64 years, would apparently be unable to recognize your foot in an isolated photograph of that foot, not to think of your ear or one of your eyes or elbow, also familiar to you in the context of the whole, but utterly anonymous when taken piece by piece. We are all aliens to ourselves, and if we have any sense of who we are, it is only because we live inside the eyes of others.
I think the twenty-first-century modality is exhibitionism. Exhibitionism is our contemporary strategy for maintaining our boundaries, which is to be boundary-less - to put everything out there before somebody comes and violates or penetrates something that we're keeping sacred.
I treat clothing or a piece of jewelry like it was a piece of art, even though people who collect clothes get a bad rap because they're told it's all vanity.
I don't ever try to sound like, 'it's a piece of cake. Be chaste 'til your married.' But you strive and battle. It's a battle.
When you buy a piece of vintage clothing you're not just buying the fabric and thread - you're buying a piece of someone's past
I think that one of the greatest perspectives that I have, from being a buyer for my whole career until I became a producer, is that I have a pretty good understanding of the buyer's mentality.
Nervous energy is the ammunition we take into any mental battle. If you don't have enough of it, your concentration will fade. If you have a surplus, the results will explode.
Art is brief. (Not in a temporal sense.) [...] Words are for concealment. Art is concealment.
In every well-written play the battle rages between the primary powers of Good and Evil, and it is this battle which constitutes the life impulse of the play, its driving force, and is basic to all plot structures...In any true piece of art...the beginning and the end are, or should be, polar in principle. All the main qualities of the first section should transform themselves into their opposites in the last section.
I think I'm most nervous about revealing how nervous I have always been. People think me calm, confident, poised. Inside I'm a jelly.
Clothing is ultimately the suit of armor in which we battle the world.
Success made me self-sufficient, but it also took away my anonymity. I'm just this quiet nobody, and all of a sudden people are nervous around me. That was kind of weird.
The general who wins a battle makes many calculations in his temple ere the battle is fought. The general who loses a battle makes but few calculations beforehand. Thus do many calculations lead to victory, and few calculations to defeat: how much more no calculation at all! It is by attention to this point that I can foresee who is likely to win or lose.
Desires collide; the wish to eat bumping up against the wish to be thin, the desire to indulge conflicting with the injunction to restrain. Small wonder food makes a woman nervous.
Your worst enemy, he reflected, was your nervous system. At any moment the tension inside you was liable to translate itself into some visible symptom.
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