I just finished watching Julien Trousselier’s six-part series, Une Île, (The Woman from the Sea). A fascinating, fantasy-horror-crime story that just gives one a lot of food for thought.
There’s pretty much every issue in Europe right now, simmering under the surface here: immigration, how we treat immigrants, how good intentions can backfire, friendship, families intact and torn apart, the decline of rural communities (often helpless and relying on the mainland/capital/city), youth unemployment and subsequent departures from these communities, and lastly the currently seemingly troubled relationships between men and women (a drug-aided rape attempt, obsessive stalking, kidnapping, and even an uncommunicative, grief-stalled, alcohol-numbed marriage).
The series works, because it keeps the viewer guessing what exactly is happening, and although they play with these myths of Nature as woman, the Woman (like Tiamat, the angry mother) out of the deep, coming to take revenge on humanity, the filmmaker has a light touch.
It’s as much a coming of age story, as it is a romance and a detective story. And yes, former model Laetitia Casta ( shown here with Noée Abita above) is the titular “Woman”, and I think she does a brilliant job being gorgeous yet creepy.
The Mediterranean land and seascapes are gorgeous and
There are a few sweaters. I liked this one best, and reminded me of these:
The Woman from the Sea is pretty much the perfect mix of winter thriller, worrying about the environment, and a bit of wishing for the warmth of summer by the seaside.
So I couldn’t resist throwing in this gorgeous The crocheted swimsuit Poliana by Nomad Stitches is quite lovely…
Barbarakafka‘s lovely post on swimsuits, knitting and Sonia Delaunay’s art.
Dressed Podcast has a two part podcast on the history of Swimwear (here and here) which is a delightful listen while knitting your one-piece, bikini, coverup or beachbag.
When this posts, on October 3, most of Germany will have shut down more or less for our version of 4th of July, which is called Tag der Deutschen Einheit. German Reunification Day which always falls on the third of October.
There is a large Citizen Festival with music, art, and each of the 16 federal states making presentations in a pavilion. This festival moves around each year, and is hosted in the state which has the chairmanship of the Federal Council (Bundesrat) – which is the Upper House of the German Parliament.
This year, Schleswig-Holstein have pulled out all the stops. However, people who don’t live in or near Kiel will probably stay home, throw something on the grill if the weather is good and watch the celebrations on TV. Or they’ll take Friday (and maybe Monday too) off work, and take a mini vacation on the long weekend.
Or maybe they’re off to Munich for Oktoberfest, or Stuttgart for Cannstatter Wasen. For those who don’t feel like being out partying in appropriate Dirndl-wear, they’re free to stay in and watch films about the DDR.
In Times of Fading Light / In Zeiten des Abnehmenden Lichtes– drama about a family in the last days of the DDR. Mentioned here.
The Lives of Others/ Das Leben der Anderen – although completely fictional, the drama by director Florian Henckel von Donnersmarck, won an Oscar for Best International Film in 2007.
Goodbye-Lenin – comedy about a good son trying to convince his mom, who’s just woken from a coma, that the Wall is still intact.
Deutschland 83 – comedy action series on Netflix about a young East German soldier coerced into spying in West Germany.
Of course, it’s been 30 years since the Wall fell. And the Unification hasn’t gone as smoothly as planned. But most folks in the West don’t really want to contemplate how to fix that problem because they’ve been paying a Solidarity Tax for years to rebuild and finance the absorption of Eastern Germany into the West German economy. Still thirty years is a long time for people in a country to feel like second class citizens. It’s a complicated problem.
Fiber season is upon us again, as September has started and temperatures cool down. What a summer! I’m pretty sure it’s the hottest summer on record in Germany. Even hotter than last year. Not so good for the forests – the forester has been into the woods near us to remove some of the sun-damaged
At the moment, I have Petite Knit‘s Anker‘s Summer Shirt on the needles. I love the clear lines on this pullover, but I‘ve taken a break to ask the Internet what the pattern means with Marker stitches. I‘ll add an update when I figure it out.
I originally thought of pairing this fairly easy knit with easy-on-the-eye binge-watching, but as the German saying goes: things always go a little differently as planned. I cannot tear my eyes away from the screen to keep track of my needles. I‘ll have to work on that.
Bauhaus-A New Era /source:imdb.com
I‘m watching „Die Neue Zeit,“ (Bauhaus: A New Era) about the start of the Bauhaus movement. Yes, Bauhaus-Autumn has started, with a six part series. It’s got more content than the film „Lotte am Bauhaus“ (English: Bauhaus), which was ‚inspired‘ by the experiences of Bauhaus designer Alma Siedhof-Buscher.
Clip „Lotte am Bauhaus“
Arte promo for Bauhaus: A New Era
I am absolutely thrilled that these stories are being told from the perspective of female characters. That’s one way in which the #MeToo movement has affected Germany.
Already, I‘m one episode in (5 to go), and they get straight to the point: how could a movement so committed to overturning the old order, continued repressing women.
Speaking of old order, it‘s amazing to see the fashions on the different characters, 1890s, 1910s and pre-1920s, which position the female characters exactly.
The Weimar old guard, in the form of old school artist Hans Gros painting the Baroness von Freytag-Loringhofen’s portrait painted on her lawn. There are gardners in the background clipping shrubs. Her guest and political co-conspirator is drinking lemonade (I hope!) from a gold-rimmed glass, while she poses in a sunhat on a striking rattan chair). Interesting the power she yields because of her wealth and engagement in Weimar art circles.
In terms of art, they want to defend the old way of doing things. They believe they know everything they need to know, and resist any new ways of seeing or doing art. In terms of fashion, it absolutely fits that she’s ten years out of fashion, holding on to the past. Reminds me of the Dowager Countess, Lady Violet Crawley from Downton Abbey.
Then we have these two young students who at the start couldn’t be more different: Dörte Helm, who is still wearing corsets and 1900s skirt-suits, trying to please her father and all the professors. Gunta Stölzl, who is wearing a knit jacket over free flowing clothes sans corset and who isn’t afraid to answer back to a professor.
We get a fairly good idea of what Weimar student life looked like, but also the little details of what it meant to be a woman in this time of transition. On the one hand, Dörte is escorted to school by her father, and seems to dread getting married. On the other, Gunta comes into the train compartment and proceeds to cut off her (wartime Red Cross nurse uniform) dress sleeves because she‘s hot. In front of several strangers. She’s not afraid to shock folks.
Gunta and Dörte/ source: arte.tv
Gunta‘s weaving/ source: arte.tv
There‘s a scene where Gunta is doing some light evening weaving, and although they start talking about guys, the conversation shifts to crafts. Gunta asks Dörte if she knows how to do any handcrafts (knitting or weaving). Dörte shows her scarred hands and replies that she learned in her girls‘ school, where mistakes were punished. And I thought it was amazing how much was packed in there about class, wealth, women‘s education, handcrafts and even our ideas of creativity (pattern vs intuitive process).
So yes, passes the Bechdel test. I‘m looking forward to bingeing this at some point this month.
KAZAN, RUSSIA – JUNE 27: Mesut Oezil of Germany reacts during the 2018 FIFA World Cup Russia group F match between Korea Republic and Germany at Kazan Arena on June 27, 2018 in Kazan, Russia. (Photo by Alexander Hassenstein/Getty Images, )
In honour of France’s triumph, winning their second star at the FIFA World Cup Football championship, I thought I’d take a look at knitting in my neighbour country! But then the Trevor Noah thing happened. And then the Mesut Özil thing happened here in Germany. So I went from “Yay!” to “Yeah!” to “Whaaaat?!”
Apparently, Trevor made a joke on his New York based comedy show, The Daily Show, about the win being a win for Africa. The French Ambassador took offence, and wrote him a strict letter, which Noah read on-air and replied to.
At that point, I wasn’t sure I would post here, even though I believe Trevor hit the nail on the head about immigration and the fundamental question each immigrant faces: assimilation vs integration, and what that really means in practical terms. It is not only France, that feels more comfortable if an immigrant sloughs off his/her previous identity to adopt that of the new homeland. Germany does too. And now, that balloon has popped: Mesut Özil.
Of course, I could be cynical and point out the famous Summer news hole (Sommerloch – slow news cycle), where there’s not much going on, so strange topics fill the news in late July-early August, but it’s an important point.
While most folks think Özil shouldn’t have been hanging out with Turkish Prime Minister Erdogan, his scapegoating for Germany’s poor World Cup showing was uncalled for. And he’s thrown in the towel. He feels discriminated against, as is clear from his Twitter statement.
Which brings me back to a film about the same topic: life for immigrants in Europe, “The African Doctor”/ Bienvenue à Marly-Gomont. The film is about a medical student from Zaïre, who tries to open up a practice in northern France in the 1970s and the difficulties of integration he and his family faces. The happy ending is ONLY secured because the villagers don’t want to lose their most talented footballer.
The film is based on a true experiences of French-Congolese musician Kamini. It’s billed as a comedy and was fairly popular in both France and Germany. Although the film probably won’t be released in UK or US cinemas (please correct me if I’m wrong) due to racial sensibilities, it has been reviewed positively.
What struck me, was what the family, especially the wife (played by Aïssa Maïga) had to give up to follow her husband to France. This of course was glossed over and left uncommented on in the movie: she left her family behind, her comfortable upper middle class existence in Zaïre only to be confronted with people’s backward stereotypes.
On the upside, the 1970s was full of brightly coloured knits and crochets. Emmanuelle Youchnovski did a lovely job capturing the vibrancy of the cosmopolitan world citizens of the 1970s and telling the story of the clash of two worlds through the textiles.
Now, thanks to the Sommerloch, we now have a #Metwo tag and moment, where people with diverse backgrounds can talk about racism and discrimination in Germany. Things won’t change overnight, but it’s a start in the right direction.
As I wrote earlier, the german title pretty much gave away the idea that they were trying to make an Amelie film, but I was looking forward to the knitwear. Which was a bit of a letdown, but I started thinking about why people love gardening, gardens, and what the film has tried to say about life.
Bella is an orphan, who was abandoned in a box in a park. That would make anyone anxious, I‘d imagine. Bella attempts to control her life by imposing extreme order on every aspect of her life. She doesn‘t want to let in any chaos, which brings us to gardens. Nature can be chaotic, unpredictable and well, wild. That‘s why humans developed order and culture to tame Nature in its various forms: none more lovely than the garden.
A garden is the creation of order from chaos. It’s the creation of a little paradise, or eden. A refuge from the wild or hectic hustle and bustle of daily life. A chance to centre oneself and reconnect with nature and one‘s self. In fact, it is only when Bella is able to reconnect with Nature through her garden, that she is able to connect with her own creativity and attain her goals of becoming a writer, making friends, finding love and overcoming that anxiety.
Although the garden shots were lovely (although whose point of view were the out of focus flowers supposed to represent?), there were too many references (the story in the story brought ‚The Little Prince’ to mind) to other works for this to shine on its own merits. It was predictable, but that can be comforting at times. If you want a little more excitement, look into how many instances of twinning or doubling you can spot throughout the film.
From gardening, it‘s a short jump back to crafting and knitting, because it‘s all about taking that „chaos“ or undefined potential and making something out of it. And that’s why I love knitting.
One reason I cherish the day I stumbled upon Ravelry, is the community. Thousands of people who love handcrafts just like me. A place where it’s ok to geek out about yarn or the knits seen in a film.
Knitters actually left the movie theaters after watching Black Panther and got on Ravelry to find out more about that knit shawl/wrap.
Some knitters were wondering about the yarns used, while others wanted to know about the designer, if there is an official pattern out, and still others just want a good look at the piece, to see if they can reconstruct it.
So threads popped up on Ravelry, and sure enough fellow knitters posted pictures of the shawl within days. The shawl is on show in Los Angeles.
There’s been an impressive amount of detective work going on,
While some are waiting patiently, there is a very subtle convo taking place where folks want to make this piece but have to refrain from Reverse engineering it too closely or putting out patterns using the names of Black Panther or its characters, which are of course protected by Marvel copyright. No one wants to get caught in that trap!
What has impressed me though, is a new group that has popped up on Ravelry, which seeks to inspire knitters to take the Black Panther knit as creative inspiration.
That to me embodies the spirit of afrofuturism, where such a small thing like a handknit shawl in a movie can inspire the ongoing creativity of so many knitters and crocheters around the world.
It’s taken me a while to gather my thoughts on this film, because I had to continue with real life, while reflecting on what I had seen.
To be honest, I learned one thing and was reminded of another. I learned that filmmaker Ryan Coogler is not to be messed with. His newest film, Black Panther proves that he’s a talented director able to work on several conceptual levels, who is able to take what should be a ‘simple superhero film’ and turn it into something else altogether. Is there a category called ‘Superhero-Politthriller’?
Yes, it works as a superhero film that kids will have a blast watching. It even works as a faithful comic book adaptation. As a gorgeous love letter from the African Diaspora to the Motherland, it hits the ball out of the park (Well done Ruth E. Carter and the production team! Amazing job!)
It also works as a double-whammy political thriller. On one level, this afrofuturistic piece deep-dives onto the political intrigue following a change in government (head of state). On the other hand, it is a thought-provoking piece, which very subtly compares the US (and parts of the Western world in the throes of wrestling with issues of identity and ultra-conservative xenophobia) to the proud nation of Wakanda. High tech force-shields do the same thing that Mexican Walls are supposed to do.
I will admit that I was lulled into the haze of I-have-to-accompany-my-child-to-the-cinema mixed with admiring the costumes and production design, until one phrase jerked me wide awake: “The Sun will never set on the Kingdom of Wakanda.” I won’t lie, even as a naturalized German, the chills ran down my spine (because 1933-1945). These folks are such an advanced nation, and they are xenophobic. For me, it is therefore disconcerting to see folks running around post-cinema experience beaming “Wakanda Forever!” (And the Daily Beast’s Ira Madison III thinks so too).
That the society within the film manages to tackle such a thorny problem that propels them to the brink of civil war is makes it no less compelling for theater-goers to ask themselves what type of society do we want to be. And to keep talking about it.
That was the reminder, that comic books are often not just about fighting or solving problems with violence, there is a message, if you care to look.
And now, the handcrafts:
The fabulous blankets, seen above, are made in Southern Africa, and are called Basotho Heritage Blankets. Notably, worn by the royal family and their guest (for the sake of accuracy, the border guards/tribe do wear a similar blanket which appears to be part of a uniform). Regular people like Nakia (played by Lupita N’yongo) seem or choose to make do with knits and crochets.
This shawl-wrap was the only knit I spotted. It seems to be long, rectangular piece, done in stocking stitch with an occasional row of eyelets interspersed. While this knit is done in fairly sombre tones (at a fairly sombre point in the story) of her signature greens and blues of the River tribe, by the end of the film, she is in a lovely sparkly green crocheted pullover with a single cut out shoulder.
I watched this film with my in-laws and kids recently. I was struck by how differently we viewed the content matter of the film. My kids loved that the children didn’t have to go to school, and hated that the mom had died. My in-laws loved how free-thinking and independent the kids became. I was struck by the colourful knits and the idea of self-sufficiency woven through the film.
It wasn’t until I was explaining to my father-in-law that Viggo Mortenson’s T-shirt was from African American politician Jesse Jackson’s (and not the cowboy outlaw Jesse James’) failed presidential run, that it hit me: Almost all the clothes the family wore was thrifted.
Whereas some of it might have been adjusted or embellished, the clothes were reduced to their original function: to cover and provide warmth. Seen that way, it’s absolutely irrelevant that the T-shirt was from 1988.
These days clothes mean so much to many, shaping and projecting their identities. Or the identities they would prefer to project. Never have we been freer to wear what we want, how we want it. So free, in fact, that a refusal to follow any types of norms of society is also a clear message. Although it may be a message that the intended audience doesn’t, cannot or will not read correctly. This theme is played out constantly through the film: two value systems constantly clashing. Thesis and antithesis.
So what is this anti-fashion message? My guess is that clothes should be about us, and how they make us feel, rather than about labels. The mom wanted everyone to come to her funeral dressed in their brightest party clothes, to celebrate her life rather than mourn her death. How can anyone be sad in a bright red disco suit? Or Missoni lookalike hotpants? Or a killer whale onesie?
Do your clothes make you happy?
Link: The New York Times review and interview with the costume designer.
I cannot believe I forgot to write about this. I meant to. What happened was, I went to the cinema with my fashionista girlfriend. We watched it. Then walked out speechless, went for drinks to catch our breaths.
And I never got to writing, because I honestly couldn’t put it into words. Reiner Holzemer’s 2017 film is, as advertised, very intimate. For an hour and a half, we learn about a fascinating designer, who might pass by unrecognized in the streets. He looks like an accountant.
Yet, by the time Holzemer is through, we’ve learned not just about how and where this designer lives (his garden is amazing! In fact, to see him working in his garden reminds me very much of Alex Pang’s Rest) but also about what it takes to produce a collection. Van Noten has a great sense of humour and a lovely dog.
Which isn’t quite how I wanted to end the review, so I found this picture. From the same Ready to Wear collection, but with a knit. I think Dries shows that it doesn’t matter what someone looks like on the outside, it’s the inner life of the artist that counts. How closely he works with his team, from the suppliers, producers, his design assistants, how he experiments with motifs (he’s a master of prints), placements, combinations, and how even so, he’s willing to let go something that isn’t working.
Aren’t those gloves just stunning?
More Dries: The New York Times’ Into the Studio video interview with Dries van Noten. He talks about the importance of place and his designing space.
And Ann Shayne from Mason Dixon Knittingexplains why Dries is a designer’s designer.
Around this neck of the woods, the Wonder Woman film seems to be the guilty pleasure of a whole bunch of my girlfriends, who would honestly never set foot in the cinema to watch a superhero flick.
As a knitter, I often wonder what one could knit to mark an occasion and I was catching up on my Fringe Association reading, and saw Karen just found someone who worked on the Wonder Woman theme: Carissa Browning.
The Wonder Woman Wrap is (currently) a free pattern on Ravelry, and uses short rows to create the W’s. Yes, I have downloaded the pattern (Thanks Carissa! You’re a knitting amazon!) but woke up this morning pondering in which colours to knit this. Red and gold are definitely amazon-glam, but would sadly be most appropriate for Carnival time in February. And then I saw this:
Aparently Muzli is an app, than can isolate the main colours from a photograph into a colour palette. How cool is that? This colour palate is much more flexible than the red and gold… Port wine and blush?
There are, at time of writing, 308 projects on Ravelry in various colour combinations – from red+gold to light and dark grey, blue+grey and so on. Of course, there’s a Knitalong forming, because that’s what knitters do…
What more can I say, other than, ‘Well done Carissa!’