Iron your man...

Mario Sorrenti took the shots.

Selim Mouzannar

A Riccardo Tisci (Givenchy) dress.

Happily ever after?

[Dirty Talk]

Kitten Heels, Lingerie,
Pantyhose, Foreplay,
Legs up, on the bar,
In the back of your car,
Latex, champagne,
Bubble bath, whipped cream,
Cherry pop tactic,
Can you make me scream

I wanna do some dirty things to you tonight,
I wanna fight, all through the night, night…

I am no angel
I like it when you do that stuff to me
I am no angel
I like it when you talk, dirty when you talk

[Dirty Talk]

Blindfold, feather bed,
Tickle me, slippery,
G spot,nasty pose,
In a video,
Love machine, by myself,
Climax,hot wax
S&M on the floor, i like it hardcore

I wanna do some dirty things to you tonight,
I wanna fight, all through the night, night…

I am no angel
I like it when you do that stuff to me
I am no angel
I like it when you talk, dirty when you talk

I am no angel
I like it when you do that stuff to me
I am no angel
I like it when you talk, dirty when you talk

[Dirty Talk]

Can you go down,
Are you up for it, baby
Can you turn me out, are you up for it

Talk to me..talk to me..
Talk dirty to me.. talk dirty to me

Talk to me..talk to me..
Talk dirty to me.. talk dirty to me

[Dirty Talk]

I am no angel
I like it when you do that stuff to me
I am no angel
I like it when you talk, dirty when you talk

I am no angel
I like it when you do that stuff to me
I am no angel
I like it when you talk, dirty when you talk

Christian Louboutin Sues Yves Saint Laurent For Making Red-Soled Shoes

Gorillas are good. They're big, but they're good.




One of my favourite movies all time.
H hates it, doesn't understand it at all.
He calls it my "Gorilla-movie".

David Warner and Vanessa Redgrave.

It's become tiresomely fashionable of late to be loudly dismissive of the 60s. This rarely comes from those who lived through it, but that new breed of comics and TV presenters who appear to have traded in humour for a sneering but directionless cynicism and a self-satisfied pursuit of fame and/or notoriety. The 60s were bollocks, they assure us. They weren't even born then but they read about it somewhere and it sounds rubbish to them. Well bollocks to that. I wasn't there either but it's a period of western history that always sounded pretty damned good to me, particularly when compared to the altar of unprincipled greed at which so many now seem happy to pray. Frankly we could do with a little of the rebellious spirit that makes that particular period seem so retrospectively attractive. Last year's student protests filled my heart with a nostalgic glow, and net-based action like Operation Payback and the twitter-organised demonstrations against corporate tax avoidance saw a new breed of technologically skilled revolutionary flexing their muscles in a battle with the giants of international corporate capitalism. Ah, it brings a tear to my eye.

Artistically the 60s were also an exciting time, a new freedom in art, literature and cinema reflected in a willingness on the part of film studios and television to take chances and encourage new talent and experimentation. Widespread opposition to the war in Vietnam and the establishment in general also meant that socially conscious writers and filmmakers had an appreciative audience, which made their projects potentially attractive for those willing to put up the production dosh. In this pre-digital age even small scale features were expensive to make, which for left-wing filmmakers sometimes meant sleeping with the enemy, one whose lack of scruples meant they'd throw funds at anything that might turn a profit, whatever its political persuasion. But then there's something rather gratifying about a system that willingly forks out for a work that criticises and encourages rebellion against it, hence Lindsay Anderson's proclamation that the duty of the artist is to bite the hand that feeds, a guideline I still treasure and encourage everyone to live by.

It's this creative rebellion that makes Morgan Delt, the title character of Morgan: A Suitable Case for Treatment, a splendid but too rarely screened blend of drama, comedy, pathos and social commentary, both a product of his time and so retrospectively refreshing. A self-confessed dreamer with a gorilla obsession, he is damaged contradiction, a working class artist with revolutionary tendencies who kicks against established thinking but who has married into money and who refuses to accept that his wife Leonie is divorcing him to marry middle-class gallery owner Charles Napier.

It's initially difficult to be sure whether Morgan's refusal to give up on Leonie is born of love or a male sense of possession, which extends to his refusal to vacate a house that, although owned by Leonie, he still regards as his home. This battle for ownership continues when he moves into Leonie's car, foiling her attempt to have it repossessed and setting up home only yards from her doorstep. But the emotional root of his attachment is eventually revealed when he kidnaps Leonie and transports her to an isolated Welsh lakeside, where the trappings of suburbia are traded for a tent, and the shivering and frightened Morgan tells her in all sincerity, "Nothing in this world seems to live up to my best fantasies, except you."

For a good part of its running time the film revels in Morgan's anarchic determination to win back his wife by whatever means possible, wiring the house up with speakers to sabotage Charles and Leone's love life, placing a small bomb under the marital bed that is inadvertently set off by Leonie's prim mother, and confronting Charles at his gallery with gun, knife and knuckle duster, a move his would-be victim dismisses by refusing to take the threat even remotely seriously. It's Morgan's resulting sense of emasculation that may well be at heart of his fascination with gorillas, whose chest-beating, arm-dangling and facial expressions he imitates in a simian demonstration of male ground-standing, one dismissed by others as further evidence of his mental instability. Increasingly he views human behaviour in animalistic terms, his observations intercut with associative wildlife film clips and extracts from King Kong and an unidentified Tarzan movie.

What keeps Morgan from giving up on Leonie, and us from writing him off as hopelessly deluded, is Leonie's self-doubt at the decision she has made. Living with Morgan has clearly driven her to distraction, but the stability Charles represents comes at a price, lacking as it does the passion, spontaneity and sheer fun that presumably drew her to Morgan in the first place. It's to the credit of all concerned that this uncertainty is never overplayed – an unappreciated moment of wildness in Charles's convertible, her excitement at the prospect of the two men fighting for her virtue, the brief crumbling of her stoicism to comfort him when his bluster fails. There's thus an element of truth to Morgan's warning to Charles: "You don't know Leonie! She married me to achieve insecurity and you're trying to take it away from her. She won't thank you for that!"

Text from http://dvdoutsider.co.uk/dvd/reviews/m/morgan_a_suitable_case_for_treatment.html

Photgrapher: Mario Testino

For UK Vogue April 2011

Photographer: Txema Yeste

I really freeze and feel destroyed

when my muse is at hospital due to emergency.

Worried.

I definitely can't take H rudeness at such moments.

Like yesterday he said he missed the bus.

Normally he calls so I asked how come he didn't.

Answer:

"Why should I" and a cold stare.

for your consideration, darling...

Well as I know H is still in contact with "Snake"

(who actually looks more like a toad)

it's easy to spot when the attitude will strike.

I can smell it

I want decent time, though

so I normally shut up.

Funny

French male friends

don't give a shit about their male friends

when they are in a relationship

(We have tried to invite "friends" so many times during the years!)

BUT when it's over

they become overly needy and jealous of the spouse

claiming their old friendship.

Some men become obedient dogs

and obey their re-newed master.

AWKWARD!

"Crystal Power"