There is a perennial in a pot near my garage that comes back year after year, surprisingly. It’s merely protected by a small pine tree in the pot and probably exposed to everything—the downpours pounding off the roof of the garage, the pine needles piling up around it, shredded from the neighbor’s tree, big clumps of snow heaped onto it after a snowstorm. That poor little flower suffers the vicissitudes of nature and yet comes back again and again to greet us with her joyful color and smile.
Eshi Otawara’s newest dress brings that dianthus to mind, least of all because she has stamped a flower resembling the dianthus all over this ensemble. (Eshi is her own kind of dianthus—always greeting me with her beautiful smile.) One thing about Eshi’s body of work in SL—it’s consistent. It makes sense from piece to piece. There is a clear sensibility and voice to it. Eshi knows how to weigh the elements and make them into cohesive, coherent pieces that fit into a larger body of work. It’s a rare gift that we have an artist use SL’s medium with such dexterity and strength of vision. I can only think of Scope Cleaver matching Eshi’s skill with SL.
There is something almost Victorian about this ensemble with its ornate hip pieces, skirts and broad bustle and trailing train. Maybe it’s the satiny textures or the lace or the almost rococo fans bookending the hips. Surely the beautiful crenellated shells on the hips emphasize the ornate theme of the ensemble. Probably it’s that beautiful blossom of a hat, perched on the head and pinned through with one of Eshi’s characteristic oversized head skewer pins that brings a Victorian flower to mind.
What makes the ensemble even more cleverly designed is its versatility. She includes a pants suit with a simple hip wrap and the more ornate hip pieces you see above. She includes the absolutely adorable purse as well and the elegant gloves. She also gives you a short skirt that can be stripped down to this ensemble. When Eshi makes something, she works on it until it’s complete, adding and removing pieces until it’s right. It reminds me of a quote I once heard about how to know when a poem is finished.. when you’re adding and removing the same comma over and over.
I can only grace Eshi’s work with a most delicate skin. This skin, by Brendon Papp, is gently colored, not bent on outshining this brilliant work but quietly and beautifully supporting it. I have been looking at these skins for the past day and am enrapt with their coloring and delicateness.
A profusion of pink roses bending ragged in the rain speaks to me of all gentleness and its enduring. ~ William Carlos Williams
Hair: Kin-Cricket-[Black] by Kin Keiko for Kin
Skin: !Imabee: Stigma – Umeko – Rainforest / DKbrow by Brendon Papp for Imabee
Ensemble: Aria Pompadour (Rouge) by Eshi Otawara for Eshi Otawara *
Shoes: Maitreya Verve Pumps – Red by Onyx LeShelle for Maitreya