THE BAG : BRIGHT TOTE
Black? Yes, but with a Bright touch!
CREATED BY Volverup
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Entirely handmade the Bright Tote, the latest creation of Volverup , is characterized by the combination of different waste materials. The exterior is made from strips of vintage wallpaper (60s and 70s) glued to TNT (non-woven) and make up the outside of the bag, while the nanotechnology in textile allowed to coat the upper and lower edges with a scratch-resistant and stain resistant fabric used in upholstery. The straps are made of leather. The interior lining is made in a fabric called Monaco also recycled from advertising banners.The juxtaposition of the white and black colours are cleverly combined in a winning combination in which alternating two colour geometries is striking for its neoSixties attitude, which makes this bag quite contemporary. The black and white seem to represent the yin and yang, masculine and feminine, but also the opposition between Eros and Thanatos, Love and Death, two opposing impulses enclosed in the character of Constance Reid, the female protagonist of the novel by DH Lawrence, Lady Chatterley’s Lover. Before marriage, she is simply Constance Reid, the progressive social and intellectual daughter of a Scottish painter. As the bag Bright represents a revolution in materials so the interweaving of the two colors, black and white, the soul of the woman who, after marrying Clifford Chatterley, an English baronet, assumes the title of Lady Chatterley has a dark and a bright side. As the bag Bright represents a revolution in materials so the interweaving of the two colors, black and white, symbolizes the revolution in the woman’s soul who, after having being plunged into darkness by her wedding to Sir Clifford, she discovers the true passion that will bring a new light in her life.
THE CHARACTER : LADY CHATTERLEY
Constance, his wife, was a ruddy, country-looking girl. Lady Chatterly’s Lover with soft brown hair and sturdy body, and slow movements, full of unusual energy. She had big, wondering eyes, and a soft mild voice, and seemed just to have come from her native village. It was not so at all. Her father was the once well-known R. A., old Sir Malcolm Reid. Her mother had been one of the cultivated Fabians in the palmy, rather pre-Raphaelite days. Between artists and cultured socialists, Constance and her sister Hilda had had what might be called an aesthetically unconventional upbringing. They had been taken to Paris and Florence and Rome to breathe in art, and they had been taken also in the other direction, to the Hague and Berlin, to great Socialist conventions, where the speakers spoke in every civilized tongue, and no one was abashed.
Rebellious and revolutionary heroine because of her youthful experiences that make her inadequate to the rigorous life of a high society lady, she is driven to oppose both the conventions imposed by her social position and to male power. Connie Chatterley shows no excess of romantic tendencies, but she’s a real woman of the twentieth century who does not search for loving adventures for her whim or to escape the boredom and banality of a mediocre provincial life, but to assert their independence and realize her desires. The marital infidelity leads to the evolution of the character and the maturation of the protagonist who, awakened in the senses, thanks to the encounter with the gamekeeper Oliver Mellors, born to a new life, a life in which Eros,( Love) definitely prevails on Thanatos,(Death) and light prevails on darkness. Lady Chatterley, in fact, finds in Love the regenerating power of love and sensuality and starts a new life characterized by the presence of passion. Only leaving room to love, understood as physical love, and re-establishing a direct contact with Nature, man will be free from slavery to modern industrialization and restore the balance in the Man / Woman relationship. Not by chance, in fact, the amorous encounters between Connie and the gamekeeper Mellors, take place in the midst of nature, away from the salons of the aristocracy. So the forest, with its “sky clear as crystal” and “the moon shining in the twilight over the oaks”, assumes a very important role because it is the symbol of a pristine place that is the backdrop to the celebration of Love by the two lovers. They become the representation of life in opposition to the void and sterility of Wragby Hall, the estate of Sir Clifford. The celebration of life finds its highest expression at the point where the heroine wakes up to love and the gamekeeper, who had retired to a quiet life of isolation in the woods, comes back to life. In fact, after the passionate encounter occurred in his hut, Mellors says: “I thought I had finished with all these things. Now I started “and Constance in return asks:” What started? “-” The Life “-” Life? “-” It’s, Life … . There’s no keeping clear. And if you do keep clear you might almost as well die. So if I’ve got to be broken open again, I have.’ On hearing these words Connie experiences “a strange thrill,” all of a sudden she realizes that the words of her lover also concern herself. The gamekeeper, Mellors, is a real “living” man in contrast to the emotionally dead intellectuals attending Wragby Hall. His inner warmth and sensuality connect him directly to the forest and to the old pre-industrial, pastoral England. The forest, with its primordial beauty, acts as a catalyst for the release of the vital instincts of the two lovers who, before meeting, had lived surrendering to the sterility of a life without passion. But now, Lady Chatterley says “Life is nothing but Love” and Mellors squeezes her strongly to his chest “with the ancient passion that makes one of two creatures.” Lady Chatterley, therefore, finds true love over the carnal passion, precisely in this man who seems to be a kind of materialization of the spirit of the natural forest. With the naturalness of his simple life, the gamekeeper lives away from the shackles of the rigid and materialistic post-war society, so he is able to awake Connie’s passion that had been destroyed by the dormant life devoid of vital stimuli she was leading at the villa of her rich, intellectual husband. The forest and the awakened senses bring to light the interior dimension of a woman who feels repulsion for appearances. This is the reason why, although her husband offers her material security, Connie is dissatisfied with her marriage and surrenders to the charm of the gamekeeper who, as a Romantic hero, choses to live alone in nature to get away from the strict rules imposed by society. The moment he asks her to follow him into his hut Lady Chatterley decides to “die” to her old life to follow the bright path that Eros, the god of love, has shown her. And it is precisely in this conscious choice that she expresses the independence conquered by the modern woman who is able to make a change in her life by abandoning the world of appearances and money to fulfill herself and her desires.
THE STORY : Lady Chatterley’s Lover
Constance Reid -or, as she is known throughout the novel, Connie- marries Sir Clifford Chatterley and assumes his title, becoming Lady Chatterley. They live in Tevershall, a grim and soulless coal-mining village in the Midlands, in their family seat, Wragby Hall. The marriage takes place during the first World War, a shattering experience for England and all of Europe, and quite literally for Clifford, who is badly injured in combat, paralyzed from the waist down. Forced on a motorized wheelchair Clifford becomes totally dependent on Connie, and she tends to him diligently and sympathetically. But she notices that he seems curiously detached from his surroundings, disconnected from other people; he is unable to relate to the workers in the coal mines that he owns, seeing them more as objects than as men. Clifford cannot have children but he becomes a successful author, absorbed in writing short stories, and Wragby becomes a sort of salon for young intellectual. However Connie is not happy with her marriage and becomes restless, beginning to realize that her life is filled with empty words, and not the vitality of the sensual. She feels isolated; the vaunted intellectuals prove empty and bloodless, and she resorts to a brief and dissatisfying affair with a visiting playwright, Michaelis who, despite his success, is treated by the British aristocratic intelligentsia as an outsider. One February morning, Clifford–in his electric wheel chair–and Connie go for a walk in the woods on the Chatterley estate. There they meet Oliver Mellors, the gamekeeper and Clifford bids him accompany them to help the wheelchair up any hills. Mellors treats Clifford with cold respect, and utterly ignores Connie. As time goes by Clifford becomes obsessed with writing and the coal mines so the distance between himself and his wife grows more and more. Connie begins to realize, more clearly than before, that Clifford’s injury in the war has also damaged his soul. His writing and his mental life, while clever, seem ultimately devoid of substance and his emotional vacuum spreads to her who,longing for real human contact, falls into despair, as all men seem scared of true feelings and true passions.
One day, walking through the woods, Connie has a chance encounter with the gamekeeper, Mellors, who lives in a hut in the wood near Wragby Hall. They begin a relationship which is a revelatory and profoundly moving experience for Connie; she begins to adore Mellors, feeling that they have connected on some deep sensual level. They grow closer and closer but their history comes to a break when Connie’ s sister, Hilda, decide sto take her to Venice for a regenerating holiday. Clifford makes her promise that she will come back to him, but she is secretly planning her final escape with Mellors to the British colonies.
During her trip to Italy Connie receives a letter from her husband who informs her that people in Tevershall are rumoring about her relationship with the gamekeeper. Mellor’s old wife has come back and she’s causing a scandal. In the meantime Constance finds out she’s pregnant so she comes back to England and admits to Clifford that she is pregnant with Mellors’ baby. However he refuses to give her a divorce and the story ends with Mellors working on a farm, waiting for his divorce, and Connie living with her sister, also waiting in the hope that, in the end, they will be together.
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