Chic French Quotes

Logos and branding are so important. In a big part of the world, people cannot read French or English--but are great in remembering signs

Joie de vivre is the opposite of this – it’s about graciously gliding through life as if you were making life happen to you instead of life happening to you.

There's a fortune of Authentic Vintage French Linen Tea Towels on every clothes line. These are the exact kind of linens that specialty shops in America sell for top dollar to affluent customers who pay dearly to add that touch of French Farmhouse Fabulousness to their million-dollar McMansions. Flaubert is so wrong. Even wash day in Normandy is achingly chic.

but the officers danced assiduously, especially one of them who had spent six weeks in Paris, where he had mastered various daring interjections of the kind of—'zut,' 'Ah, fichtr-re,' 'pst, pst, mon bibi,' and such. He pronounced them to perfection with genuine Parisian chic, and at the same time he said 'si j'aurais' for 'si j'avais,' 'absolument' in the sense of 'absolutely,' expressed himself, in fact, in that Great Russo-French jargon which the French ridicule so when they have no reason for assuring us that we speak French like angels, 'comme des anges.

Boutique, as in small, gifted, and expert in one specialized area. Boutique, as in pretty cool and chic, right down to the Frenchness of the word itself. Boutique, as in thoroughly happy to be small, selective, and prosperous.

Veramente particolare! You know what this word means?” She looks straight at me, and I feel very large and under-made-up by comparison with her Italian chic. “‘Particolare’? It means strange, or odd. You say this word when you don’t like something but you don’t want to be rude.” “Well, that’s not something you ever have a problem with,” Kendra snaps back, and even through my upset at Elisa’s meanness, I admire Kendra’s quick wits. Catia clicks her tongue crossly. “It means ‘special,’ or ‘particular,’” she says to me reassuringly, but we all know that Elisa’s hit the nail on the head. “And Elisa, if you don’t like flowers, you can leave us, please.” “Oh, stai zitta, Mamma,” Elisa says, shrugging exactly the same way her mother does. She walks across the room and out the french windows, where she collapses as if boneless onto the wicker chair, lifts her phone, and sips her espresso while dialing a number. “It’s like ‘darling,’” Paige says suddenly. She looks at our bemused faces. “My grandmother’s from Georgia,” she explains, “and there, if you want to be mean to someone, you say her bag of her hair or something’s ‘darling.’ It’s the worst thing you can say. Like you’re paying a compliment, but it’s really the opposite. Or,” she adds, warming to this theme, “if you’re talking about someone and you say ‘Bless her heart!’ that means you think she’s a total moron.” Catia decides, visibly, to ignore Paige’s comments and her daughter’s horrid behavior.

In the windowpane I caught a glimpse of myself: fat, badly-dressed, the seams on my skirt about to burst, my hair in need of a trim, my shoes run down at the heels, yet for once I didn't give a damn. I thought of how anxious I had been about this city, its intimidating chic, its hostile shopkeepers, Simone de Beauvoir's opinion of me, my clothes, my hairdo, my weight, my inability to speak the language properly. "Bonjour, Madame," I said to the proprietor in my fractured French. "Deux litres du lait, s'il vous plait." Why do we always worry about the wrong things, I wondered?

Over the last decade, entire neighbourhoods have lost their identity to the ever-growing clothing retail market. Since my first visit to the Marais quarter of Paris in 2003, I have seen the area shift from a charming, off-beat district featuring a mix of up-and-coming designers, traditional ateliers, bookstores and boulangeries to what amounts to an open-air shopping mall dominated by international brands. In the last five years, an antique shop has been replaced by a chic clothing store and the last neighbourhood supermarket transformed into a threestorey flagship of one of the clothing giants. The old quarter is now only faintly visible, like writing on a medieval palimpsest: overhanging the gleaming sign of a sleek clothes shop, on a faded ceramic fascia board, is written ‘BOULANGERIE’. In economically developed countries, people’s motivations for spending money have long since shifted from needs to desires. There’s no denying we need places to live in, food to nourish us and clothes to dress ourselves in, and, while we’re at it, we might as well do these things with a certain degree of refinement to help make life as pleasurable as possible. But when did the clothing industry turn into little more than a cash machine whose main purpose seems to be its own never-ending growth? Just as clothing retail shops are sucking the identity out of entire neighbourhoods, so that the architecture becomes little more than a backdrop for their products, the production of the garments they sell is eating away at the Earth’s resources and the life of the workers who are producing them. Fashion has become the second most polluting industry in the world. And with what result? Our wardrobes are cluttered with so many clothes that the mere sight of them becomes overwhelming, yet at the same time we feel a constant craving for the next purchase that will transform our look.

Every gal needs a great white shirt. The good news: you don’t have to spend a bundle. Find one that tapers in at the waist for a sleek silhouette. Or choose one with a crisp collar, worn un-tucked, à la Audrey Hepburn, for a chic, casual look. For instant elegance, try a classic French cuff dress shirt; the required cufflinks lend built-in style.

I could see myself in that café. I was there, at that table, maybe admiring a new pair of French shoes, purchased in a chic little boutique, or picking at a pastry with Parisian red fingernails. I could taste the coffee, smell the smoke from the next table’s Gauloises.

Since food is so easily available in the USA, adopting French habits such as no snacking, eating only at meals, eating only when seated can counter the tendency to instant gratification. Dining

French women seem less confused, less tired, less aggressive, less angry than American women. She sums them up in one word: happier. Ms.

French women seem to see themselves as members of an exclusive sorority La Société des Femmes Françaises. As members, they encourage (pressure actually) each other to be slim and careful about their appearance. Competitive American women sabotage each other’s weight loss efforts. If you don’t believe this, lose five pounds and see what happens. In

Even Silence Has an End: My Six Years of Captivity in the Colombian Jungle in

RIVER QUAY In Kansas City, if one were to bring up the topic of River Quay (pronounced “River Key”), that conversation would no doubt evolve into a conversation about River Market. Today, River Market is a hip-and-trendy neighborhood in Kansas City, Missouri. Located just south of the Missouri River. Adorning River Market’s quaint neighborhood feel, you’ll find chic eateries. Coupled to an urban lifestyle. Complete with a streetcar. A stone’s throw to the west of Christopher S. Bond Bridge. That’s today. Today’s River Market. Yesterday’s River Quay. In 1971, Marion Trozzolo - then, a Rockhurst University professor - began renovating historic buildings alongside the “Big Muddy” in a section of Kansas City that we now know to be River Market. It was Professor Trozzolo who came up with the River Quay nickname. Trozzolo’s idea for River Quay? For River Quay to undergo a thorough, artsy-remake. Into a Kansas City-styled French Quarter. A neighborhood comparable to Chicago’s Old Town. To San Francisco’s Ghirardelli Square. Trozzolo envisioned a family-friendly environ for River Quay. Unfortunately, the latter half of the ‘70’s was a rough time for this neighborhood next to the muddy Missouri. The word Quay? It's a word of French origin. The translation for Quay? Loading platform. Or wharf. Did River Quay ever become a Kansas City French Quarter? Did River Quay ever become a Kansas City Old Town? Did River Quay ever become a Kansas City Ghirardelli Square? Hardly. By the late ‘70’s, revitalization efforts in River Quay had stalled. Leaving River Quay saddled with boarded up buildings. Deserted through-streets. A neighborhood, with no vibrancy. Streets, with no traffic. Sidewalks, with no passers-by. By the late ‘70’s, developers were walking away from unfinished River Quay projects. Whereas River Quay had once - not long before - been primed for a grandiose new identity. One which bespoke of a rebirth for this neighborhood. A transition. From blight. To that of an entertainment district. Yet by the late ‘70’s, River Quay was not on its way to becoming Kansas City’s French Quarter. By the late ‘70’s, you’d still find an X-rated theatre in River Quay. With mob ties. Homeless, sleeping next to decrepit River Quay buildings. Empty River Quay buildings which had once been fancied as prime renovation opportunities. Projects, sadly cast aside and forgotten. In River Quay.  In the late 1970’s? Well, at that time, River Quay was as an unfinished idea. Full of unrealized potential. Full of unrealized promise. Disappointing, no doubt. Yet today, on those same grounds, alongside the Missouri River, we have Kansas City’s stunning River Market. A great idea. Then a detour. Yet, a happy ending - and a nice story, with a unique history- in Kansas City.

This is my cat, Juju," the woman says, noting my obvious confusion, maybe even my fear. "He's my good luck charm." "Uh, yeah," I say, backing away ever so slightly. That's some collar. I love the rhinestones. Trés chic." "Rhinestones? Don't be silly. I buy all his accessories from a jeweler. His collar is from Catier. As they say, diamonds are a cat's best friend." My upper lip twitches. Nobody has ever said that. And I'm pretty sure she means Cartier. She blows the cat a kiss, and I swear, if cats could smile, this one does, his giant face twisting with love or hunger. "He's huge," I say, watching his tail flick a bit menacingly. "He's a rare French breed, a Chartreux. He's just, how do you say? Big-boned?" She chortles out a laugh. "I really should put him on a regime like the vétérinaire said. He weighs nine kilos. Can you believe it? I strain my back when I try to pick him up. But he truly doesn't like les haricots verts or les courgettes. He's quite the gourmand." My head spins with confusion. I wonder, What cat would like green beans and zucchini? as I convert the math in my head. Her cat weighs around twenty pounds. And, apparently, he hates vegetables but adores his bling.

Everything that Paris still represents in terms of style is founded on a concept of value already evident in all the luxury commerce that flourished under Louis XIV's patronage. Value was not primarily about price and performance but was determined by intangible factors: it was a matter of aesthetics and elegance. It's not enough to offer customers a good product: you have to make them feel special by providing a hefty dose of emotion and drama along with the merchandise. The accessory initially rose to prominence as the most evident way of convincing women to want superfluous things and to change simply for the sake of change. Emma Bovary's precursors, women stuck in the provinces and dreaming of becoming as chic as that creature who became mythic just as soon as couture came into existence, the Parisienne. First, high fashion must advertise. Without advertising, la mode simply cannot exist. Without advertising, who would think to buy a Rolex rather than an ordinary watch? Only advertising can guarantee band recognition on a scale large enough to support an industry. Second, in the case of high fashion, the familiar adage is worth a thousand words is certainly true. And finally, nothing sells fashion more effectively than that heady mixture: sex and celebrity. Ads must create a lifestyle; consumers are looking for a brand that suggests the universe to which they aspire. Any truly innovative concept is only as good as its marketing campaign. In Paris you spend your money with so much more pleasure and contentment than in cities where you live almost in complete solitude, surrounded by your wealth but deprived of all amusement.

France’s national image was the product of a collaboration between a king with a vision and some of the most brilliant artists, artisans, and craftspeople of all time—men and women who were the founding geniuses in domains as disparate as wine making, fashion accessorizing, jewelry design, cabinetry, codification of culinary technique, and hairstyling. There was a second collaboration: between Louis XIV and a series of brilliant inventors, the creators of everything from a revolutionary technology for glassmaking to a visionary pair of boots. Each of these areas seems modest enough in and of itself. All together, however, they added up to an amazingly powerful new entity. Thanks to Louis XIV, France had acquired a reputation as the country that had written the book on elegant living.

As the Italian diplomat Giovanni Battista Primi Visconti concluded after a lengthy sojourn at the court of Versailles: “He [Louis XIV] knew how to play the king perfectly on all occasions.” During the final decades of his reign, he became a sort of one-man stylistic police, obsessively checking to make sure everything around him constantly lived up to his aesthetic standards. When all was just right, he took great pleasure in the conspicuous display of gorgeousness. For example, on December 7, 1697, the King—he was then fifty-nine—hosted some of the grandest festivities of the age to celebrate the marriage of his eldest grandson, the Duc de Bourgogne. For one evening reception, Versailles’ Hall of Mirrors was lit with four thousand candles, transforming it into a vast arcade of flickering light.

Was it all worth it? The King might have said that without his extravagant spending, the luxurious experiences for which his country is still celebrated would not have come into existence. The businessman might have added that without it, tourism would not be France’s number-one industry today.

More and more, people have begun to chant the economic mantras of Louis XIV’s France. A successful restaurant has to do more than serve good food at a good price: it has to create an environment. It’s not enough to offer customers a good product: you have to make them feel special by providing a hefty dose of emotion and drama along with the merchandise.

Bringing Citizen Participation to Life Some years ago John McKnight attended the annual Canadian Conference of Community Development Organizations. Several hundred groups were in attendance. The convener of the conference told him that the best community “developer” in all of Canada was at the conference and pointed toward a middle-aged man named Gaëtan Ruest, the mayor of Amqui, Quebec. John introduced himself to Mayor Ruest and asked about Amqui. The mayor said that it was a town of about six thousand people on the Gaspé Peninsula amid the Chic-Choc Mountains, located at the intersection of the Matapédia and Humqui rivers. These rivers are the richest Atlantic salmon rivers on the North American continent, and Amqui is the regional center for fishing for these salmon. Gaëtan invited John to visit his town, and a year later John was able to take him up on the invitation. He found that all the townspeople were French-speaking, and a great deal of the economic base of the community was from fisherpeople who came to fish for the rare Atlantic salmon. One day, as Gaëtan and John walked together down the street, two men approached the mayor. There was a long conversation in French. After they were finished Gaëtan explained to John what had happened. The mayor said that the town had put nets on salmon streams in order to keep the fish near Amqui and accessible to the fishing guides. The two men reported that somebody was cutting the nets to let the salmon go upstream where they could poach them. “That’s terrible,” Gaëtan replied. “What do you think we can do about that?” The men thought for a while and then suggested three things that could be done. “Is there anybody who could help you do those things?” Gaëtan asked. “Yes,” they responded. “We know a couple of other fisherpeople who could help.” Gaëtan said, “Will you ask them to join you to meet with me at city hall this evening?” They agreed. That evening John joined Gaëtan at the meeting with four concerned people. The mayor had insisted that they meet in the city council’s meeting room and he led a discussion of how the group could deal with the salmon poaching problem. By the time they were done, the group had specific plans and specific people committed to carrying them out. Then Gaëtan asked, “Is there anything the city can do to help you with the job?” The participants came up with two ways the city could be helpful. “I am making you the official Amqui Salmon Preservation Committee,” Gaëtan said. “I want you to hold your meetings in the city council meeting room because you are official. I want you to come to city council meetings and tell the council people how you are coming along.” The convener of the National Association of Community Development Organizations, previously mentioned, told John that the process he had observed in the council meeting room that gave birth to the Amqui Salmon Preservation Committee was repeated over and over during Gaëtan’s long tenure as mayor. As a result, the convener said that in Amqui, hidden away in the Chic-Choc Mountains, almost all the residents had become officials of the local government and the principal problem-solvers for the community. John wholeheartedly believes that every public official can learn a great deal from the mayor of Amqui.

If the ‘heathen’ — that is, the German and the French teachers — were regarded with little respect, the teacher of writing, Ebert, who was a German Jew, was a real martyr. To be insolent with him was a sort of chic amongst the pages. His poverty alone must have been the reason why he kept to his lesson in our corps. The old hands, who had stayed for two or three years in the fifth form without moving higher up, treated him very badly; but by some means or other he had made an agreement with them: ‘One frolic during each lesson, but no more’ — an agreement which, I am afraid, was not always honestly kept on our side. One day, one of the residents of the remote peninsula soaked the blackboard sponge with ink and chalk and flung it at the calligraphy martyr. ‘Get it, Ebert!’ he shouted, with a stupid smile. The sponge touched Ebert’s shoulder, the grimy ink spirted into his face and down on to his white shirt. We were sure that this time Ebert would leave the room and report the fact to the inspector. But he only exclaimed, as he took out his cotton handkerchief and wiped his face, ‘Gentlemen, one frolic — no more to-day! The shirt is spoiled,’ he added in a subdued voice, and continued to correct someone’s book. We looked stupefied and ashamed. Why, instead of reporting, he had thought at once of the agreement! The feelings of the whole class turned in his favour. ‘What you have done is stupid,’ we reproached our comrade. ‘He is a poor man, and you have spoiled his shirt! Shame!’ somebody cried. The culprit went at once to make excuses. ‘One must learn, sir,’ was all that Ebert said in reply, with sadness in his voice. All became silent after that, and at the next lesson, as if we had settled it beforehand, most of us wrote in our best possible handwriting, and took our books to Ebert, asking him to correct them. He was radiant, he felt happy that day. This fact deeply impressed me, and was never wiped out from my memory. To this day I feel grateful to that remarkable man for his lesson.

As for the croissant, Marie Antoinette brought the recipe when she came from her native Austria to marry King Louis XVI. And she, history claims, added her own spark to the fire of the French Revolution by saying of the populace demanding bread, “Let them eat cake.

The boys were BCBG, "you know, bon chic bon genre.

Officers from St. Cyr went into battle wearing white-plumed shakos and white gloves; it was considered “chic” to die in white gloves. An unidentified French sergeant kept a diary: “the guns recoil at each shot. Night is falling and they look like old men sticking out their tongues and spitting fire. Heaps of corpses, French and German, are lying every which way, rifles in hand. Rain is falling, shells are screaming and bursting—shells all the time. Artillery fire is the worst. I lay all night listening to the wounded groaning—some were German. The cannonading goes on. Whenever it stops we hear the wounded crying from all over the woods. Two or three men go mad every day.

I started to notice it in French films as well. While the female characters in American films make a ridiculous number of Sex and the City–esque wardrobe changes, in French films, more often than not, you will see the female lead wear the same outfit at least twice during the course of the film. You would never encounter this in American films unless the filmmaker wants to make a point that the character is poor or depressed.

I really want you to understand the emphasis French people place on truly relishing every moment of life rather than just rushing through it.

It’s the everyday simple pleasures - the delicious aroma of coffee brewing, the buttery texture of a fresh croissant, the chirping of birds, the warmth of early morning sunshine, the laughter of children – that truly constitute joie de vivre.

Breton stripes

pearls.

A girl should be two things: classy and fabulous.