women we love: goldie hawn

If Naomi Wolf taught us anything about beauty, she taught us that it’s something to be wary of. She charged us with wondering whether beauty can be a self-imposed cage; whether it’s so fragile that it has to be constantly quarantined and maintained, because mixing it in with too much thought or action or personality or humour or drive would just shatter the poor little thing altogether.

It’s all too easy to think about beauty in a vacuum of stillness or passivity, that the only kind of beauty is the kind that comes inside magazines or in just one perfect photo, never speaks, never acts.

But if the gorgeous little ray of sunshine that is Goldie Hawn taught us anything, it’s that all that can be completely meaningless. It doesn’t have to be something that impoverishes you or is a trade off, because beauty doesn’t have to be that one-dimensional. Yes, she’s beautiful in a photograph, but a hundred times more beautiful when she laughs at herself, or flashes her cheeky grin, even in the gawky and slightly unsure way she used to hold herself, like a leggy foal.

Beautiful because she’s clever and because you can see in her eyes that – like our darling girl Dolly Parton – she looks at the world and, despite all the sorrow she’s been through, sees it as beautiful too.

Don’t forget, this is also the woman who helped bring us the genius of Cactus Flower, Sugarland Express, Death Becomes Her, There’s a Girl in My Soup, Private Benjamin and Overboard. If you don’t think Overboard is fabulous, then I can tell you you have no taste.

Surely that picture right there is reason enough for a full on love affair with the woman. Plus she and Kurt are too cute for words. De factos for the win!

Yes, that is Goldie and Liza. And yes I am TOTALLY dying from the fabulous too.

I’ma have a cocktail for you tonight, Goldie honey. Kiss kiss.