"art is our compass to the cosmos."
jack whitten
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| jack whitten, the messenger MoMA photos mine or j li |
Showing posts with label innovation. Show all posts
Showing posts with label innovation. Show all posts
Wednesday, April 2, 2025
Sunday, January 24, 2021
FLOTUS
grateful for this week, for democracy, for the hope of unity, for the nation's youth poet laureate, and for this quote by benjamin franklin that our new first lady jill biden had discreetly sewn inside the bespoke gabriela hearst coat she wore for the inauguration evening celebration: "Tell me and I forget. Teach me and I remember. Involve me and I learn."
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| photos gabriela hearst @gabrielahearst |
Sunday, January 3, 2021
bubble palace
we lost Pierre Cardin last week at the age of 98, a pioneering designer with a futuristic sensibility toward fashion and life...
he was a designer who favored circles, and bubbles, in his creations.
https://agnautacouture.com/2015/07/26/pierre-cardin-fetish-for-the-bubble/
at one point in his life, he bought a famous home, Palais Boules, in Cannes....
a Dior Resort show was staged there as recently as 2016....
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| https://thespaces.com/pierre-cardins-bubble-palace-near-cannes-goes-on-sale/ |
it was ten years ago in October, here in NYC, that i attended his 60th anniversary book signing and fashion show, and wrote about it on my then brand new blog.
not that Monsieur Cardin would likely favor looking back but after my morning walk today past the woman in her big puff of faux fur hat, past the rows of clear plastic outdoor dining pods at a popular local French cafe (our own makeshift bubble palace?), i was inspired to re-read and re-experience Cardin's inventive genius for just one fashion forward minute.... https://fashion-is-love-nyc.blogspot.com/2010/11/its-witchcraft.html
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| my photo, this morning, broadway, upper west side |
Monday, February 10, 2020
gallery goals
at the Guggenheim, a 1960's situation...
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| fullness of color, at the Guggenheim... https://www.guggenheim.org/exhibition/the-fullness-of-color-1960s-painting |
Saturday, June 8, 2019
from Mexico,, with love and light!
i fell in love at first sight with this playful little light!
and later learned it won a prize at the design show!
the designer hails from Austin, Texas, grew up in Mexico and took inspiration from a popular, painted wooden toy for his clever creation...
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| Balero light by Design Machin at WANTED Design, Launchpad by Design Milk https://design-milk.com/wanteddesign-2019-launch-pad-lighting-winner-design-machin/ |
Wednesday, August 9, 2017
from anchovy, with love
what's in a name?
at Anchovy a Lithuania based kids' fashion collection presented at Playtime Show this week, the answer is color!
Giedre, the artist and founder behind the line, works with an interactive, customized app that essentially translates the theme words of her choice into each garment's wash of gradient color.
sound complicated? Giedre demonstrated for me with the word of my choice: beauty.
we simply typed into her phone app and watched as a field of color filled the screen.
behold!
the collection, hiding from the sun, and Anchovy's innovative silhouettes, colors and patterns in European sourced cotton, linen and silk, also caught the eye of Pirouette blog, who bestowed upon the team their coveted One to Watch Award!
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| @from_anchovy Playtime New York Pirouette blog |
Thursday, August 25, 2016
Tuesday, May 3, 2016
Sunday, October 31, 2010
it's witchcraft
This week was so full of appointments and adventures. I am leaving out the Friday afternoon spent with Jeanne Rohayton touring the New Museum and Bowery galleries. She was engaging and authentic and eager to share her world with us, courtesy of invite by my best friend jen.
I am leaving out my five minutes of fame conversing with Mr. Pierre Cardin following the fashion show at MILK Studios. I wanted to help some fashion students meet him so mustered my courage, spoke passable French, and landed them a group shot that I hope will inspire and motivate them for years to come.
What pops out at me for the purposes of my blog are these few impressions below -- definitely a week for unusual encounters, magical moments and subtle transformations...
THE Cat:
On Tuesday, I make a field trip downtown to meet Marisol Mercado, designer of Temple de Mexico accessories, in a vast studio on Houston Street. I climb up a very steep set of steps to a shiny red door and knock, feeling not for the first time this month much like I am about to enter Wonderland.
In fact, it is more of an Almodovar scene. Marisol, tall as the red door, doll like, perfect in a grey wool sheath dress, greets me, high cheekbones, almond eyes, arms and legs thin and long, click of heels on the hard wood studio floors, and a mellifluous voice that is actually all business, moving things along to the purpose of the visit, to view her collection of hand crafted enamel and copper belts, footwear, and jewelry, made in her native Mexico.
All is fine until the slinky grey cat decides to join the party, leaping up on the red leather sofa beside me, his blue-green eyes like marbles. Each time he pounces, Marisol picks him up and there he is, all fours extended, in front of her, grey against the grey dress.
"Gato, Gato," she scolds and walks him to another room of the pretty much wide open, art filled loft, only to have him return with more force, louder cries, and the desire to sit in on our meeting. My eyes itch and I try to keep my fear in check. Mainly I am so fascinated to be a character in the scene, that I just play through it, watching each time as the action repeats itself, click of heels, return of Gato, pounce and begin again.
Later, itchy eyes under control, I attend the Assouline book signing party at the Plaza Hotel for Mr. Pierre Cardin in celebration of 60 years of innovation. It is a who's who of bloggers, editors, fashion executives, fashionistas, public relations pros, and more. Mr. Cardin signs books for two hours from behind a large desk, his muse Maryse Gaspard at his side for much of the time, impeccable in dark glasses and a black wool pantsuit with patent leather trim. Others from the Paris team and Assouline family look on, welcome guests, and pose for photos. When it is my turn for the designer to carefully scribes his message, I get goosebumps.
THE Cape:
The book signing is followed on Friday evening by the Pierre Cardin Spring 2011 Show at MILK Studios. It is packed and the crowd is a great one. I take special note of the several men in black velvet 'smokings,' a dramatic brunette in a vintage Cardin chain mail skirt worn with sleek fitted boots that hugged fabulous mile high legs, and a Betty Boop flapper type in oversized sunglasses and daring mix of patterns from head to toe.
The show is a playful projection into the future, or is it the past present at times? -- cones and circles and hoops, rubber and patent and other innovative materials worked into jumpsuits, hats, dresses and pantsuits imagined by the maestro couturier. Wrap sunglasses, silver astronaut suits, tribal pendants on bare-chested men -- possibly possessing magical powers?-- then the most cerebral of palettes in muted greens and apricots, subtle suits and dresses topped by exaggerated felted wool hats, followed by a spray of happy colors and flowers and bows and tulle and crinoline hoops and not one but at least six brides in white dresses, my favorite being the one in the mini with red plastic ballerina flats. Shifts in music register as shifts in mood and place - space, Earth, ocean, garden - with the audience in a willing trance.
At the end, a defile of men and women, and Mr. Cardin himself rises from the front row in the audience and advances quietly to meet the crew of photographers at the end of the runway. He then walks backstage and comes out once more for a slow and dignified procession with Maryse Gaspard, taller than tall, draped head to toe in a cape like sweep of golden silk and adorned with a silver choker simple as a ring around Saturn. The only thing missing is a scepter but the spell is still cast.
I am leaving out my five minutes of fame conversing with Mr. Pierre Cardin following the fashion show at MILK Studios. I wanted to help some fashion students meet him so mustered my courage, spoke passable French, and landed them a group shot that I hope will inspire and motivate them for years to come.
What pops out at me for the purposes of my blog are these few impressions below -- definitely a week for unusual encounters, magical moments and subtle transformations...
THE Cat:
On Tuesday, I make a field trip downtown to meet Marisol Mercado, designer of Temple de Mexico accessories, in a vast studio on Houston Street. I climb up a very steep set of steps to a shiny red door and knock, feeling not for the first time this month much like I am about to enter Wonderland.
In fact, it is more of an Almodovar scene. Marisol, tall as the red door, doll like, perfect in a grey wool sheath dress, greets me, high cheekbones, almond eyes, arms and legs thin and long, click of heels on the hard wood studio floors, and a mellifluous voice that is actually all business, moving things along to the purpose of the visit, to view her collection of hand crafted enamel and copper belts, footwear, and jewelry, made in her native Mexico.
All is fine until the slinky grey cat decides to join the party, leaping up on the red leather sofa beside me, his blue-green eyes like marbles. Each time he pounces, Marisol picks him up and there he is, all fours extended, in front of her, grey against the grey dress.
"Gato, Gato," she scolds and walks him to another room of the pretty much wide open, art filled loft, only to have him return with more force, louder cries, and the desire to sit in on our meeting. My eyes itch and I try to keep my fear in check. Mainly I am so fascinated to be a character in the scene, that I just play through it, watching each time as the action repeats itself, click of heels, return of Gato, pounce and begin again.
Later, itchy eyes under control, I attend the Assouline book signing party at the Plaza Hotel for Mr. Pierre Cardin in celebration of 60 years of innovation. It is a who's who of bloggers, editors, fashion executives, fashionistas, public relations pros, and more. Mr. Cardin signs books for two hours from behind a large desk, his muse Maryse Gaspard at his side for much of the time, impeccable in dark glasses and a black wool pantsuit with patent leather trim. Others from the Paris team and Assouline family look on, welcome guests, and pose for photos. When it is my turn for the designer to carefully scribes his message, I get goosebumps.
THE Cape:
The book signing is followed on Friday evening by the Pierre Cardin Spring 2011 Show at MILK Studios. It is packed and the crowd is a great one. I take special note of the several men in black velvet 'smokings,' a dramatic brunette in a vintage Cardin chain mail skirt worn with sleek fitted boots that hugged fabulous mile high legs, and a Betty Boop flapper type in oversized sunglasses and daring mix of patterns from head to toe.
The show is a playful projection into the future, or is it the past present at times? -- cones and circles and hoops, rubber and patent and other innovative materials worked into jumpsuits, hats, dresses and pantsuits imagined by the maestro couturier. Wrap sunglasses, silver astronaut suits, tribal pendants on bare-chested men -- possibly possessing magical powers?-- then the most cerebral of palettes in muted greens and apricots, subtle suits and dresses topped by exaggerated felted wool hats, followed by a spray of happy colors and flowers and bows and tulle and crinoline hoops and not one but at least six brides in white dresses, my favorite being the one in the mini with red plastic ballerina flats. Shifts in music register as shifts in mood and place - space, Earth, ocean, garden - with the audience in a willing trance.
At the end, a defile of men and women, and Mr. Cardin himself rises from the front row in the audience and advances quietly to meet the crew of photographers at the end of the runway. He then walks backstage and comes out once more for a slow and dignified procession with Maryse Gaspard, taller than tall, draped head to toe in a cape like sweep of golden silk and adorned with a silver choker simple as a ring around Saturn. The only thing missing is a scepter but the spell is still cast.
THE Gloves:
We are six after the show, running for dinner in the cold without a reservation, first to Spice Market (1 hour wait), then to The Standard (2 hour wait), Five Ninth, "No" at Pastis, "No" twice at Scarpetta, and finally to La Bottega where we collapse in a booth and enjoy pizza and pasta and our own review of the evening. "Was it wearable?" "Who is designing with him?" "Is it a comeback collection?" and so on ...
A European party girl, so tall and so tipsy she can barely stand, stumbles past our table in black stretch pants, stiletto heeled boots, black sweater. She drops a pair of long fingerless bi-color calfskin gloves. As she stoops to retrieve them, she states emphatically to anyone who cares, "They are not Martin Margiela. They are not. Everyone thinks that they are but the are not." She pulls them on snugly and smooths them over her elbows, shakes her head of long brown hair and scowls to bring home this most important point.
At home and in bed just past midnight, images from the week reel through my mind in cinematic form -- Gato in the outstretched arms of Marisol; the Paris 'mannequin' Maryse in a royal march befitting of a Queen; the last word from the party girl, because someone must always have the last word, and of course, my encounter with a fashion icon who, with the flourish of his pen and a line up of of haute looks, reminds me of where I have been in my own fashion time travel and points to the possibilities of where I might still journey.
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