Breakfast in Fur

MAESTRO OPPENHEIM

Meret Oppenheim, Parkett No. 4, 1985

In Vienna I found myself bathed in a languor of rich pastries, goblin market stands of fruits, nuts, vegetables, tiny winding streets leading to smoky
cafes where I could sink into some soft velvet chair with a bier and a book. Just in time for my first classical concert in the cultural capital, I may have faired better had a worn a ballgown. But hey, I was trying to be smart and pack light. In planning my ensemble for that evening, could have spent a lovely chunk of dispensable income on a pair of glamourous Viennese Nina Peter Hautnah gloves- the ultimate in paw accessories. Rather, I chose to indulge my inner fashion historian by visiting the Austrian Museum of Applied Arts latest costume exhibition, "Gripping Diversity!: Fans and Gloves from the MAK Collection." In the lower reaches of the museum, set in a dark cavernous space, a selection of 70 items spanning several centuries lay in climate controlled vitrines, silently performing under delicate spotlights.

As I slowly made my way round, one glass case case to the next- handspun lace fans from the 19th century, knitted silk gentleman's gloves from medieval europe, fluffy ostrich feathers, carved bone, and handpainted scenes on ivory- my heart skipped a beat when I eyed this pair, Parkett No. 4 by Meret Oppenheim. For a second my gut told me they were tongue in cheek Schiaparelli, but I should have know better. Maybe it was the combination of coral red and pale green, the tiny veins just as elegant as a daub of fiery red polish on rounded fingernails. My trip was complete.

Ah Vienna, til next time. Thanks for the symphony, the palaces, ravaged melons and second hand smoke.

QUILTED MASTERWORKS AT THE FOLK ART MUSEUM

From top: Diamond in the Square Quilt, Artist unidentified, Lancaster County, Pennsylvania, 1910–1925, Wool, 78 x 78 in.
Harlequin Medallion Quilt, Artist unidentified, New England, 1800-1820, Glazed Wool, 87 x 96 in.
Bird of Paradise Quilt Top, Artist unidentified, Vicinity of Albany, New York, 1858–1863, Cotton, wool, and silk with
ink and silk embroidery, 84 1/2 x 69 5/8 in.
Double Wedding Ring Quilt, Artist unidentified, Probably Georgia, 1930–1940, Cotton, 86 1/4 x 72 in. (framed)

W IS FOR WILLA

Finally finished my latest project, a handsewn and embroidered namesake pillow for my pal Kelly and her husband's new little girl Willa. W-W-W-Willa.

A STUD IS BORN

London, England, June 1966 / Photograph by James P. Blair, National Geographic

Not since Michael Jackson’s strong shoulders made us shudder and bow down to his majesty the king of pop circa 1994, have embellished shoulders on structured jackets had such a moment. Mini spikes and studs in a range of metals can be found on otherwise subdued blazers, jackets and coats this fall. Moving past the shoulder, bedazzlers have also made their way to the lapels and sleeves of the season’s best outerwear. If you’ve never been cool, here’s your chance to reconfigure your reputation and pair this bad-to-the-bone fall basic with feminine dresses, or just keep it minimal with a basic tee, skinny jeans and a pair of pumps.

BAZAAR

When I was a little girl and should have been reading Seventeen, I was drooling over the glossy pages of Bazaar. Since then, after having been schooled in graduate fashion studies, and as the result of my own personal research, I appreciate the publication for three things: it's longevity (around since 1867, it's America's first fashion magazine), creative edge (has fearlessly collaborated with some of the greatest artists and photographers in recent history: Diane Arbus, Alexey Brodovitch, Andy Warhol, Martin Munkácsi), and daring editorials (the first action photographs to depict fashion were published in Bazaar).

I love this cover of the magazine from October 3, 1868. Most likely because I'm somehow always drawn to illustrations and photographs of hairpieces, ie. this Lorna Simpson.

Wigs II, 1996-2006, Waterless lithographs on felt.

FASHION FILMS: Prét-à-Porter

In 1994 I was 12 years old. The 90s remind me of mocha brown lipstick, flowered dresses, combat boots and daisies, wishing I were a plaid-skirt wearing coed on the pages of thick slab fall fashion issues of Seventeen, Vogue and Harper's Bazaar... Linda Evangelista's haircut, day-glo Betsey Johnson editorials, Nirvana, that patchouli-scented vintage shop downtown where i purchased my favorite lime-green 60s shift dress and pink golf shoes- both of which, I still own.

After having made a habit of watching Style With Elsa Klensch since the late 80s, it was also a decade during which I became more familiar with the blatant marriage of fashion and film. Granted, MTV's House of Style with Cindy Crawford was dope, and I swooned over Cher Horowitz's magical closet in Clueless. But Robert Altman's Prét-à-Porter certainly gave me a healthy dose of Parisian fashion, murder and intrigue on the silver screen. Not to mention a really great song called "Here Comes the Hotstepper" by dancehall dirtbag Ini Kamoze. "No no we don't die/ Yes we multiply/ Anyone test will hear the fat lady sing."

After all, what 12 year-old could help but love the utterly profound nude fashion show at the end? I count it as a pivotal moment in my still developing artistic brain.

DELUXE

Pieces from Ellen Gallagher's Deluxe on display at the Museum of Modern Art. Some of my favorite artworks of all time, by far. Luckily I have the original text that accompanied the show when it premiered at the Whitney. It gets better every time I flip through it!

CURSE OF THE CAT PEOPLE

I watched this 1944 film quite often as a child, and the haunting atmosphere it created, like shimmering sequins in shadows, has stuck with me ever since.