A trio of grand couturiers in the uncompromising French tradition, showcased in the family chateau of Minnie, Princess of Beauvou Craon? What a luscious proposition,
Current Reading: Cristóbal Balenciaga, Philippe Venet, Hubert de Givenchy : by Christiane de Nicolay-Mazery: Flammarion, 2011Submitted by Wayne on Mon, 2010-12-20 00:56.
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CURRENT READING: CAFE SOCIETY: SOCIALITES, PATRONS AND ARTISTS 1920-1970: THIERRY COUDERT: FLAMMARIONSubmitted by Wayne on Fri, 2010-12-03 00:27.
I was drifting through The Strand when I bumped into Thierry Coubert's "Cafe Society", graced by this very haughty portrait of Barbara Hutton on the cover. You might want to despise Ms Hutton's evocation of perfect arrogance in this image. The serious jewels, the angular plane of those cheekbones , that tight mouth, the bouffant coiled to look like a frozen froth, the careless hand gesture with the cigarette held at a distance from the body. The dog,…the fur shrug…the floral dress. Look at how it creates a visual melange of absolute self-indulgence. It is like the best Vogue Italia cover that never was.
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"The reason I call this cuisine modernist is that in the 19th century you had these seeds of modernism that revolutionized art, architecture, literature and philosophy. It was a reaction to the industrializing of the modern world. But it just didn't happen with food. Le Coubusier who was out there calling a house a machine that you live in, sat down to the same coq au vin as everybody else. The Bauhaus guys who said 'Architecture, let's change that! Typography, let's change that! Typography, let's change that!' did nothing to change schnitzel. This is finally the modernist revolution of food, just one hundred years late"
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"We grew up in a world where it was ok to exchange ideas with other people, and it wasn’t so rigid, and it's like what you said about the new wave and punk movement, it was much more raw and tougher and it was about a bunch of people who had something to say. It wasn't so boxed in and so pre-fabricated. It was something very organic and cool and very hard, you know, which is great."
Marc Jacobs in conversation with Maripol, excerpted from Little Red Riding Hood.
Submitted by Wayne on Thu, 2010-10-28 00:55.
It is ultimately about ways of seeing. What is the way in which you choose to see fashion as opposed to art as opposed to sex as opposed to advertising in contrast to life, real life ? What are the lines separating and distinguishing all these driving forces in our culture? Photography is only truly powerful when it can provoke a body of questions and the beauty of this film lies precisely in the questions it pulls up in its wake..
You can see "Stag Film" for its pure beauty, as a series of images rendering the horse's classical form as a sculptural black and white abstraction. As the initial press release this summer for the gallery exhibition of "Stag Film" explained " Is it that Stag Film is simply about motion and emulsion and how light at 250th of a second captures and renders life static?".
But you also have the option of being startled and shocked by "Stag Film": by its realness in documenting the urgency in which this stallion battles a "phantom" mare.
Or you could synthesize all these layers of reaction and see a shadow play of life and death and sex ... of the species fighting desperately to perpetuate itself, of an artist identifying poetry in that struggle.
For further information on purchasing the book edition of Stag Film, here are the full details
Submitted by Wayne on Fri, 2010-10-22 19:05.