Wishing you a Happy Holiday filled with peace and love. I’m off to Mexico City but wanted to sign off with this watercolor and graphite work of art titled Santa Claus Studies made by Jim Dine in 1962. It is the featured work of art on The Met website.
As much as I love clothes and the act of deciding what to wear and getting dressed, it’s shoes that really seal the deal for me. Shoes can make or break an outfit, give you a peek into someone’s personality, and can make you reconsider your whole style game. There’s always a few pair that I’m coveting, a few that are in heavy rotation, and a few that only make an appearance every once in a while but are still my jam. These are a few below from Prada, Miu Miu, and Manolo Blahnik that I wish I had gotten my hands on, from an old issue of Elle.
If there is one art show I kick myself for missing it’s Giorgio Griffa at Casey Kaplan Gallery in NYC. I am obsessed with the Italian artist’s work. His last show titled Fragments 1968-2012 spanned four decades of his career and included paintings on un-stretched canvas and linen. Looking at the photos of his paintings make me think of symbols and patterns and of the natural progression and flow of things. Some of them look very ’80s while some of them look very contemporary and even remind me a little of block-printing, and I could really see a few of them being great album art. I think what first drew me to his work was his use of color – pastels that bleed onto linen and darker tones used to create lines and shapes that merge together to form what looks like it could be some kind of code or numerical formula. I really hope I get to see his work in person some day.
The past few years I’ve been invited to the Art Center of Design by artist, teacher, and friend Nancy Picot Riegelman to speak about my career. Nancy has always been incredibly supportive of me and my creative endeavors and I’m flattered when she asks me to speak to her students each semester. Aside from teaching and making art, Nancy has been working on a big project that recently launched called Fashion Finishing School. It’s a website that “offers instruction in the techniques of fashion drawing and design for communicating original fashion ideas, guidance in acquiring the body of knowledge about fashion details and design, and inspiration to stimulate creative thinking.” There are three parts to the site – drawing, styling, and design. It’s an excellent website and tool for students and anyone interested in pursuing a career in fashion. I wish I would have had something like this when I was young and wondering how I could break into the industry! In addition to the three parts, there is also a section titled “The Notebook” compiled by contributors that features all kinds of interesting articles, profiles, interviews and creative content. I especially love the recent interview with kinetic sculptor Arthur Ganson.
These photos of broken porcelain in a palace in Vienna have been on my inspiration board for the past couple of months. They’re from a past issue of World of Interiors and I found it fitting as a post since there is so much Wedgwood and Chinese porcelain popping up in magazines and on websites these days. Unfortunately I couldn’t seem to find the byline from this story, but it goes like this: “Schloss Loosdorf, tucked away in the hilly wine country north of Vienna, had been renowned for its porcelain collection, which was predominantly 18th-century Japanese Imari and Chinese porcelain, late 18th-century and early 19th-century Vienna, Meissen, Berlin and Davenport, along with some Wedgwood and majolica. The collection was all sealed up in a cellar room when the owners, the counts of Piatti, were forced to flee in the late spring of 1945 (the final days of WWII). During their absence, Soviet soldiers took up quarters there and tossed out its rare books, hacked at furniture, and located the hidden porcelain collection and destroyed it in a rage. When Count Ferdinand Piatti again took possession of his ruined palace in June 1945, he had the porcelain and other remains of objects arranged in piles by manufacturer in an attempt to salvage at least something. More than 60 years on, the damage, in all its wantonness, is still debilitating to view, though the monumental nature of the installation Piatti created both assesses and addresses the damage in a solemn, thoughtful way.”