There are deep gouges in the parquet flooring, and paint flakes off the ceiling in the fashion designer Sacha Walckhoff’s fifth-floor apartment. He describes it as 'a little shabby’, and explains that the hairline cracks that creep their way up the walls are the result of this part of Paris’s 9th arrondissement being built on swampy ground above a small underground lake. Thus the building, from the 1820s, has been subjected to a fair bit of movement in its lifetime. 'When my mother visits she always says that we should repaint. But I love this. It feels so Parisian. -
The book that inspired Immordino Vreeland to direct her first film, a documentary by the same name.
Last year, as I was conducting research for a book I’m writing on Mrs. Vreeland, I realised that her real strengths and subtleties needed to be conveyed in a three-dimensional platform in which she could come alive. Film is the most obvious and effective medium to communicate Mrs. Vreeland’s unique and visual journey. Diana Vreeland: The Eye Has to Travel will be more than just an intimate portrait of the legendary fashion icon. It will capture Vreeland’s life visually through a multitude of media. Vreeland’s own voice and persona – strong, eloquent and often very exaggerated – will guide us through her life, adventures, accomplishments and passions.
In 1964, the then up-and-coming Friedlander was hired by Harper's Bazaar art directors Ruth Ansel and Bea Feitler to photograph the year's new car models. As Friedlander's album covers (for many of the jazz artists at Atlantic Records) had already proven his ability to work on assignment and wishing to obtain his best work, Ansel and Feitlier decided that he should be left to his own devices.
Rather than glamourising the then ultimate symbol of success, Friedlander ...just put the cars out in the world, instead of on a pedestal. The then editor-in-chief Nancy White was less than impressed and well aware that offending the car manufactures could ultimately harm advertising revenue.
Though Friedlander was paid, the shots were never used and all but forgotten. That is, until Friedlander rediscovered the negatives in 2010.
Pauline Trigère was famous for her coat designs, especially for her swing coats. This notable example shows how she has adapted her swing silhouette for use with leopard skin. The dolman sleeves are an interesting touch that allows for an attractive display of this handsome fur. Designed by Trigère, this coat, according to accession information, was made by Jerry Sorbana in 1962.
Based on an idea of Germano Celant. Lights in the style of the Russian avant-garde of the 1920s, particularly after works by Alexander Rodchenko. Having acquired consent from the artist's widow, lights 576 and 577 were realised in very limited editions in the early 1970s.
One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again - Alexander Rodchenko
However, to this jaundiced eye, the house was lacking.
Beginning with the kitchen and its adjacent rooms. The cherry wood cabinetry (replete with its quasi-Shaker details) and granite work surfaces looked dated and commonplace. And the overly bright colour scheme throughout seemed desperately cheerful.
Luckily the cabinets were beautifully made. And contrary to the current vogue of ripping out for ripping out's sake it was unilaterally decided to restyle the existing kitchen. Which, incidentally, had the most beautiful copper clad baseboards that would inspire the colour palette and the kitchen's details.
On the way to completion.
The kitchen walls were painted a dark green that was further deepened by 20%. The adjacent spaces were painted different shades of verdigris. With the space farthest away from the kitchen painted in the same dark green used as a tent stripe.
The morning room's rather innocuous cast iron Art Nouveau chimneypiece was replaced