Finally, the rain that has been continuous all week seems to have stopped, or at least gives us a break. Milano is colder now than in the winter so a perfect time to keep working on the 10 Corso Como book. Like the rain, the pages seem an endless pastime to cut and paste together – endless because I am never happy, and of course because 10 Corso Como is never finished.
Everybody now is using only their computers to do graphics but for my personal aesthetic I need scissors, tape, and pencils to feel and explore. I enjoy the manual process of it. Never mind if they all smile at me…old style? Or artisan?
The Punk exhibition at the Met Museum in NY for the summer has amazing pieces by Vivienne Westwood and Malcolm MacLaren, and I could see wearing my new Ruhs punk bracelets, silver and leather, very punk Kris.
For years I have heard Kris say he would have never started jewelry if Robert Lee Morris had not encouraged him and showed him the way. So it was really a great encounter to finally meet him and see his Alladin’s cave full of treasured pieces of his own work, and also of many other artists he presented and collected at the time he had ArtWear, a visionary store in NY in the 80’s. A true destination for all lovers and collectors of fine art “wear”. Here, some of his early works,
three belts from 1980, photo by Scavullo.
A beautiful picture by Matthew Rolston
of Robert Lee Morris’ early work, the “claw hand”, 1987.
Such a great piece, the long golden nails, in a great picture.
So much style, now hanging on Robert’s studio walls.
Robert Lee Morris has boxes and boxes of jewelry he has collected and to be able to view this private collection was a wonderful afternoon for me. Here, this unique piece by Tone Vigeland, a Norwegian artist who used to show her work at ArtWear.
Since the early 60’s recognized as a leading artist in Europe,
her work is remarkable in jewelry, and in sculpture.
We are in Chinatown in NY looking for classic chinese jackets in good heavy cotton. The wonderful “Mao suit”, that took its name from the interpretation of Mao, early in the revolution, when he made his own variation of the Zhongshan suit to create a National dress code, seems these days impossible to find anywhere in the world.
I “had” to see the exhibition of Stephen Burrows “When Fashion Danced” at The Museum of the City of NY. A gem of a museum way up Fifth Avenue, with also a show of Mainboucher and Worth for those who are couture historians. Burrows brings memories to me of the great years, the 70’s. The retrospective of his creations from 1968 to 1983 is all about happiness and freedom – when fashion was “dancing” mostly at Studio 54. But also in Paris. Once called by the NYTimes “the brightest star in American Fashion” Burrows was one of the five designers invited to the now legendary Versailles fashion show in 1973, the “Battle of Versailles”, where Burrow’s models from New York danced down the runway and brought the entire City of Paris to its feet in admiration for the new American style.
At the entrance of the Museum of the City of New York this beautiful led light hanging grid designed by Cooper Joseph Studio. Over 5500 lights
on a stainless steel structure form an impressive circular volume.
I am glad that the Stephen Burrows exhibition brought me here. I had never been. The Museum was created in the 20’s as a private non profit organization and is right in front of Central Park. It’s also known for its big collection of photographs including Kubrick and Berenice Abbott.
Rainy in NY, but a wonderful visit to the Conservatory in Central Park to find a quiet moment, seemed like being in another world even knowing that 5th Avenue is right there. The Conservatory Garden is 6 acres and takes its name from the Conservatory that was there until the early 30’s. Funded now by philanthropy and private donations to restore Central Park, the gardens are really three
– Italian, French and English…no wonder I felt home.