Allied Member, ASID
Licensed General Contractor
AZ ROC 287314
October 29, 2011
Happy Halloween weekend! To celebrate, I’m gorging on gourds with a very fall-worthy menu which includes one of my seasonal favorites, spaghetti squash. Enjoy! Love, Jamie
CAESAR SALAD WITH HOMEMADE CROUTONS
PUMPKIN PIE CRÈME BRULEE WITH BUTTER PECAN CRUST
1 Spaghetti Squash
Fresh Cracked Black Pepper
*Preheat oven to 400 degrees. Carefully cut the Spaghetti squash in half and scoop out the seeds and strings. Drizzle with olive oil and sprinkle with sea salt and fresh cracked black pepper. Place on foil and bake for 50 minutes.
*With a fork, scrape around the edge of the squash to shred the pulp into strands.
2 tablespoons olive oil
½ cup finely chopped onion
3 cloves minced garlic
3 pounds fresh Roma tomatoes (or mix Roma with Vine)
½ cup pitted and halved Kamalata olives
1 tablespoon tomato paste
1 tablespoon drained capers
½ teaspoon dried crushed basil
*In a large pot heat the olive oil over medium high heat. Add the onion and sauté until soft and lightly caramelized. Add the garlic and cook an additional 2 minutes. Add the tomatoes and the remaining ingredients and simmer until the sauce is thickened and slightly reduced (about 40 minutes).
*Adjust seasoning to taste, cover and set aside.
Caesar Salad with Homemade Croutons
2 tablespoons unsalted butter
2 tablespoons olive oil
2 garlic cloves, halved
3 cups 3/4-inch cubes of Italian or French bread
2 flat anchovy fillets, or to taste, rinsed and drained
4 garlic cloves
2 teaspoons Sherry vinegar
2 teaspoons fresh lemon juice
1 teaspoon Worcestershire sauce
1/2 teaspoon dry mustard
1/2 cup olive oil
4 heads of romaine, the pale-green inner leaves washed, spun dry, and torn into bite-size pieces (about 12 cups) and the outer leaves reserved for another use
Parmesan curls formed with a vegetable peeler
*Preheat oven to 350°F. In a small saucepan melt the butter with the oil, the garlic, and salt and pepper to taste over moderately low heat. Remove the mixture from the heat, let it stand for 10 minutes, and discard the garlic. In a bowl toss the bread cubes with the butter mixture, spread them on a baking sheet, and bake them in the middle of the oven for 12 to 15 minutes, or until they are golden. The croutons may be made 1 day in advance and kept in an airtight container.
*Mince and mash the anchovies with the garlic to form a paste and in a bowl whisk together the paste, the vinegar, the lemon juice, the Worcestershire sauce, and the mustard. Add the oil in a stream, whisking, and whisk the dressing until it is emulsified.
*In a large bowl toss the romaine with the croutons and the dressing until the salad is combined well and sprinkle the salad with the Parmesan curls.
To drink: Feudi del Pisciotto, Chardonnay “Alberti Ferretti”, 2008
Pumpkin Pie Crème Brulee with Butter Pecan Crust
3 ½ cups heavy cream, divided
1 teaspoon ground cinnamon
1 teaspoon freshly grated nutmeg
½ teaspoon powdered ginger
1 teaspoon vanilla extract
8 egg yolks
1 cup sugar
½ cup whole milk
2 cups canned pumpkin
¼ cup natural brown sugar
*Preheat the oven to 300 degrees. Divide the crust into 8 (6 ounce) custard cups. Put them in a 9×13” baking dish or roasting pan and bake for 10 to 12 minutes. Set aside to cool.
*In a medium saucepan, over medium-high heat, add 2 cups of the cream and the vanilla. Bring to a boil and remove from heat.
*In a medium bowl, whisk the yolks with the sugar until the mixture is pale yellow and the sugar is dissolved. Add the remaining 1 ½ cups of cream and the ½ cup of milk to the cream and spice mixture. Slowly incorporate the yolk and sugar mixture then strain through a medium-size sieve. Whisk the pumpkin.
*Divide the pumpkin mixture evenly into the custard cups lined with the crust. Add the hot water into the baking dish of roasting pan to create a hot bath and put the pan in the oven. Bake until the custard is starting to set about 35 to 45 minutes. Remove the brulee from the oven and let cool to room temperature. Cover and refrigerate overnight or at least 6 hours.
*Lightly sprinkle each custard with brown sugar. Heat the sugar with a butane torch until caramelized. To get a thick caramelized sugar crust, repeating with a light sprinkling each time. Allow to cool and serve.
Butter Pecan Crust
32 butter crackers (like Ritz)
½ cup pecans
5 tablespoon unsalted butter, melted
2 to 3 tablespoons dark brown sugar
In a food processor, pulse the crackers and pecans until finely ground about 6 to 10 pulses. Add the melted butter and brown sugar and pulse to combine. Press into the bottom of the baking pans.
October 26, 2011
I love rugs, and there is a great exhibition of them in Los Angeles at Christopher Farr. I was not familiar at all with The Omega Workshop and once I saw the rugs, which I knew the designs, I became most interested in the history.
In today’s modern rugs you can see the inspiration that this workshop has left as it’s legacy. I love the history.
In July 1913 Omega workshops Ltd opened to the public at 33 Fitzroy Square in the heart of London’s Bloomsbury. Now I know you have all heard of The Bloomsbury Group so let me give you a bit of background on them, and then I will tie them together.
The Bloomsbury Group or Bloomsbury Set was a group of writers, intellectuals, philosophers and artists who held informal discussions in Bloomsbury throughout the 20th century.This English collective of friends and relatives lived, worked
or studied near Bloomsbury in London during the first half of the twentieth century. “Although its members denied being a group in any formal sense, they were united by an abiding belief in the importance of the arts”. Their work deeply influenced
literature,aesthetics,criticism, and economics as well as modern attitudes towards feminism,pacifism and sexuality. Its best known members were Virginia Woolf, John Maynard KeynesE.M. Forster and Lytton Strachey
The lives and works of the group members show an overlapping, interconnected similarity of ideas and attitudes that helped to keep the friends and relatives together, reflecting in large part the influence of G.E. Moore;
‘the essence of what Bloomsbury drew from Moore is contained in his statement that “one’s prime objects in life were love, the creation and enjoyment of aesthetic experience and the pursuit of knowledge”
So, now enter the Omega Workshops, The Omega Workshops was a design enterprise founded by members of the Bloomsbury Group and established in 1913. It was founded with the intention of providing graphic expression to the essence of the Bloomsbury ethos.
The workshops incorporated public showrooms as well as studios and were staffed by a business manager, caretaker and a group of artist assistants. Roger Fry founded and was the driving force behind the Omega Workshops.
Unlike his most obvious predecessors William Morris and the designers of the Arts and Crafts Movement, Fry wanted to remove what he saw as the false division between the fine and decorative arts. He was keen to see some of the key ideas of Post-Impressionism,
such as bright colors and bold simplified forms, applied to design. so when you look at the examples you will totally understand all of this.
There is a lot of information you can research, but for me, seeing the images will give you a great reference
October 25, 2011
I am totally in love with Lanvin! Alber Elbaz is beyond designer status and in my book is in the file of designer icon. His use of materials, for instance, what a wool crepe can do with a bit of stitching, or a stunning jersey draped into a fabulous resort gown!
I just saw the resort collection
at Bergdorfs and all I can say is I want it all! The collection is fabulous, fantastic and there are pieces that would be insane for spring!
“There are many designers whose work can make women look thinner or prettier. Elbaz seems to have the power to make women appear more interesting.” – Ariel Levy for The Observer
In 1889 Jeanne Lanvin, aged 22, arrived at the Faubourg Saint Honoré to work as a milliner. By the early 20th century Lanvin was one of the Premiere Fashion Houses representing the epitome of French chic.
JEANNE LANVIN WAS THE AMBASSADOR OF FRENCH ELEGANCE. HER ROMANTIC TWIST ON MODERN DESIGNS IN THE 1920S AND 1930S LED TO A FAIRYTALE LIKE SUCCESS AS A
HAT MAKER IN A PARISIAN FASHION MARKET AND BECOMING
THE FOUNDER OF AN INTERNATIONAL FASHION HOUSE WHICH STILL LEADS TODAY’S FASHION INDUSTRY.
Her fashion house is the oldest fashion house still in existence worldwide. It has been selling clothing for over a century. Since its creation, Lanvin’s fashion line, titled Lanvin, has advanced the high fashion industry.
Her line became the first to dress the entire family when she introduced a men’s line in 1926. The line continued to innovate the industry as it brought luxurious French fashion to the general public in a recent collaboration
with the clothing store H&M. Lanvin clothing became available in 200 H&M locations worldwide
Flash forward almost 50 years to 2002, when Alber Elbaz, was named artistic director. Best known for his asymmetrical, draped Grecian goddess silhouettes. Alber’s genius vision has once again made the Lanvin collection a must-have
for fashion insiders worldwide.
What else is there to say-except if you don’t follow this genius you will want to!
October 24, 2011
Somehow it seems like homecoming in my head! I have been talking to so many people lately about the launch of JAMIE and the ability to access Luxury Interiors, and talking about my up-bringing in the fashion industry, that I want to bring you all of the greats.
In doing so, I would be remiss in not offering up HATTIE CARNEGIE!
The story of Hattie Carnegie Jewelry and Fashion, begins with Henrietta Kanengeiser, also known as Hattie Carnegie, who was an important name in both fashion and vintage jewelry.
Born in Vienna in 1889, Henrietta worked at Macy’s at the age of 16 making hats, which is how she received the nickname Hattie. She continued trimming hats for five years before she moved into her own shop
(called Carnegie – Ladies Hatter). People loved her hats, but Hattie’s spirit kept reaching for new heights. Within a few years she began designing dresses and by 1920 her designs were coveted around the world.
This simple beginning would turn into a truly amazing career, particularly for a woman in the 1930s. By that time Hattie employed thousands of workers and had a 10 million dollar business that included jewelry, hats, clothing,
and perfume. She focused on simple, beautiful clothing meant to show off a woman’s best features.
Unlike some clothiers, the woman in Hattie’s dresses was intended to be the star of the show, not the clothing itself. So while her clothing had a French finesse, it remained functional and comfortable. Hattie’s jewelry designs
were expressly intended to coordinate with her clothing, but soon became a popular line with or without any accompaniment.
1939 marked the year in which Hattie Carnegie jewelry began appearing on the market. Many of her pieces had special themes including Greek-styled jewelry and Asian-inspired pieces. Many pins featured animals and fish.
Beyond these themes, one of her hallmarks was the addition of fine rhinestones.
The Carnegie look defined the American desire for a style that is discreet, simple, and sophisticated. Her career began at a time when Americans looked almost entirely to
French haute couture for direction. When French fashion became unavailable during World War II, Carnegie continued producing high-quality clothing with the best American fabrics and designers. Carnegie’s work as a great
editor of French haute couture for the American market as well as her extraordinary record of recognition and development of American talent place her firmly at the forefront of the development of American style in the twentieth century.
She couldn’t sew or cut a pattern herself, yet Hattie Carnegie’s sense of style and taste sparked her rise from humble beginnings as a Jewish immigrant to the creator of a fashion empire around a distinctly “American” look.
This photo was taken during the mid-1900s.
I hope you enjoyed this post!
October 22, 2011
This week my youngest daughter and I were searching our kitchen for a waffle maker and stumbled upon my grandmother’s Bundt cake pan. My daughter pulled out the pan, looked at it and said “Mommy, what is this?” Shocked that I had never made Bundt cake for my daughters, I decided it’s time to start my very own Bundt cake legacy!
This week’s menu revolves around double-chocolate Bundt cake and I even added a white chocolate martini for a little extra kick. Enjoy and have a fabulous weekend! Love, Jamie
ROASTED PEAR SALAD WITH ENDIVE, HAZELNUTS AND ST. AGUR
PAPPARDELLE WITH WILD MUSHROOMS, SHELL BEANS AND PARMESAN
DOUBLE-CHOCOLATE BUNDT CAKE
WHITE CHOCOLATE MARTINI
Roasted Pear Salad with Endive, Hazelnuts and St. Agur
¾ cup blanched hazelnuts
¼ cup plus 1 teaspoon hazelnut oil
½ cup plus 2 tablespoons grapeseed oil
5 Comice or Bartlett pears, peeled, cored and cut into eighths
4 tablespoons unsalted butter
2 teaspoons thyme leaves
1 tablespoon finely diced shallot, plus 2 tablespoons thinly sliced shallot
2 ½ tablespoons sherry vinegar
2 tablespoons rice vinegar
6 heads Belgian endive, core removed, separated into spears
1 ounce arugula, cleaned and dried
¼ pound St. Agur blue cheese( or any good blue cheese you love)
Kosher salt and freshly ground black pepper
*Preheat the oven to 375 degrees. Toast the hazelnuts on a baking sheet 8 to 10 minutes, until they smell nutty and are a light golden brown. Remove them from the oven and toss with 1 teaspoon hazelnut oil and a healthy pinch of salt. When they have cooled, chop the nuts coarsely.
*Heat two large sauté pans over high heat for 2 minutes. Swirl 1 tablespoon grapeseed oil into each pan and then carefully place the pears in the pan, cut side down. Add 2 tablespoons butter to each pan and season each batch with 1 teaspoon salt and 1 teaspoon thyme.
Reduce the heat to medium-high and cook the pears about 6 minutes until they’re golden brown on the first side. Carefully turn the pears over and cook another 3 to 4 minutes until the second side is golden brown and the pears are tender but not mushy.
*Using a mortar and pestle, or the side of a large chef’s knife, pound or mash six of the pear wedges to a chunky paste. Combine the diced shallot, sherry vinegar, rice vinegar and ¾ teaspoon salt in a medium bowl and let sit for 5 minutes.
*Whisk the remaining ¼ cup hazelnut oil and ½ cup grapeseed oil, Stir in the pear puree and taste for balance and seasoning.
*Place the remaining roasted pear wedges, the endive and the sliced shallots in a large salad bowl and toss with about three-quarters of the vinaigrette. Season with ¼ teaspoon salt and a few grindings of black pepper and toss gently, being careful not to break up the pears.
Toss the arugula gently and taste for seasoning, adding more vinaigrette if you like.
*Arrange half the salad on a large platter. Use a cheese pull to make long ribbons of the blue cheese and place half of them in and around the greens. Sprinkle half of the nuts on top. Place the remaining salad on top and finish with shavings of cheese and the rest of the nuts.
Pappardelle with Wild Mushrooms, Shell Beans and Parmesan
1 ½ pounds wild mushrooms( or any exotic you can get)
5 tablespoons extra-virgin olive oil
4 tablespoons unsalted butter
¾ cup fresh breadcrumbs(or panko, my new love)
¾ pound dry pappardelle noodles
1 cup sliced shallots
4 cloves garlic, sliced
1 tablespoon thyme leaves
1 ¼ cups cooked shell beans(peas)
1 to 1 ½ cups mushroom, vegetable or chicken stock or pasta water
4 ounces young spinach, cleaned and dried
¼ cup chopped flat-leaf parsley
¼ pound hunk, Parmigiano-Reggiano, for shaving
Kosher salt and freshly ground black pepper
*Preheat the oven to 375 degrees. Put a large pot of heavily salted water on to boil. If the mushrooms are big, tear them into large bite-sized pieces (they’ll shrink once they’re cooked, so don’t make them too small).
*Heat a large sauté pan over high heat for 2 minutes. Swirl in 2 tablespoons olive oil and wait a minute. Add 1 tablespoon butter and when it foams, scatter half the mushrooms into the pan. Season with ½ teaspoon salt and a healthy pinch of pepper. Sauté the mushrooms about 5 minutes,
stirring occasionally until they are tender and a little crispy. Transfer the cooked mushrooms to a plate and repeat with the second half of the mushrooms.
*While the mushrooms are cooking, toss the breadcrumbs with 1 tablespoon olive oil, spread them on a baking sheet and toast 8 to 10 minutes, stirring once or twice, until golden brown.
*Drop the pasta in the boiling salted water and cook the noodles until al dente. While the pasta is cooking, return the mushroom pan to the stove over medium-high heat. Swirl in 2 tablespoons butter and when it foams, add the shallots, garlic and thyme. Cook a minute or two and add the cooked mushrooms and shell beans.
Cook 3 to 4 minutes stirring to combine well.
*Pour 1 cup of the stock or pasta water and add the cooked pasta to the pan. Toss gently, using tongs and a wooden spoon and cook 3 to 4 minutes to coat the pasta with the juices. Taste for seasoning. Add more stock or pasta water if the noodles seem dry. Remember, the pasta will keep absorbing liquid, so make sure
it’s juicy enough when you plate it. Quickly toss in the spinach and chopped parsley.
*Transfer the pasta to a large warm platter. Using a vegetable peeler, shave some Parmigiano-Reggiano over the top and shower the dish with the toasted breadcrumbs.
To drink: 2008 Chalk Hill North Slop Pinot Gris
Double-Chocolate Bundt Cake
5 ounces bittersweet chocolate coarsely chopped, plus 2 ounces bittersweet chocolate cut into small slivers
8 tablespoons (1 stick) unsalted butter, cut into cubes, plus a little more for greasing the pan
2 teaspoons vanilla extract
1/3 cup good-quality unsweetened cocoa powder
1 ¾ cup good-quality unsweetened cocoa powder
2 teaspoons baking soda
1 ½ teaspoon baking powder
½ teaspoon kosher salt
3 extra-large eggs
3 extra-large egg yolks
1 ¾ granulated sugar
½ cup crème fraiche or sour cream
Vanilla ice cream
*Preheat oven to 350 degrees. Lightly butter a Bundt pan and place 5 ounces of coarsely chopped chocolate, butter and vanilla extract in a small saucepan. Put the pan in the oven to melt the ingredients as the oven preheats. When melted, remove from the oven and stir to combine.
*Meanwhile, whisk together ¾ cup water and the cocoa powder in a saucepan. Bring it to a boil over medium heat, whisking constantly to avoid burning the cocoa. Remove from the heat and set aside to cool.
*Sift together the flour, baking soda and baking powder. Stir in the salt. In a stand mixer fitted with the whisk attachment, beat the eggs and yolks together for a few seconds to combine. Pour the sugar and whip at high speed, 5 to 6 minutes, until very pale yellow and thick enough to hold a ribbon when you lift the whisk away from the bowl.
*Add the cocoa powder mixture to the melted chocolate (using a rubber spatula and be sure to get all the cocoa). Transfer the egg mixture to a large bowl and fold in the melted chocolate and then the crème fraiche. Gently fold the dry ingredients into the batter in thirds, being careful not to deflate it, but making sure to combine them well.
*Pour half the batter into the Bundt pan and sprinkle the chocolate slivers on top. Pour in the remaining batter and bake for 25 minutes, until the cake is just set but still very moist. Cool for 30 minutes and invert onto a plate. Serve with vanilla ice cream.
White Chocolate Martini
2 ounces white chocolate liqueur (godiva)
2 ounces Bailey’s Irish crème
2 ounces vanilla vodka
1 ounce crème de cocoa
Very Cold Martini glasses
*Place martini glasses in the freezer two hours prior to making (overnight is even better!).
*Drizzle the chocolate syrup as you turn the martini glass to make a decorative pattern. Mix all ingredients in a shaker with ice and pour into the chilled glass.
*Garnish with dark and white chocolate shavings.
October 21, 2011
You know, it’s funny for me to think where I get my inspirations from. I don’t really every set to think I am being inspired and really don’t realize the inspiration until I am designing something or having a conversation
with someone and something that I have seen or experienced comes into focus. Such is the case with NORMAN NORELL. I was speaking with a dear friend of mine and talking about amazing fashion icons that are so inspiring to today’s fashion designer
and interior designer. And of course the conversation went on to Norman Norell. Norell, for me, is one of my all time greats. My mother, a fashion designer and renown in her own right, loved his clothing and had quite a collection.
I was just looking at the resort collection from LANVIN, one of my bad habits! and thought of an outfit of Norell’s. So, needless to say, so goes today’s post!
I do so hope you will find what I find so inspiring! And Michelle Obama looked gorgeous in one of his vintage gowns!
Cocktail dress, 1961
Norman Norell (American, 1900–1972)
Black wool crepe
Though the cocktail party of the 1950s graced middle- and upper-class residences, creating a more prominent market for women’s cocktail clothing and accessories in New York department stores, the “Junior” or “Miss” collections of these retail giants developed
and promoted lines of cocktail clothing as well. Sororities and college clubs began celebrating the cocktail hour by the latter half of the decade and, modeling their aesthetic after the twenty-something actresses in films such as Cat on a Hot Tin Roof (1958)
and Breakfast at Tiffany’s (1961), female collegians identified their own garments for cocktailing, the most popular of these the “little black dress.”
Norman Norell, who, by the early 1960s, had become one of the most globally respected New York fashion designers by perfecting a classic silhouette complete with couture-quality finishing details and exquisite paillette and bugle-bead embroidery techniques,
created simply tailored evening sheaths and impeccably cut day suits that reflected both a refined mature sensibility and a youthful spirit. This Norell “little black dress” is the quintessential cocktail sheath of the early 1960s, championing a playful leisurely
aesthetic while still propagating a certain formality inherent in cocktail dressing. Designers like Ceil Chapman and Nettie Rosenstein were creating beautiful late day and evening dresses for the American market, but Norman Norell had his eye on the international scene;
he combined the American invention of “day-to-evening” dressing with the subtlety and simplicity of French early evening garb. Priced comparably to the French couture, the visionary Norell dress became both the immortal symbol of mid-century bourgeois sociability
and the champion of youthful flirtation.
Simple, well-made clothes that would last and remain fashionable for many years became the hallmark of Norman Norell, the first American designer to win the respect of Parisian couturiers. He gained a reputation for flattering design while Traina, whose well-heeled clientéle appreciated the snob appeal of pared-down day clothes and dramatic eveningwear. From his early years with Hattie Carnegie, Norell learned all about meticulous cut, fit, and quality fabrics. Regular trips to Paris exposed him to the standards of couture that made French clothes the epitome of high fashion. Norell had the unique ability to translate the characteristics of couture into American ready-to-wear. He did inspect each model garment individually, carefully, in the tradition of a couturier, and was just as demanding in proper fabrication and finish. The prices of “Norells,” especially after he went into business on his own, easily rivaled those of Paris creations, but they were worth it. The clothes lasted, and their classicism made them timeless.
Certain characteristics of Norell’s designs were developed early on and remained constant throughout his career. Wool jersey shirtwaist dresses with demure bowed collars were a radical departure from splashy floral daydresses of the 1940s.
World War II restrictions on yardages and materials coincided with Norell’s penchant for spare silhouettes, echoing his favorite period, the 1920s. Long before Paris was promoting the chemise in the 1950s, Norell was offering short, straight,
low-waisted shapes during the war years. For evening, Norell looked to the flashy glamor of his days designing costumes for vaudeville.
Glittering paillettes, which were not rationed, would be splashed on evening skirts—paired with sweater tops for comfort in unheated rooms—or on coats. Later, the lavish use of all-out glamor sequins evolved into Norell’s signature shimmering
“mermaid” evening dresses, formfitting, round-necked and short-sleeved. The round neckline, plain instead of the then-popular draped, became one of the features of Norell’s designs of which he was most proud. “I hope I have helped women dress more simply,
” was his goal. He used revealing bathing suit necklines for evening as well, with sable trim or jeweled buttons for contrast. Variations on these themes continued throughout the years, even after trousersuits became a regular part of Norell’s repertoire.
Striking in their simplicity, Norell suits would skim the body, making the wearer the focus of attention rather than the clothes. Daytime drama came from bold, clear colors such as red, black, beige, bright orange, or pale blue, punctuated by large,
plain contrasting buttons. Stripes, dots, and checks were the only patterns, although Norell was credited with introducing leopard prints in the 1940s, again, years before they became widespread in use. Norell’s faithful clients hailed his clothes
as some of the most comfortable they had ever worn.
October 20, 2011
I am very fortunate to have grown up in the time of my favorite design stars. Andre Courreges being one of them . My mother was one of his biggest fans and my memories of her in his clothes is very prevalent in my mind. I was looking through one of the fashion magazines
recently and saw some of Marc Jacobs new spring collection. Absolutley stunning!
It reminded me of Courreges. So I wanted to give you a peak into some stunning clothing, you can still find at vintage stores and I will have some pieces in the boutiques once JAMIE launches.
André Courrèges, (born March 9, 1923, Pau, France), dress designer who first made a reputation in the Parisian fashion world of the 1960s for futuristic, youth-oriented styles.
Courrèges wished to be an artist, but his father directed him into engineering, at which he was successful. In 1948 he joined the staff of the couturier Balenciaga and eventually advanced to the position of Balenciaga’s first assistant.
In 1961 Courrèges opened his own fashion house, and by 1964 he had become established as one of the most original couturiers in Paris. His collection featured proportionate, well-cut pants, rigidly constructed clothes with smooth “trapeze,” or trapezoidal, lines, and short skirts,
with white midcalf boots and large, dark glasses as accessories. White became his trademark.
Because his simple designs were widely copied, in 1965 he established strict control over the manufacture of his designs. In 1967 he showed both haute couture creations and ready-to-wear fashions for his boutique, Couture Future, with distribution controlled through licensed outlets.
His designs remained dramatically simple, with a complete lack of nostalgia, and included such innovations as hip-hugger pants with halter tops, transparent tops, sequined jumpsuits, and vinyl-trimmed suits and coats.
Often using white, Courréges created space-age, unisex styles and is known for dresses and trouser suits featuring straight, flat lines and sheer tops that sometimes sported cut-outs. He is often credited with the invention of the miniskirt,
which he frequently paired with shiny white boots. He later experimented with such looks as “gladiator” and ethnic outfits.
October 19, 2011
In continuing with my art crushes! this is another phenomenal female artist. Remember I am doing this little series so bringing to the forefront all of these amazing talents. I hate when I hear people say that there is no great art around and that they seem to think
after the 60′s and 70′s everything disappeared. NOT SO!
Paula Rego is one of the most talented female artists today! I adore her work and would love to add her to my collection! (one day)(soon)!
If Paula Rego is a storyteller then she herself is also the centre of a life story that has the ingredients of an opera libretto. Her story is well documented in the monograph by John McEwen, which details her childhood in Portugal,
her studies at the Slade, her marriage to the painter Victor Willing, and her life in London. Her work openly draws on her own childhood experiences, her relationships, responsibilities and family life with all its complexities.
Vic Willing more specifically defines her concerns as being, ‘domination and rebellion, suffocation and escape’. Her childhood in Portugal was a mixture of upper middle class privilege (her father an engineer and anglophile)
and the company of servants. The Portugal she grew up in was under the dictatorship of Salazar, a country held in tension and somewhat isolated from the rest of Europe.
Rego has always identified with the least, not the mighty, taken from the child’s eye view, and counted herself amongst the commonplace and the disregarded, by the side of the beast, not the beauty. But she has also confronted,
even celebrated, the powers emanating from this quarter: hers are not simplistic tales of victims and oppressors at all, but constantly surprise the viewer with unexpected reversals. Her sympathy with naivete, her love of its double character, its weakness and its force, led her to nursery rhymes as a new source for her imagery.’ (Mariner Warner)
The Nursery Rhyme etchings immediately established Rego as one of the foremost graphic artists of her generation. The prints were made after an intense period of painting, resulting in a major retrospective at the Guilbenkian Foundation, Lisbon and the critical and popular success of her solo exhibition at the Serpentine Gallery.
It also tragically coincided with the death of her husband Victor Willing after a long struggle with multiple sclerosis.
October 17, 2011
Minimalism is a long topic unto itself. And many people don’t consider Minimalism to be art. much like some people think that a work by Pollack, anyone could do by throwing paint on a canvas-now think of Minimalism. But today’s post, although yes, is about a
Minimalist artist is not about Minimalism. Rather, i want you to think, in interior design magazines that you have seen lately how objects are in multiples, or of one color, or a certain grouping all of the same item.
Although I am quite positive there is not quite the same theological idea behind it, it is the same result. Objects, in space, and their relation to that space. So I thought to bring you art as it relates to interiors. I am a huge advocate using small accessories,
that they be in multiples, usually of one color. I too love the result. the impact conveys a confidence and a simple statement. The first time I saw judd’s work was at the Museum of modern art in NYC.
I am sure you have seen his work or pieces that have been influenced. now you know who the artist is.
In the 1960s, Donald Judd began to create art that used “real materials in real space.” He created objects that occupied three-dimensional space and rejected illusionism. This style of art was called Minimalism. Judd and other Minimalists sought to create a depersonalized art in
which the physical properties of space, scale, and materials were explored as phenomena of interest on their own, rather than as metaphors for human experience. “A shape, a volume, a color, a surface is something itself,” Judd wrote. “It shouldn’t be concealed as part of a fairly different whole.”
During this time, he created shapes that were geometric in form that stood out from the wall and eventually moved to freestanding works on the floor. In the 1960s, Judd became well known for sleek, boxlike constructions made of industrial materials such as plywood,
sheet metal, and plexiglass that were painted using commercial techniques.He considered himself a painter but not a sculptor.
In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition this piece is considered to be Judd’s trademark. This piece hangs suspended from the wall. His work is almost mathematically precise but he claims his geometric series
mean nothing to him in terms of mathematics. He is impatient with critics
who claim that his works and those of other Minimal artists have no meaning. He claims he does not attempt to deliver his own political or social messages, but insists his goal is to focus on the space occupied and created by his objects-
-their purity of form. In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition. Because of the scale of his works, they are not often readily installed in museums or galleries.
October 11, 2011
Older Posts »
I was and am so excited to learn about Henri Samuel as I have never heard of him before, and now it seems his name is popping up all the time. so I want to share with you a fabulously talented designer who was insanely influential. When you look at his images you will
see how much of an interior design influence he was and is on today’s market. From Miles Redd to other great French inspired Traditionalists.
Where clothes are concerned, the only person I trust is Balenciaga,” Mary de Rothschild used to say. “The same goes for Henri Samuel in the field of decoration.” This encomium—which her cousin Edmond de Rothschild chose as a preface to
the auction catalogue of Henri Samuel’s collections at Christie’s Monaco—speaks volumes for the elegance of this great designer. It was an elegance that was appreciated by the most demanding of clients, notably the Rothschilds, the Vanderbilts,
Prince Sadruddin Aga Khan, Susan and John Gutfreund and the couturier Valentino, who entrusted the designer with his château at Saint-Nom-la-Bretèche, on the western side of Paris.
Samuel was all the more at ease with high society because he himself was the scion of a refined and wealthy family. His father had been a banker and his grandfather a dealer in antiques. The young Samuel was originally headed toward a career in high finance,
but after two years’ apprenticeship on Wall Street he returned to decoration, his first love. At the age of twenty-one, in 1925, he went to work for Jansen, the noted design firm. He couldn’t have chosen a better place to learn his trade—there he assisted Stéphane Boudin,
the most celebrated interior architect in the profession. After moving briefly to Ramsay, another decorating house, Samuel took over the management of Alavoine before starting his own firm. His clientele was built up by word of mouth in Paris, London, Lisbon, Munich,
New York, Palm Beach and Los Angeles. All over the world people clamored for the “Samuel style.”
But what was it? Samuel himself confessed that even he was incapable of supplying a definition. What is certain is that he always sought to adapt his work to the spirit of each place and project and to the personalities of the people for whom it was intended.
He never did the same thing twice.
Samuel was one of the first true experts at mixing genres. He delighted in juxtaposing Louis XVI décor with abstract paintings or in placing Louis XIII cheek by jowl with Oriental objects. This eclecticism was reflected in his own home, a Louis XVI town
house on Paris’s rue du Faubourg St.-Honoré. Visitors were amazed to discover a painting by Richard Lindner over an Empire table, Neoclassical chairs beside a table by Diego Giacometti and—why not?—armchairs made of brass and Plexiglas designed by Philippe Hiquily.
Yet if Henri Samuel was ready to sanction such flourishes, it was because he had not only perfect taste but also a perfect knowledge of the various styles and their history. When Gérald Van der Kemp engaged him to restore the Empire rooms at Versailles in 1957,
it caused a great stir; the lords of the museum world had never previously resorted to outside advisers. But in this project and others Henri Samuel was a master at the art of conferring a measure of intimacy on historic surroundings. Indeed, intimacy was a key word in
his scheme of things, and in recognition of this talent, the Metropolitan Museum in New York called on him to devise a mise-en-scène for the Wrightsman and Linsky donations, two collections of decorative arts from the seventeenth and eighteenth centuries.