nunu


pants off

“It was as if someone had dropped an old pair of pantyhose over Milan,” scoffs Cathy Horyn. “If you told me that Karl Lagerfeld had anything to do with the boudoir show at Fendi, I would have denied it to your face.”

I know everyone (by “everyone” I mean “fashion blogs”) has been obsessing over this line for a few days now, but deservedly so. It’s magnificent.

While we’re on the subject of the boudoir and pantyhose, can someone please put the kabosh on marveling/reporting/commenting on the dearth of pants on the runways, as if the runway were somehow a literal representation of what designers suggest you actually wear. This is Fashion Show 101! No one expects people to run around in their underwear, like it’s some kind of Brave New Look. Foundation garments are just a cash cow. Lingerie is the New Perfume. And the photos are a sexy news sell. That’s all. The end.

yoko ono at threeasfour

The inspiration behind the Threeasfour show last night - a short film directed by Albert Maysles called Cut Piece from the ’60s, a document of one of Ono’s performances.

return, return (volver, volver part two)

Back to school for the art and fashion worlds…today I hit the F.I.T. Couture Council’s luncheon honoring Dries Van Noten, the Belgian designer who knows how to take the hippie out of bohemianism, fusing disparate ethnic and historical references to create clothes for the wandering poet in all of us. I “bumped into” Maggie Gyllenhaal, who was there to present the award to Dries. She had never met him, she admitted, but he did design her wedding dress earlier this year– “Oh my god, this is not what we talked about, what am I going to do?” she remembers thinking when she first saw the results. “I’ll wear that dress in my closet from 2005…then I took it with me to Italy, put it on and I had never been in a dress more beautiful. I think he knows much better than me what will look sexy on me. Obviously he’s not designing just for me, but I imagine a lot of women must feel that way.”

Typically all us journalists needing a soundbite on the first day or two of fashion week will ask what a celeb’s plans are for fashion week. It’s a litmus test for whether they are A, B, C or D level; the more things they plan to attend, the lower the grade. “I’m juggling so much right now, but I’m going to try,” said Gyllenhaal, on whether she’d attend Proenza Schouler’s show (she’s a big fan of them, too). She said she’s busy with her daughter who just started school. A-/B+?

At the luncheon I sat next to Lynn Yeager and Marilyn Kirschner, two of my favorite fashion writers. I think that’s a good omen for the week (and Mercury is even in retrograde!) Kirschner and I discussed feeling disenchanted with the whole fashion brouhaha, though clearly she loves what she does otherwise she would not still be doing it (her first job in fashion was at Seventeen in the seventies). It’s in her blood to be a magazine editor, she said. And when she’s feeling down, her favorite thing is to get dressed up in one of her vintage Pucci dresses. When she said that, suddenly my brain was flooded with a sense of clarity and I remembered why I love fashion. Why, I love dressing up, too! But I think it’s important for the things you wear to have meaning (as with everything one does in life). So when I put on a certain pair of shoes, I remember walking a mile in them in Paris to hear Patti Smith perform at a fashion show, or when I wear a certain belt I think about how many fashion functions it got me through, because it was the only new accessory I could afford that season, and the next season, and the next….

Tonight I will celebrate my final night of “Renata Time” by flipping over to my former world, art. I’ll meet Aileen, in town from San Francisco, for a photography show at Jen Bekman, then off to Invisible Exports for genesis BREYER P-ORRIDGE: 30 Years of Being Cut Up:

a three decade retrospective of photomontage and Expanded Polaroids, which includes many works never exhibited before, as well as a sampling of P-Orridge’s early Mail Art. The show will mark the culmination of a new, re-emergent phase in BREYER P-ORRIDGE’s life. He/r career — and most particularly he/r recent pursuit of pandrogyny — tests the limits of transgression and traces the tragic fate of the underground, proving again the expressive power and pervasive influence of those artists who take the world not as it comes to them — sensible, orthodox, predictable — but as they would like it to be.”

Electric Newspaper, Issue Two, 1995, Mixed media 9 x 9 inches on 15.25 x 12 inch paper

Electric Newspaper, Issue Two, 1995, Mixed media 9 x 9 inches on 15.25 x 12 inch paper

merce cunningham, 1919 - 2009

Roamin’ 1 (1980), a film by Charles Atlas with choreography by Merce Cunningham. Cunningham died today at the age of 90.

profiles

Anyone read The New Yorker profile on Phoenix sheriff Joe Arpaio this week? He’s the guy that is conducting a pathological crackdown on illegal immigrants (and there is rampant racial profiling of people who are legal) and employs prison tactics designed to humiliate – you may have heard of his parades of prisoners in pink uniforms—and also dresses them in archaic black and white striped uniforms—or his chain gangs in the blazing furnaces of Phoenix and his “tent city” prisons in the desert (with interior temps nearing 130 degrees, reports William Finnegan in the piece). Per New Yorker style, the piece lets Arpaio dig his own hole by showing what a pathetic publicity hound he is while also illustrating his appalling orchestrations of this “theater of cruelty.” Reading it, I found it shocking that a bigger deal hasn’t been made of him in the conversation about torture.

Earlier this summer, I got a very small, but potent taste of Arpaio’s Phoenix, just as I was leaving, in the airport. I gave my I.D. to the homeland security agent before going through security, as usual. He looked at my driver’s license, then looked at me, then looked at it again—again, pretty standard—then he looked up at me again and said, “And you are?”

I looked at him, completely confused—because he’s holding my I.D., right, so, why is he asking for my name? (Isn’t that the usual response to a “And you are” question?) So I say, “Um, I am…Renata Espinosa?” I phrase it as a question because I’m not sure what kind of answer he is looking for. “I can see that on your I.D.,” he says, and then he repeats the question again.

I realize that he wants to know my ethnic background—though here I am with a valid form of U.S. identification—and I’m annoyed that he doesn’t just ask, or that he insists on asking such a vague question. It makes me wonder if this is designed to unsettle the person who is being asked, so that they automatically get nervous and look guilty…of something. This time I respond, “I am going to New York City,” which is still not the answer he is looking for.

Again he asks the same stupid, vague question.

“That’s a very open-ended question,” I tell him.

He’s not being particularly mean, just insistent, and I start wondering if he’s just messing with me for fun, because he’s bored. He’s actually smiling and I don’t know whether I’m supposed to smile, too, like this is some big joke, or whether I’ll get in trouble if I do. So finally I say, “You want to know my ethnic background?” He nods yes. “Mexican and Spanish,” to which he says, “That’s what I thought,” and then he lets me through.

quality time

My dad seemed hopeful that I’d suggest an activity for us to do today—a hike on the mesa? Coffee in town, where we’d make fun of dippy Santa Fe types?— except that I was in the midst of some Michael Jackson-related work today. TV was on, Twitter was open to the LA Times and I periodically checked an AP reporter friend’s Facebook updates from the scene at Forest Lawn. He was skeptical of my interest in the media blitz, but, I argued, this was the first newsworthy event since his death nearly two weeks ago. He eventually chilled out and even turned up the volume when Stevie Wonder started to sing. Then, between Al Sharpton’s impassioned speech and Brooke Shield’s teary one, he made us something to eat. The funeral luncheon: Quesadillas filled with sauteed swiss chard with carmelized shallots; a salad of mixed lettuces, radishes, green beans and lemon vinaigrette and seared wild salmon. We ate in silence.

everything you need to know

Today’s recommendations:

si se puede

See you in Havana.

where have bompas & parr been all my life?

Am embarrassed that I’m only just learning of Sam Bompas and Harry Parr via the New York Times, but I am quite certain we’re artistic soulmates. The artists make architectural jelly molds, host culinary events like a Peter Greenaway scratch n’ sniff cinema, made the dessert for a 100th anniversary celebration of the Marinetti’s Futurist Cookbook in New York and their latest later this month, Alcoholic Architecture, a “walk-in cloud of breathable cocktail.”

"Being in hospital over Christmas can be tough. The world’s most sophisticated dessert trolley provided patients with a diverting spectacle that touched their most sensitive organ – the belly. Liveried waiters in white tie served a huge gingerbread Gherkin (30 St Mary Axe – visible from the hospital), a mountain of jelly and instant dry-ice ice cream. The fine dining experience was heightened by a ballgowned harpist playing classical music on her vast instrument."

"The UK’s first Scratch ‘n’ Sniff Cinema showing Peter Greenaway’s classic, The Cook, The Thief, His Wife and Her Lover opened for Valentine’s Day this year. Bompas & Parr created aromas including ‘rotting meat’ and ‘dusty books’ that captured the scent of key moments of Greenaway’s film. These aromas were micro-encapsulated and printed onto special scratch ‘n’ sniff cards for everyone in the audience."

"The UK’s first Scratch ‘n’ Sniff Cinema showing Peter Greenaway’s classic, The Cook, The Thief, His Wife and Her Lover opened for Valentine’s Day this year. Bompas & Parr created aromas including ‘rotting meat’ and ‘dusty books’ that captured the scent of key moments of Greenaway’s film. These aromas were micro-encapsulated and printed onto special scratch ‘n’ sniff cards for everyone in the audience."

most stories about the us-mexico border are bs

“Drugs and murder are quickly turning that country into one of the most dangerous* in the world,” says an ABC Channel 7 news anchor.

“We’re making sure this is not an easy way for Al Qaeda to get into America…” –Border patrol’s justification for increasing security along the border.

“Congress is calling for U.S. troops to come in to safeguard the border,” says news story narrator.

*Bike messengers make NYC one of the most dangerous places in the world.