Sweet, Flickering Heaven.

You are a savvy fan of the Internet, so I don't have to tell you how amazing the treasure trove at your fingertips is--but I will anyway. The glowing screen you are reading, which is a conveyance for a limitless, wireless, wall-less archive of everything and anything ever produced by human culture is astounding. I spent today surrounded by books; first at the flagship, marble-carved 5th Avenue branch of the New York Public Library, and then in the stacks of FIT's Gladys Marcus Library. Both are incredible resources filled with bound volumes of magical storytelling paper, original physical artifacts, and recordings of all kinds. Both smell amazing. Both have their own atmosphere and their own set of glowingly dorky, mostly bespectacled staff so eager to help you research your topic that the apples of their cheeks hurt when they hand you your sources. They are phenomenal, historic places worthy of our utmost care and conservation, but I couldn't help foreseeing all of those rooms weighted with heavy tomes replaced by slim hand-held e-readers. Don't get me wrong--the imagined scenario filled me with a sinking sadness, but it was buoyed by the certainty that the portable, light-emitting archive that is the Internet is a gift to all of us. For everyone who can't make it to the library today to request appointments with special collections departments in order to spend a pre-determined period of time with actual artifacts, the galaxy of resources on the web is a fantastic alternative. That may seem to be an instant grasp of the obvious, but today it struck my just how fantastic it is.

What has sparked this rave? A growing love of old things and a really wonderful, rare old thing. I have recently embarked on a journey to become a fashion historian (for realsies, not just for blogsies). In the two days that I've been an enrolled student in FIT's MA Museum Studies program, I've been delightfully inundated with evidence for just how important fashion history is (not that I needed much convincing). It is the history of politics, of nations, of every culture, all wrapped on the form of the human body. It is a window into the development of technology, the resources of the natural world, and the evolution of creative expression. It is studied, like any other aspect of time past, through the analysis of artifacts and written accounts. These artifacts in their original form are held in a web of museums, galleries, and libraries all over the world. These institutions were created in efforts to encourage the public to take pride in their culture and develop it further, thus they are incredibly accessible and public friendly. As a student I now have even more access to the collections of these places. I can head to individual institutions, seek out actual items, and view artifacts or read documents on any subject in person as an aspiring scholar: I can take my academic queries to institutions far and wide. Or, I can click on a few links and suddenly be at home viewing an original, rare visual document in my pajamas, on my bed, with a pillow under my head and a MacBook heating up my lap (that's an accurate description of my current state, BTW).

What's glowing on the screen is absolute gorgeousness. It's a reel of test footage from Kodak's archives showing hand-cranked color motion picture footage. This footage was shot in 1922, a full 13 years before the release of the first color film. It's magic.

As an aspiring historian, this document is invaluable. It shows materials from the time coming to life. It shows their texture, which is important in identifying their type. It shows hair color, makeup, posture, all of the contextual information that allows for a firmer grasp on the time. I can't stop watching it. Here, take a look:



The past is everywhere, and it's such a present.

Credits: My friend Jenny alerted me to the film clip as posted on The Daily What. The original publisher of the piece was Kodak them selves, via their YouTube channel. You can read more about the footage at their website.

3 Minutes and 6 Seconds in Heaven.

This clip is as seductive as curling smoke; as gorgeous as Dietrich herself.



The wealth of the internet still amazes me. I sound ancient saying that, like the nearly 30-year-old that I am, but can you imagine how long you would have had to wait to see footage like this before? How the stars would have had to align? Perhaps a museum would have decided to do an exhibit on Le Dame Dietrich, perhaps they would have included this clip on a reel of her best scenes, perhaps the exhibit was traveling and came to your city, perhaps you could make it there. Or, maybe a television special would have aired about her, about this film. Maybe you would have caught this scene on the classic movie channel, or maybe you would have been lucky enough to live in NYC near The Museum of Television and Radio and you had a free afternoon to head on over and rent the clip. Then you would have had to know it existed, to know it by name, to write it down on paper and hand your slip over to the museum employee and wait your turn for a television and a set of headphones to free up. Now? Now, on a whim you type Marlene Dietrich into the search bar of Youtube and you click her tiny thumbnail pic and you watch this beautiful footage. Just like that. And then you watch it again. And then, you watch snippets of her other work because damn, the dame looks good in a suit.



And then maybe your eyelids finally feel heavy at 1:50 AM and typing takes too long between dozes and you drift off to sleep with a French lullaby courtesy of Marlene fresh in your mind.

Goodnight.

Fly Away Home.

Prada's connection to the art world has always been strong and meaningful. Their matriarch, Ms. Miuccia, is a patroness of many forms of visual art, from architecture and interactive design to photography, sculpture, and now film. The latest PR from Prada is a film by Chinese artist Yang Fudong. It's a black and white short film featuring Prada's meshy menswear from Spring 2010 and a high wire tight rope and a few geishas and some uselessly mesh umbrellas falling. All that makes for a surreal, fluid presentation where the norms of life take a backseat to pretty pictures, and the long shots are choreographed so that peoples' entrances and exits of the frame are as entrancing as a ballet.

And, You Are...?

Who Are You Polly Magoo? is fashion photographer William Klein's '60s era film satire of the fashion industry of which he was a part.

Besides for making excellent use of the frock trade's easier-to-lampoon aspects, the film is a delightful visual jaunt through French fashion and the life story of main character Polly Magoo. All decked out in elegant black and white, the film is eye candy for the style hungry. Here's a clip:



Oh, and another one:



My, oh my, I could watch that all day!

I See You In Pictures.

You can learn a lot about people through their taste in movies. The Sisters Mulleavy, Kate and Laura of Rodarte, were once asked to compile a list of their Top 10 films from The Criterion Collection. A Jean Cocteau version of Beauty and The Beast mingles with Jonathan Demme's Silence of The Lambs and they both share space with a few fine examples of French cinema. It's all very telling and makes me want to rush to update my Netflix list to include the sisters' selections. Their aesthetic is one of my favorites in all of fashion, so I'd trust their taste in films any day. Click the above picture to head on over to the Ladies' entire list. You can even stream some of the trailers for the films right there. Go ahead, go ahead! The Mulleavys are calling! I'm sure they'll pop you some popcorn if you ask nicely.

The Virign Ressurections.

Jeffrey Eugenides' debut novel, The Virgin Suicides, is rising again with a beautifully covered reissue.

The book is a must read, with its darkly intriguing tale of the Lisbon girls- five perfectly unattainable and ethereal creatures that also happen to be sisters, and the fixed obsession of a group of fascinated, neighborhood boys who are on a mission to find out how to save the girls from themselves. The novel was made into a soft-lit, excellently soundtracked debut film by Sofia Coppola that deserves a re-view as well.

The film is dreamy, light, floaty, and also dark and urgent; it is so many things. When I first saw the film when it was new, I think I was a little too green behind the ears to appreciate its full delicate but indelible impact. Now I'm loving it. Here's part of the film:



Sofia's styling of the girls is a perfect match for the resurgence of soft, flowery things that have been floating down city streets this spring. Tea cozy worthy florals spun into dresses, skirts, light-as-air sheer tops. It's a little Lux Lisbon rebirth.

Costume Drama

Just when you thought the excitement of NY Fashion Week couldn't be topped, here comes the Superbowl of Starry LA Semi-Sartorialism...the effing Oscars! I'm in the mood for a little glammy distraction from the R-word (rhymes with depression, causes ulcers, homelessness, and may theoretically be cured by economic stimuli), although I'm sure it will be mentioned even more than Kate Winslet's "new" Pilates body, or Rourke's comeback. Besides for the red carpet hoopla, I think it is every good fashionista's duty to close pay attention to our most relevant statue category, the one awarded for Costume Design.

Do you know who your noms noms are? Let's meet them, shall we...

Catherine Martin, Australia

Baz Luhrmann's go to designer (and wife) Catherine Martin is up for her first solo award in this category. Having worked on Luhrmann's other efforts, like super spectacles Romeo + Juliet and Moulin Rouge, Martin is an old pro at translating Baz's distinct cinematic energy into on screen wardrobe. According to Martin, Kidman's gorgeous, prim and proper gowns and get-ups were not her favorite, instead it was the military style horse back outfit she rocked for the cattle round-ups. Apparently Keith Urban has a thing for ladies in manly uniforms.

Jaqueline West, The Case of Benjamin Button

If you asked me, personally I would award Cate Blanchette's amazing, creamy complextion and beautiful red hair an award of their own, but they don't have a category for The Prettiest, Prettiest Girl yet so, I'll settle for knowing that the movie's costume designer, Jaqueline West is up for an honor. West oversaw Benjamin Button's time warp through different decades, locales, and ages. She used old family photo albums that she found online to trace how people maintained their distinct looks throughout decades of political and social transformation. Combined with images from visual artists of each time period, the real life references helped West handle the film's tricky logistics with grace. But, this was not her first foray into complex film land, the lady loves a challenge. She was responsible for the wardobe in Terrance Malick's The New World, where she dressed Colin Farrell and a huge cast of extras in authentic Native American/early settler garb. She's known for doing her homework, and the five months of research she did for Benjamin Button before she was even hired definitely paid off in the film's look.

Danny Glicker, Milk

Dressing Sean Penn in clothing that documented the transformation of a hippie-ish Castro photographer into a serious politician who ushered in the modern gay rights movement was Danny Glicker's responsibility in Gus Van Sant's Milk. His reverence for the dearly departed icon and the film's demographic's immense nostalgia for the era in depiction were catalysts for Glicker's award-nominated effort. He sourced his looks from actual photos left behind at Harvey Milk's Castro Camera Shop and the talented group of photographers and artisits who were part of the scene themselves.

Michael O'Connor, The Duchess

O'Connor's work on this film was that of a master of period piece dresser. The intricacies and fantasy behind days and costume customs of yore are always fertile ground for imaginative and historically minded film buffs. Depicting Duchess Georgiana Cavendish of Devonshire in the 1770s, was an exercise in indulgence and restraint. He tried to subtley suggest the grandiosity of the Duchess's fashion forwardness, while letting the details of the geniune garb speak for themselves.

Albert Wolsky, Revolutionary Road

I know costume dramas are shoo-ins for this category, but my money would be on Revolutionary Road, well if I had money to spare on such things. Revolutionary Road was a a period piece without the costume drama. In fact, the costumes were quite effortless in this film and made the emotion of the characters the driving force. Yet, the dresses, suits, hats, and such were gorgeous windows into each character's role, place, and ambition. I was a fan. Can you tell? And, Wolsky's excellent resume includes over 70 films. His experience showed in his ability to finesse the era of the '50s out of his materials in a subtle way. His work was visually rich but not cloying in any way. I see a gold man in Wolsky's hand.

And, let the show begin! Yay.

Click any image for source information.

Lost, Found

Chet Baker is someone whose image will live on indefinitely. He was equal parts incredibly handsome, incredibly talented, and sadly tragic. His hard drug addictions ultimately did him in, but in his prime, Baker was a sexy, smooth musician whose trumpet was more of an extension of his self than an external instrument. In the 1950s a young future fashion photographer extraordinaire named Bruce Weber caught sight of an album cover featuring Baker. Weber knew he had found a lasting subject. The two didn't actually meet until the '80s but became quick cohorts, shooting both photos and film together. Weber's footage of Baker was originally slated to be a three minute short about the musician, but evolved into Let's Get Lost, a telling documentary capturing the essence and demise of the preternaturally gifted horn blower through found footage and interviews with friends, family, and former lovers

Let's Get Lost © Non disponible

The film was released shortly after Baker's death. A DVD of the film was re-released in Europe in May of 2008 and you can get yourself a copy here. The gorgeous photos above were all taken by William Claxton.

Go-See: La Fille Sur Le Pont

Ok, so you won't really be able to actually go anywhere to see this film, because it's not playing in theaters. But, by all means queue it up on your Netflix and go to your living room and watch it. It is a gorgeous French film starring a very pixie/coquettish Vanessa Paradis and a set of circus knives. Black and white are done justice in the stylized (but still effortless enough) scenes. Basic plot? Girl jumps off bridge. Girl meets Man who throws knives. Man pretties her up. Man throws knives at her. Yep, that's the deal. Here are some clips to whet your appetite...

One of my favorite movie makeover montages ever:


A breath-inhibiting performance:


Baby, it's cold outside. Grab a blanket and be dazzled. Pretty things always warm me up.

Go-See: The Reader

You could take a still from any single second of Stephen Daldry's The Reader and make the most beautiful photograph. I can't say enough about the visual pleasures of this film. From Kate Winslet's creamy complexion, to sunsets making a gray city glow, to old-time boxed-car trams, to delicious cotton dresses, it was all divinely shot and lit and decorated and printed.

The subject matter may be a bit heavy for some, but the gorgeous, rich scenery will be a treat for all. Go see it and tell me what you think.

Ford Focus

Former Gucci Guy Tom Ford is making a foray into the film biz. He's announced plans to direct "A Single Man," an adaptation of Christopher Isherwood's 1964 novel about a gay man who loses his partner of 16 years. Ford's either spending the big bucks, pulling some strings, or paying the cast in a lifetime of slick couture because he's managed to get Julianne Moore, Colin Firth, and Matthew Goode to sign on as stars. While Ford did some unbelievable work at the helm of Gucci, his ego has been overshadowing his talent for years, and I'm surprised this incredible cast has faith in his filmic ambitions. If his more recent work is any indication, we may be treated to a couple of self-directed Ford cameos in the film.

Remember when he was art director of the 2006 Hollywood Issue of Vanity Fair? He worked himself into the cover, looking all creepy and nuzzley up against a nakey Keira Knightley. And then, he also made appearances in no less than four of the magazine's inside pages. I could just hear him saying, "You know who would be great in this shot? Me!" Then came Ford's self appointed starring role in an ad campaign for his men's cologne and most recently, a high end men's store based on the "Tom Ford Look". Now, he's a physically attractive man. He is; he's fit. But my God, doesn't he just know it!

That song is made for Mr. Ford. He should direct and star in a video for that song instead of the film. If I didn't have so much faith in the lovely and talented Julianne Moore, I'd think this was a crazy talk project along the lines of Mariah's Glitter. It'll be interesting to see what happens. Maybe he'll come through with brilliant results, just like he did for Gucci. Or maybe we'll just see his naked buns a lot (NSFW). Who knows?