2017 was the year I finally replaced my old Ikea sofa with some midcentury fabulous Joybird reproduction furniture (I loved that Ikea sofa – it just wasn’t me anymore) and realized my dream of some SWEET OCEANIC ARTS LAMPS! In bittersweet news, our beloved family realtor and friend Florence Trelford passed away, leaving me the Heywood Wakefield bookcase and round coffee table that had previously belonged to my grandmother.
So I have fun tiki-themed pinup photos by Holly West Photography to share, this time from Skipper World Headquarters.
The Skippers have added a beautiful tiki lounge to their home, complete with huts, outrigger canoes, a bar, and a swanky seating area. It went perfectly with my vintage Alfred Shaheen bombax print dress, bakelite tribal necklace, and Dixiefried leopard-print Glamor swimsuit. The lovely and talented Rockwell DeVil did my makeup and hair.
More photos after the jump!
I always tell people that my basic style descends from a combination of Bettie Page (e.g. the bangs), film costume designer Edith Head (e.g. bangs, Mexican and gypsy skirts), and artist Mary Blair. It’s an odd mix, but it begins to make sense if you know me fairly well and think on it for a few moments. You may be aware that my signature hair accessory is a black grosgrain ribbon, something I picked up years ago from photos of Blair. I’m also a huge fan of the colors and shapes she incorporated into her artwork and designs for everything from Disney films and theme park attractions (It’s a Small World!) to advertisements to fashion.
I wasn’t sure what to expect when Pinup Girl Clothing announced that they would be adapting some of Blair’s (non-Disney, of course) art to fabrics for a special “Magic of Mary Blair” collection, but I ended up ordering and enjoying several of the pieces. Most items from the collection are existing Pinup Girl Clothing staple pieces, like the popular gathered Jenny skirt and Ella dress, that feature commercial illustrations by Blair. Some of the art comes from textile prints (like the parasols) and others from things like advertisements (e.g. the kittens). They are all constructed from PUG’s favorite cotton sateen fabrics, which look and wear well in casual settings. Continue reading “Fashion & Style Influences: Mary Blair at Pinup Girl Clothing”
It’s hard to believe that December will mark the 200th anniversary of Emma‘s publication. The recent lead up’s been pretty interesting, including a modern retelling of the novel by Alexander McCall Smith and Pemberley Digital’s multimedia Emma Approved adaptation, which wrapped last year. Various organizations, including the Bay Area English Regency Society in the San Francisco Bay Area, are organizing celebrations commemorating the event. Even though it’s not popular on the same level as, say, Pride & Prejudice, people love Emma because it has a little something for everyone.
Before writing Emma, Jane Austen once expressed, “I am going to take a heroine whom no-one but myself will much like” (James Edward Austen-Leigh’s Memoir of Jane Austen, p. 158). Most believe that the author was at least half-joking when she said this, as Emma Woodhouse is often a great favorite among readers. The character aside, however, the story itself is simply brilliant. Part romance, part comedy, part drama, and part “detective novel,” adapters for stage and screen have lots of choice when it comes to direction and focus. If the depth and texture of the novel has a limitation, it’s in the fact that most adaptations can’t do justice to everything it offers (not even the long miniseries versions).
Jane Austen wrote Emma over the period encompassing January 21, 1814 – March 29, 1815. At his request, she dedicated Emma to her most high-profile fan, the Prince Regent. This is a bit strange, considering that she didn’t care much for him, his conduct towards his wife, or his personality in general. He received a special first edition of the novel (one of twelve “presentation” copies issued by the publisher), in three volumes, which is kept at the Royal Library at Windsor Castle. For more on the presentation edition, see this description of Anne Sharp’s copy (Bonhams auction site). Novelist Maria Edgeworth – a favorite of Austen’s – also apparently received a presentation copy of the novel.
First published in December, 1815 (though the frontispiece is dated 1816) by John Murray, Emma was the last work Austen lived to see released. The first edition consisted of 2000 copies. Oddly, the book did not sell well, so the second printing/edition didn’t happen until 1833. For more information on the initial publication of the novel, look here. You will also find opinions on the novel from Austen’s friends and family right here.
For more on Jane Austen’s Emma and its various media adaptations, visit the Emma Adaptations Pages.
One of my favorite things to do in my hometown is wear vintage and reproduction outfits to see classic movies at the historic Fox California Theater, also known as the Bob Hope Theater.
After a massive restoration conducted in the late 1990s and early 2000s, this gorgeous 1930 theater is a clean, bright, luminous connection to an earlier time. While you might see anyone from George Lopez to Tony Bennett headlining at the Fox, the best attractions are the ones that offer the visitor a connection to the theater’s roots as a mid 20th century movie palace – the monthly Friends of the Fox classic movie events featuring concerts on the 1928 Robert Morton theater organ!
Click for more Fox Theater and more outfit pictures!
Like most people, I get my style cues from so many different sources I can’t keep track of them all. More, I’m sure a huge proportion of my influences are so subliminal I couldn’t articulate them if I wanted to. That said, the spirit of self-exploration has taken hold and inspired me to try. So with that, I’m presenting my first style influences. Not the first in the chronological sense of my life, but the first I’m bringing to the blog: Piero Gherardi – art, set, and costume designer for many of Federico Fellini’s iconic films – and the luminous Anita Ekberg, one of the talented female stars of my favorite Fellini, La Dolce Vita (1960).
Since Ekberg just passed away, she’s a logical first choice. The designs that she – and everyone else in La Dolce Vita – wore also happen to be some of my favorite clothes ever. Her strapless velvet gown from the famous Baths of Caracalla and Trevi Fountain scenes is legendary, but I’d love it even if it were 1/1,000,000th as famous as it is. With its sweetheart neckline, carefully-engineered bodice, and sweeping, diaphanous silk underlayers, it’s truly a dream dress. The way Ekberg whirls through the Caracalla scene, it’s almost like the dress has taken on a life of its own.
My other favorite Ekberg ensemble from the film includes the off-shoulder, v-neck lace top her character, Sylvia, wears during the press suite scene soon after her arrival in Rome. It’s perfect – just the right balance of structure and femininity, balanced delicately on the pinnacle fulcrum of the best fashion era that ever was or will be – the late 1950s and early 1960s.
It helps that Ekberg didn’t have a standard body. While not exactly plus, she had bigger curves than the average actress and looked amazing. This inspired me, as a girl who is nothing if not curvy.
Though all that remains of it today is its domed rotunda from 1909, City of Paris is one of those venerable old department stores that everybody from San Francisco seems to remember. From 1850 and the boomtown days of the California gold rush to the early 1970s, the store was an integral part of the culture and economy of the city. Legendary columnist Herb Caen deemed its massive Christmas trees the official Christmas trees of the city, and even people who never bought a thing at City of Paris were very familiar with the store and the high-end French and French-inspired goods that it was known for.
City of Paris is gone, but its beaux-arts rotunda and glass dome (which is reminiscent of those at Galeries Lafayette in Paris ca. 1912) live on at the store’s former site on Union Square, now Neiman-Marcus. The glass features the motto and crest of the real city of Paris in France: a ship and the words “Fluctuat nec Mergitur,” Latin for “It floats but does not sink.” This reflects not only the attitude of the business itself, founded by Frenchman Felix Verdier, but also the literal founding of the store. Verdier brought his first load of goods to sell from France on a ship called Ville de Paris. In fact, the story goes that Verdier managed to sell everything from the ship itself thanks to eager men flush with money from their gold rush successes, making the Ville de Paris, in effect, his first storefront.
When I was in college in the mid-1990s, I shopped at I. Magnin on Union Square. I didn’t buy much – mostly makeup – but I had as good a time as anybody at this bay area institution. I was really thin then, so I could try on the Armani and Chanel and look good in it. More fun than anything, however, was the beautiful bones of the store.
The sleek marble facade and remaining post-deco interiors from 1948 gave the place an air of sophistication that a brand-new build – no matter how opulent – just couldn’t match. The downstairs “main hall” had several gorgeous painted glass murals by artist Max Ingrand and bronze balustrades reminiscent of a trans-Atlantic ocean liner. In fact, the main floor reminded me an awful lot of the Queen Elizabeth‘s interiors, barely a decade older.
When Macy’s – I. Magnin’s parent company – closed the store in 1994, I was gutted. I managed to happen upon the fixture sale in early 1995 and purchased the only remaining piece of I. Magnin I could afford or logically use – a large white flag with the I. Magnin logo (which I still have).
Years later, I found a beautiful 1940s vintage lace dress with I. Magnin labels and promptly fell on it. It got me thinking about the store and how much I missed it. Nowadays, everything from the original I. Magnin building, designed by Timothy Pflueger, has been overrun by the Macy’s next door and its boutique lessees downstairs. Well, almost everything. I did discover that one original 1948 interior space remains – a women’s bathroom.