Balenciaga and the Flamenco
… classic silhouette with a train that floats away from the body and that can be pulled up to the shoulders or worn as a cape. The volumes and ruffles carry the movement of the dancer.
‘a distillation of the French Baroque spirit in all its ultraelegant subtlety’ but I could not help seeing neo classical etherium . This same spirit of reinterpreting the essence of these eras that I see being captured in the work of Kirrilli Johnston since her first collection in 2004…
So why should weeds be beautiful? Perhaps because they bring us back to earth, provide us with honest labor in ‘weeding’ and trimming, and when they are properly tended enable us to enjoy the magnificently beautiful, or delicious; depending on the other plants one has planted in the garden.
Sound and the visual have a unique relationship. Such interplay is akin to the sprouting of plants, emerging by some invisible life force into the world from seedlings and rooting into larger spheres of presence. It’s also akin to the growing of forms from water and salt, the emergance of crystalline shapes in more extreme climates.
Maria Jeritza made the US [and the Metropolitan Opera House] her home and in 1921-22 she sang Tosca in this spectacular costume of silk velvet with intricate beading and embroidery.
Relics are something not unfamiliar to the Greek story, where heroic past is allowed to remain. The old is at once celebrated and at once left to the side, a weighty burden that is also a familiar and much loved fixture.
The Costume Shop for the New York City Ballet is a ragtraders and seamstresses paradise with a goldmine of lace and theatrical concoctions from past to present.
At Coney it’s hot. Off the subway and onto a street spilling over with participants from the freak show – at $7.50 it’s a unique experience. I see tattoos walking towards me, with headbandanas and pointy tipped plastic lenses peering from underneath orange paroxide locks.
Category Archive: performance