Style Court

Nine Years of Textiles, Art History, Gardens, and a Little Mental Traveling with Courtney Barnes

5.21.2015

Connecting Threads (More Frida)

[Detail: Another look at the very recent collaboration between Madewell and JM Drygoods, this time with hand-embroidery by artisans from the San Vicente Coatlán community in Oaxaca.]

I'm a little envious of the Wellesley students in James Oles's Frida Kahlo seminar. After hearing him speak at the NYBG's symposium, Frida Kahlo & Diego Rivera: Mexican Art in the 20th Century (the entire talk is up on the Garden's YouTube channel), I was left wanting to learn more.

[Frida Kahlo by Fritz Henle 1936]

His focus was Kahlo's cross-dressing but not the sort that initially comes to mind. While she did famously don menswear, what Dr. Oles zeroed in on was her cross-cultural cross-dressing. You know, the indigenous Tehuana garb among other things. And with sharp insights and dry humor, Oles makes the point that Kahlo certainly wasn't the first rather elite woman--or man--to take fashion inspiration from the working class. From huaraches to huipils, Oles explores a range of trad Mexican and Mexican-inspired clothes worn way, way back by non-local Cortes as well as more recently by contemporary women.

5.11.2015

Channeling Frida

[Another nod to traditional Oaxacan craft: JM Drygoods collaborated with Madewell on this limited-edition chambray shirt hand-embroidered by a team of women in San Vicente Coatlán. Just my own pick inspired by the NYBG show.]

Mexican textiles, Casa Azul (Frida Kahlo and Diego Rivera's artistic lair), and Kahlo's work: all three can be explored over the next six months in the NYBG show, Frida Kahlo: Art, Garden, Life.


[Catch the preview.] 

Obviously, given the venue, the show's connecting thread is Kahlo’s passion for nature but some of the special exhibition programs also speak specifically to her interest in craft. Textile Demonstrations: Female Artisans from Chipas and Oaxaca are scheduled to take place May 16–June 14 and September 11–October 12 from 10 a.m.–5 p.m. with women from Chiapas and Oaxaca on hand to share weaving and embroidery techniques. Event details here. And past Fridamania here.


5.10.2015

Textile Scout: Yoruba Lace

[Mid-19th-century indigo cotton cloth with a panel of slit weaving known as Yoraba lace from Esther Fitzgerald. Details below.]

The pairing is genius. (As good as when salt and caramel first got together.)

[Airy and light. Hannah Henderson and kids via The Glow.]

[She wears it well, too: Aurora James in an ethereal top as seen in Vogue Paris]

[Earth-bound indigo mud cloth throw at General Store.]

Although the cotton cloth at top was made by Yoruba people well over a century ago, it combines two of fashion's current faves: lacy open-work material and earthy indigo. In his book, African Textiles, John Gillow explains that Yoruba "lace" is traditionally comprised of rows of holes along the length of a stripweave and it's a bit similar to a type of openwork sometimes called "Spanish lace." But he points out that structurally the two differ. Yoruba lace has supplementary yarns, which create the very alluring little holes, and are not actually part of the plain weave ground.

4.15.2015

More from Ellisha


Back in January I mentioned the fluid good looks of painter-turned-textile-designer Ellisha Alexina's handprinted fabrics. The prints I focused on then drew much inspiration from Ottoman florals but today, in anticipation of Ellisha's debut at next month's ICCF, here's a glance at some of her languid stripes.


Well, one more stylized floral, too.


All of these happen to be in her indigo colorway,  on hemp linen, and they are created in her Easthampton, Massachusetts studio. Ellisha, who had the opportunity to study old textiles during her days at the Isabella Stewart Gardner Museum, offers other whisper-soft colorways as well as custom options.

Connecting Threads

[Image courtesy Kufri Life]

Longing to be your own creative director and have a textile custom woven, handprinted or embroidered?

[Phoenix cotton]

Texas-based Kufri Life Fabrics offers all of the above. Founded by Mili Suleman, the company specializes in ikats and handwovens but works with artisans versed in a variety of old school Indian techniques encompassing beadwork and kantha.

[Jaali cotton]

Alternatively, if you need instant gratification, the fabric studio offers a ready-to-buy collection featuring contemporary takes on classic designs.

[Sanjana Grey, handwoven cotton stripe]

Fabric is available by the yard but in Mili's online store you'll find already-made pillows and table linens. Explore the full range here. And while we're talking about heritage-driven textiles, continue keeping tabs on the V & A's preparations for their highly anticipated show, The Fabric of India, here.

Performance

[Detail: 19th-century Lakai suzani from Rippon-Boswell's Vok sale.]


[Details: 19th-century Lakai suzani on deep blue ground, also from Vok Collection.] 

It's festival season, but it's also auction season.

If you've been following my textile news coverage on Instagram and Tumblr during the past month, you may have noticed quite a few suzanis coming up for sale. (Coincidentally, these antique embroideries often have a psychedelic vibe that happens to mesh well with the festival aesthetic.) One of the best performing suzanis to date is an 18th-century Uzbek piece distinguished by massive meandering vines and a palette of ochre, pink and orange with soft blues and greens.

[Details: 18th-century Uzbek suzani from Rippon-Boswell's Vok Collection sale.]
As reported by Daniel Shaffer for Hali, this embroidery just sold for more than double the auction estimate. Full story here.


A more modestly priced find is Merchant & Mills' Shallot.


Gauzy and light, with a hand-blocked motif in deep blue over an off-white criss-crossing background, it's one of many Rajasthani cottons offered by the British fabric purveyor.

3.10.2015

Still on the Borderline

[Image @Francesca Galloway]

For now the best places to find my textile finds and news are still here and here, but I'm popping in to share this stunner from Francesca Galloway: a 17th-century painted and dyed Northern Indian cotton cloth with intricately designed borders. (I do have that weakness for borders, you know.)



See Chintz in Progress here.

2.14.2015

The Finds

[1920s Indian embroidery at Joss Graham, a 2015 LARTA exhibitor.] 
Just a reminder that when I'm not here, you can find noteworthy textiles here and here. But more importantly, the London Antique Rug and Textile Art Fair (LARTA) is once again going to offer an online peek at the exhibitors' wares. The Fair goes live at 6 p.m. on April 16th, if you want to mark your calendar.  

1.22.2015

Lighten Up

[Via Tumblr]

Just to offer a palette cleanser (alternate spelling intentional) after the decadence of the previous post, here's a reminder of Whistler's other passion -- white. I first posted the video link over the holidays so it easily could've been overlooked but the clip is fascinating and worth a watch.

Filthy Lucre

[Darren Waterston, Filthy Lucre, 2013–14. Oil, acrylic, and gold leaf on wood, aluminum, fiberglass, and ceramic, with audio and lighting components. Approximately 146 x 366 x 238 inches. Courtesy the artist and DC Moore Gallery, New York. Installation view, MASS MoCA, North Adams, MA. Photo: Amber Gray.]
Speaking of ruins, Darren Waterston’s installation Filthy Lucre, the focal point of MASS MoCA's Uncertain Beauty, remains on view there for just four more weeks but will be reappear in May at the Freer-Sackler galleries in D.C.  Part homage and part parody, Waterston’s piece -- actually a complete interior -- deals with James McNeill Whistler's infamous 19th-century Peacock Room, which as we've covered in past posts, has been permanently displayed at Freer-Sackler since the 1920s. In the galleries, Waterston's work will be shown as Peacock Room REMIX, and visitors will be able to see the original room and the alternate reality in juxtaposition with one another.

[Darren Waterston, Filthy Lucre, 2013–14.  Photo: John Tsantes.]

With melting blue-green paint, gilded-but-crumbling architecture, details including 250 hand-painted pots, scattered ceramic shards, and new interpretations of Whistler's own paintings, Waterston acknowledges the opulent beauty of the Victorian dining room, however in his reimagined space things have spiraled out of control. So it's a comment on the tumultuous history of the Peacock Room but it's also about decadence in general. More here.


There's also an accompanying catalogue.

1.21.2015

Garden Delights

[Photo my own]

I'd read that carnations used to have scent -- a very good scent, in fact -- but until the other day when I came across an exotic-looking bunch, I had never experienced this for myself.



The flowers I found were spicy but not cloying and made me wonder, in general, what gardens smelled like centuries ago. 


Wild and semi-wild gardens are what I personally gravitate to, but there is a charmingly structured and recently restored Elizabethan garden at Kenilworth Castle famous for its use of scent.  The castle itself has essentially remained in a state of wonderfully romantic ruin since the 17th century. Before then, though, in 1563, Elizabeth I gave the place to Robert Dudley, Earl of Leicester (aka the Joseph Fiennes character in the visually stunning 1998 movie, Elizabeth). Although not addressed in the film, the castle and surrounding gardens seem to have ultimately been a significant part of their relationship. 

You can get a good overview of the grounds, including the Aviary, here, but this BBC program also includes an up close glimpse of the garden that will make you wish Cate Blanchett could've visited it in the 90s movie. If the time frame of the plot had been a bit different, that is. Apparently more than half a dozen historic castles were used throughout filming, but oh what the production team could have also done with Kenilworth...   

1.20.2015

Mood Indigo

[Japanese, 794 - 1185. Collection of the Freer-Sackler.] 

If you look closely at this late-12th-century indigo-dyed paper, you can make out fine ruled lines.


It's a sutra, or Buddhist text, related to the bodhisattva Fugen, but at first glance I was just attracted to the delicate metallic lines on the deepest blue ground and couldn't help imagining how cool it would've been back in elementary school to have silver pencils and spiral notebooks filled with sheets of indigo.


Find more on this Heian period piece, here, along with similar indigo-dyed pages.

Flower Field

[Sugar camellias being made in Ron Ben-Isreal's studio. Photo by Mel Barlow.] 

Maybe you've noticed that intricately crafted sugar flowers are back (think of Blake Lively's wedding cake and the past two White House holiday seasons, for which the rising culinary star, pastry chef Maggie Austin, created head-turning blooms). But these flowers aren't just back from the 90s. The Tudors' and their entourage enjoyed various forms of sugar work, too. If you're curious about the connection between sugar flowers and Britain's great country houses, or just want to learn more about today's masters of the art form, check out my story in the February issue of flower.


[©NTPL/Andrew Butler]

Usually when I'm talking about flowers and Powis Castle in Wales, I'm mentioning the bold red poppies on the 18th-century Indian chintz tent nabbed by Edward Clive, 1st Earl of Powis (it will soon travel to London for the V & A's big fall show) or I'm describing the Clive Album. However, there are loads of fresh flowers to be found at this National Trust property, including varieties kept in massive pots. Get inspired here. And learn more about the gardens in general, here.

1.13.2015

Shimmer and Shine


Set to hit theaters in April, Woman in Gold is a multi-layered story of Holocaust refugee Maria Altmann's quest to reclaim Klimt's portraits of her aunt, most famously the first work, Adele Bloch-Bauer I from 1907. The movie deals with Nazi-seized art, and more broadly the Nazis' attempts to erase an entire culture (when taken, the portrait's original title, Adele Bloch-Bauer I, was eerily changed to Dame in Gold, obscuring Adele and her Jewish identity). While the plot centers on Altmann's legal battles, the film will likely generate even more interest in Adele -- as art patron and muse -- as well as in Klimt, his golden period, and early 20th-century Vienna.

But in the meantime, new opportunities to see Klimt's work and other examples of Klimt-era Viennese opulence are available across the U.S.

Gustav Klimt’s "Adam and Eve" opens at the MFA, Boston January 17. On loan from the Belvedere Museum in Vienna, and completed between 1917-18, this is the first piece by Klimt to go on view at the MFA. There will be a related five-week course, A Golden Age in the World of Gustav Klimt, but each session is scheduled during a weekday afternoon.

Klimt’s Adele Bloch-Bauer II, a sort of companion to the better-known portrait now owned by NEUE Galerie, was done in 1912 and is currently on loan to MoMA.

Modern Opulence in Vienna: The Wittgenstein Vitrine remains on view at the Dallas Museum of Art through October 18, 2015.




And some links from my past posts:

A 2008 video from Tate Liverpool filmed in conjunction with Gustav Klimt: Painting, Design and Modern Life in Vienna 1900, this installment of TateShots includes decorative arts and paintings.

[Screengrabs from Jona Frank's mini film]

Erica Tanov takes inspiration from Klimt, here, while curator Gemma Blackshaw talks about another woman in a luminous portrait by Klimt in this podcast.