I've long been a fan of black-painted rooms but kitchens with strong black elements are a newly acquired taste for me. Even the most rustic versions have a sophistication that I find hard to resist. They're kitchens where I can imagine cooking a big Saturday breakfast. But just as enticing is the thought of tiptoeing into them after midnight for a spontaneous snack. I also love the idea of strong masculine elements in a room that is often viewed as a female domain. Anything that breaks the rules gets my attention.
07 November 2015
16 October 2015
The weekend is upon us and I have a pajama day on my mind. In my case, that tends to mean staying indoors. But as New York Fashion Week Spring 2016 proved, pj's are as street ready as ever. The focus was on silk pipe-edged men's pajamas and beautifully tailored kimonos. For evening wear, a matching pajama set with select jewelry speaks to elegance that hasn't been over-worked. During the day a pajama top or short kimono with jeans strikes the perfect high/low note. These images inspire me to carry the pajama day vibe past my own four walls.
08 August 2015
I previously wrote a post about half-painted walls here but I've been loving how the trend has been modified by creating interesting edges. Most appealing to me is the idea of rough edges. Besides looking great, it takes far less time and effort because tape is no longer required to achieve perfect lines. Using two or three paint colors in a ragged ombre pattern could take the effect to the next level. I love a weekend project that doesn't monopolize the whole weekend. Scalloped and zigzag edges are other options. When a lease doesn't allow for painting walls, there's nothing to stop you from adopting the effect on art frames, furniture and other objects.
05 July 2015
I recently discovered how much great viewing there is on PBS online and was intrigued to watch a documentary on Dorothea Lange directed by her granddaughter Dyanna Taylor. Dorothea Lange: Grab a Hunk of Lightning shows footage of Lange from 1962-66, combing through her vast photographic archive to choose images for an exhibit at MoMA. Her assessments of her own work are interspersed with the back story of a childhood bout with polio which left her with a limp, her two marriages and her struggle to balance art with motherhood. The photographs she took during the 1930s of the migrant farmers and their families fleeing the dust bowl states for the west coast (and finding that there wasn't work or shelter for them there) came to represent the Great Depression and eventually helped galvanize the public and the government to provide aid. As she traveled the country, often with second husband Paul Taylor (an economist and social scientist), she would introduce herself to her subjects and let them know what she was doing so that they were willing to be photographed. The result was a stark realism that still holds up 80 years later. Most sobering for me, was Lange's description of a series of photos she took of middle class women's mended stockings as they sat waiting to be given a bag of groceries to take home (a surreptitious bread line for women of a certain social standing). Their silk stockings were scarred with thin snags that had been meticulously darned, yet that looked worse for the mending. No self-respecting woman would have left the house in such a state unless those were the only stockings she owned and she didn't have the means to replace them. It's these small details that tell the story of such a difficult time and that remind us not just to look at what is in front of us, but to really see it.