Did I mention that I'm bringing Princess Cosmonopolis with me? She'll be at the show nude as always with her hat and boa. Oh the dress will be there too. If you have been eyeing the fab chiffon pants from the STITCH show we are bringing a couple pairs. They look really great under this dress. Excuse the dress being spread out on a sheet we are still packing.....yes I said still packing.
We spent 5 hours packing and putting labels on everything today. I left and the girls are still working away. Here are a few of the little things that we will have for the show. Our new Circus Tee over 40 cuffs, tons of brooches that are very affordable and oodles of clothes and corsets. We have two coats that are pretty amazing along with a few of our new plaid and velvet winter line.I will be posting pics when I'm away don't you worry and maybe even a few surprise listings on Etsy!
(just Sold)This is the last piece that I have saved from one of our first collections. It was featured in two photos in Austin Monthly Magazine. We have restored and added lace to the top bust area. This dress was made by Kelly and I. Kelly is now Naeem Khan's assistant designer in New York. This is an amazing piece that I have finally decided to part with. Email for details and prices.
The cream and black sequined PALLENBERG dress is part of our ready-to-wear line. We will be offering more styles and sizes in September on-line. The Pallenberg dress has sold 525.00 We also have many new brooches that we will be taking to our show. Here are a couple teasers. This is part of our sister company DeBauchery in Veils. The brooches start at 30.00-145.00
People are always bugging me to put more pictures up of myself so here I am in my robe and fabulous new flapper duster necklace. It's silver with old drippy rhinestones and super ancient rhinestone beading that looks like eyes. It has an amazing old feather duster plume. Flapper meets Moroccan. Email for Prices
Today is my son Dylan's 16th Birthday and I have been to every guitar store in town. After trying out nearly every cool guitar he decided on a custom relic guitar that is a Joe Strummer type Telecaster. You can see Mark playing it ;/ We had a great day. It was 103 degrees today in Austin. I can't wait to get back to the great weather in Los Angeles. I'm counting the days!!
I was watching the new Madonna video the other day and noticed that the black dress was almost exactly like my STITCH Space doll dress. I think I blogged about it. I was reading WWD and came across this Givenchy's gypsy outfit. It has the same look "bishop sleeves" I was right on trend with that collection.
Madonna's Costumes for her Sticky and Sweet Tour By JACOB BERNSTEIN Posted TUESDAY AUGUST 05, 2008 Last Edited WEDNESDAY AUGUST 06, 2008 From WWD ISSUE 08/05/2008 SEND TO A FRIEND
PHOTO Givenchy's gypsy outfit.
Most people are lucky to work with Madonna once. Costume designer Arianne Phillips has lasted 11 years, from the singer’s Pre-Raphaelite look for “Ray of Light” to the urban cowgirl of “Music” to the Patty Hearst look of “American Life” and on and on and on. In other words, measured in Madonna time, Phillips is roughly 77 years old.
Still, La Ciccone’s upcoming “Sticky and Sweet” tour has had its own unique challenges for her longtime stylist. “Normally we prep in April and May, and open in June,” says Phillips. “This time, the tour begins in August. It’s a nightmare. Everyone in Italy and France is on a beach sunning themselves.”
Thankfully, everyone is a bit of an exaggeration, as Phillips goes on to detail a mile-long list of willing collaborators and everything they’ve designed for the trek, which begins Aug. 23 in Cardiff, Wales, and comes to the United States in early October. Givenchy’s Riccardo Tisci designed two outfits, while Tom Ford provided bespoke suits for the band. Three pairs of shoes have been custom-made by Miu Miu, there are thigh-high boots courtesy of Stella McCartney, sunglasses from Moschino, and other outfits and odds and ends from Yves Saint Laurent, Roberto Cavalli, and Jeremy Scott.
As in the past, this tour will be divided into four sections. The first references gangsta pimp and Art Deco with Givenchy costumes. This, it would seem, is Madonna’s current take on her longest-running fashion inspiration — the dominatrix. “It’s a theme that runs throughout her career” Phillips says. “She’s not afraid of being hard.” The second section has been termed “Old School,” and harkens back to Madonna’s early days in New York, with Scott’s outfit and some vintage prints from Keith Haring, the late graffiti artist and friend of Madonna who died of AIDS in 1990. “He and Madonna were friends. If he were alive, it would be his 50th birthday as well. So I thought, ‘What if we revisited that?’” Afterward, there’s a gypsy section with more costumes from Givenchy. “Riccardo’s a new young talent. If you look at Madonna’s history with fashion, that makes him an obvious choice.” Finally, there’s a futuristic rave section with lots of Japanese influences.
And while The New York Times complained recently about Madonna’s style choices, Phillips says getting older has had little effect on her sense of fashion adventure. “She always wants to push the envelope. There are no vanity considerations based on her age.” As Phillips adds seconds later, “She looks good in everything.”
It’s the Mack Sennett girls, enjoying that nation-wide craze: standing barefoot on sharp rocks eating apples in hot wool suits. These were rather scandalous for the time, given the amount of gam revealed. They were scandalous in 1966, too – when they were miniskirts.
Context is everything. The presence of water gives you license to get slightly more naked; put these girls on the street, and the cop would have run the lot of 'em in for lewdness. Dis is Fifth Avenue, ladies, it ain't Minsky's. They couldn't have been more shocking if they'd had a cigarette in one hand and a condom in the other while they staffed a tongue-kissing booth for the Bolshevic Free Love Association. But put 'em on the rocks, and you get the bluenoses off your trail for a while.
The one in the stockings may be a trannie who snuck on the set; check out the sideburns. (The feet suggests she may be some sort of octopus trannie, at that.) Miss third-from-the-right just came from a hockey game, judging from her footwear. The fetching colleen on the right apparently couldn’t wait to get home for the monthly self-exam. That's the one you'd marry after a few "dates" with the black-clad Morticia Deville in the middle.
HMM Morticia Deville.....I like that name
I got up this morning super early and went to my friend Aimee's private studio to get my long awaited new look. The color is sort of a Daphne Guinness vibe. I love her style!
Then I bought some fabulous antique fabrics and trims from my picker. I decided to make a quick stop to see how our corset collection is coming along and nearly fainted when I saw one of the finished pieces. OMG they are 2die4. We are doing another limited corset collection since our first two corset collections sold out so fast. I'm also doing at shoot at a studio I've been wanting to work at for awhile now. It will be this weekend so we should be flooding the blog with new pics by next week. Cheers, BQ
Everyone that knows me can tell you I love Anita Pallenberg style.I based part of my STITCH collection on the movie PERFORMANCE. I love this shoot and yes this is really George Harrison's son. George is my favorite Beatle. Sasha Pivovarova and Dhani Harrison "Here Comes the Son" Ph. Steven Meisel Fashion Rocks 2008
Bodega Bay, California, is the epicenter of an avian revolution, where humans are attacked as an invasive species, in Alfred Hitchcock’s paranoid vision of nature gone berserk. Arguably the last of Hitchcock’s great films, The Birds is somewhat hampered by charisma-challenged leading actors Tippi Hedren and Rod Taylor, but redeemed by bird attacks so horrifying they forever alter the way one views seagulls at the beach. Hitchcock and his writers intentionally failed to provide a motivation for the attacks. Perhaps, the birds attack because the audience wants them to.
Hitchcock was expected to top himself after the sensation of Psycho, and finally settled on filming a doom-laden story by Daphne du Maurier. He had previously adapted two of her novels, Jamaica Inn and Rebecca. But, Hitchcock was also inspired by various stories of bird attacks, including a news story of a fog-displaced migration wreaking havoc on the small town of Santa Rosa, CA, where he had filmed Shadow of a Doubt. Hitchcock adored the fact that the enemy consisted of innocent appearing sparrows and other harmless birds, and wanted the film to highlight “menace in the bright sunlight” (Taylor). And, he wanted the story to take unexpected turns, so the audience couldn't anticipate every development.
He collaborated on the script with Evan Hunter, a novelist whose Blackboard Jungle had been made into a successful film. Although their relationship did not end happily, Hunter said, “In truth, for a chance to work with Alfred Hitchcock, I would have agreed to do a screenplay based on the Bronx Telephone Book” (McGilligan). Although the original story concerned a farm family in Cornwall, England, the film was transposed to Bodega Bay, about 60 miles north of San Francisco. Central Bodega Bay was created by means of trick shots in the studio, but Hitchcock had his production team visit the community and document the exteriors and interiors in detail, and even photographed the inhabitants as a guide for costuming.
Hitchcock always prided himself on sticking to the script and storyboards when working, and often insisted the filming itself was anticlimactic to the planning of the film. In part, this was because he was always conscious of not wasting time on the set, so as not to exceed his budget. But, as he began The Birds, he felt some parts of his script weren’t working. His biographers describe him as particularly keyed up while shooting, and because of his anxiety about the film, there were several largely improvised scenes, like the attack on the children’s party. This also resulted in an uncharacteristic amount of extra film left on the cutting room floor.
Anne Bancroft was considered for the lead, but the director wanted to save on salary money to fund his special effects. Tippi Hedren (actress Melanie Griffith’s mother) was discovered in a tv commercial and would be the last actress/muse to inherit the director’s “icy blonde” mantle. At first, Hedren was under the impression he was interested in casting her in his popular tv series, Alfred Hitchcock Presents. She was under personal contract to him, but so were two other actresses he was considering for the lead in The Birds, Joanna Moore and Claire Griswold, who experienced the same hair and wardrobe tests, and the same lingering lunches with the director. He informed Hedren that she would be his lead actress during a dinner at Chasen’s Restaurant, where he gave her a little gold pin with flying birds on it. After the part was hers, he dictated her off-camera look as well as her hair and costume for the film. “That part I found surprising” she told biographer Donald Spoto. “He spent as much money on an outright gift of a personal wardrobe as he did on my year’s salary.” (Paglia). She spends the majority of the film in a pale green Edith Head suit, reminiscent of the sartorial taste of previous Hitchcock heroines. Her delicate beauty belied a feistiness which allowed her to withstand the strenuous and sometimes dangerous filming with real birds.
Australian actor Rod Taylor was a he-man of the day, oddly entangled here in his mother’s apron strings. He may have been a substitute for Cary Grant, but he was not Cary Grant.
The bird effects were hybrids of bird footage (like that filmed at the San Francisco garbage dump) sometimes superimposed several times, real trained birds and a few papier maché ones. The special effects shots are extraordinarily complex. For example, "downtown" Bodega Bay does not exist and was a painting, with a hole left for inserting footage of the gas station fire filmed on the Universal Studios parking lot. The work with live birds resulted in many injuries, since the birds did not enjoy being on the sound stage. The live gulls attacking Hedren in the climactic scene were used for one week, and yielded approximately one minute of footage. Hedren was injured when a gull gashed her lower eyelid, and she became distraught over the grueling process. Less charitable writers have suggested that an actress making her first film would not know that she was being submitted to unusually dangerous conditions. Some of the bird sequences have sustained their effectiveness more than others, as standards for special effects have changed. What has not aged is the psychological terror of which Hitchcock was the master.
There is no music, only Bernard Herrmann’s orchestration of electronically enhanced bird sounds, on an instrument called a Trautonium, creating a cacophony adding to the disquieting effect. On the set, a pounding drummer helped orchestrate the actors’ reaction to a threat yet to be added with special effects. Hitchcock wanted the film to conclude without a title card reading The End. The studio objected strenuously, saying the audience couldn’t possibly understand an ambiguous conclusion, especially lacking the planned final shot of the Golden Gate Bridge entirely blanketed in birds.
This film is one of the many for which, Hitchcock, who never won an Oscar, was lambasted by critics for his career long dedication to trivial genre films. François Truffaut was among the first to display an unlimited admiration for Hitchcock, a director as well known today as when he made his last film 35 years ago. In his review of The Birds, Truffaut bemoaned the praise heaped on films like Bridge on the River Kwai “scenes set inside offices alternating with discussions between old fogies and some action scenes usually filmed by another crew. Rubbish , traps for fools, Oscar machines….what an injustice there is in the generally bad reception. I am so disappointed that no critic admired the basic premise of the film ‘Birds attack people.’”
Note: Hitchcock leaves the pet shop as Tippi enters it near the beginning of the film, walking his own Highland terriers, Stanley and Geoffrey.