the return

Of, the Countess of Lyndon, Viscountess Bullingdon of England, Baroness of Castle Lyndon of the Kingdom of Ireland, by way of fashion designer ALTUZARRA.

"He began to have it in mind, as so many gentlemen had done before him, to marry a woman of great fortune & condition. And, as such things so often happen, these thoughts closely coincided with his setting first sight upon a lady who will henceforth play a considerable part in the drama of his life: the Countess of Lyndon, Viscountess Bullingdon of England, Baroness of Castle Lyndon of the Kingdom of Ireland, a woman of vast wealth and great beauty." William Makepeace Thackeray

(photographs from Vogue UK here)

From VOGUE UK, editor Sarah Harris report on the ALTUZARRA inspiration: "Rosemary's Baby and Barry Lyndon were the starting points for this collection," reveals the designer. "I became interested in the idea of a sinister and undone prettiness and romance, ill-fated and doomed."  Altuzarra said he wanted to evoke ideas in 17th century jewellery and adornment. A triumph. 

Albeit, this is a modern Countess, but the essential character is present in the fabric, the embellishment, the draping, & the vapidity Marisa Berenson so brilliantly embodies in the Lady.

Fashion has always had a love affair with this Lady Honoria, but to date no other designer has transported her to the present like Altuzarra's collection for Spring 2015. I too have had a love affair with this Kubrick film, & this is yet another sweet reprise.

Little Augury on Barry Lyndon, here
Little Augury at Pinterest on Lady Lyndon here

Lady Honoria & a hat

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Milliner Philip Treacy has described mass-produced fascinators as "no more than headbands with a feather stuck on with a glue gun". (linked in text),
 they are dead-and he's happy to burn them in effigy.

This bergère - round disk-like hat with crown only slightly elevated, foundation of linen completely covered with polychrome feathers; lined with pale pink taffeta, one pale pink silk ribbon.. English or French, 1750–75, is just what's in order. Why not something of beauty & of the bizarre?

but something a little more Boucher-than Braque.

 

 François Boucher - Madame Bergeret holding her bergère

no need to fret about the rain. these feathers have a deliciously melted effect and really now- is this exquisite?

obviously- lured back to the 18th century...a pair of gentlemen, Edward Meadham and Benjamin Kirchhoff of  Meadham Kirchhoff

 & anyway-who could deny Honoria Lyndon?

scene from Barry Lyndon

Lady Honoria Lyndon is now on Pinterest here.

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when straw calls II

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Stanley Kubrick is said to have remarked upon notice he had cast Marisa Berenson in the role of Lady Honoria Lyndon in his film  Barry Lyndon- 

She wears a hat well.

that can not be doubted.



in the mood for more Barry Lyndon ? there's little augury here

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Barry Lyndon IV or More of A Rake's Progress.

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This spectacular image was presented to me by an aesthete reader. Though He has been reading for just a bit here at Little Augury- I sense a kindred spirit. This picture appeared with the note- I think you will appreciate this of all things-

Yes, and there will be others intrigued by the beauty of this ink drawing on paper. "There's a tiny signature on the pistol down below the primer, hard to make out in the last shot, but I think you should be able to see it ..Sadly I don't have many details-except that it’s by 'Hession,' ink on paper.The drawing was a graduation gift from a favourite Aunt & Beyond that I don't really know much. It seems to be a design that didn't end up being used for any of the promotional materials."

The beauty of the drawing-is unquestionable. The detail- & Yes, my dear reader is incredibly talented in the same area.Looking at the drawing, I am reminded that much of Barry's life revolves around war, violence, the gun- and it's conflict with his life long quest for beauty.

So much of Kubrick's film is a symphony played larghissimo, lamentando-the Duel between Redmond Barry and Lord Bullington is no different. The setting of the duel is a chapel- a "stage" as well. This is the moment where some of the dissatisfaction in Barry falls away. Bullingdon-Barry's stepson is such a failure, a disappointment and a waste- In contrast, Barry the soldier, the practised gentleman-is momentarily redeemed as the illusive better man.

"As the duel begins Bullingdon's second asks, "Mr. Lyndon, do you know the rules?" Barry abides by the highest ideals of the code of the society he has aspired to enter. He declines to fire at Bullingdon after his stepson's pistol accidentally discharges. Lord Bullingdon, a secure member of the dominant class, interprets the rules of the game from his own perspective, and declaring he has not "received satisfaction" refuses to waive his second shot and conclude the duel. He fires again and Barry is maimed and ousted.
The final moments of the film are underscored by the insistently sweet and forward-thrusting piano trio that accompanied Barry's romance with Lady Lyndon and his rise in fortune. The irony here is a source of pathos. Barry exits, maimed, lonely, and baffled. Lady Lyndon hesitates for a second (her gesture is doubled by a bass tremolo) before blankly signing a document that seals Barry's fate. The epilogue tells us that we are all equal in the grave."   Michael Klein on the Kubrick
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Barry Lyndon (once & again) A Rake's Progress

Over a period of 11 years William Hogarth, 18th century English artist, created a series of 8 paintings called A Rake's Progress. In 1735, Hogarth engraved and published the works in print.

Thackeray and Kubrick's Rake (Redmond Barry) v. William Hogarth's Rake (Tom Rakewell)

The Orgy from A Rake's Progress by Hogarth

and Kubrick's Barry Lyndon

Hogarth in print

Hogarth's original canvases are in the Soane Museum today.

This post inspired by a comment from an esteemed reader, my thanks.

moving pictures- ...why I can't take my eyes off Barry Lyndon

Genius-these two- Stanley Kubrick & William Makepeace Thackeray.


The Luck of Barry Lyndon by Thackeray, was published in 1844 and based on the life and exploits of the Anglo-Irish rakehell Andrew Robinson Stoney. Stanley Kubrick adapted Thackeray's novel, making Barry Lyndon.

Whatever wooden Ryan O'Neal lacks as Barry, the languid Marisa Berenson makes up for as the unhappiest of women, Lady Lyndon.

Each minute of the film delivers art.

Whether it is 18th century costume, interiors- or landscape- the camera is recording a perfect canvas.

Kubrick wanted to create the most authentic period film ever made.

He shot on location- no studio sets and attempted to use only natural sunlight and candlelight.

Marisa Berenson is a walking canvas.

Scene after scene are moving Watteau(www.jean-antoine-watteau.org) pastorals:

"Although his mature paintings seem to be so many depictions of frivolous fêtes galantes, they in fact display a sober melancholy, a sense of the ultimate futility of life, that makes him, among 18th century painters, one of the closest to modern sensibilities." (from www.jean-antoine-watteau.org- biography)

and so it is with Barry Lyndon.

Scenes from Barry Lyndon (all Lyndon from Warner Bros. and Watteau. (www.jean-antoine-watteau.org)

a bit gritty~ Part Deux

" I believe I will dip my pink and white body in yon Roman tub. I feel a bit gritty after the affairs of the day." W.C. Fields

a scene from one of my favorite movies BARRY LYNDON- a feast for the eyes. (here Ryan O'Neal and Marisa Berenson)