Showing posts with label Nature. Show all posts
Showing posts with label Nature. Show all posts

26 September 2018

Carolyne Roehm- A Constant Thread

photograph by Victor Skrebneski

The latest book from Carolyne Roehm is a fulsome look at her 45 years in fashion, interior design, entertaining, floral design, and most recently—as artist. An incredible talent—a true polymath, Roehm has found the constant thread to it all in her love for color, nature, quality, and classicism.
In every discipline, Roehm excels.


Color: her floral arrangements often burst with it, and when using a single color she indulges.
Nature: her watercolor botanicals are just incredible, intricate, pristine.
Quality: from her beautiful clothing collections in the 80's & 90's to the simple act of wrapping a package, which for Roehm becomes an art, Quality is unmistakable.
Classicism: just look at her body of work.
In fact, this book is that. With a wealth of photographs documenting her career, Roehm who always considered herself a career woman resisted William Safire's phrase "trophy wife," coined for Roehm in the 80's.
Beauty has defined her life and just over 300 pages are devoted to it all,.


There are many books that focus on entertaining and floral design in Carolyne Roehm's oeuvre. I have most of them. This book unifies those subjects with her career in fashion, and as a backdrop to that—the interiors of her homes in New York, Connecticut, Colorado, and Charleston. Within the book, Victor Skrebneski's portraits of Roehm, some of them just seen for the first time, are breathtaking. Roehm acknowledges him in the last pages of the book writing, "you were the first photographer to make me look pretty in a photo." Indeed, that's an understatement.


Skrebneski photographs

With a wealth of photographs documenting her career, Roehm who always considered herself a career woman resisted William Safire's phrase "trophy wife," coined for Roehm in the 80's. Carolyne Roehm Design & Style A Constant Thread, is proof that the label did not apply. While the book is a keeper, as are her other books, it's certainly not anything remotely like a swan song—rather a debut.


BRAVA!


05 April 2018

How They Decorated: Covering Bunny Mellon

One aspect of my book that couldn't be realized was my desire to point readers in the direction of current fabrics to use for recreating the decorating styles of the sixteen women I write about.
When I speak to groups, I often say—be inspired but don't copy.
So—with that in mind...


I thought I'd share a few of my picks for each of the women in posts this month.

Bunny Mellon was noted for her confidence— in the choices she made for rooms, gardens, art, etc. It all came down to what she loved most—everything she touched was guided by her love for Nature, and Pure Lines (not to be mistaken for Simplicity).

Her husband Paul Mellon said,  "Everything she does in life—her reading, her architecture, her love of pictures—is related in one way or another to this one main interest. To me, that is a very lucky thing for a person to have." Nowhere was this love more evident than her Oak Spring Farm house in Virginia.




 Cowtan & Tout's Honeysuckle


Charlotte Moss's Grenoble for Fabricut



Lisa Fine's Chiara above, and Baroda II below




Charlotte Moss's Ferrera for Fabricut


Schumacher's Citrus Garden


Lee Jofa's Pelham Stripe




26 February 2015

GEORG JENSEN Reflections


"an imagined truth, a rumination on the how and why one falls in love with Georg Jensen silver at first sight"
Murray Moss




Neck Ring No. 169, Pendant No. 131, and Bangle No 205
Vivianna Torun Bulow-Hube

" Torun let the sunshine in."  Murray Moss


Torun an incredible beauty, began designing for Jensen in the 1960's, imbuing the company with a distinct beauty in the form of achingly exquisite jewelry. She was already considered one of Sweden's foremost silversmiths of the postwar when she began designing for Jensen.


"Jensen became hip." Murray Moss




It's expected that the singular aesthetic of Georg Jensen would present in an equally singular volume of its 110 years of work. GEORG JENSEN Reflections, authored by Murray Moss is just that.

"I looked for what I believe has not been offered-a contemporary contemplation of a contemporary company, tenaciously remaining relevant today." Murray Moss author

What captivates is the book's design, its sleek, yet over sized pages, its photography (especially commissioned for the book), and its story. Moss' GEORG JENSEN Reflections is in a sense the author's love letter to Jensen's genius. Rare today in the world of books, GEORG JENSEN Reflections delivers Moss' sense of Jensen with poetic understanding, and free flowing reflection-much like a piece crafted by Jensen himself or his cadre of renowned artists.





Blossom Ladle No 84/151
Georg Jensen, 1919








Blossom Flatware No. 84
Georg Jensen, 1919


"Blossom," as cutlery, was created in 1919. This is for me Jensen's most exquisite work. Surrounded by an Art Nouveau style that could be excessive, Jensen looked deeply into nature's artistry to forge a flower stem sinuously  wrapping a handle and terminating in a gorging flower bud.
While "Blossom" as a design element originated 100 years ago, it exudes a modernity. Sensuous, yet pure, in "Blossom" Jensen transcends conformity, atypical, the design stripped away all of Art Nouveau's preconceptions into an elan vital in accord with the 21st century.




Blossom Teapot No. 2A, 1905
Silver with Ivory Handle


In addition to the newly evocative photographs of Jensen works, archival photographs, and original renderings at conception are a  part of this special visual paean.



ALL Images were used with permission from the publisher, GEORG JENSEN by Murray Moss, Rizzoli New York, 2014.




27 October 2014

Liz got married...


I'm so happy to share my niece Elizabeth's October 4th wedding with readers. She and her now husband, ADAM, traveled from their home in California, to their once homes in Tennessee in the last days of September to organize the final details of their wedding that took place at Frozen Head State Park. Their families are in Tennessee, and North Carolina, so the pair accommodated them by planning a cross country wedding event. Liz had a firm spreadsheet to keep them organized, as they did all of the planning-and executing, with some help from friends and family.



Liz is definitely a child of summer, she was born on the summer solstice-June 21st, so an early fall wedding was the best she could do in order to work everyone's scheduling out. The pair previewed the park in July. Their wedding day was beautiful, clear, after a day of rain, sometimes torrential, and yes-it was cold. It was easy to guess the "locals," dressed in coats, lots of good looking parkas, scarves-gloves even, and one fur coat that I spotted (the official photographer). Though the sun was out, it was struggling to reach through the dense canopy of leaves-for the most part still green. (temp about 47 degrees)



I was impressed. Liz, who often walks around in sweaters year round, walked down the path to the park amphitheatre where the ceremony was held in her sleeveless dress. Though I'd suggested a sleeve earlier in the planning, she was firm about her choice, and braved the cold.







The bride wore a simple lace sheath dress made in Italy with an antique overskirt of muslin, circa 1850 (the something Old, something New). The dress was accessorized with a custom made diamond necklace- a graduation present from me & my brother (her father), and Carelle diamond earrings (the something Borrowed from me). The Blue came in the form of a brilliant blue silk velvet Edwardian era jacket of mine with lots of ruching & padding, later it was a gift to the bride!




Liz's talented neighbor where she grew up made a beautiful wedding cake, vanilla creme icing, and carrot cake.







The groom's cake made by another friend of the bride & groom-
a Buche de Noelle cake- smothered in meringue mushrooms







I did all the flowers for the day, including the bride's bouquet. 
Other than adding some blue, a request from the bride, all of the flowers were white.


boutonnieres 
 Lamb's Ear and Stock




bridesmaid's bouquets 
white Roses, blue Delphiniums, Stock, and Baby's Breath





the bride's bouquet 
white Roses, white Ranunculus, blue Delphiniums, Queen Anne's Lace, Baby's Breath




Flower arrangements of Roses, Lamb's Ear, and Baby's Breath for the tables were interspersed with sprays of Rosemary, Poet's Laurel, Passion Flower Vine, and Salal.










Flowers in large pine cone urns at the end of the bridal path were made of Erynguim, Queen Anne's Lace, Feverfew, Bupleurum, and Mistflower. I traveled up to Tennessee with a virtual garden in the rear view mirror. All of the Poet's Laurel, Rosemary, Lamb's Ear, Passion Flower Vine, and Mistflower came from my garden.


Four large arrangements in pine cone urns, and rusted iron urns for bridal paths and amphitheatre stage where the ceremony was held.




(note the rustic tree branch propping up the rustic pine cone urn)




tokens from the bride & groom.


A Straight Line is not Always the Shortest Distance between Two Points:

"We met sometime around 2001, we think. Always being in the same place at the same time, around the same friends, we don't actually remember the precise moment we met. However, the first thing that Liz remembers Adam actually saying to her is: "I have a sister in Chattanooga, who I think you would really get along with." He was right. 
We really didn't become what you'd call truly close friends until we began to play music together, about eight years ago.
Over the years, no matter if living in different cities, we stayed close friends, and began dating in the fall of 2012. And only good things have followed.  Over the past year and a half, adventures have been one of our primary focuses in life. We have tried to see most corners of California, including the far edges of Nevada and Oregon." (from the wedding site written by the bride & groom)










PREPARATIONS

 the groom hand-printed their invitations on a Vandercook 4 Letterpress at San Francisco Center for the Book.


 the bride making some repairs to her antique overskirt


the harvest of flowers before the wedding



(the website devoted to their travels, here )









Liz and Adam are both graphic designers living and working in Oakland & San Francisco


POSTSCRIPT
When Elizabeth and I first discussed plans for what they wanted, she mentioned (having always loved the hymn,) Simple Gifts, that she wanted her wedding to reflect these sentiments . The song was first written in 1848 by Shaker elder, Joseph Brackett. In so many ways this expresses their own belief in what is best & enduring in Life.
Aaron Copland took the melody from the hymn for his Appalachian Spring scored for Martha Graham's ballet by the same name. Nothing is more beautiful than to hear this tune & ponder the depth and simplicity of Brackett's words. Copland's last passage of the melody is one of his finest to hear...
'Tis the gift to be simple, 'tis the gift to be free
'Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
'Twill be in the valley of love and delight.
When true simplicity is gained,
To bow and to bend we shan't be ashamed,
To turn, turn will be our delight,
Till by turning, turning we come 'round right







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