(No, I’m not English but ‘bits and bobs’ is one of those useful phrases I picked up living with a ship of English folk for the last three years.)
I spent a good hour testing interfacings on the dupioni for my jacket. I always think I know which one is going to work, but then I get down to fusing and mysterious things happen. The supposedly lighter tricot knit inferfacing was so stiff and heavy, I wondered how I could possibly use it in any knit. A weft was a little too fluffy, but I had a yard of some warp-insertion that felt just right.
And gosh, I think I fused for over two hours. Yawn. During the process I watched an entire film, one of those gambles in Netflix recommendations. Remember Rob Morrow? (I loved, loved, loved Northern Exposure.) He wrote, directed and starred in this older indie gem, which features an early performance by the always lovely Laura Linney.
Anyway, I carried on and just have my lining left to cut, but I’m itching to sew so I might make the welt pockets first.
I’m already thinking about how to pair my jacket with some of my existing clothes, but it really needs a white tank, I think, so I’m plotting that as my next project. I’ve re-drawn the Lydia t-shirt pattern into just about every shape (a kimono-sleeve tee, a French stripey top, a bateau-neck dress) except a tank. That’s how I’ll dress it down–tank & jeans.
And for up, I love the original Stella McCartney look but then I saw this…
{from Vogue UK January 2011, via Proper Topper}
I don’t know who the designer is, but it’s an almost identical jacket. I love the white on black (and I’ve been in this nutty black and white mood for awhile), and the glamazon cuff! the silk 70s-ish jumpsuit!
Gertie wrote a sort of “to jumpsuit or not?” post this week and I couldn’t help but chime in, yes! yes! I’m an unabashed lover of jumpsuits. I won’t confess to how many I own, but bought my first one at a vintage store six years ago and I love how they solve a lot of fashion problems in the same way dresses do. Yes you have to unzip your entire self to use the restroom but I have done worse things for fashion.
Black and White and Patti Smith
For a very, very short while, I was in a band. Well, actually I was in two, but the second never made it out of the garage (or, in this case, the attic). The first one, fronted by a fabulous piano-playing bombshell friend of mine, needed a backup singer. They asked me if I played anything. Um, flute? “Okay, maybe we can use that. How about tambourine?”
“Sure.” So I became a tambourine-playing backup singing girl for about six months. This band had the bizarrest mixture of influences, from George Clinton to Blue Oyster Cult to Tori Amos to Bauhaus. (This is what happens to classically-trained rocker aspirants. Many of us become armchair musicologists. Or tour with Peter Gabriel.) I was somewhat of an innocent bystander in it all, but there was one thing I loved performing–and passionately–Patti Smith’s “Frederick”.
It was her love song to her beau Fred Sonic Smith and something of a farewell to rock–for the time being–as she went off to start a family in Detroit.
I got to thinking about her recently after browsing through this month’s Elle, a wonderful issue showcasing some surprisingly understated choices of women in music. Of course, I got stuck on the mesmerizing portrait of Feist, in a (wouldn’t you guess, it taunts me) white Stella McCartney blazer and an unmistakeable nod to Patti Smith. So angular and striking, with that punk deshabille cool.
{Photo credit: Elle}
I’ve been reading, on and off for the last year, Patti’s memoir about her friendship with Robert Mapplethorpe, as both of them were emerging as young explorers and artists, and up to the time of his death. I’ve always thought of Patti as a performance artist above all–more than a musician or writer–but this book really changed my mind. It’s a writerly story, full of great characters and graceful emotion. And she has told the story that was in her to tell, I think.
I loved how she approached her own youth with a kind of tender mercy and not an overhwhelming sentimentality or nostalgia that I often feel in memoirs. Mapplethorpe comes out as being neither a god nor a tragic hero. There are no icons, just people. I could even go so far as to say reading it helped me forgive and love my younger self–neither idolizing or chastising it.
I’ve always loved Mapplethorpe’s photos of Patti Smith. He had a way of capturing her grace:
This photo is from a recent Time essay in which Patti writes on her life in front of cameras. Must see…Patti Smith: Photographer’s Muse.
{Edited: my original post included an image inspired by Patti Smith but not in fact her! I kept looking at it going, it *looks* like the photo I was looking for, but this woman looks remarkably like Alexa Chung. Turns out the photo was from a New York Times Magazine fashion article inspired by Ms. Smith. Most people re-posting it are mistakenly crediting it, me included. Lesson learned on the woes of fair use.}