Still kickin, oh yes I am. I'm working on lots of new things, and there will be posts galore in the coming weeks. We have lots to catch up on.
As the curtains opened on the avant-garde opera event of 1934, Virgil Thompson and Gertrude Stein's Four Saints in Three Acts, the audience faced a vast sign of the production's cutting-edge modernity: fifteen hundred square feet of sky-blue cellophane was draped from the sides and ceiling of the stage, creating a semitransparent cyclorama, glittering under bright white lights. The stark artificiality of the stage design proclaimed its relationship to the modern world and its unsurpassed hold on the new: 'The cellophane set, brilliantly lit to evoke a sky hung with rock crystal, defied comparison to anything the audience had ever seen. 'Some thought that [Florine Stettheimer's] costumes outdid the Ziegfeld Follies, and one quipped that the sets were 'Botticellophane.'" Plastic, that most twentieth century of materials, here transformed the stage into a powerful blend of art, glamour, and the latest technology. We've lost, in the intervening decades, the ability to read the early-century semiotics of plastics, and particularly of cellophane.
For now: the spring collection is up at the new shop: shop.indecoroustaste.com . I know, I keep moving the thing around. But really, I think you'll find that this is much easier to use/navigate. Let me know what you think?
- From Glamour in Six Dimensions: Modernism and the Radiance of Form by Judith Christine Brown
Credits: Thank you Cristin for collaborating/modeling/photographing and putting up with MADNESS.
These are the latest iteration of the (IN)DECOROUS TASTE spiked lucite platforms. This time, I built up a secondary platform for for the foot. It looks like a mattress, just delightful.
Fend off attackers with panache!
Crystal chandelier harnesses, nude leather harnesses, and clutches available here.