If you happen to pick up the May 2013 issue of Glow magazine, the cover story on the girl who inspired the model off-duty style, the effortlessly cool (and not as intimidating as I’d imagined her to be), Erin Wasson, is written by me.
My favourite part of our conversation centered around food, which also happens to be one of my favourite topics–farmer’s markets, communal meals, food’s ability to peel the layers so to speak. I’m sure, we could’ve gone on talking about it much longer than we did.
So the world came to them in little bottles. And the bottles were shaped like the aspiration they contained: one was a miniature Champagne bottle, another was based on an elegant, porcelain white telephone, rather like the kind Rita Hayworth might answer in a splendid hotel room. One bottle was in the shape of a perfectly manicured hand holding a vase. My mother and her friends were cleaners and factory girls: they didn’t have hands like that, yet the perfume and its packaging had no prejudice.
“Hope in a Bottle” by Andrew O’Hagan in T Magazine, February 2013.
Staying in bed undisturbed with a good book, and the phone off, on a radiantly sunny Saturday, without the slightest inclination to venture past the bedroom door until at least 9PM, is a privilege all bookworms earn, after so many childhood summers spent miserably ordered outside, scowling, against our will, for totally boring fresh air, when we didn’t even get to finish that last chapter.
I don’t know what took me so long to discover Juliette Tang’s beautiful bookish blog, but I’m glad I finally did. I might have just perused the archive in its entirety. All I’d like to do right now is curl up with a good book. Currently reading The Master of Us All: Balenciaga, His Workrooms, His World by Mary Blume if you’re curious.
“sometimes it’s good to do what you’re supposed to do when you’re supposed to do it.”
Just when we thought we had Noah Baumbach pegged, the “Greenberg” writer / director arrived at last year’s Telluride Film Festival with a little movie from left field that might just be the best thing he’s ever made. Shot digitally in luminous black-and-white, “Frances Ha” follows the adventures of a woman on the cusp of 30 (Baumbach’s muse Greta Gerwig naturally plays the titular lost soul), as she bounces around between friends, lovers and living situations, as the lines start to blur between all three. Low-key but brimming with an assured, lightning in a bottle energy — as if Baumbach and Gerwig shot the film on such short notice because they were afraid it might get away from them — “Frances Ha” is a winsome and winning delight, a coming-of-age story for those of us who seemed to skip over that part of our lives.