His & Hers vintage Ferraris at The Pierre, A Taj Hotel.
Savory Amuse Bouche @siriony #food #restaurant #italian
Nurturing an abiding love for Latin America, I've traded big city lights for sunshine and grapes in Mendoza, Argentina. A perennial traveler and writer, I'm inspired by locals, culture and creativity. This is my patchwork.
by Nora Walsh
I love movies, and I watch a lot of them on Netflix. One thing I really appreciate about Netfilx’s streaming service is its database of foreign films.
Between Netfilx’s recommended films based on my taste preferences and sifting through movies that are similar to ones I’ve watched or added to my queue, here’s a list of recommended flicks.
Since my taste preferences slant towards comedies and romance, coming-of-age tales, love and marriage are the most common themes found throughout.
FRENCH (Find a previous list of recommended French films here)
In the spirit of Milan fashion week, I wanted to highlight The Met’s Spring 2012 Costume Institute exhibition dedicated to the Italian fashion designers: Elsa Schiaparelli and Miuccia Prada.
The Impossible Conversations exhibition juxtaposed around 100 designs and 40 accessories by Schiaparelli (1890–1973) from the late 1920s to the early 1950s and by Prada from the late 1980s to the present. Behind the collections were video reels of the two fashion icons talking about their experience with fashion, how it’s shaped them, and how they have shaped the industry.
In the themed gallery Waist Up/Waist Down, Prada’s famous footwear is paired with Schiaparelli’s iconic hats.
Each designer in her own way pushed the boundaries of fashion, simultaneously creating and deconstructing society’s ideals of what is “beautiful.” Schiaparelli was one of the first women to adorn trousers and was faced with a fierce backlash for appearing in public wearing “men’s attire.”
Unlike Schiaparelli who embraced typical beauty, Prada loved the challenge of making “ugly” appealing. The “Ugly Chic” gallery is full of brown tones because it is not conventionally considered a pleasing color, yet she found a way to challenge most people’s dislike for the color by creating a design that exemplifies “good taste.”
Prada is always looking for unique ways to express beauty while steering clear of clichés. Even she was surprised that her outlandish Carmen Miranda inspired spring 2011 collection became her most commercially successful to date.
She wasn’t convinced that many women would want to wear clothing with monkeys and bananas emblazoned on it, but the sales absolved her doubt.
In the later years of Schiaparelli’s career, she began collaborating with artist Salvador Dali. After the creation of her “lamb cutlet” and “shoe” hats, Schiaparelli became more frequently categorized as a surrealist designer.
Schiaparelli always felt that designing was an art form. Prada, on the other hand, wholeheartedly disagreed. She felt that designing clothes was creative but not an art because you make clothes to sell them.
She does however comment on fashion’s ability to respond to current events quickly and critically with the ability to shape identity, both individually and collectively. No doubt influenced by her political science background, Prada celebrates the accessibility and democracy of fashion because everyone wears clothes and can relate to them.
Completing the exhibition I felt empowered by both women’s strength of character: daring to go against the grain, endeavoring to change people’s minds and prompting them to reeimagine their definitions of beauty.
Before I left the exhibit I jotted down a quote from Prada that summed up her spirit of rebellion and was a welcome reminder for any woman to stay true to her sense of style without acquiescing to society’s ageist cages:
“Women always try to tame themselves as they get older, but the ones who look best are often a bit wilder. Thinking about age all the time is the biggest prison women can make for themselves.”