Wednesday, June 18, 2008


In high school, algebra was the only thing I ever flunked.......but I got an "A" in the make-up summer class, and I still think it's because the teacher took pity on my lost soul. The following year, I got geometry. And got it. Didn't have to crib, cram, or cry over those lines. I think it's the numbers and calculations in algebraic formulas that twisted my brain, because geometry felt right. An early inkling of metier, now that I've had years to ponder drafting and pattenmaking.
Lo, these many years later, architecture is directly affecting contemporary design, both industrial and fashion. Stylists ask for "shape", in a vague, transcental manner, and we give them "shape". It helps that one of the new Frank Gehry buildings is on Eighteenth Street, and an extraordinary wall of glass it is. Citysearch is housed in its confines, and I've been promised a tour, since we do business with them, but not yet. It's still enough to oggle the exterior.
When Les Grands Projets went up in Paris, and I stood in muted awe of the Pyramid in the center of the Louvre , my sensibilities were not ready. But all things French grow on me, and somehow, with the Gehry constructs global now, and modernity seeps into every facet of our society, I can pause, and see them not as intrusions, but as another art form.
Architecture , from Palladio to Stanford White has always been fascinating to my artistic side, as the classicists always spoke to me in an easy, flowing text. My penchant for the 1950's as a textural, dynamic, and aerodynamic phase helped to forewarn my creativity of moods to come. All is not romantic ruffles. The organic flow of a piece is what naturally comes in good design, whether it be the Guggenheim in Bilbao, or the Eiffel Tower.
And so we come to the Fall collection. Inspired by shapes, instigated by Camilla Nickerson once again, we find ourselves molding and draping felt for lightness and form. Soon to be seen in Italian Vogue, and other publications in the Fall.

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