ALEX EAGLE

Everyone has that friend in their life, don’t they? The sort of friend who is the go-to for everything, be it where to find the best reflexologist or the phone number of a feng shui master, the latest label to pack for vacation or even advice on how to decorate your bathroom. Their taste level is sky-high and they have an address book bursting with zeitgeisty things, but better still, what they really relish is being able to share. That, in a not-so-succinct nutshell, is Alex Eagle, creative director of the multibrand lifestyle emporiums The Stores and Alex Eagle at Lexington Street.

“What’s the point of discovering something if you can’t share it with anyone?” asks Eagle at her sprawling loft apartment in London’s Soho, which is decorated with glossy banana-leaf plants and gargantuan cacti, Tanya Ling artwork, midcentury coffee tables loaded with artful piles of travel and design tomes, and cozy sheepskin sofas, which this afternoon she ignores, regardless of being pregnant, opting instead to sit on the floor, legs elegantly folded beneath her.

Her edit runs the gamut from carefully selected ready-to-wear—The Row, Hillier Bartley, Lemaire, exclusives from Vetements—to achingly chic home wares, including hexagonal glassware by Giberto Venezia, handmade ceramics by Tortus Copenhagen and Picasso painted plates … to eat off or display on the wall, you decide. There’s glittering fine jewelry, too, by Susan Foster and Fernando Jorge, not to mention rare records tracked down by The Vinyl Factory, as well as one-off vintage finds sourced from auctions and markets in Paris, Brussels and Antwerp, like the trio of 1957 vinyl lecture-hall chairs constructed by Jean Prouve, which just sold, via Instagram, before they were swiftly shipped to their new home in L.A. “I’m not going to lie, I was sad to see those chairs go,” smiles Eagle, striking a match to light her own Alex Eagle candle, a custom blend of geranium and sandalwood made by French fragrance house Jehanne de Biolley. There are other clever collaborations, too, like New & Lingwood x Alex Eagle—a lineup of mannish silk dressing gowns, smart smoking jackets and velvet slippers that she created together with the English tailors and shirt makers (who also happen to be the outfitters for Eton College).

This 33-year-old former fashion editor/stylist/PR consultant is one of the most exciting additions to the retail landscape. But in fact, Eagle ran something of a boutique long before she opened up her stores. She played shop from her former home and sold the occasional coffee table, mirror and trinkets to her friends. “Of course, I had no idea about margins,” she admits. But that’s where the concept started. Her first outlet, Alex Eagle Walton Street, housed in a three-story terrace townhouse, was simply an extension of her home, which at that time was conveniently located opposite. That was only 18 months ago (she’s already outgrown the space, shuttering its doors the week we meet). Now there’s The Store x Soho House Berlin, a huge 30,000-square-foot retail and concept workspace on the ground floor of the hotel and members club, complete with organic café, The Store Kitchen, juice press, The Vinyl Factory, even a Cecconi’s. She followed that with The Store x Soho Farmhouse in Oxfordshire, nestled in the rolling green hills of the English countryside. But her newest showroom, Alex Eagle at Lexington Street, housed in an empty loft space, is in the heart of Soho and will be followed later this year by The Store, to open on neighboring Brewer Street in a former car park. Basically she’ll be presiding over a vast prime chunk of central London, on the sort of scale that Dover Street Market or Selfridges wouldn’t sniff at.

As well as curating can’t-live-without desirables and collaborating with established brands, she designs her eponymous fashion line, a capsule collection of 12 timeless pieces. “It’s become my uniform,” she says of the sartorial building blocks that she developed as a means to fill the gaps in her own wardrobe; cue necktie blouses (as sensual as they are smart), camel-hair coats and silk tunics in a palette of mostly black, ivory and navy. With the exception of forest green, Eagle rarely wears anything resembling a color. One glance at her reference points and it’s entirely clear that she’s a Sofia Coppola/Alexander Calder/Barbara Hepworth/original Calvin Klein kind of a girl. “The idea largely came from how men like to shop, and that attitude of investing in high-quality basics.” Menswear is a big source of inspiration, and she wears a lot of it herself, Hermès being a favorite.

“In a dressing room, you can convince yourself that you need an ‘it’ thing in your life, but in the cold light of the day, realistically, what will you be reaching for at 7 a.m., when you have a full schedule of meetings, followed by drinks with friends and then dinner with the boyfriend without the time to change in between?” She may not be a trained designer—quite simply, she hired a pattern cutter—but she knows exactly the kind of clothes women like her want to wear.

And she knows the kind of places that people like to shop in, too. “The idea with Alex Eagle at Lexington Street is to also bring in experts for talks and activities,” she says, visibly excited by the prospect. “There might be a great yogi in London for a week. I’d want to host classes on the lower ground floor; it could be a space for Pilates, too. It will be ever changing, always evolving,” she races. “If you want to buy a juice that’s fabulous, if you want to buy a £2,000 coat, that’s great, too, but it’s a place to hang out in.”

www.thestores.com/www.alexeagle.co.uk 

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Francis Mallmann

If you ever have the great pleasure of witnessing one of chef Francis Mallmann’s ‘fire domes,’ you will sense time slowing down. The dome he created in Los Angeles recently was erected in the early dawn hours, supported enormous cuts of beef that would cook for 10 hours, small chickens that would hang over the open fire for 6 hours, and was decorated with huge rows of rolled veggies and bright yellow pineapples. Francis Mallmann was in town returning as a guest chef in Wolfgang Puck’s new annual summer barbecue series at the Hotel Bel-Air. “I have big respect [for Puck]. I’ve always admired his work. And he’s a silent man. I like that very much,” Mallmann shared with Humanity at the event. One thing that makes the famous Argentinean chef so intriguing is his dual-personality – on the one hand he champions silence and isolation, which was captured in his episode of Chef’s Table through scenes of his remote island in Patagonia where he essentially lives off the land. On the other hand, he is completely warm and buoyant, socializing with everyone on the lawn in his signature beret and bright red-rimmed eyeglasses.
Before the fire burned down, Humanity caught up with the master of ‘cooking with fire’ to find out what he keeps in his kitchen, and his favorite haunts in L.A.

 

Francis Mallmann - Humanity
A fire dome at the Bel-Air Hotel ©AUDREY MA

 

On his favorite cooking tool:
A large stick—a stick that I would use to move the ambers. It’s probably nine feet long. I have a romance with that—standing by an open fire with a stick. Patience is very important when cooking with fire. You can’t be in a rush… You have to have time. And a stick is an incredibly good tool to cook with fire. And it is related to that—to move things slowly with a stick.

On California:
I love California. When I was 13, I fell in love with the hippie movement; the protests, the music. When I was 16, I moved to San Francisco and I stayed here for about two years. I made my way down from San Francisco down to La Jolla, working and doing different things. I wasn’t a chef yet. California is something really special to me. I love the coast, its very beautiful.

On what Americans can learn from Argentinian culture:
Taking time for lunch. Sitting down for lunch, having a glass of wine—not 2 or 3, one. Talking. And staying after lunch for thirty minutes, having a chat with friends, lovers, family. I think lunch is one of the most beautiful things to share, and I tend to see people always in a rush for lunch here. I like to sit down and have a nice lunch.

On the evolution of cooking:
I’ve been cooking with fires… for a very long time and I have a feeling that I know a lot about it, but it’s also like I’m just starting, really. It’s this beautiful vertigo everytime I cook and I’m always thinking about new things. I’m always learning, but as you grow older you start to feel like you can’t embrace too many things in your life, so I’m very picky now. I choose wisely what I do with my spare time. I’m starting to feel that I’m quite often reinventing myself.

On social media:
I feel that social media is a very nice way to communicate with people who like what we do and what we’re doing. I do all my social media myself. I enjoy it. I especially do a little bit of Twitter and Instagram.

On his most memorable meal:
All the meals related to love. There are quite a few.

On the arts:
Music and food hold hands. Life holds hands with everything. Food is such a cultural thing that’s related to fashion, to music, to colors, to painting, to sculpture, to cities… I haven’t been a good student. I never went to university. So university for me has been movies. I would watch every morning. I would say everything I know, I learned from movies.

Francis Mallmann - Humanity

 

 

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The Quincy Jones Playlist

“Everything he touches turns to gold” is a saying not often used literally. But for legendary musician, producer, conductor, arranger, and composer, Quincy Jones, the phrase is just a fact in his bio. From recording with Frank Sinatra to producing Michael Jackson’s Off the Wall and Thriller albums, there is no shortage of brilliant tracks Jones touched at one point or another. Take a musical journey through Quincy Jones’ career with our dedicated playlist, and read the exclusive look into life with Jones’ through the eyes of his grandson, Sunny Levine from Humanity Issue09.

 

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QUINCY JONES

Sunny Levine was born into music royalty. He’s the grandson of the legendary Quincy Jones, who’s worked with everyone from Ray Charles to Frank Sinatra, Miles Davis to Michael Jackson. Though Sunny has forged his own path as a producer and artist, the L.A. native has always known where to turn first for advice. In an unparalleled career spanning almost seven decades, Jones has left his mark on the music world not only as a producer, composer, musician and songwriter but as a trailblazer in transcending racial barriers, too. A dedicated humanitarian committed to social justice, Jones was the first African-American to become VP of a major music label and to write major motion-picture film scores—all while enduring criticism for his three interracial marriages, the first of which was to Sunny’s grandmother. But above all else, in Sunny’s eyes, Jones has just always been a grandfather—one with enormous shoes to fill…

My granddad’s a funny cat. He’s not your average grandfather. I don’t think I’ve ever been to a movie with him or the park or a ball game. Even when I was younger he told me to call him GP, short for grandpa. He still calls me GS, for grandson. Now that he’s a great-grandfather, he tells my niece, “Call me GG.”

My grandmother, Jeri Caldwell, was his high school sweetheart and first of three wives; they met in Seattle and then moved to New York together, so she was there from the beginning of everything, since he was a teenager. My mother, Jolie, is their only child. They divorced when she was about 8.

I was born in L.A. in 1979. We moved to upstate New York a few years later to sort of get away from disco and L.A. It was getting weird. My first real memory of my grandfather is of him visiting us in upstate New York, in the snow. It wasn’t of him being a superstar producer. Then we moved to England when I was 4 and we’d see my grandpa once in a while, but I really got to know him when we moved back to Los Angeles when I was about 7 or 8. He was getting divorced [from Peggy Lipton] and he was living at Hotel Bel-Air at the time. We’d go there and hang out or take walks.

My grandfather started making Michael Jackson’s Bad right after we got back from England. We lived right by the studio where they did it and would go by all the time after school. I was a huge Michael Jackson fan, and I remember they had really good food and candy at the studio. It was pretty wild. I wasn’t totally aware of just how famous he was.

Somewhere around that time he got a house and it became the epicenter of where we would all hang out, go swimming, play basketball. There was a lot of life and I felt like all the kids were kind of the same age. I am the second grandchild (my brother is the first). There were no other grandkids until I was 16, but my aunts [Rashida Jones and Kidada Jones] were around my age.

I vividly remember one night a crazy dinner party going on at his house when we stopped by. Lionel Richie and all these people that I actually knew were sitting there. Then there was this dirty, weird white guy. I asked my mom, “Who’s that dirty guy?” She said, “That’s Bob Dylan!” I didn’t even know who Bob Dylan was at the time.

I’ve been making records since I was 14 and I’m 37 now, but never along the way have all the floodgates been opened for me; he doesn’t believe in that. However, I do turn to him for different kinds of advice. I wish I had a little bit more of my grandfather’s ability to just put big things together and make them happen, and his confidence and bullish way where he’s just like, “We’re going to do this and it’s going to get done,” and then it happens. He is just so good at putting things together—putting people together, putting deals together, and seeing all sides of things. He just makes these grandiose records that are so dialed in and so worked out and perfect.

After everything my grandfather did as a big-band arranger and having big bands, making records, producing records and working with some of the biggest names in music in the early ’60s, he started doing film-score work. That was a big deal. There were no black people in that world. So I feel like that was the biggest jump, where he was like, “Alright. I’m doing this,” and got in that door and did big movies. He seemed almost defiant about it, like, “Why can’t I do that?” I think that’s a big part of his whole career and trajectory. People say, “You can’t do that, you can’t pull that off,” and he’s like, “Yeah, I can. Why not?”

Ten years ago he put on a concert in Rome that was called We Are the Future to raise money for charity to build schools in Africa. They were trying to write a song like a new “We Are the World,” which he produced in 1985.  My granddad was like, “Why don’t you try to write a song for this thing?” I was like, “Really?” He had heard what I’d done but I didn’t think he believed in me that much. So I went away and wrote these songs and I brought one back. He was like, “That’s cool. Go do another one.” Then I came back the next day with another song and he was like, “That’s it. That’s great.” He was like, “Go see Rod [Temperton] tomorrow and you guys work that up and get some new parts in it.” Rod wrote all the Michael Jackson songs, like “Always and Forever.” So we worked on the song and then we went to Rome and performed it and recorded it. It was really great. My grandfather is not a guy who does something like that just to be nice. That was a big notch on my confidence belt.

But the best piece of advice my grandfather gave me doesn’t relate to music. I was about 14 and we were at the Montreux Jazz Festival in Switzerland. There was this pretty, young girl there. She was close to my age and he sort of looked at me and said, “These boys don’t know what they’re doing. All it’s about is humor. If you make a girl laugh, that’s it. That’s all they want is to laugh.” He was like, “You’re funny. Just go be funny.” That trip affected me big time because we spent so much time together. It was all about staying up all night, going to see music and hanging out. Maybe not the norm for a traditional grandfather, but he’s Quincy Jones.

 

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KATE ROTHKO PRIZEL

MANY PEOPLE HAVE PRECONCEIVED NOTIONS REGARDING AN ARTIST’S CHARACTER. THE ABSTRACT EXPRESSIONISTS WERE KNOWN AS STORMY, MOODY INDIVIDUALS, WITH PAINTER MARK ROTHKO DEPICTED AS ESPECIALLY DARK AND ANGRY. BUT THERE WERE MANY SIDES TO ROTHKO, SAYS ONE PERSON WHO KNEW HIM BETTER THAN MOST.

“When I’ve seen my father portrayed, I’ve sort of winced, because it doesn’t sound like him or come across like him,” says Rothko’s daughter, Kate, now a retired pathologist. The Mark Rothko she knew painted masterpieces, but also hung holiday ornaments and was a jovial storyteller nicknamed Bunchie by his wife. “He was a very warm, humorous person,” she says. “I remember him telling me silly stories as a child. He was a laughing, joking person, so when I’ve seen him portrayed as this tyrannical screamer, it’s been very difficult. He was also a normal father.”

Kate grew up surrounded by her father’s works, densely hued floating rectangles or “color fields” that are iconic in the canon of abstract expressionism, the first American fine-art movement. Aged 19, Kate embarked on a landmark legal case known as “The Matter of Rothko,” in which she ultimately saved more than 700 of Rothko’s paintings from being stolen by his gallery, aided and abetted by the executors of his will—people he thought were his best friends. Relying on an iron will no doubt inherited from her father, Kate demonstrated that justice can prevail, even in the most impenetrable circles of the art world. Today we are able to see this treasured artist’s works, works that would have disappeared altogether from the public view, thanks to her.

Kate Rothko Prizel was born in New York in 1950 to Mark Rothko, a Jewish immigrant from the Russian empire, and his second wife, Mary Alice Beistle, an American illustrator known to everyone simply as Mell. Each night, Rothko would come home from his art studio and tap “hello” on the basement kitchen window. “We had a brownstone at that point, so the kitchen was one of those where you would have to go down a few steps below the street level. My mother was usually down there preparing dinner and I might be helping her when he came home and knocked on the door.” Whenever Rothko was home, you could guarantee there would be classical music playing on the phonograph. “Mozart, all kinds of Mozart, from opera to chamber music to symphonic music,” she says. “He also fairly successfully taught himself to play a Mozart piano sonata, sitting at an upright piano on our lower floor, which I was very impressed by.”

 

 

Rothko was at his studio six days a week, but on Sundays his job was to take Kate to Central Park. She remembers her father teaching her to ride a bicycle, even though he could not ride himself. “His idea of teaching me to ride a bike was basically to run behind the bike and scream, ‘Don’t fall!’ ” The family celebrated both Hanukkah and Christmas, and Kate remembers one year her father said he didn’t like that the Christmas tree balls dangled down from the tree; “He thought it was not cheerful,” she says. “So he took them all off the strings and attached them directly to the branches, sticking out.” One of the few times Kate remembers hearing her father curse was when he struggled to position the star on top of the 12-foot tree.

The family home was eclectic and unusual, filled with a combination of her father’s paintings and repurposed furnishings, often picked up at the Salvation Army or in Cape Cod, where the family vacationed for several summers. They never installed any formal lighting for Rothko’s pictures. “We simply had white walls and white ceilings, and projected light off the ceiling to light the paintings,” she says. “Now, in museums, you have to stand a few feet away from the art, but in our house you were living with the art, and there didn’t seem to be any worry about it. It was just part of the whole atmosphere.”

Her first memory of a specific painting is of Homage to Matisse, one early work Rothko painted in his mature style. “I was 4 or so, and I know we had other paintings hanging in that apartment as well, but that’s the one that stood out to me so vividly. It was very important to my father because he worshipped Matisse. It’s so distinct among my father’s paintings that it stuck with me my entire life.” Her father’s workaholism was well known, but Kate did not feel neglected, or in competition with art for Rothko’s attention. Rather, she loved the art and was intoxicated by it.  “To me, there was nothing in the world greater than to be an artist,” she says. “I grew up thinking the art world was the most idealistic, magical world. I didn’t think any other world could compare.”

Rothko painted alone, but often, Mell would drop Kate off at his studio for the day. Rothko would sit Kate in her own corner with some paints and paper and face her away from him. “I think he hoped that I would entertain myself so that he could really paint in peace and quiet without feeling like he was being watched.” She did sometimes observe him, though, from the corner of her eye. “I certainly have images at the back of my mind from visits to various studios when he was working on different projects,” she says. On her 12th birthday, Rothko gifted her one of those paintings, a study in orange and reds, inscribed to her.

 

 

When she was 16, Kate and Rothko took a cross-country train trip together. It was 1967 and Rothko was teaching a class at Berkeley. He refused to fly, so Mell flew with Kate’s younger brother, Christopher, and Kate traveled by land with her father. “It is now the trip where I look back and wish I had talked to him about his philosophy of art, about his family history, all sorts of things … but we both just spent a lot of the trip in kind of awkward silence.” She’ll never forget sitting next to Rothko watching the sun set as the train crossed the great Salt Lake in Utah in a miraculous explosion of red, amber and violet.

A year later, in the spring of 1968, after completing a series of 14 huge, monumental paintings for the Rothko Chapel in Houston, Rothko suffered a mild aortic aneurysm, with devastating after-effects on his body and mind. Rothko became depressed and difficult to communicate with. And for six months, under doctor’s orders, he painted on a small scale, until he couldn’t bear it any longer and returned to his large-form paintings, creating a series of foreboding black-on-gray canvases. “It was very hard for me to separate the increasing darkness of his paintings from his mood,” says Kate. “It took me quite a number of years after his death to understand that those dark pictures were really about him taking his work in a new and, if you will, higher direction, rather than being a reflection of something personal in his life. I think this is perhaps the greatest evolution in my feeling about his work.”

In November 1977, seven years after her father died, Kate would win the battle to reclaim the work. But 97 paintings were never returned—including Homage to Matisse— these works still remain in private hands to this day. For years, the only thing she hung on the wall at home were two museum posters. “We were still students and weren’t in a place where we could have hung a Rothko,” she says. It wasn’t until she and Ilya (her husband and then boyfriend) bought a house and began raising a family of their own that they decided they were ready to hang the work at home. “I like living with them more than anything,” she says, and watching her own children and grandchildren light up in the presence of her father’s paintings has been especially gratifying. “Because that’s the way I grew up too … with them around me.”

 

 

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Arcana Books

CURATED BY LEE KAPLAN / ARCANA BOOKS

(8675 Washington Blvd, Culver City, CA 90232)

Arcana Books - Humanity

1 – Peter Lindbergh: The Unknown  

The Chinese Episode

Schirmer/Mosel

2011 

Arcana Books - Humanity

2 – Joseph Albers: Minimal Means, Maximum Effect

Nicholas Fox Weber, Jeannette Redense

Madrid 2014

 Arcana Books - Humanity

3 – Jean Dubuffet: Zeichnungen, Aquarelle, Gouachen, Collagen 

Kunstmuseum Basel

Switzerland, 1970

Arcana Books - Humanity

 4 – Edward Ruscha, Joe Goode 

HOPKINS, HENRY T., DOROTHY RUSCHA

& MASON WILLIAMS

1968

 Arcana Books - Humanity

 

5 – Andy Warhol’s Index (Book)

Andy Warhol, Stephen Shore, Billy Name, Nat Finkelstein, Paul Morrisey, Ondine, nico, Christopher Cerf, Alan Rinzler, Gerald Harrison, Akihito Shirakawa, David Paul

1976

 

 Arcana Books - Humanity

6 – 712 North Crescent Heights: 

Dennis Hopper

Photographs 1962-1968

Marin Hopper, Brooke Hayward

2001

Arcana Books - Humanity

7 – Jean-Michel Basquiat 

Tony Shafrazi, Gerard Basquiat

1999

 Arcana Books - Humanity

8 – Chris Burden: 74,77 

Chris Burden

Los Angeles, CA, 1978

Arcana Books - Humanity

9 – Richard Prince: Nurse Paintings 

Richard Prince, Matthew Collings

 

New York, 2003

 

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Gemini G.E.L.

GEMINI G.E.L. WORKSHOP BROUGHT CONTEMPORARY ART MASTERS TO L.A. IN THE ‘60S AND ‘70S. TODAY, IT CELEBRATES 50 YEARS WITH AN EXHIBIT AT LACMA.

“The first artist that really set the tone for Gemini was Bob Rauschenberg. He was the heart of what, in those days, was called the New York art scene,” 91-year old Sidney Felsen recalled in Humanity issue No6. When Felsen and his fraternity brother from USC, Stanley Grinstein, took over a custom printing studio in 1966, all they knew was that they wanted to be around artists. And at the time, artists were interested in making prints of their work so that it could be seen by more people and hung in more than one museum or gallery at a time. What began as a casual artists hangout, organically (and quickly) became a destination for the most iconic masters of contemporary art within the first three years. “Bob [Rauschenberg] helped us get Frank Stella. And then Bob helped us get Claes Oldenburg. And then we invited Jasper Johns. We wrote a letter to Jasper, and he agreed to come out. Ed Ruscha was here locally, and he worked with us… Ken Price worked with us during that time too, as well as Roy Lichtenstein.”

50 years later, Gemini is being recognized for its monumental influence on not only shaping the L.A. art scene, but the printmaking boom that fueled the world of contemporary art. “For the past half-century the work produced at Gemini has informed the aesthetic sensibilities of Los Angeles’s culture. To this day, Gemini remains a highly influential and pioneering workshop,” said Michael Govan, LACMA CEO and Wallis Annenberg Director.
Preview the pieces featured in the upcoming exhibit, Serial Impulse at Gemini G.E.L., which opens September 11 (through January 2, 2017), and get the inside scoop from Felsen himself on the iconic artists who flourished at Gemini:

 

Roy Lichtenstein, Nude in the Woods; Reclining Nude; Head, all 1980 © Museum Associates/LACMA

 

Roy Lichtenstein:
“Phenomenally precise. If Roy would say, in July, “I’m going to be out next February 2nd” he’d come on February 2nd, and he was really very serious about working the eight hours, no goofing off… He would use an opaque projector, and he would expand up on a wall or screen the scale that he wanted, and [he’d] start working.”

 

Gemini G.E.L. - Humanity
Jasper Johns, Figure 0-9, 1968 © Museum Associates/LACMA

 

Jasper Johns:
“Very hard working, very careful, tedious the way he works. He would bring a picture of a painting, a photograph or a drawing; he wouldn’t copy it, but he’d use it as a reference. He’d look at it once in a while and use it in his imagery here. The print was always different. His drawings were different, and his prints were different than his paintings, but there were similarities and references from one to the other.”

 

David Hockney at work, © Daniel B. Freeman

 

David Hockney:
“He was that British boy. David said he came to the United States and he turned on the TV and saw the Clairol ads, “Blondes have more fun.” So he went to the drug store and bought Clairol, became a blonde, and had more fun. David was something different for me in my life. His fashion fascinated me, and he was very much involved in society, worked very hard in the studio. If you go to David’s house, it’s like a Hockney painting. It’s red and green and blue, and he painted the house, everything about his life is about his life. He just sort of wove it together. Very exciting.”

 

Robert Rauschenberg, Booster, 1967, © 2016 Museum Associates/LACMA

 

Robert Rauschenberg:
“Phenomenally open and free; terribly creative. Bob reflected off of everything he saw or heard. And he never came prepared for what he wanted to do, but knowing in his mind exactly what he wanted. He would move with whatever the atmosphere was. Bob loved to have people around him when he worked. If he was in the studio, he’d have the TV on watching soaps as long as he could. He probably would ask us to hang around and talk to him while he was working and definitely listened to everybody. Terribly exciting.”

 

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Posted in Art

A Stylish Life: Elizabeth Leventhal

As soon as Labor Day hits, the fashion industry braces itself for their version of back-to-school bootcamp—12-hour workdays filled with shows, presentations, designer meetings and celebratory dinners commonly known as Fashion Week. In order to enjoy the glamorous moments the weeks afford, one has to be scrupulously prepared, with outfits lined up and go-to pit stops in mind. As Moda Operandi’s general merchandising manager, Elizabeth Leventhal is an experienced fashion week veteran. We checked in with her to find out how she has prepared for and will survive the long days and nights of New York Fashion Week:

Essential Gadget: Around September 1st , it’s time to change the case on my iPhone to a Mophie battery case (6).
Must-Have Apps: Uber and Resy, of course— survival for getting around, and securing last minute reservations for dinner at my favorite spots.
Source of Fuel: Of course, coffee always helps. I’m currently committed to La Colombe’s Draft Lattes (7).
Favorite Pit Stop: A quick mani a tenoverten (9)— their TriBeCa location is close to [show venue] Spring Studios. Also, I would be lying if I did not say I will also pop over to Cafe Gitane (1) at least once.
Favorite Cocktail SpotSant Ambroeus Madison (14) when Uptown. It’s across the park, but always worth the trip. Downtown would be Wallflower (8) in the West Village.
Everyday Scent: Rose from Le Labo (11)
Social Media Accounts to Stalk: @modaoperandi (of course!) and @Yourensemble and @JustinTeodoro

 

Elizabeth Leventhal - Humanity

 

Fall Wardrobe Essentials: Since I am nine months pregnant this fashion week, the wardrobe staples have changed a bit. This season’s will include: Citizens of Humanity Maternity Jeans (4), a Blazé Milano Blazer (3), a day-to-night dress like this Tibi Burnt Paprika Placket Suede Dress (5), a LBD like Dolce & Gabbana’s Flared Midi Dress (12), my new obsession this season, J.W. Anderson’s Large Pierce Shoulder Bag (13), any Aquazzura heels as you can run miles in them (2), and Proenza Schouler Booties which are perfect to take you from day to evening (10).

Photos:
1. @niamh_osullivan; 2., 3., 5., 10., 12., 13. courtesy of Moda Operandi; 4. courtesy of Citizens of Humanity; 6. courtesy of Mophie; 7. courtesy of La Colombe; 8. @wallflowernyc; 9. courtesy of tenoverten; 11. courtesy of LeLabo; 14. @santambroeus

 

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