Over the summer the closest I came to a far-flung locale was when my name appeared adjacent to a picture of the Chowmahalla Palace on a page in Ultra Travel (thanks to textile designer Lisa Fine). From a personal perspective, it was very moving to be included among Lisa's likes and recommendations but I think for everyone else her other favorites -- destinations, memories, last book read -- will really be of interest. Her soulful responses go beyond standard lifestyle fare. Check it out here.
[Image above and all photos of rustic Italian life, below, are by Massimo Listri from his book At Home in Italy: Under the Summer Sun. The images are posted with permission from Vendome Press.]
Loosely inspired by the late 1950s book, Journey Through Italy, this new volume offers a mostly visual experience. While Nicoletta del Buono, Editor of Architectural Digest Italia, contributes concise, helpful text, Listri's images -- more than two hundred capturing thirty houses -- are intended to tell the story of present day Italy.
Listri took his time, shooting traditional old dwellings from the mountains to the sea. Some are grand, others are humble. All have some sort of enduring rustic beauty and convey the appeal of Italian country style.
What strikes me about the interiors is that they're not really datable. In some cases modern art lets us know we're in the 20th or 21st century, but the rooms never scream a specific decade.
Over in the UK, the edgier side of the 19th century is once again coming into focus with Tate's exhibition, Pre-Raphaelites: Victorian Avant-Garde. And that makes me think jewel tones, which brings me to Addison Weeks, the new venture of Turq Jewelry founders Lee Addison Lesley and Katherine Weeks Mulford.
[Addison Weeks green turquoise snap on Jones buckle.]
[Brown velvet Gibson clutch with interchangeable Watson brooch and silk lining.]
When I first spied the brown velvet bag, I imagined it working for the opening of the Nureyev show as well as with laid back Imogene + Willie.
Together Lee and Kat handpainted graphic compositions and then had the designs printed on silk. These appear inside the bags but are also available as scarves. The brooches have pins and bales so they can be worn traditionally, on a blouse or on the clutch, or hanging from a chain.
[Costume by Nicholas Giorgiadis for Rudolf Nureyev in the role of Prince Florimond in Sleeping Beauty, Teatro alla Scala, Milan, 1966. Collection CNCS/Rudolf Nureyev Foundation. Photographs by Pascal François/CNCS.]
[Aspesa Gadai, Odunaige (Climbing vine with thorns and tendrils) 2006. Jiapa village, Oro Province, Papua New Guinea. Natural pigments nioge(barkcloth). 176.0 x 76.0 cm. National Gallery of Victoria, Melbourne. Purchased NGV Foundation, 2008 (2008.73). © The artist, courtesy Ömie Nemiss Incorporated.]
In other Museum news, Contemporary Ömie Bark Cloth, a small-scale exhibition of textiles crafted and painted exclusively by women in the Oro province of Papua New Guinea, opens at the de Young October 6.