Fierceness

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This belongs with Leonie and the green dress, and possibly also this for added wickedness.

Miu Miu are actually doing a ballet pump version with studded black leather straps, and chiffon ties that go up the leg, but I can’t find a picture of that, so you’re just going to have to imagine it in all its lusciousness.

Amy Sweet

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“I climbed three rickety flights to her flat to share her gulls’ eggs, and as soon as I reached the door, I knew that Amy’s home was not as other homes. Instead of a bell push or door-knocker, a Persian scimitar was attached precariously to the door, and you had to announce yourself with that…Amy herself let me in, wearing an exotic deshabille consisting of flimsy Turkish trousers, a short embroidered velvet jacket and masses of jangling gold bracelets. Her hair was hidden under an enormous Russian fur hat, with blonde curls escaping here and there… I squeezed into the narrow hall, nearly smashing a blue Victorian lustre with my right shoulder…Having negotiated this hazard, my left elbow banged into a china ¬†jardiniere holding a castor-oil plant which sprouted to the ceiling. My head just grazed a small chandelier which hung from a hook, and the feather on my hat tickled a row of china jugs hanging on a shelf on the wall… “Wait a few minutes,” said Amy, “and I’ll bring in the lunch.”

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Lesley Blanch (photos above),sketched by her colleague Anne Scott-James in her memoir In the Mink. Cunningly, Lesley’s pseudonym recalls Amy in Little Women, and Lesley’s own adventuring was certainly wrapped in similar levels of fantasy, coquetry and almost overpowering femininity as Amy March. Later on Anne remarks that she always liked to appear in public swathed in masses of veiling, but she also accurately recalls how within a few days of “Any” leaving for Tunis or Helsinki, her friends were writing to her begging her to come back. Whilst I don’t think I could have stood her in person, Blanch’s own writing is irresistible and her fluttering exterior hid a great deal of determined toughness.

Blog of the week

I’ve followed Kristabel at I Want You To Know on and off for about three years now, and she’s the reason I’ve given Boden’s clothes a go again, after thinking of them as Country-Sloane-central all my life. She’s also a girl after my own heart with her love of travel.

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However, apart from her style, energy and love of colour (yes! SUCH a relief to find a style blogger who’s not always mooching round in shades of beige, looking smug/sulky), what makes Kristabel hit it out the park is her blogging with a conscience.

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Unlike other writers, whose “what I’ve learnt” posts breathe of carefully-constructed interview-style answers and humble-bragging, Kristabel is honest about the learning curve she’s out herself on and the challenges of being self-employed. Even greater to see are these deeply authentic posts about black, female entrepreneurs, ethical gift guides (with gifts that you actually want), and interviews with other business-women about being the different one in the room. For my vote, the entrepreneurs posts could be a series on a par with A Cup of Jo’s Motherhood Around the World: direct, honest and enlightening.

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I particularly liked the point that whilst the fashion sector claims to champion difference, the money-trail is far more cautious. And I’d suggest that there’s an element of questioning to be done about if marketing commissioning editors and their teams actually know where to go and look for the new voices. Diagnostic algorithms on your own social media feed are hardly going to help…

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Much to chew on, and always worth a read. Plus, what a great gallery wall!

(All images via Kristabel’s blog)

Life goals

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I don’t know who Lady Stern is/was, but there’s something about the no-nonsense gaze and stack of books, combined with the comfort of that rug, vase ¬†of flowers and cornflower suit that I can get behind. Portrait by Lance Cattermole, an artist who lived till he was 94 (1898 – 1992); his style reminds me of Enslin du Plessis.

Photo via Art UK, the renamed website of Your Paintings and the Public Catalogue Foundation. It’s a free website, dedicated to cataloguing all the public art across Britain, much of it held in provincial museums, fire stations and council buildings and provides a fascinating social history survey of a time between 1890 and 1960 when local pride and a belief in the inspiring powers of art were strong.