Jenny Cooper, Designer of Crew Cuts for J. Crew.

Jenny Cooper, pictured with her photographer husband Holger (who once appeared on the cover of New York magazine), designs Crew Cuts, the children's line at J. Crew. For several years, she designed the extremely popular sweater line that put J. Crew back on the fashion map, in a big way.

Jenny found a vintage alligator bag at Petria Boutiq.

Tom Burr's New York Show Features Petria Dress.

Addict-Love Opening.

My friend Tom Burr (pictured here with Pier Paolo, a dealer and friend who had flown in from Italy) enjoyed a successful opening of "Addict-Love" at The Sculpture Center. "It's so chic," I said upon viewing his installations. Speaking of chic, I had found the Chanel dress for "Chicks," as shown draped across a railing. Rough night. It is a voluminous, 1970s piece with a ruffle collar and cuffs.

Tom's partner Bill, pictured with Michelle Childs of Norfolk, CT, had asked me if I was concerned that my dress would not be worn by someone. No. I am elated that it has been elevated to the status of Art. Another friend chimed in that it was already Art. In any case, I learned a few short days after the opening that the posh piece was purchased by the Kraus's, "important" New York based collectors.

Artist Many Years a Mystery.

I had wanted to photograph this East Village-based artist for many years. Now that I carry my camera as a tourist would, the opportunity arrived one day as I tried a new and great coffee shop on my old street (East 7th).

I think she creates the tire sculptures that were very well received in the 1990s. She employs heavy fabrics to wrap her head high and dramatically, unlike anyone else in New York. She wears many layers, concealing her true shape (feet included), thereby creating a new one. I once saw her on Avenue B holding hands with a man perhaps 75% of her armored size. To my eyes, she has been alone ever since.

This artist has long been a recognizable yet unknown figure floating along the same city grid.

The Counterfeit Circle Complete.

Anya Hindmarch's Whole Foods bag is now on Canal Street.

Remember my stumbling upon the wraparound line at Whole Foods on Houston Street? If not, see my 365 days blog. The line wrapped around the block and people (mostly Chinese) camped overnight, in the cold rain, to buy the bag. I called it the "birth" of a counterfeit.

Now, the circle is complete. On a recent visit to Canal Street, the copied bag figured prominently among the others.

Before Project Runway: Ms. Elsa Klensch.

On November 7, I met Ms. Elsa Klensch, former CNN telestylist. Lately, I have been pleasantly surprised to meet gentle giants (rather than the occasional crazy mouse). Lucky me. Ms. Klensch, a supporter of the New York City Opera, donated goodies to its benefit shop where this reception was held in honor of Take Two, her latest murder mystery.


The svelte dame in red eyeglasses won't mind if I tell you that she is 85 years old. She volunteered her secret: two scotches a day. When I suggested that she set aside her glass of wine for a photo, she protested. "Why?" Of course, I did not persist. May we all live long enough to drink white wine at 85. Her pin is Victorian.

Chance Meeting of Monsieur Mizrahi.

October 2007

While at a cafe in Greenwich Village, I met Isaac Mizrahi. He sat in a corner with his friend (who strongly resembled Suzy Menkes). Ever curious, he wanted to know the origin of my hat and whether it is for sale, since I own a boutique (eventually, but my price is steep for this French beauty). IM was kind and employed his accessories to maximum effect. Here's a memory of the moment.

IM is the man who had the plan to intermix high and low fashion, making it mainstream. Sure, it sounds "normal" now with the advent of H&M, Zara and company. But let us document that the idea, for it's time, was quite arguably revolutionary. Thank you for that, Monsieur Miz: you put the chez in Target.

The It Bag Ain't Over Till the Last Thousand is Spent.

http://www.nytimes.com/2007/11/01/fashion/01BAGS.html?ex=1351742400&en=
5281336c7362478f&ei=5124&partner=permalink&exprod=
permalinkSo, check out this article by Eric Wilson of The New York Times. To see it, simply copy and paste into the search bar.

To answer his question, "Is this It for the 'It' Bag", I don't think so. In fact, this is only the beginning. First there's the shock, then there's the awe, then there's the resignation. Suddenly that wool Prada purse costing $565 at Barneys just does not seem obscenely priced. Don't blame the rise of the Euro: it is not the fault of the faltering dollar. Rather, it is ourselves, women, who must be blamed. We are saying, "Yes, it is okay for you to slap together a bit of leather and take us for a little ride down those leather straps."

I know a designer for a mid-priced line who thinks the only way to command respect in a meeting is to waltz in with a thousand dollar bag. The price connotes exclusivity. After all, what's the point of buying it if everyone else can, too? Ironically, no price for a mass-produced bag can guarantee exclusivity. Status, maybe. An "It" bag may as well be called a "Me, too" bag. It's a brilliant marketing ploy: it costs a lot, is in style for only a season after which it so overexposed that it gets copied and becomes obsolete. Rinse. Repeat. Give me liberty from labels or give me death!