Confessions from the Velvet Ropes

Kraftwerk Retrospective opening night at MoMa - April 10, 2012

Dear sauerkraut rockers & bratwurst boppers,

I was lucky enough to attend the first evening of Kraftwerk performances--Autobahn & assorted greatest hits--at the Museum of Modern Art here in New York.

My full report can be seen here at A Shaded View on Fashion.

Later,

Glenn Belverio

Highlights from New York Fashion Week, February 2012: Daphne Guinness & Genghis Khan by GK Reid, Jeremy Scott, Brazilian designers at Hotel Americano, "The Dandy's New York" at Dorian Grey Gallery

A look from the Jeremy Scott collection, which was inspired by '90s internet culture. Photo: Glenn Belverio

Dear slaves of New York fashion,

 I'm very selective now about what I attend during New York Fashion Week (back in the day, I would go to 9 or 10 shows per day). I like the idea of the shows being staged at Lincoln Center--because it elevates fashion to be on par with opera and ballet---but it's too annoying for me to go up there and wait in long lines. Here are the links to my reports on A Shaded View on Fashion of the downtown events I covered:

Jeremy Scott Fall 2012 Runway Show

Premiere of "The Legend of Lady White Snake" starring Daphne Guinness & Genghis Khan fashion show

Brazilian designers at the Hotel Americano

"The Dandy's New York" photography exhibit featuring Patrick McDonald

Cocktail reception at Jeremy Scott Two-Week Boutique

 

The VIVA Girls, a band from Beijing, perform at the premiere of "The Legend of Lady White Snake." Photo: Glenn Belverio

Patrick McDonald & I at Dorian Grey Gallery

Love,

Glenn Belverio

Camille Paglia parses Daphne Guinness & Lady Gaga. Photos by Glenn Belverio

Daphne Guinness at the Angel Orensanz Foundation, February 12, 2012.

Dear acolytes of all things stylish:

Earlier today I sent my longtime friend Camille Paglia my report from A Shaded View on Fashion on uber-muse Daphne Guinness at the Genghis Khan fashion show and film screening during New York Fashion Week. During the course of our email correspondence, Camille had this to say about the divine Daphne--and she also had more than a few choice words about Lady Gaga. As you can guess, she didn't hold back:

"Daphne is sensational!  Of course Gaga ripped off an incredible amount from her, but she has no idea how to WEAR those amazing fashions.  Gaga just puts stuff on that the savvy Nicola Formichetti hands her and wears it like a donkey with a saddlebag!  Daphne WORKS it--like a dancer--and she adopts and projects the correct PSYCHIC MOOD for it.  Fashion as extreme as that requires a dance-like relationship to the environment--to physical space.  It's really captured beautifully in the trailer for 'The Legend of Lady White Snake', where Daphne is walking in giant red clogs along a balcony rail and makes precisely the right interesting and graceful moves.  Whereas Gaga in the same shoes just clunks along like a bag of potatoes, just showing off for the paparazzi.  Gaga has such glaring lack of instinct and intelligence about the relationship between fashion and the body.  That people can't see that drives me crazy--they're so fooled by Gaga, it's pathetic!

 

Daphne exudes the poetic, atmospheric mood of those European art film stars like Delphine Seyrig (in 'Last Year at Marienbad', 'Daughters of Darkness', and also 'Accident', where she's so mysterious and discreet having the secret affair with Dirk Bogarde in London).  There's a little of Edie Sedgwick in Daphne (little rich girl lost), but Daphne is infinitely more glam, assertive, and urbane.  She is evidently a sophisticated book lover, which is why she dropped by the National Book Awards banquet at Cipriani two years ago, when I briefly met her.  She swept in like an electric breeze from a photo shoot at Harper's Bazaar. She truly has authentic charisma!!!!"

 

Daphne and fashion scholar Valerie Steele

Further reading: My report on Daphne Guinness, "The Legend of Lady White Snake" and the Genghis Khan fashion show

Ciao,

Glenn Belverio

My Stanley Kubrick Christmas tree-trimming party in New York, December 10, 2011. By Glenn Belverio

Dear droogies, snail-swallowing gladiators and Long Island Lolitas:

It was time again for my annual holiday tree-trimming party at my apartment in the East Village and because I'm a hopeless cinema fan-fag, I chose Stanley Kubrick as the theme. My guests rose to the occasion with clever ornaments and even a few Kubrick-esque looks.

Christine applies a Clockwork Orange-style bottom lash to singer Carole Pope.

 Since Christmas is really a pagan holiday, this guest showed up with one of the ritualistic orgy masks from "Eyes Wide Shut" which I do find mildly terrifying, especially since I didn't know the guy wearing the mask! I thought it might be a fashion designer whom I gave a bad review to in the past arriving to exact some revenge.

 Me sporting my first-edition "A Clockwork Orange" cover-design t-shirt and my Phuket tan.

 Because it's just not a party without a pair of cheeky fag Lolitas! Raul and Christopher Voigt attempt to channel the long-gone days of when they were jailbait.

"Anger Scale" author Katie Degentesh channeled Shelley Duvall's style from "The Shining."

 Artist Scott Neary gets the Obscura Prize for resurrecting a little-known Kubrick film (his 2nd feature), "Killer's Kiss." Many of the scenes of this gorgeously shot, low-budget noir gem from 1955 were shot around the East Village. I watched the film yesterday on Nextflix instant watch and was in awe of the moody black-and-white photography of New York, not to mention the hot and hairy lead actor who plays a washed-up boxer. The penultimate scene of a spine-tingling duel in a mannequin warehouse is not to be missed. (This clip is of the film's chase scene through, I think, Brooklyn.)

 Hands down, this was my favorite ornament - the monolith from "2001: A Space Odyssey." It was created by Evan Schafer, who is the boyfriend of Grazina Snipas, a graphic designer whom I sometimes work with at Moxie Interactive. (I also love the skull bracelet ornament that Doreen Oakley donated for my tree.)

 Lolita sunglasses and the bone from "2001", also created by Evan Shafer. Now, whenever I think of the flying bone scene in "2001" I think of the hilarious moment in "Good Bye, Lenin!" when a budding GDR filmmaker is editing a wedding video he shot which he turns into a "2001" homage but cutting a shot of the bride's flying bouquet (the bone) with a shot of the lit wedding cake (a stand-in for 2001's spaceship.)

Nancy Stout was inspired by the wardrobe of "Barry Lyndon."

Katie brought an adorable stuffed owl ornament.

Spartacus tribute #1 by Carlos...

...and Spartacus tribute #2 by Corey Sabourin.

Carole Pope brought a less sinister "Eyes Wide Shut" orgy mask..

Artist Rupert Goldsworthy created a tribute to Wendy Carlos, the transsexual composer responsible for the iconic electronic Beethoven soundtrack of "A Clockwork Orange."

Artist Scott Taylor and fashion designer Sylvia Heisel made a Kubrick double header...

Dominique Guihenneuc made this very witty ornament that is a nod to the chess game between Shelley Winters and James Mason in "Lolita." This piece is Winters' queen and the notes read: "You're going to take my queen? That was my intention."

Jack Nicholson looks on at a young Kubrick in a piece made by Nancy Stout.

Astronaut food from "2001"....

A gaggle of poets showed up and I was half-expecting a prosecco-fueled reading of HOWL or "There was a man from Nantucket" underneath the mistletoe: Drew Gardner, Mel Nichols and Katie Degentesh.

 Artist Scott Neary

 Artist Scott Taylor, fashion designer Sylvia Heisel, and author Nancy Stout

 Artist Rupert Goldsworthy and publicist/playwright Jay Blotcher

Me & Rupert

 Filmmaker Vincent Gagliostro & Jay

 Adrienne Lloyd who plays bass in Carole Pope's NYC band with Carole.

 Doreen Oakley stopped in to show off her bag before dashing out to prepare for her costume-making-magic at the NYC Ballet.

 Jay & I

 Meanwhile, in the Mao Room....

In a metaphor of the New China, the Great Helmsman is overwhelmed by Christmas Capitalism.

 On the other side of the Mao Room, Lenin looks on stoicly...

 Nancy's ornament of Stanley Kubrick on the set of "Barry Lyndon" in 1975.

Thanks for reading.

Love,

Glenn Belverio

 

 

Beijing Design Week in Dashilar Alley & 751-D Park, China's National Day in Tiananmen Square, Jingshan & Taoranting Parks, the Bullet Train to Tianjin & dinner at the Yunnan Provincial Government Restaurant & Moscow, September-October 2011

Above: Opening Ceremony for Beijing Design Week at the China Millennium Monument

Dear Readers,

Here is a roundup of stories on my recent trip to Beijing:

My morning in Jingshan Park

Beijing Design Week Opening Night in Dashilar Alley

The surreal Opening Ceremony for BJDW at the Millennium Monument

Beijing Design Week at 751-D Park

Wuhao Pop-Up Teahouse in Dashilar Alley for BJDW

Our strange trip to Tianjin

China's National Day in Tiananmen Sqaure, "Tarantino's Cultural Revolution Film Park" & dinner at the Sino-Soviet Frenemy Hall

My stay at the Orchid Hotel

The mannequins of China

Me at the Wuhao Pop-Up Teahouse during Beijing Design Week in Dashilar Alley

The bizarro China House in Tianjin

My Alfred Hitchcock Christmas Tree-Trimming Party in New York, December 11, 2010. By Glenn Belverio

Dear Hitch Hounds,

I wanted to do a film theme for my Christmas tree this year and my first theme idea was "Old Hollywood" but then I decided that was just too faggy, even for me. I wanted to give my guests a challenge so finally decided to celebrate the holiday season with one of my favorite directors, Alfred Hitchcock. New Yorkers are a busy lot so I was concerned that people wouldn't have time to put any effort into their ornaments, never mind that they would follow my joke-y dress code. However, my guests definitely rose to the occasion, not only bringing imaginative ornaments but also a few came donned in Hitch-inspired ensembles.

Keith & Dan came as the gay murderers in ROPE (who were played by Farley Granger & John Dall). Dan wrote a Barbara Stanwyck biography that's coming out next year which should be terrific.

Corey came as the bloody shower curtain from PSYCHO.

Minori came decked out in plumage from THE BIRDS.

Christopher & Raul get the prize for most current eventsy ornament: Camila & Prince Charles terrified in the back of their limo as they're attacked by a flock of angry birds.

Christopher Stoddard brought Janet Leigh (which one of the guests thought was Michael Jackson) and artist Scott Taylor devised a mini bloody shower curtain.

Mary Adams, the dress designer, brought an array of handmade pieces. What would Christmas be without Santa Hitch?

Left to right: One of Mary's VERTIGO inspired pieces, a pillowy Hitch ornament sent by Penny and a gilded red fox penis bone brought by Refinery 29's Peter Miszuk. When he announced what it was, I thought he meant it was the penis bone that belonged to Redd Foxx of "Sanford & Son." Then I realized it would have been much bigger.

Nancy was inspired by Salvador Dali's masterful dream sequence from SPELLBOUND. Here is Dali with his mustache hung with an infamous cabal of Communists.

Joselle & Crazy Legs brought a glamour bird with rococo wings; an image from SPELLBOUND from Nancy's series.

A piece by Mary Adams

Bruce Benderson made an homage to Marlene Dietrich and her song "The Laziest Gal in Town" from STAGE FRIGHT.

Christopher & Raul brought along Carlotta Valdez from VERTIGO

VERTIGO-inspired ornament; Lauren's Hitch "cock"

Mary Adams decorated a bag with Hitchcockian collage

Christine in velvety chic

Lauren Pine taunts the predatory blackbirds (or are they crows?) that Christine brought with a glass of Prosecco. 

Me & Joselle Yokogawa

Nancy Stout & Mary Adams

Cator Sparks takes a bite out of one of my famous radis farcis au chevre. (No racy gingerbread mise-en-scene this year!)

Marc Benecke & Moni. Marc was the doorman to Studio 54 during its heyday.

Sameer Reddy & Pete Miszuk

Joselle & Legs in my Mao Room.

 
Scott Taylor, Sylvia Heisel & Rachel.

Angela Gaimari: Film-noir heroine or villainess? 

Christopher & Minori share a laugh over some gallow's humor.

Carole Pope & Bruce Benderson

My dress code for the party was: Hitchcock heroine chic, strangulating neckties, mink coat & typewriter-in-tow ensembles for Tallulah Bankhead glamour, 1940s murderous gay hysterical bottom runway realness, Mrs. Bundy ornithologist tweeds for butch women, Jimmy Stewart peeping-tom haberdashery, Edith Head hairdos & dark-grey shades, Mrs. Danvers sinister lesbian chic, Melanie Daniels spoiled socialite smugness, Grace Kelly cocktail gowns for cross-dressers & Norman Bates neuroticisms.

 Love,

Glenn Belverio

If it's Tuesday, this must be Barcelona...if it's Wednesday, this must be Rome...

Dear Readers,

I'm off for another whirlwind fashion junket tour of Europe this Monday, starting with Barcelona (080 Barcelona Fashion has been moved up to January this year, much to the chagrin of my Parisian pals who are covering the Couture), then a jaunt to Rome where I will meet up with Diane (and Nunzia, above) for Alta Moda at Santo Spirito in Sassia & the opening of Fashion on Paper at Hadrian's Temple. After that, I'll be jetting back to Spain, but this time to a city I've never been to before: Valencia. I'll be attending their 3-day fashion "week" and then staying for a 2-day respite to take in some of the sites of what looks like a truly beautiful city. Look out for my fashion & travel reports on A Shaded View on Fashion (www.ashadedviewonfashion.com).

Adeu, arrivederci, adios, au revoir, later,

Glenn

 

Fashion Rio Fall/Winter 2010, Part 3: Juliana Jabour, Christian Lacroix at the Museum of Modern Art, Osklen's New Order accessories & Oscar Niemeyer's Museum of Contemporary Art in Niteroi.

Dear Readers,

Part 3 of my report from Rio can be been seen on A Shaded View on Fashion.

Later,

Glenn

 

Rio Carnaval creations of the Porto da Pedra Samba School: Marie-Antoinette, The Flintstones & Chanel no. 5.

Dear Samba Sisters,

Last week I visited one of the 14 samba schools in Rio de Janeiro for a sneak peek at their floats & costumes for the upcoming Carnaval celebrations in February.

My full report can be seen here at A Shaded View on Fashion.

Beijos,

Glenn

 

Remnants of Rome's not-so-ancient past: Mussolini's Fascist architecture in EUR; Karl Lagerfeld's designs for Tiziani of Rome. Text & EUR photos by Glenn Belverio

 

The first time I visited EUR, Mussolini's failed Fascist wonderland on the outskirts of Rome, was back in July 2001. That was the year the Eternal City's left-wingers were fomenting dissent in response to the recent re-election of right-wing Prime Minister Silvio Berlusconi. By chance, I met one of said left-wingers at a gay sauna called Europa--but, of course, the only reason I was there was so I could sit in the steam room and sweat out all the champagne I had drank the night before.

Luis, a Colombian immigrant and self-described Marxist/Buddhist, took me on a political tour of Rome which began with the rarely visited Fascist buildings of EUR and ended, more or less, with the socialist/anarchist stronghold of San Lorenzo--the radical-chic 'hood populated by politically active squatters and students. (Also on the tour, because it was convenient for one of our dalliances, was the apartment that belonged to a former Communist Party senator where sofa-surfing Luis was currently crashing). 

Our visit to EUR (pronounced AY-oor and stands for Esposizione Universale di Roma) was a highly memorable one. I was fascinated by the deserted de Chirico-esque ambience and haunted by the often derelict appearance of much of the area. The kitschy Roman Empire-inspired warrior statues that Il Duce had erected around his "square Colosseum" in the late 1930s were stained with age, their pedestals surrounded by sprouting weeds. The only sign of life was a teenaged Italian couple tucked away behind one of the statues engaged in a heavy petting session. After enduring hordes of deplorably dressed tourists and cheesy minstrels in bad gladiator costumes at the real Colosseum the day before, Mussolini's melancholic, ersatz Rome certainly appealed to me. 

The next time I was in Rome, in 2005, it was at the invitation of the Turin Film Commission who had arranged an interview for me with Dario Argento. When the taxi from Fiumicino Airport passed by EUR's square Colosseum, which is highly visible from the highway, my heart sank: a gigantic banner ad for a mobile phone company hung across the building, reducing its stoic, enigmatic appearance to that of banal scaffolding. Given the average Roman's blase and unsentimental attitude toward even authentic ancient ruins, however, I shouldn't have been surprised.

The Palace of Labor Civilization, or "square Colosseum," in July 2009.

Fortunately when I returned to Rome this July to attend AltaRomAltaModa, the plot to turn EUR into a backdrop for crass advertising seemed to have been foiled. My driver took me there straight from the airport and this time I found the square Colosseum surrounded by a wire fence and evidence of construction and restoration. The muscular statues had been stripped of their decrepit patinas and shone brightly in the sun, while the square Colosseum was as white and polished as a Hollywood actress's veneered teeth. As Mink Stole declares while a gun is shoved up her ass in John Waters' Desperate Living: "Go ahead! A single bullet can never destroy the beauty of fascism!" 

 

 

The streets of EUR have an eerie post-nuclear war ambience about them. (No wonder Antonioni chose the residential area of EUR for the final eight minutes of L'Eclisse, which function as a metaphor for Cold War anxiety and atomic apocalypse.) The low-domed building at the end of this street is the Palazzo dei Congressi, designed by EUR's chief architect Marcello Piacentini to reflect the style of the Pantheon. Berlusconi has held some of his electoral victory parties in this building. 

The Palazzo INA

During the recent Alta Roma Alta Moda, Rome's twice-yearly fashion week, a fashion show was held in one of EUR's Fascist-era banks which has been converted into a swank night club (above).

Couturier Lorenzo Riva (right) and model during Riva's recent presentation in Rome. Photo: Glenn Belverio

Another remnant of Rome's recent past are some of couture shows that are held in the Eternal City that seek to channel the 'la dolce vita' era, the '50s and '60s. I recently attended a show by Lorenzo Riva, who opened his first couture house at age eighteen, which harkened back to those days. The rest of the shows held during Alta Moda were staged by younger designers, both couture and pret-a-porter. But one label (which I later realized is defunct) I was on the lookout for was Tiziani of Rome. 

Why? Karl Lagerfeld designed for them back in the '60s and there are two noteworthy things about this freelance gig. One, the house was founded by an oil-rich Texan, not a Roman, and two, under Lagerfeld's hand, Tiziani of Rome designed the costumes for one of the biggest, over-the-top camp classic films of all time: Joseph Losey's Boom (1968) starring the booze-soaked megastar couple Elizabeth Taylor and Richard Burton. Noel Coward has a star turn as the "Witch of Capri" and among the many things to obsess over in this film are the lavish costumes.

The most famous costume in the film is Taylor's "kabuki" look, complete with daisy-adorned, porcupine-needled headdress. She chooses to don this not-very-casual look for a summer supper out on her terrace with the gossipy Witch of Capri and no other guests. Show off much, dollface?

Burton wears a samurai costume for most of the film. By the way, the film takes place and was shot on the Italian island of Sardinia. So why the Easter Island heads? Why not? A set like this seemed perfectly logical in the hallucinogenic days of the late '60s.

The film is faithfully based on Tennessee Williams' play "The Milk Train Doesn't Stop Here Anymore" and it is said that Boom was Williams' favorite film adaptation of his work.

Yes, Noel Coward is probably snorting amyl nitrate in this scene. The dialogue here has a distinctly misogynist gay tone to it. If you want to know more, watch the film (if you can find a copy!)

Karl Lagerfeld, back in the Boom days.

For further reading on Boom, check out this lengthy piece on Cinebeats: Confessions of a Cinephile.

Thanks for reading!

Love,

Glenn