Friday File

It seems like yesterday that spring semester was wrapping up and I had the whole summer in front of me. But today, faculty are back on campus, and everyone is prepping like mad for fall semester to start. This week I’ve posted jobs for student workers and volunteers, got a flatbed-scanning station set up for students who visit the collection, and purchased some beautiful early 20th-century garments for the collection with remaining capital funds before we switch to the new fiscal budget. Not to mention that the weather already feels like fall.

The Marlborough-Vanderbilt Wedding, Chicago Tribune, 1895, from

I’ve got a bunch of links for you this week, so let’s dive in:

My curiousity has been peaked by Smithsonian’s piece on American girls who married British nobility near the end of the 19th century. I need to know more.

If you liked my post on Zaha Hadid’s shoes a couple weeks ago, you’ll enjoy this roundup of shoes designed by architects on de zeen magazine.

Digging this interview with Massimiliano Gioni, art critic and head curator of the 2013 Venice Biennale. He talks fashion, art, and style.

So much design packed into a stapler. Kind of want one now.

A little behind-the-scenes video of a Joffrey Ballet promotional shoot. I want to make time to see the ballet this year.

My friend Trisha shared this great link to nine abandoned castles and mansions. They are astonishing in their discarded state. I can only imagine what they were like in their heyday.

I’ll leave you with a strange but entirely thought-provoking conversation about the current fashion industry.

Riccardo Tisci Costumes a Ballet in Lace and Tulle

I am dying over these images of Givenchy designer Riccardo Tisci’s costumes for the ballet Boléro. The design recently released to the media shows a unisex ballet costume that blurs traditional gender norms.

The ballet costume consists of a skin-tone cat suit embroidered with white lace in the design of a human skeleton and a dress of nude tulle over top. The costumes are supposed to capture both darkness and romanticism.

In Women’s Wear Daily, Tisci said, “Boléro is all about intensity. The music has such an intense feeling. I wanted the dancers to feel naked somehow. They shed several layers as they dance just like the life cycle of animals, or flowers losing their petals. They become these moving skeletons, strong and fragile at the same time.”

Boléro was choreographed by Sidi Larbi Cherkaoui and Damien Jalet for Opéra Garnier in Paris. The artist Marina Abramovic designed the black and suspended mirror panel set and scenography. It runs until June 3.

Not Your Average Ballet

I am swooning hard over the avant-garde costumes designed by Gareth Pugh for the ballet production Carbon Life.

The ballet premiered last week at the Royal Opera House in London. It was choreographed by Wayne McGregor, resident choreographer of the Royal Ballet, and scored by Mark Ronson.

I really wish I could see this creation. Oh fairy god mother, plane tickets to London please?