Just taking some space………………


Image by photographer Laura Williams

Well, doesn’t time fly?

I thought I’d stepped out for just a few weeks, but having popped back I see that it has been MONTHS!

The first thing I want to do is learn how to navigate my way around the new look WP (it’s a bit of a labyrinth and I’ve been going round in circles to get this far) and then have a catch up on everyone’s blog posts. I’ll bet there’s been a lot going on. And then, hopefully, I’ll recover my blogging mojo (blo-jo?) (…perhaps not) and come back with something nice.

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Something for a Rainy Day

Something for a Rainy Day by Mac Conner

Something for a Rainy Day by Mac Conner

That Mac Conner exhibition in New York? The one that closed in January?


It’s coming to London!

There’s an interview with Mr Conner in The Telegraph today… well worth a read.


Mac Conner: a New York Life, is at the House of Illustration, London N1 (houseofillustration.org.uk) from April 1 to June 28, 2015.

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Have a look at Biba in 1970

This little gem of a film (only about 12 minutes or so) is so worth watching .

This is ‘medium’ Biba three years before the move across the road.

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La Divina Marchesa


image courtesy of The London Dead


Luisa Casati has fascinated me since I came across her grave in Brompton cemetery. A crumbling, pock marked monument in the shape of a draped urn with flowers carved across it. Little did I know that down below she was lying in her Harrods coffin dressed in a black dress, leopard skin trimmed cloak and false eyelashes with one of her Pekingese dogs (taxidermed) snuggled at her feet.  Her gravestone is inscribed with the Shakespeare quote ‘Age cannot wither her, nor custom stale her infinite variety.’  Never was an inscription more apt.

By the time Luisa Casati died of a stroke in 1957, she had been leading a totally impoverished  life . Rather than spend her last money on food, she indulged in  gin and the occult. She stopped seeing her few remaining friends because she could chat to them telepathically.  She rummaged through dustbins at the back of theatres for scraps of fabric to add to her fading wardrobe and ringed her eyes in shoe polish because she no longer could afford to buy kohl. It was a long way from her priviledged earlier life but with those few scraps she was preserving the outrageous style for which she was once known.

In 1896 , when she was just 15, she was the richest girl-woman in Italy through inherited wealth. By the age of 19  she had married a millionaire…a Marchese, to boot. The world was her playground. The millionaire stifled her, so  4 years  later , after popping out a daughter, she left him to pursue a life of shockingly delicious decadence. And so began her  legendary fame as fashion icon, muse and patron of artists and writers.



Here’s what Gabriel-Louis Pringué (gossip columnist and social butterfly) wrote in his journal after meeting her for the first time;

The door to the room where we sat chatting suddenly opened. A dead woman entered. Her superb body was modelling a dress of white satin that was wrapped around her like a shroud and dragged behind her. A bouquet of orchids hid her breast. Her hair was red and her complexion livid like alabaster.Her face was devoured by two enormous eyes, whose black pupils almost overwhelmed her mouth painted a red so vivid that it seemed like a strip of coagulated blood. In her arms, she carried a baby leopard. It was the Marchesa Casati.



Her primary home, the crumbling  Palazzo Venier dei Leoni, on the Grand Canal in Venice became the main stage set for her extraordinary life style. Garden birds were hand dyed to match the flowers. Wild monkeys screeched in the trees above gorillas in marble cages.  Wax mannequins were created to be seated between the guests at dinner parties. Manservants attended, stripped naked and painted gold. A post prandial stroll along the canal would be led by a nude Luisa swathed in furs, leading a cheetah on a diamond studded leash. Real diamonds, of course. A servant holding fiery torches  would follow to light up the surreal procession


Joseph Paget-Fredericks



And if the big cat wore a diamond collar, what did Luisa wear? By all accounts, a live snake coiled around her neck to set off her décolletage. And those enormous eyes? Emerald green, enhanced with drops of poisonous belladonna to make them glitter dangerously, the longest false eyelashes and rings of kohl. Her black and white greyhounds were thin and long limbed like the Marchesa herself. On a whim she had them painted blue to match an outfit. Even the exquisite white peacocks in the gardens weren’t safe from her . A handful of feathers were brutally plucked to be used as a giant corsage on a white gown…with an added splash of chicken blood for shock effect.

She and her entourage moved between Venice and her other homes,  the Palais Rose outside Paris which housed her extensive art collection (mostly paintings of her), and her villa in Rome. Her houses provided the backdrop for constant parties and costumed balls Her credo; “I want to be a living work of art”meant that her  surroundings had to be exact. If the backdrop didn’t suit, then another house that fit the bill was rented for the event. In summer they would decamp en masse to the Villa San Michele in Capri where they would revel in a delicious druggie haze of cocaine, opium, champagne and absinthe, frightening the locals with their forays into town. (Luisa’s passport picture was not a photograph but a photograph of a painting of her)

She gathered an amazing amount of followers, admirers and general hangers-on. Diaghilev, Picasso, Man Ray, Proust, Erté were all enthralled by her. Kaiser Wilhelm II was besotted. Lovers? she had a fair few.

Queen of the Night costume for Casati by Léon Bakst

Queen of the Night costume for Casati by Léon Bakst

On the occasions when she wasn’t naked she would commission extravagant gowns and costumes from designers such as the House of Worth Paul Poiret, Mariano Fortuny and Jean Patou. If the couturiers couldn’t come up with something outrageous enough, she would call on theatrical designers such as Bakst and Erté.

La Marquise Louisa Casati - fête à Versailles ("furious" costume !) Joseph Paget-Fredericks - 1927

La Marquise Louisa Casati – fête à Versailles (“furious” costume !)
Joseph Paget-Fredericks – 1927


Cartier and Lalique designed bespoke jewels for her…in fact  head designer Jeanne Toussaint, who personally delivered jewellery to the Marchesa when in Paris, was inspired to create Cartier’s iconic panther jewels after seeing a stuffed mechanical panther (it roared and moved) in her home.

By 1930 the party was well and truly over. She was in hock to the tune of tens of millions and all her possessions were confiscated and auctioned off.  Coco Chanel was amongst the bidders.  Wiped out, she relocated to London where she lived her last 2 decades in a room at 32 Beaufort Gardens surrounded by the last vestiges of her meteoric life. A broken cuckoo clock,  a stuffed lion’s head, and a purported fragment of St. Peter’s finger that had once been “flung at her during a séance”

And just as she had been a muse in her extraordinary lifetime, her style has still inspired designers long after her death. Galliano, Dior, Lagerfeld and McQueen have all acknowledged her influence.

Luisa Casati by De Meyer

Luisa Casati by De Meyer

“La carne non è se non uno spirito promesso alla Morte”

“Flesh is nothing but a spirit betrothed to death”.

Luisa, Marchesa Casati Stampa di Soncino

23.01 1881 – 1.06.1957

The Palazzo Fortuny in Venice is currently running an exhibition

The Divine Marchesa Art and life of Luisa Casati from the Belle Époque to the spree years’


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Eddie Redmayne as Lili Elbe looks more like Luisa Casati to me

twinsWhen I opened the papers and saw the publicity shot of Eddie Redmayne costumed as Lili Elbe for his new film “The Danish Girl” I was struck by how much he looks like the portrait of Marchesa Luisa Casati by Augustus John.

A biopic about the divinely, dreadfully decadent Casati is long overdue.




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Goodbye old year

Josef Fenneker.jpeg

Much love and happiness to everyone for a fabulous new year and lots of new (ad)ventures.


The illustration is a  movie poster designed by Josef Fenneker for the Marmorhaus cinema in Berlin.

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I am a woman of fashion (Danse Macabre)

danse macabre

Don’t be so boisterous you filthy Wretch, I am a Woman of Fashion

A simply marvellous quote to memorise, cherish and keep…… in the hope of an opportunity to use it.

Happy Hallowe’en


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“…one of New York’s original Mad Men”

Now here’s an exhibition I’d love to see if I could just click my heels and hop on a passing transatlantic train.

Mac Conner illustration

‘Mac Conner: A New York Life’  is a look at some of the glorious illustrations drawn by McCauley Conner who began his career in the advertising agencies of Madison Avenue. The exhibition is being held at the Museum of the City of New York who are billing Mr Conner as one of New York’s original ‘Mad Men’

Working in those pivotal years following WWII, he was part of the advertising world remit of creating the American dream. A happily married couple, 2 children (one of each) living in a pretty house in the suburbs, the man commuting into the city for a white collar job whilst the wife  kept an immaculate home whilst looking immaculate herself. So very Betty and Don Draper (the early years)


He then moved to illustrating magazine stories, most famously for Redbook, the Saturday Evening Post, and Cosmopolitan. His illustrations have a cinematic quality to them. He captures a scene in the story which makes you want and need to know what happened just before and what will happen afterwards.




mac illustration3

It is the first ever exhibition of Mac Conner’s work. He celebrated his 100th birthday last  November. When asked if he would be at the opening of the exhibition, he replied,

“Yes,….if they’re serving Martinis”

I hope they did.

mac cocktails


The exhibition runs from 15th September through to 19th January 2015 .



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Ad men? Mad men….(absolutely barking)

vintage magazine advert for Triumph underwear

Undies to be sold in. Not you? Don’t bargain on it. The will of Allah could catch you in your undies any time. Blushmaking? Not in Triumph fashion undies. Get in some quick. They’re a great buy.

What was the ad-man thinking when he came up with this little gem? And what was Nova (champions of Feminism and fore runners of Women’s Lib) thinking when they actually published it in the May/June 1969  issue ?

It’s just a shame that they left off Triumph’s famous slogan;

“Triumph has the bra for the way you are”

That would have made this bit of vintage advertising just perfect(ly gross)




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…….and here’s the original

Biba photograph Nova magazine

I’m so pleased that I still have this.  When I saw the cover photograph from Barbara Hulanicki and Martin Pel’s new Biba book, I thought it originally might have been from Nova .

I was right *smug grin*

The iconic photograph is by Elizabeth Novik (Elizabeth Novick) and appeared in the December 1969 issue of Nova magazine.

Nova magazine cover 1969


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