This dress/top is a new silhouette for me. I bought it with trepidation in December but have since grown to love it, although it has yet to be warm enough to wear it on its own. While the oversize dolmen sleeves are nice and drapey, the hem narrows at the knees, allowing me to pull it up to my hips and wear it as a top.
I fell completely in love with this necklace this weekend and had to have it. I foresee its appearance often.
I'm glad I like this dress, because I ended up wearing it two days in a row and sleeping in it in between when I had an unplanned slumber party up in Belfast. Also, I need to start pairing it with other cardis but I love the teal color with the floral print.
Paul Seawright is one of the most well-known contemporary photographers to come out of Northern Ireland; his work in Belfast in the 80s and 90s helped viewers re-define the narratives of the Troubles. More recently, he spent time in Afghanistan for the Imperial War Museum and did work in north Africa on slum cities. His series Volunteer, shown at the Kerlin Gallery, Dublin, is his attempt to re-frame ideas of the Iraq war, looking at it in his signature oblique style. He traveled across the United States, photographing sites of Army Recruitment offices. The photographs are stark and often devoid of human figures; they speak of the fear of loss many families with soldiers face, the last resort the army represents to many recruits, and the current economic despair facing many in America.
Container, Paul Seawright, 2011
Trailer Park, Paul Seawright, 2011
I visited the exhibition for a talk with the artist. Seawright spoke very eloquently about his desire to make images about the war without depicting the war; his works are more about the tensions between the state and the people, about the reasons for joining the army by ordinary people, which usually has little to do with the reasons for the war espoused by the government.
When walking in, I didn't actually know that this series was taken in America, but he manages to capture scenes that are, if not iconically, at least recognizably American. The first image I saw (unfortunately I don't have an image of it) was a surprise, as it was so clearly a scene of a small-ish midwestern town, without there actually being any specific labels. As an American, it was interesting for me to look at each image and identify the visual vocabulary through which the scenes were marked as American and more specifically as Southern, Midwestern, etc.
I've written about Seawright's work extensively before, having used many of his Belfast series for my undergraduate thesis. It was a pleasure to hear him talk about his work and describe his experiences in the states as an outsider, given that so much of his earlier work was dependent on his status as an insider interrogating his own upbringing and experiences.
This is a decidedly basic look for me, in terms of the all-neutral colors. The silhouette is classic me, though! I love this new basic navy scoop-neck I picked up yesterday at Penneys. Three euro, not too bad!
This outfit is directly inspired by Keira Knightley and Sienna Miller's costumes in The Edge of Love. I am on the lookout for a more sedately colored floral skirt to go with this jumper/shoes combo, though, as I don't think the bright magenta in this dress quite works.
Literary bar in West LA: Picture brass reading lamps, a bar menu printed on textured paper, oversized bookshelves jammed with books and guest checks issued in miniature novels, and you get an idea of the detail that went into designing this literary bar. With a cozy fireplace and plenty of comfy seating, you can easily while the night away until last call. 10929 W Pico Blvd Los Angeles, CA 90064 (West L.A)