the Victorias: making more Magic-and Legend

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What makes magic? 

There is always a secret trick to magic-sometimes magic happens and it becomes legend-as is the case of the life of the furnishings for a room at Elsie de Wolfe's Villa Trianon.

Maybe it was more Alchemy than Magic.

 an advertisement from the Frederick P Victoria & Son archives 

featuring one of a pair of Italian Blackamoors groups from the Villa's Ballroom

It all began when Stephane Boudin of JANSEN made a suite of pieces for a Circus Ball at the Villa Trianon hosted by Elsie de Wolfe, Lady Mendl. On the night of July 2, 1938-with the Lady as ringmaster, the Circus Ball gave way to one of Elsie's many memorable rooms. 

 Oliver Messel painting of Elsie The Ringmaster

 Elsie in center- between Sir George Clerk (at l)  & her husband, Charles Mendl the night of the Ball

  (images from the Campbell & Seebohm book Elsie de Wolfe A Decorative Life)

In order to accommodate the 700 guests for the Circus Ball an entire wing was added to the Villa Trianon. Boudin-the alchemist- created a dance pavilion with green and white stripe "disappearing" walls opening onto the Villa gardens, matching curtains inspired by the Regency- and that was just the backdrop for the special pieces in the room: banquettes, ottomans, circular seating, blackamoors, parasols, lanterns & trees.

 scenes from the original Ballroom at Villa Trianon, above and below

(above images from Andre Ostier, the Elsie de Wolfe Foundation-and the Sparke book)

(The complexities of the relationship between decorator-Lady Mendl to decorator -JANSEN & Boudin, to hostess -Lady Mendl to patron with the funds- Paul-Louis Weiller are another part of the legend-told best in the definitive book ELSIE de WOLFE The Birth of Modern Interior Decoration by Penny Sparke.)


The next magician to possess the JANSEN CIRCUS pieces was the venerable house of Frederick P. Victoria & Son. Frederick Victoria-the alchemist- opened his legendary antique house in New York just a few years before the Circus Ball & today Frederick son's Tony-and Tony's son Freddie-carry on what began in 1933. 
from their site:
Less well known was the fact that early on the company began to also offer full production capabilities to its top clients. These services included bespoke cabinetry, metalwork, finishing and upholstery to achieve the precise, and sometimes ambitious, results desired by its clients. After WWII, both the antique collections and the custom work of the company continued to earn a respected reputation. While clients included well respected families, artists and royalty, the company continued to focus on delivering the finest quality pieces and services, and for at least one client went so far as to keep the client’s actual name from its own workers.

A Conversation with Tony Victoria:

When did Frederic P. Victoria acquire the pieces from Elsie's legendary Villa Trianon pavilion? What were the circumstances of the acquisition? 

TV:The house in Versailles was kept intact for years after she died by I believe a friend. Don’t remember his name. However in the early 80’s the Circus Room was offered for sale in one lot, if my memory serves, in Paris by Maitre Ader, I believe.

I heard about the sale, bought it and shipped all the elements back to my shop on 55^th street.

 images from Frederick P. Victoria & Son of  archives of the Ballroom at their shop

showing the contents of the Ballroom after they were purchased at auction. 

Everything minus the central planter,the planters on either side of the sofa & the “snail” stove behind the sofa, is from Elsie’s Villa Trianon room.

Did you purchase them with a particular client in mind or was it one of those –I just have to have those moments? 

TV: I did not have a specific client in mind. I had heard Elsie’s name since my childhood. She would send these rather bizarre Christmas cards: a photo with her head resting like a sculpture on a small marble pedestal which itself was on usually a mantle piece with writing in white wishing my Father and Mother Merry Christmas. So when it came up, I was drawn to it. Besides, there were so many amusing elements that I felt I could find homes for all of them. And, I did.

Was it frenzied buying as I might imagine it would be today?

 

TV: I don’t remember too much about the auction itself. I don’t believe it was a “frenzied“ affair. Elsie de Wolfe’s name did not have the cachet in France then I don’t believe that is does, especially now, in America.

The room itself was quite expensive for the time, so after that lot I folded my own tent, as it were.

 

image from the Victoria archives

What was the condition of the pieces? What were the banquettes upholstered in? Was there a great deal of restoration to these and other pieces from the room? 

TV: As I remember it all the upholstered pieces were upholstered in white canvas with green trim, a sort of signature combination for her. I did not recover anything, as for the most part everything was in presentable condition.

Freddie mentioned several things about the room in our conversation–the beautiful naturalistic lanterns and also mentioned of “Making that full-round tree for Michael Taylor . It has to have been one of my father's favorite projects.”   

How did you do it? 

Did you make the new one with the same materials-and what were they?

  

TV: As for making the tree for Michael, well one couldn’t say no to him, could one?

Plus he was buying a large chunk of the room, especially the trees which, while amusing, required a certain level of imagination, not to mention courage, to buy. As you know, he had both in depth.

As for favorite project, well I am not sure that I would use that term. 

Certainly it was one of the craziest and most challenging of my career. I have always said that we, the firm, were ready to make anything for anyone. Little did I know that that would include a tree! The trunk was made in solid wood and somehow I was able to cajole my metal fabricator to make dozens of hand hammered leaves which he then affixed to metal stems. We then painted the leaves etc and then bent the stems and placed them we thought in more or less natural positions and groupings.

 (Tony Victoria graciously answered these questions after a story I published on designer Michael Taylor here about the Garden Room he designed for Mrs. Stanley Dollar)  

Frederick P Victoria & Son, Inc. their own blog here

Michael Taylor stories at little augury here

Elsie de Wolfe stories here

Frederick P Victoria & Son stories here

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Charlotte Moss- On Style

and substance.

Ralph Rucci and Charlotte Moss -stylishly Classic  & classically styled in all things. Both seem to have a love for the Pagoda- Charlotte uses it as her trademark . The pagoda's  function as a refuge for relics and sacred writings makes it a most fitting for symbol for Charlotte Moss's design business - one encompasses jewelry, textiles, china, rugs, candles, books and of course elegant and classic interiors. Her new book CHARLOTTE MOSS DECORATES  will surely add another dimension to that idea- along with a new reverence for one's own home and its ambiance.

Just before we had our tete-a-tete, Charlotte had been to see the Anne Bonfoey Taylor  Collection at The Phoenix Art Museum.

She talked about women that really lived.

One of the things she said that struck me- and I have come back to time and time again is this:

"The clothes were parenthetical. "
Charlotte Moss 

Meaning- women were not just dressing up for the sake of Fashion, they had places to go and things to do. They were creating, working, discovering. I believe this idea should be  talked about  by women today. It isn’t  just about looking stylish, chic, or whatever words we use to define that certain thing about  someone that draws our attention, attracts our eye, gains our admiration . 

"It is living a Life beyond Fashion." 

Charlotte Moss 

If anyone adheres to this belief it’s Charlotte Moss. She is a woman of substance-& style. I can’t wait to share our in depth conversation-but while I am putting the finishing touches on several stories about Charlotte and her beautiful new book CHARLOTTE MOSS DECORATES, I had to ask-

(Having seen some of the clothes Charlotte wears- of course.) 
What are some of your recent fashion choices ?

She shops at a friend’s-

Ralph Rucci no less.  His tailoring is exquisite, his work is classic, sculptural - his is where Art and Fashion touch  and magic is made.

 These are three of Rucci's designs that Charlotte selected from his fall  2011 collection.

about his Fall Collection Rucci said:

"I show a variety because that's what style is."

"This is not fashion; it's Style." RR

 (- if I didn't know better-I think Charlotte had said it!, it's no wonder they are friends.)

& what is on his mood board at the moment? 
Pauline de Rothschild,  & you can bet it has been on Charlotte's as well. Her book will attest to that.

Ralph Rucci images on style.com here
RR on 1st dibs here


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on DURO OLOWU

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I love textiles, mixing pattern, color, beautiful tailoring- it is no wonder that designer DURO OLOWU has captured my attention and imagination. His brilliant mix of all the above makes him one of the most uniquely creative designers today. I think of him as the independent filmmaker-no fitting a collection into a capsule and loading it up with whatever everyone else is got going, DURO is one of those ORIGINALS. I highlighted his Fall 2010 Collection and said;  All work of fashion designer DURO OLOWU is captivating, it is an artist inhabiting his craft at its highest.  Afterward, I found out DURO and his assistant were reading along here at little augury. I'm so glad DURO consented to answer some questions and allow me to give his design  philosophy the little augury slant with this interview.

Thanks Duro!

You've said-

“My job is not about dictating to women what they should wear, it's about presenting them with beautiful options.” 

When I look over your last four collections there is a continuum.  I love the sense of extending a wardrobe  from season to season-Your clothes feel like ART-Your clients are collecting. Do you agree?"

DO: It's funny you mention this because many women I meet at trunk shows etc tell me they 'collect' as opposed to buy my clothes.

 DURO OLOWU's photograph by Zete Marton courtesy of Duro Olowu

ALL Spring and Summer 2011 Collection photos by Hermano Silva - courtesy of Duro Olowu

DO:Its rather interesting because when I am working I don't see the clothes as art. I work on making  each garment  functional and practical . Of course there is the fantastical/artistic element to many of the styles where I play with various fabrics and techniques as well as colour, applique etc.   

I suppose my aesthetic is what makes some people see the pieces as more than just clothes but also as visually stimulating pieces.

What or Who is inspiring you Now?

DO:Women I see everyday and everywhere, regardless of age. That innate sense of elegance , sensuality and grace that you find in certain women whether you are on a street in London,  Lagos , Rome,  New york or  Paris is terribly inspiring.

photograph by Hermano Silva - courtesy of Duro Olowu

DO: I also like the fact that younger women have adopted a less obviously sexy style of dressing which is still flirtatious  but intelligent and strong. More mysterious and alluring. 

Of course textiles, art and music always make me play more with my ideas.

 The photographs of Roy Decarava, Erwin Blumenfeld and J D Ojeikere; 

 (pictured from l to r, & below respectively)

paintings by  Mark Bradford and Alice Neel and  Hurvin Anderson 

Mark Bradford here

Alice Neel Elenka, 1936

The Metropolitan Museum of Art, Gift of Richard Neel and Harltey S. Neel Image 

© The Metropolitan Museum of Art 

about Hurvin Anderson here 

image from here

Furniture and objects by Maria Pergay.

images from Demisch Danant here & from ID here

What movie could you watch over and over again for inspiration? You mention Romy Schneider in a Vogue video-Seriously gorgeous and marvelous on film. 
Who else in celluloid has influenced your design sense?

Mbissine Therese Diop in Ousamanne Sembene's  "Black Girl"

(DURO OLOWU from the Spring Collection 2011)

 Spring Summer 2011 image from style.com

 Romy Schneider in "Innocents with dirty hands"

( from DURO OLOWU FALL 2007 )

images from style.com

 

&

Abbey Lincoln in " The Trouble with Ivy"

 Diana Ross in "Lady Sings the Blues" 

Gena Rowland in "Gloria" and "Opening night, " Two weeks in Another Town" with Kirk Douglas and Cyd Charisse ( it was the follow up to the movie "The Bad and the Beautiful")

Stephane Audran in "La Femme Infidele"

Ruby Dee in "Raisin in the Sun"

Tilda Swinton in "Orlando" 

Luchino Visconti's  "Rocco and his brothers"

(DURO OLOWU from Fall 2009)

 images from style.com

I can certainly see my Netflix queue expanding. Music also plays a part in your inspiration too. What were you listening when the Spring 2011 collection was being conceived ?

DO:Fela Kuti ( as always), Marian Anderson, Joao Gilberto, Peggy Lee , Janelle Monae , the John Adams soundtrack to the film "I am Love"  and Donny Hathaway.

Your clothes are spirited, but there is a serious element to them as well. Who shaped your design aesthetic?

DO: So many people and places from my earliest childhood days until now have and continue to influence my aesthetic. I don't feel you can develop and maintain a strong aesthetic without somehow taking all of the circumstances of your life, both past and present,  and making them relevant to the future. 

(from DURO OLOWU Spring 2010)

images from style.com

(DO)You really don't quite know where you are  going when designing a collection until you can put your finger on  where  you are coming from.  So for instance, my fabrics are designed usually referencing my memories of prints and colors worn by people around me while growing up as well as the interiors of cultures and places I know well or am eager to discover.

(DURO OLOWU Fall 2009 style.com)

On that note, Do your homes reflect the same fusion of styles your designs do? 

DO:In many ways yes. London much more so because I have lived here for a while  tend to move things back and forth between my studio and our home. So furniture, fabrics, books and objects are very present in the flat because I have a tendency to "find" things".  In New York we have a much larger space in Harlem and my wife usually gets the chance to edit things before they get past the doorman which really helps keep me in check !

I know you have named Yves Saint Laurent as a designer you most admire, Why?

DO:When I was growing up women really wore YSL rive gauche. It was accessible yet desirable ,not just an expensive bourgeois pret a porter label. It was also very well made.  Women wore it because they were attracted to his vision and felt the clothes were designed with them in mind, to help them feel beautiful and independent.  And his sense of colour was masterful and free. He was also,  perhaps along with Paco Rabanne, one of the  first designers to use many black and asian models in high fashion both on runway and in editorial . 

YSL & muses, and Saint Laurent rive gauche ads featuring IMAN

(DO)The world of international chic he captured has always been very inspiring and important to me. Each time I see someone in vintage YSL they carry the same aura. 

(DO)I feel that is part of my job as a designer; to try and create recognizable collections  that people will find alluring.  It confirmed what I have always felt about life, fashion and inspiration. 

 "Beauty and style come from everywhere and travel well ." 

DURO OLOWU

Spring and Summer 2011 Collection photos by Hermano Silva - courtesy of Duro Olowu

Personally, you must want to dress creatively. I see some Men's Wear in you Spring collection, are they unisex? I would totally wear those great shirts.  Is there more of that to come in the next collection? What labels  do you wear?

DURO OLOWU S/S 2011 

image from style.com

DO:One tries to dress creatively but it is getting more and more difficult. I don't really buy known labels as much as I did a few years ago  because many have started to make clothes that are too of a season. Once you hit 40 you want to look interesting but smart. So I tend to mix up my older Margiela clothes with suits I have made and my own label shirts or with those from Huntsman , J Crew or  Harvie and Hudson. When I am in Lagos I also  wear my traditional yoruba top and pants (buba and sokoto) made by my fathers tailor in guinea brocade, ankara or dutch wax fabrics . I have also have started wearing Bass Weejuns and Sebago loafers again because they are super chic and super comfortable on any continent, with or without socks.

I love color, You love color! Do women really crave it and aren't they a little afraid of it? 

 S/S 2011 Collection

images from style.com

DO:Women embrace color if it is presented in a natural way. Even the most vibrant clashes of color or juxtaposition of print needs to be flattering and light to be able to wear it with confidence. And this is the thing - Confidence. It's really what makes the hues come alive. It helps to have an emotional connection with color and print.

CONFIDENCE

Michelle Obama wearing DURO OLOWU

 

I've read the sunglasses print is your own, other prints are vintage and limited? Talk a bit about your fabric selection process? Do you start with a design that sends you off in a particular direction with fabrics,  or Do you find a fabric that sends you off to the designs?

Spring and Summer 2011 Collection photos by Hermano Silva - courtesy of Duro Olowu

DO:I start with a design that generally sends me off in a particular direction. For SS/2011 I was really looking for ways to evoke a feeling of clarity and confidence for the kind of woman that wears my clothes.  An old magazine with a  cover by Penn I found in Portobello market featuring an assemblage of sunglasses somehow inspired the more  graphic spectacles print I designed for next season. A sort of National Geographic take on crisp urban chic .

 

That idea of "urban chic" pervades this collection. You are showing black. Why do you think so many women "fall back" on wearing black? That said-the black suit in your Spring collection is one of my two or three favorites- very chic.

Spring and Summer 2011 Collection photos by Hermano Silva - courtesy of Duro Olowu

DO:Black is a safe option for women. I think it looks very good  in the summer, especially  on sharply tailored pieces ( like the silk shantung peplum jacket, swing skirt and cropped trousers in my spring collection) accessorized with statement jewellery or accessories. But the predominance of black over the last few years may have been a reflection of a state of mind in the world. Perhaps  a fear of emotion and passion. 

Spring and Summer 2011 Collection photos by Hermano Silva - courtesy of Duro Olowu

this nipped in jacket made of lace from the historic mill Sophie Hallette and about ten different vintage prints.

DO:Things have changed a lot now and colour and print have come to the fore in a very interesting way. Before women waited to go on holiday to somewhere hot to wear prints and colour as an escape. Now Rain or shine, summer or fall , you see women in print and colour a lot in North Armerica and Europe because  they need the same sense of  joie de vivre regardless of where they are. 

The heritage and authenticity of your brand is evident, what is next for DURO OLOWU?

DO:I am very excited about my Masons Yard boutique  in London's St James's which is going very well so  am looking to perhaps opening a similar  space in New York soon. Also developing the menswear collection and my furnishing textiles as well as a small collection of handbags. I would also like to collaborate more with certain artists whose work I admire like Juergen Teller with whom I worked as fashion director on two projects for TANK magazine and SELF SERVICE magazine. 

"It's a choice for immediate, fleeting success or long-lasting work and success. And I chose the second"
DURO OLOWU

links:
DURO OLOWU here
NY Mag Mark Bradford here
NYTimes Roy DeCarava here
Erwin Blumenfeld here
JD Ojeikere here
Duro's Spring 2011 Collection at style.com here
Video with Duro at Vogue here
DURO at Vogue on Abraham fabrics here

videos:

& To watch more, visit london fashion week

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