At the exhibit Daydreaming with Stanley Kubrick (Somerset House, London), I kept expecting to see a chocolate log covered with custard or a big trifle with the director's bearded face bending towards it. This is a memory, not a daydream, of the silent dessert-eating contests I had with Stanley Kubrick when I lived in his caravan.
On April 21, Charlotte Brontë celebrated her 200th birthday. Of course the toothless dwarf who created Jane Eyre isn't alive, but nearly two centuries after her death, her fans pore over her tiny shoes and size-zero dresses — recently displayed at Manolo Blahnik's favorite London museum, Soane's House.
It wasn't considered ladylike to write fiction in the 19th century, so the Brontë sisters pretended to be men, submitting their manuscripts as Currer, Ellis, and Acton Bell.
The skinny sisters were ahead of their time in other ways, each manifesting signs of an eating disorder long before they died of consumption. Emily was the innovator, starving for days in order to levitate and be closer to God, or his evil twin, on the ceiling of her bedroom.
The theory that fashion magazines spawn eating disorders is exposed to ridicule by the fat ladies poring over the pictures at Vogue 100 in London's National Portrait Gallery (until May 22, 2016), a show celebrating a century of UK Vogue. Conde Nast bought Vogue for his wife, but while the marriage ended in divorce, the magazine is still expanding with sexy young readers in China who compensate for the widening readers in England.
Patrician models from the 1930s, like my great-grandmothers with their wasp-waists and tailored clothes; the pushy glamour of 1980s creation Princess Diana facing Juergen Teller's 1990s portrait of young David and Victoria before betrayal and botox; and the war years in a room painted Vreeland-red as a backdrop to the magnetic photography of Lee Miller, Clifford Coffin, and Cecil Beaton tell the story of Vogue in a dazzling visual history.
My first run-in with art was on a school trip to Venice with a pedo biology teacher who didn't realize the Biennale isn't every year. A gang of art-junkie thirteen-year-olds pooled our pocket money to hire a gondola and drift along the Grand Canal toward Peggy Guggenheim’s palazzo to see The Angel of the Citadel, the famous bronze statue with the detachable penis. The organ had been soldered on because it kept being stolen, but we had our pictures taken with it anyway, to give our mothers heart attacks.
"Sex and art go hand-in-hand in my brain," Peggy Guggenheim says in Art Addict, a new documentary by Diana Vreeland's daughter-in-law, Lisa Immordino Vreeland, celebrating the woman who all but invented modern art.
We'll always have Paris, as Bogart said to Bergman. But while old boyfriends grow a gut, the City of Love remains its neo-classical self. It's always there for you when you want it or need it, thanks to Napoleon, who hired Baron Haussmann to reinvent its medieval streets as a stage for a procession of artists and models to show off on.
A city is defined by its atmosphere as well as its architecture, and Paris's past mingles with its present. Marie Antoinette and Oscar Wilde could be drinking champagne from the same cup as F. Scott Fitzgerald and Picasso. Add a little absinthe and turn it into a car crash.
New York City, Tokyo, Beijing have been art capitals more recently than Paris, but the streets of Le Marais still echo with the footsteps of surrealism. Alberto Giacometti, one of the artists associated with that dead-glam world that was Paris between the wars, is now showing at London's National Portrait Gallery (until January 10, 2016).
London Fashion Week, already the bastard child of the shows, has been upstaged by the Prime Minister. Designers and their dresses can't compete with allegations about the leader of the sexually repressed world receiving fellatio from a dead pig to gain entry into the secret aristocratic society of Piers Gaveston.
You couldn't make it up, and why would Lord Ashcroft want to? Porn revenge, perhaps? No pictures yet, but give it time. Dave is on record saying he had a "normal" student experience. My days as an undergraduate with farting wankers at drama school must have been abnormal. I never felt inclined towards either necrophilia or bestiality, though I did suffer students simulating sex with skeletons during my brief interlude at medical school.
The PM's wife Sam Cam may be an odd choice to lead Vanity Fair's best-dressed list, but you have to love a lady in red who sits front row at Roksanda on the day the world discovered her husband's pig love. But let's applaud Sam even if she does have a unisex name and poor taste in men.
I'm more into bracelets at Tiffany's than breakfasts. Holly Golightly can keep that croissant. Of course, in real life the Audrey Hepburn diet was a boiled egg, two bits of toast, and a martini a day to keep the fat police away. And don't go spoiling it by adding a 29-calorie olive when a citrus twist is easier on the eye as well as the waistline.
Hepburn, the face that launched a million haircuts, is immortalized in dead-glamorous stills by Angus McBean, Richard Avedon, and Irving Penn, among other iconic photographers, which can currently be seen in Audrey Hepburn: Portraits of an Icon at the National Portrait Gallery in London (through October 18, 2015).
Call me weird, but I love a detox-diet. And where better to shrink than the new medical hotel Viva Modern Mayr in Altaussee, Austria? You go in fat and come out flat. It doesn't get more idyllic than that.
No alcohol, sugar, or calls from my mom until next week is easy, but I was worried about withdrawing from high heels, espresso, and Mr. Lash. At least stressing that I might be the fattest one there made me puke up enough calories to go down a dress size before I'd even started the prep work of cleansing my colon. Retoxing with pig on pita at the airport, instead of my usual breakfast of watermelon juice, was my tiny act of diet evil before drinking the Kool-Aid.
Mr. Lash doesn't understand why I can't starve at home, while Enery, my driver, offered to lock me in his garden shed until I've misplaced a few kilos. Imagine my ecstasy when I arrived at Mayr to find a bloody filet steak waiting for me instead of the glass of milk that's on the menu at the hardcore rival clinic across the Alps.Read More
"There is no way back for me now," are the last words written on the wall at the exit of the Savage Beauty show at London's V&A. But the exhibit is a celebration, not a suicide note.
The show opens with McQueen talking exuberantly about his hometown of London, his dirty laugh echoing around the gallery. "You have to understand tradition to subvert it," he says, and the clothes on display show his talent for cutting. Scissors are sexy when they're slicing something like a dress made of hair.
The highlight of Savage Beauty is a hologram of Kate Moss, in a room of her own, dancing on air in a feathery white wedding dress from the Widows of Culloden collection of 2006. If I were locked in the V&A overnight, as McQueen fantasized, I'd steal this dress and do a Liz Taylor by marrying Mr. Lash again, for the sole purpose of being a McQueen bride.
There's nothing savage about the beauty of Kate's performance as she's transformed from a mesmerizing Miss Havisham into shooting stars, to the music of Schindler's List — possibly a perverse skeleton-chic reference, or just a haunting melody. And when it ends, Kate's glass cage turns into a mirror, so you can confirm you're still the thinnest of them all.Read More