They say it is but it sure doesn't feel like it.
image Tricia McKellar
21 March 2011
a visit to tulum, coba and the sian ka'an biosphere
It's hard to believe that less than a week ago we were in the Riviera Maya where daytime temps were in the 80's and the warm water of the Caribbean was lapping at our feet. It's currently 58 degrees in Topanga and raining.
Tulum (Yucatec: Tulu'um) is the site of a Pre-Columbian Maya walled city serving as a major port for Cobá. The ruins are situated on 12-meter (39 ft) tall cliffs, along the east coast of the Yucatán Peninsula on the Caribbean Sea in the state of Quintana Roo, Mexico. Tulum was at its height between the 13th and 15th centuries and managed to survive about 70 years after the Spanish began occupying Mexico. Old World diseases brought by the Spanish settlers appear to have been the cause of its demise.
The Maya site may formerly have been known also by the name Zama, meaning City of Dawn. Tulum stands on a bluff facing east towards the Caribbean Sea. Tulúm is also the Yucatan Mayan word for fence, wall or trench, and the walls surrounding the site allowed the Tulum fort to be defended against invasions. Tulum had access to both land and sea trade routes, making it an important trade hub, especially for the obsidian trade. From numerous depictions in murals and other works around the site, Tulum appears to have been an important site for the worship of the Diving or Descending god.
Temple of the Frescoes
Tulum was first mentioned by Juan Díaz, a member of Juan de Grijalva's Spanish expedition of 1518, the first Europeans to spot Tulum. [1] The first detailed description of the ruins was published by John Lloyd Stephens and Frederick Catherwood in 1843 in the book Incidents of Travel in Yucatan. As they arrived from the sea, Stephens and Catherwood first saw a tall building that impressed them greatly, most likely the great Castillo of the site. They made accurate maps of the site’s walls, and Catherwood made sketches of the Castillo and several other buildings.
Tulum was protected on one side by steep sea cliffs and on the landward side by a wall that averaged about three to 5 meters (16 ft) in height. The wall also was about 8 m (26 ft) thick and 400 m (1,300 ft) long on the side parallel to the sea. The part of the wall that ran the width of the site was slightly shorter and only about 170 meters (560 ft) on both sides. Constructing this massive wall would have taken an enormous amount of energy and time, which shows how important defense was to the Maya when they chose this site. On the southwest and northwest corners there are small structures that have been identified as watch towers, showing again how well defended the city was. There are five narrow gateways in the wall with two each on the north and south sides and one on the west. Near the northern side of the wall a small cenote provided the city with fresh water. It is this impressive wall that makes Tulum one the most well-known fortified sites of the Maya.
El Castillo
There are three major structures of interest at the Tulum site. El Castillo, the Temple of the Frescoes, and the Temple of the Descending God are the three most famous buildings. Among the more spectacular buildings here is the Temple of the Frescoes that included a lower gallery and a smaller second story gallery. Niched figurines of the Maya “diving god” or Venus deity decorate the facade of the temple. This “diving god” is also depicted in the Temple of the Diving God in the central precinct of the site. Above the entrance in the western wall a stucco figure of the “diving god” is still preserved, giving the temple its name. A mural can still be seen on the eastern wall that resembles that of a style that originated in highland Mexico, called the Mixteca-Puebla style.
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Coba (Cobá in the Spanish language) is a large ruined city of the Pre-Columbian Maya civilization, located near Tulum.
Coba is located around two lagoons. A series of elevated stone and plaster roads radiate from the central site to various smaller sites near and far. These are known by the Maya term sacbe (plural sacbeob). Some of these causeways go east to the Caribbean coast, and the longest runs over 100 kilometres (62 mi) westwards to the site of Yaxuna. The site contains several large temple pyramids, the tallest, in what is known as the Nohoch Mul group of structures, being some 42 metres (138 ft) in height.
Coba is estimated to have had some 50,000 inhabitants (and possibly significantly more) at its peak of civilization, and the built up area extends over some 80 km². The site was occupied by a sizable agricultural population by the 1st century. The bulk of Coba's major construction seems to have been made in the middle and late Classic period, about 500 to 900, with most of the dated hieroglypic inscriptions from the 7th century. However Coba remained an important site in the Post-Classic era and new temples were built and old ones kept in repair until at least the 14th century, possibly as late as the arrival of the Spanish.
wikipedia
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raised walkway to the lagoon
Sian Ka'an is a non profit and non governmental organization biosphere reserve formed by a group of conservationists in the municipality of Tulum in the Mexican state of Quintana Roo, whose mission is the conservation of the biodiversity. It has been a Mexican national park since 1986 and a UNESCO World Heritage Site since 1987.
entrance to the biosphere
With the participation of scientists, technicians, students, fishermen, farmers, rural promotors and administrators, together with regional and international partners, have successfully carried out more than 200 conservation projects basing all conservation actions on scientific and technical information for planning and implementing environmental policies and the proposal of viable solutions for sustainable use of natural resources and focusing their efforts established within eight protected natural areas that include the reefs of Banco Chinchorro, and Xcalak at South of Quintana Roo, Sian Ka'an Bisophere Reserve, Cancun, the island of Cozumel that is located in front of Xcaret and Contoy Island up North, covering 780,000 acres (3,200 km2).
wikipedia
all photos taken on an iPhone using the "shake-it-photo" app
20 March 2011
ways to support japan
Taking a moment to encourage everyone to do what they can to support relief efforts in Japan.
Among the many organizations working in Japan, here are a few quick links for contributions:
18 March 2011
yamamoto - fabric & form
Yamamoto retrospective opens in London
A major exhibition of work by Yohji Yamamoto, one of the world's most influential fashion designers, opened in London on Saturday with a showcase of his innovative use of fabric and form.
The retrospective at the Victoria and Albert Museum traces three decades of work by the Japanese designer and highlights the timeless appeal of his clothes, his use of space around the body and his fascination with textiles.
"He really is in love with designing, and you can see it in his work," curator Ligaya Salazar told AFP. "He disregards trends -- he designs for life."
While many of the dresses are in Yamamoto's signature black, the exhibition features blazes of colour such as a yellow strapless silk dress with matching oversized hat, or a red asymmetric dress in wool felt with a crinoline skirt.
It is the first such exhibition that includes menswear, and a man's brown suit with metal flower brooches worn by Vivienne Westwood at his 1998 show are one of several that nod to the way he plays with gender in his designs.
There are more than 80 garments in the exhibition, arranged around the room to allow visitors to walk in between them and get a close look at the fabric.
"Central to Yohji Yamamoto's work are the textiles," Salazar said, noting that the fabrics are made in Kyoto to his exact specifications.
He works with his team "to come up with the exact relationship between the warp and the weft and to get the right thickness -- he starts with an idea of the fabric and then that creates a story of the collection".
The outfits are informally grouped to display key attributes of the designer's work since he graduated from Keio University in Tokyo in 1966.
One is his fascination with women's backs, highlighted in a 1995 grey jacket with a protruding section resembling a bustle, or a black dress from 2001 with a low cut-out back and a black sequinned bag incorporated into the fabric.
"He thinks it's the most beautiful part of the women's body and a lot of his clothes, he starts designing from the back," Salazar said.
Another key trend in his clothes, which was quite shocking when his creations first appeared on the Paris catwalks 30 years ago, is Yamamoto's sense that they should leave space for the body to move.
"He tries not to force a proscribed shape onto the woman's body. They're all very airy, they allow for different female body shapes," Salazar said.
A simple off-white long, floating dress inspired by German choreographer Pina Bausch was one example, as were a grouping of white felt pieces which appear almost as statues.
These white dresses were shown separately from the main exhibition, dotted around the museum's permanent displays.
In the same way, three mannequins wearing coats in red carded wool were displayed alongside medieval tapestries, picking up the colour of the faded hunting scenes on the walls.
Yamamoto gets much of his inspiration from techniques of the past, and incorporates "shibori" into his clothes, an extremely expensive form of tie-dying which was used on a 1995 black kimono-styled dress with a white and purple dyed section, and "yuzen" hand-dying, used for multi-coloured motifs.
The designer also pays homage to past couturiers. He evokes Balenciaga, with a black ruffled cape and silk dress from 1999, and Dior, with a houndstooth check jacket with puffed lower sleeves from 2003.
Two other events are being run in London to coincide with the V and A show: a display of photographs entitled "Yohji's Women", and "Yohji Making Waves", an installation of an oversized silk wedding dress with bamboo crinoline.
"Yohji Yamamoto" at the V and A runs from March 12 to July 10, 2011.
by Alice Ritchie
Copyright © 2011 AFP
The retrospective at the Victoria and Albert Museum traces three decades of work by the Japanese designer and highlights the timeless appeal of his clothes, his use of space around the body and his fascination with textiles.
"He really is in love with designing, and you can see it in his work," curator Ligaya Salazar told AFP. "He disregards trends -- he designs for life."
While many of the dresses are in Yamamoto's signature black, the exhibition features blazes of colour such as a yellow strapless silk dress with matching oversized hat, or a red asymmetric dress in wool felt with a crinoline skirt.
It is the first such exhibition that includes menswear, and a man's brown suit with metal flower brooches worn by Vivienne Westwood at his 1998 show are one of several that nod to the way he plays with gender in his designs.
There are more than 80 garments in the exhibition, arranged around the room to allow visitors to walk in between them and get a close look at the fabric.
"Central to Yohji Yamamoto's work are the textiles," Salazar said, noting that the fabrics are made in Kyoto to his exact specifications.
He works with his team "to come up with the exact relationship between the warp and the weft and to get the right thickness -- he starts with an idea of the fabric and then that creates a story of the collection".
The outfits are informally grouped to display key attributes of the designer's work since he graduated from Keio University in Tokyo in 1966.
One is his fascination with women's backs, highlighted in a 1995 grey jacket with a protruding section resembling a bustle, or a black dress from 2001 with a low cut-out back and a black sequinned bag incorporated into the fabric.
"He thinks it's the most beautiful part of the women's body and a lot of his clothes, he starts designing from the back," Salazar said.
Another key trend in his clothes, which was quite shocking when his creations first appeared on the Paris catwalks 30 years ago, is Yamamoto's sense that they should leave space for the body to move.
"He tries not to force a proscribed shape onto the woman's body. They're all very airy, they allow for different female body shapes," Salazar said.
A simple off-white long, floating dress inspired by German choreographer Pina Bausch was one example, as were a grouping of white felt pieces which appear almost as statues.
These white dresses were shown separately from the main exhibition, dotted around the museum's permanent displays.
In the same way, three mannequins wearing coats in red carded wool were displayed alongside medieval tapestries, picking up the colour of the faded hunting scenes on the walls.
Yamamoto gets much of his inspiration from techniques of the past, and incorporates "shibori" into his clothes, an extremely expensive form of tie-dying which was used on a 1995 black kimono-styled dress with a white and purple dyed section, and "yuzen" hand-dying, used for multi-coloured motifs.
The designer also pays homage to past couturiers. He evokes Balenciaga, with a black ruffled cape and silk dress from 1999, and Dior, with a houndstooth check jacket with puffed lower sleeves from 2003.
Two other events are being run in London to coincide with the V and A show: a display of photographs entitled "Yohji's Women", and "Yohji Making Waves", an installation of an oversized silk wedding dress with bamboo crinoline.
"Yohji Yamamoto" at the V and A runs from March 12 to July 10, 2011.
by Alice Ritchie
Copyright © 2011 AFP
fashion trends - "sobriety"
Mudpie : Sobriety - Male & Female - Spring/Summer 2011
The material excesses of the pre-recession society are forgotten, in favour of a humble, wholesome existence. Pleasure is found in relationships, community and life experience; a utilitarian revival begins, placing emphasis on style based on authenticity and timelessness instead of conspicuous and needless consumption. The idea of change fills many with hope for a new future founded on simplicity, ethics and wisdom.
Fashion interpretation:
The simple and unfussy design of the Amish lifestyle inspires this trend as a palette of slate and denim blues are coupled with bright American red and hints of clay pink, buttery yellow neutrals, deep burgundy and burnt orange. Silhouettes are modest, with high necklines and low hems reflecting the chaste undertones of life as a pilgrim settler. Layered textures, handcrafted garments and textural contrasts work with 'prim and proper' graphics and prints, resulting in a contemporary twist on traditional settler's clothing. The look incorporates interesting contrasts of fabric and finishes; adornment is kept to a minimum, instead the emphasis is on utilising the charm of unfussy design. The rugged outdoors of the American West is interpreted with a workwear aesthetic. Durable materials reflect an appreciation of industry and manual labour. Distressed finishes and haphazard styling give a tough look, completed with details such as rivets, straps, cinches and angular stitch detail
www.mpdclick.com
The material excesses of the pre-recession society are forgotten, in favour of a humble, wholesome existence. Pleasure is found in relationships, community and life experience; a utilitarian revival begins, placing emphasis on style based on authenticity and timelessness instead of conspicuous and needless consumption. The idea of change fills many with hope for a new future founded on simplicity, ethics and wisdom.
Fashion interpretation:
The simple and unfussy design of the Amish lifestyle inspires this trend as a palette of slate and denim blues are coupled with bright American red and hints of clay pink, buttery yellow neutrals, deep burgundy and burnt orange. Silhouettes are modest, with high necklines and low hems reflecting the chaste undertones of life as a pilgrim settler. Layered textures, handcrafted garments and textural contrasts work with 'prim and proper' graphics and prints, resulting in a contemporary twist on traditional settler's clothing. The look incorporates interesting contrasts of fabric and finishes; adornment is kept to a minimum, instead the emphasis is on utilising the charm of unfussy design. The rugged outdoors of the American West is interpreted with a workwear aesthetic. Durable materials reflect an appreciation of industry and manual labour. Distressed finishes and haphazard styling give a tough look, completed with details such as rivets, straps, cinches and angular stitch detail
fashion trends - "enlighten"
Mudpie : Enlighten - Male & Female - Spring/Summer 2011
Traditional styles blend with contemporary visions in a trend influenced by the rich and vibrant country of India. New India inspires a cosmopolitan lifestyle, while national pride is embodied in an unwavering devotion to cricket and travellers seeking out unique cultural experiences.
Fashion interpretation:
Inspired by modernized Indian elements this trend incorporates a vibrant and opulent colour palette. This rich palette combines vivid violet, vibrant coral, citrus green and shocking pink, whilst the colonial military aspect of the trend is represented through tones of duck egg blue, raspberry pink and sepia. The clashing of colours with an earthy base tone is key. Haphazard layers cinched with a belt create an eclectic and slightly bohemian silhouette. Multiple prints styled together, coupled with natural fabrics and combined with tactile silks and wovens, leather sandals and accessories complete this look. Slick tailoring coupled with Eastern elements, smooth and luxury styled fabrics enable this trend to contrast between minimalist styling and flashes of opulent print. Gloss contrasts with matte effects create a formal sports style as Enlighten takes inspiration from traditional cricket styles, while an aged military edge harks back to India’s imperial past.
www.mpdclick.com
Traditional styles blend with contemporary visions in a trend influenced by the rich and vibrant country of India. New India inspires a cosmopolitan lifestyle, while national pride is embodied in an unwavering devotion to cricket and travellers seeking out unique cultural experiences.
Fashion interpretation:
Inspired by modernized Indian elements this trend incorporates a vibrant and opulent colour palette. This rich palette combines vivid violet, vibrant coral, citrus green and shocking pink, whilst the colonial military aspect of the trend is represented through tones of duck egg blue, raspberry pink and sepia. The clashing of colours with an earthy base tone is key. Haphazard layers cinched with a belt create an eclectic and slightly bohemian silhouette. Multiple prints styled together, coupled with natural fabrics and combined with tactile silks and wovens, leather sandals and accessories complete this look. Slick tailoring coupled with Eastern elements, smooth and luxury styled fabrics enable this trend to contrast between minimalist styling and flashes of opulent print. Gloss contrasts with matte effects create a formal sports style as Enlighten takes inspiration from traditional cricket styles, while an aged military edge harks back to India’s imperial past.
fashion trends - "fable"
Mudpie : Fable - Male & Female - Spring/Summer 2011
A return to innocence manifests itself within the majesty and intrigue of the forest. Epic children’s literature and the romance of idyllic, natural ways of life are underpinned by resurgences of fantasy ideals within cinema, fashion and design. Nature fuses with technology to produce a unique, hybridised vision of an ecological future, while retaining a vital link to times long since past.
Fashion interpretation:
A sense of mystical wonder and fantasy is evoked as the ethereal Fable palette incorporates natural bases, tonal fresh greens, delicate neutrals with highlights of sunshine yellow, dragonfly blue and medieval red. Translucent watercolours and soft bleed effects are central to design; a hand-drawn, illustrative theme runs throughout, working alongside layered effects and scripted typography to create unique and complex graphics, reflecting the delicate and mystical aesthetic of the trend. The fusion between nature and technology influences graphics and prints; designs display a futuristic, digitised look, taking cues from the angular feel of avant-garde art movements such as Cubism or Abstract Expressionism to create unique, hyper-real imagery. Block panelling, wide sleeves and corset shapes create a medieval style. Details are unassuming yet effective, such as braiding and rouleau button loops, adding to the Middle Age styling by embellishing the outfit with authentic-looking elements.
www.mpdclick.com
A return to innocence manifests itself within the majesty and intrigue of the forest. Epic children’s literature and the romance of idyllic, natural ways of life are underpinned by resurgences of fantasy ideals within cinema, fashion and design. Nature fuses with technology to produce a unique, hybridised vision of an ecological future, while retaining a vital link to times long since past.
Fashion interpretation:
A sense of mystical wonder and fantasy is evoked as the ethereal Fable palette incorporates natural bases, tonal fresh greens, delicate neutrals with highlights of sunshine yellow, dragonfly blue and medieval red. Translucent watercolours and soft bleed effects are central to design; a hand-drawn, illustrative theme runs throughout, working alongside layered effects and scripted typography to create unique and complex graphics, reflecting the delicate and mystical aesthetic of the trend. The fusion between nature and technology influences graphics and prints; designs display a futuristic, digitised look, taking cues from the angular feel of avant-garde art movements such as Cubism or Abstract Expressionism to create unique, hyper-real imagery. Block panelling, wide sleeves and corset shapes create a medieval style. Details are unassuming yet effective, such as braiding and rouleau button loops, adding to the Middle Age styling by embellishing the outfit with authentic-looking elements.
11 March 2011
08 March 2011
05 March 2011
post modern palm desert
02 March 2011
postcard from provence
17cm x 13cm, oil on board
This painting will be auctioned over 24hrs starting today at:
04:00 UTC -00:00
(23:00 EST -05:00)
Follow the auction
eco index
Apparel industry leaders to develop sustainability label
Giants in the footwear and clothing industries have teamed up to form the Sustainable Apparel Coalition: a group whose goal is to create and adopt a system that will measure the social and environmental sustainability of products, thus respecting nature as well as workers.
The list of brands, retailers and manufacturers speaks for itself: Adidas, Esprit, Gap Inc., H&M, HanesBrands, JC Penney, Lenzing, Levi Strauss & Co., Li & Fung, Marks & Spencer, New Balance, Nike, Nordstrom, Otto Group, Patagonia, Target, Timberland, Verité, VF Corp, Walmart, C&A and others are some of the names. The group has the support of the United States–based nonprofit organisation Environmental Defense Fund.
Based on previous work made by the Outdoor Industry Association, this ‘Eco Index’ tool is still a work in progress, but brands and retailers concerned should start testing new ways of measuring sustainability from as early as next month. Eventually, the plan for the future is to gather all the information, develop a scoring system and turn it into a label which customers will be able to consult when shopping for products.
By Matthieu Guinebault
Giants in the footwear and clothing industries have teamed up to form the Sustainable Apparel Coalition: a group whose goal is to create and adopt a system that will measure the social and environmental sustainability of products, thus respecting nature as well as workers.
The list of brands, retailers and manufacturers speaks for itself: Adidas, Esprit, Gap Inc., H&M, HanesBrands, JC Penney, Lenzing, Levi Strauss & Co., Li & Fung, Marks & Spencer, New Balance, Nike, Nordstrom, Otto Group, Patagonia, Target, Timberland, Verité, VF Corp, Walmart, C&A and others are some of the names. The group has the support of the United States–based nonprofit organisation Environmental Defense Fund.
Based on previous work made by the Outdoor Industry Association, this ‘Eco Index’ tool is still a work in progress, but brands and retailers concerned should start testing new ways of measuring sustainability from as early as next month. Eventually, the plan for the future is to gather all the information, develop a scoring system and turn it into a label which customers will be able to consult when shopping for products.
By Matthieu Guinebault
01 March 2011
26 February 2011
an interesting dialogue
A few weeks ago our house was featured in the Saturday Home section of the Los Angeles Times.
On the first page of the photo gallery, someone made a comment and then several others chimed in. The comments were all negative except the last one - whoever you are, thank you - the worst claiming that because the house was so ugly therefor the designers and the people who live there must be ugly as well.
Then the incident with Lara Logan happened in Egypt. Hateful comments made about her by rabid right-wingers spewed forth. But it brought about a very thoughtful examination of what the ability to comment anonymously on the internet allows people to get away with. The negative comments about our house are exceptionally trivial in comparison.
Maureen Dowd had a great column in the NY Times. And then just today James Rainey wrote a similar column in the LA Times. Which, to make a long story short, resulted in the worst comment about our house being taken down.
But the issue remains. Why does anonymity give license to hate-speech on the internet? Why can't we be civil - always - no matter what the forum?
I don't have the answer.
On the first page of the photo gallery, someone made a comment and then several others chimed in. The comments were all negative except the last one - whoever you are, thank you - the worst claiming that because the house was so ugly therefor the designers and the people who live there must be ugly as well.
Then the incident with Lara Logan happened in Egypt. Hateful comments made about her by rabid right-wingers spewed forth. But it brought about a very thoughtful examination of what the ability to comment anonymously on the internet allows people to get away with. The negative comments about our house are exceptionally trivial in comparison.
Maureen Dowd had a great column in the NY Times. And then just today James Rainey wrote a similar column in the LA Times. Which, to make a long story short, resulted in the worst comment about our house being taken down.
But the issue remains. Why does anonymity give license to hate-speech on the internet? Why can't we be civil - always - no matter what the forum?
I don't have the answer.
25 February 2011
a blog is born
23 February 2011
pink shirt day
Today is PINK SHIRT DAY in Canada. It was originally started as a protest against a bullying incident at a Nova Scotia high school (Central Kings Rural High School). On this day participants are asked to wear pink to symbolize a stand against bullying.
Even though we're in the US, we should take part as well.
In honour of International Anti-Bullying Day, two schools came together to create a message about Acceptance and challenge others to use social media as a positive tool. Choreographed by Jheric Hizon, Directed by Anita Perel-Panar - A Star Studio Productions
www.astarstudio.com
Even though we're in the US, we should take part as well.
In honour of International Anti-Bullying Day, two schools came together to create a message about Acceptance and challenge others to use social media as a positive tool. Choreographed by Jheric Hizon, Directed by Anita Perel-Panar - A Star Studio Productions
www.astarstudio.com
19 February 2011
mission san luis rey de francia
I was recently visiting with friends in the San Diego area and had some time to kill. We decided to head over to the San Luis Rey Mission, number 18 of the 21 California Missions. I've been to it many times but not in at least 20 years. It is a beautiful example of mission architecture that has been authentically restored.
Read more about the mission here.
photos taken with an iPhone using "hipstamatic" and "shake it photo" apps
Bell tower and entrance
Founded in 1798 by Padre Fermin Francisco de Lasuen, successor to Padre Junipero Serra, the Mission was named after St. Louis IX, King of France, who lived during the 13th century.
Founded in 1798 by Padre Fermin Francisco de Lasuen, successor to Padre Junipero Serra, the Mission was named after St. Louis IX, King of France, who lived during the 13th century.
Outside the main doors
Louis IX (San Luis Rey - Spanish, or Saint Louis the King - English) was taught by the early Franciscans and is the patron of their 3rd order. He was of Spanish blood on his mother’s side and died fighting in the Crusades. He was canonized in 1297.
Inside the church
During the years of 1798 to 1833, under the charge of Father Antonio Peyri, the mission became home to approximately 3,000 and was self-sustaining. By 1830, the mission was the largest building in California.
Entrance to cemetery
Another interesting fact is that after Mexico won it's independence from Spain in 1821, the mission was sold to private individuals in 1833 by Pio Pico who was at the time the Mexican governor of the state of Alta California. In 1850 California became part of the United States, and the Catholic Bishop in California petitioned the U.S. government for the return of the missions. In 1865 Mission San Luis Rey was returned to the Catholic Church by Abraham Lincoln.
Another interesting fact is that after Mexico won it's independence from Spain in 1821, the mission was sold to private individuals in 1833 by Pio Pico who was at the time the Mexican governor of the state of Alta California. In 1850 California became part of the United States, and the Catholic Bishop in California petitioned the U.S. government for the return of the missions. In 1865 Mission San Luis Rey was returned to the Catholic Church by Abraham Lincoln.
Gargolye in the lavanderia
The history of the San Luis Rey area reflects five periods of occupation: Luiseno Indian, Spanish Mission, Mexican Secularization, American Military, and Twentieth Century Restoration.
photos taken with an iPhone using "hipstamatic" and "shake it photo" apps
15 February 2011
pantone predicts
Pantone reveals Autumn 2011 colour chart
The worldwide specialist in colour charts for professionals has just published its Fashion Colour Report for Autumn/Winter 2011. It consists of a selection of 10 colours intended for female fashion, plus sketches, quotes and designer portraits.
The report coincides with New York’s Fashion Week, where designers were gathered at Pantone’s panel in order to discuss the latest and future trends. At last, it seems like this year’s Autumn season will be seeing shades of Bamboo, Emberglow, Honeysuckle, Phlox, Cedar, Deep Teal, Coffee Liqueúr, Nougat, Orchid Hush and Quarry.
Source: Pantone
The worldwide specialist in colour charts for professionals has just published its Fashion Colour Report for Autumn/Winter 2011. It consists of a selection of 10 colours intended for female fashion, plus sketches, quotes and designer portraits.
Pantone's Fashion Colour Report for Autumn/Winter 2011
The report coincides with New York’s Fashion Week, where designers were gathered at Pantone’s panel in order to discuss the latest and future trends. At last, it seems like this year’s Autumn season will be seeing shades of Bamboo, Emberglow, Honeysuckle, Phlox, Cedar, Deep Teal, Coffee Liqueúr, Nougat, Orchid Hush and Quarry.
Source: Pantone
11 February 2011
egypt unrest
Egypt: retailers and manufacturers at a time of conflict
Pillaging of high-end stores, manufacturing reduced to 20%, export dropped to 10%... This is the situation that Egyptian professionals in the fashion industry find themselves in right now.
While the Egyptian revolt continues, it is difficult to obtain precise information regarding the current problems that local professionals in the fashion, luxury and textile business are having to face. When the country’s internet was restored a few days ago, Alaa Shedeed, editor in chief of Egyptian textiles magazine Khoyot, talked to FashionMag.com about some of the information that he was able to gather.
The Federation of Egyptian Industries, which naturally includes textiles, announced that the country’s industrial production is down to 20% of its total capacity. The first reason for this is that a great number of people are not going to work in order to stay home and protect their houses and families, given the recent rise in thefts and violence. It is also due to a shortage of supplies in terms of raw materials which, although already a problem before the crisis started, is now even worse. Regarding sales, the latter fell by a critical 90% during the first 10 days of riots.
For now, the Ministry of Commerce and Industry assures that the export of products has only gone down 6% during the month of January. The re-elected minister Samiha Fawzi confirms that it is his intention to restore production to its normal rate, and he even intends to increase productivity in order to make up for the recent losses. The minister also announced the creation of an “exceptional council” in charge of the task, having as a primary goal to make the acquisition of raw materials easier
Pillaging of luxury boutiques
With conflicts between Egyptians freedom fighters and the authorities increasing, pillaging came as a natural consequence. In the Maadi square, shopping centre Arcadie saw its clothes, accessories and furniture stores get destroyed. Located at 3 kilometres from the now famous Liberation Square, the shopping centre estimates that thefts have amounted to a total loss of 30 million Egyptian pounds (3.7 million euros), also saying that most stolen goods were high-end imported luxury products.
The occurrence made another one of the city’s shopping centres, City Star Center, appeal to the armed forces to help with its own protection. But shopping centres are not the only ones being attacked, as stores from the prestigious Ligue Arabe Street have also been looted. Just like in other shopping streets, its various high-end boutiques were broken into and emptied. For the time being, stores located in more conventional areas have not yet suffered damages. The question now is to know how longer the demonstrations can last, and if their mission will be successful.
By Matthieu Guinebault
Pillaging of high-end stores, manufacturing reduced to 20%, export dropped to 10%... This is the situation that Egyptian professionals in the fashion industry find themselves in right now.
Manifestations in Cairo - Photo: AFP
While the Egyptian revolt continues, it is difficult to obtain precise information regarding the current problems that local professionals in the fashion, luxury and textile business are having to face. When the country’s internet was restored a few days ago, Alaa Shedeed, editor in chief of Egyptian textiles magazine Khoyot, talked to FashionMag.com about some of the information that he was able to gather.
The Federation of Egyptian Industries, which naturally includes textiles, announced that the country’s industrial production is down to 20% of its total capacity. The first reason for this is that a great number of people are not going to work in order to stay home and protect their houses and families, given the recent rise in thefts and violence. It is also due to a shortage of supplies in terms of raw materials which, although already a problem before the crisis started, is now even worse. Regarding sales, the latter fell by a critical 90% during the first 10 days of riots.
For now, the Ministry of Commerce and Industry assures that the export of products has only gone down 6% during the month of January. The re-elected minister Samiha Fawzi confirms that it is his intention to restore production to its normal rate, and he even intends to increase productivity in order to make up for the recent losses. The minister also announced the creation of an “exceptional council” in charge of the task, having as a primary goal to make the acquisition of raw materials easier
Meeting between minister Samiha Fawzi and representatives of Egyptian industries
Pillaging of luxury boutiques
With conflicts between Egyptians freedom fighters and the authorities increasing, pillaging came as a natural consequence. In the Maadi square, shopping centre Arcadie saw its clothes, accessories and furniture stores get destroyed. Located at 3 kilometres from the now famous Liberation Square, the shopping centre estimates that thefts have amounted to a total loss of 30 million Egyptian pounds (3.7 million euros), also saying that most stolen goods were high-end imported luxury products.
The occurrence made another one of the city’s shopping centres, City Star Center, appeal to the armed forces to help with its own protection. But shopping centres are not the only ones being attacked, as stores from the prestigious Ligue Arabe Street have also been looted. Just like in other shopping streets, its various high-end boutiques were broken into and emptied. For the time being, stores located in more conventional areas have not yet suffered damages. The question now is to know how longer the demonstrations can last, and if their mission will be successful.
By Matthieu Guinebault
green is the new black
NY fashionistas unveil 'zero waste' clothing
NEW YORK, Feb 10, 2011 (AFP) - Green is the new black at an environmentally minded New York design school at the start of Autumn-Winter Fashion Week.
Students at the Parsons The New School for Design have come up with "zero waste" fashion, a pun on the controversial popularity on catwalks of skeletal, zero-size models.
"The goal was to create an organic garment with no scraps," said Janelle Abbott, 21, who was a finalist in the student exhibition organized jointly with Loomstate, an eco-friendly label.
Abbott came up with a denim jacket made of triangular segments. "It's a very difficult process, but it's the traditional techniques with adjustments. It could become standardized, with some investigation," she said.
Timo Rissanen, 35, assistant professor in Fashion Design and Sustainability, said the average wastage in clothes making is 15 percent. Although recycling is possible, it is also costly.
The idea of "zero waste is as old as clothing," he said. "The Japanese kimono is zero waste, the old underwear in 19th century Europe was mostly zero waste, and American Indians used everything too. It's the industrial revolution which is the cause of the huge waste."
What's hard is making the clothes beautiful as well as virtuous.
"It is very easy to do ugly zero waste," Rissanen said.
New York Fashion Week runs from Thursday to February 17.
NEW YORK, Feb 10, 2011 (AFP) - Green is the new black at an environmentally minded New York design school at the start of Autumn-Winter Fashion Week.
Students at the Parsons The New School for Design have come up with "zero waste" fashion, a pun on the controversial popularity on catwalks of skeletal, zero-size models.
Simon Colling of the Parsons The New School for Design
/ Foto : AFP
"The goal was to create an organic garment with no scraps," said Janelle Abbott, 21, who was a finalist in the student exhibition organized jointly with Loomstate, an eco-friendly label.
Abbott came up with a denim jacket made of triangular segments. "It's a very difficult process, but it's the traditional techniques with adjustments. It could become standardized, with some investigation," she said.
Timo Rissanen, 35, assistant professor in Fashion Design and Sustainability, said the average wastage in clothes making is 15 percent. Although recycling is possible, it is also costly.
The idea of "zero waste is as old as clothing," he said. "The Japanese kimono is zero waste, the old underwear in 19th century Europe was mostly zero waste, and American Indians used everything too. It's the industrial revolution which is the cause of the huge waste."
What's hard is making the clothes beautiful as well as virtuous.
"It is very easy to do ugly zero waste," Rissanen said.
New York Fashion Week runs from Thursday to February 17.
08 February 2011
06 February 2011
recent stay at the mojave
If you're looking for a quick weekend get-away, the Mojave in Palm Desert is a great place to go.
It was a 50's motorlodge that was redone about 10 years ago by the same people that redid the Rex in San Francisco.
It's located just one block off the El Paseo.
It was a 50's motorlodge that was redone about 10 years ago by the same people that redid the Rex in San Francisco.
It's located just one block off the El Paseo.
03 February 2011
a new architectural digest?
Margaret Russell Unveils the New Architectural Digest
“THE Age of Elegance” states the cover of the March issue of Architectural Digest, sounding somewhat hopeful. The bright pink affirmation declares a new brief for a once-mighty title that has been struggling, and a statement of intent from its new editor, Margaret Russell, who was until last summer the very steady helmsman of a competitor, Elle Décor.
Like so many shelter magazines, Architectural Digest has not been a happy home of late. Once the leader in its glossy domain, it has lost market share — nearly half of its pre-recession ad dollars — as well as its relevance to buzzier titles, or what’s left of them, anyway. And when its longtime editor, Paige Rense Noland, retired in June, it wasn’t much of a surprise when Ms. Russell was announced as her replacement. The only question was to what degree she would renovate the iconic magazine, which had rolled out inexorably month after month, decade after decade, largely unchanged. Would she gut the place? Or just repaint?
I'll believe it when I see it. AD has been a stuffy old magazine. With way-too-perfect interiors that have no interest to me.
Read more here.
“THE Age of Elegance” states the cover of the March issue of Architectural Digest, sounding somewhat hopeful. The bright pink affirmation declares a new brief for a once-mighty title that has been struggling, and a statement of intent from its new editor, Margaret Russell, who was until last summer the very steady helmsman of a competitor, Elle Décor.
I'll believe it when I see it. AD has been a stuffy old magazine. With way-too-perfect interiors that have no interest to me.
02 February 2011
a kitchen must-have
kone coffee filter
This makes the best single cup of coffee. It's pricey at $50 but well worth it.
Stainless steel filter designed for use in Chemex® and other pour over style coffee makers (including Hario). Designed with the goal to produce a sustainable filter that also brewed excellent coffee. Locally designed and manufactured entirely in the USA.
Fits standard: 6, 8 and 10 cup Chemex® coffee makers
Get it here.
This makes the best single cup of coffee. It's pricey at $50 but well worth it.
Fits standard: 6, 8 and 10 cup Chemex® coffee makers
Get it here.
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