I Have A Dream
The following is the exact text of Martin Luther King, Jr’s spoken speech, transcribed from recordings.
I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.
Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.
But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition.
In a sense we have come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness.
It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked “insufficient funds.” But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check — a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God’s children.
It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.
But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.
We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. They have come to realize that their freedom is inextricably bound to our freedom. We cannot walk alone.
As we walk, we must make the pledge that we shall always march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, “When will you be satisfied?” We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro’s basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating “For Whites Only”. We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.
I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.
Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.
I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident: that all men are created equal.”
I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.
I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.
I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.
I have a dream today.
I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.
I have a dream today.
I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.
This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.
This will be the day when all of God’s children will be able to sing with a new meaning, “My country, ’tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim’s pride, from every mountainside, let freedom ring.”
And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!
Let freedom ring from the snowcapped Rockies of Colorado!
Let freedom ring from the curvaceous slopes of California!
But not only that; let freedom ring from Stone Mountain of Georgia!
Let freedom ring from Lookout Mountain of Tennessee!
Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.
And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, “Free at last! free at last! thank God Almighty, we are free at last!”
Martin Luther King, Jr.
Good Things Come To Those Who Are Tenacious: Eila Mell
Fashion author Eila Mell can best be described as tenacious. Hard-working, laboring well the particulars, driven by the desire to tell a story and confident in her ability to artfully do so, Mell offers up a pictorial account of New York Fashion Week’s seventeen years at Bryant Park in her most recent work, “New York Fashion Week: The Designers, the Models, the Fashions of the Bryant Park Era.”
I enjoyed spending time with Mell this past weekend when she was in the store signing copies of her book. What most inspired me about her personal story was the path she’s taken to find her place as an author. Beginning as an aspiring actress, she next worked as a voice coach, using all of her downtime to pursue an idea she had had for a book on casting ‘might have beens’ – a film by film look at actors considered for roles that were given to others. Persistently but slowly pressing on, she completed that book after eight years, and with its success, turned to writing full time.
“New York Fashion Week” is her third book. Widely acclaimed, the book collects some of the most iconic moments and people of New York Fashion Week’s Bryant Park era (the shows moved to Lincoln Center in 2011). With a forward by Phillip Bloch, the book tells the Bryant Park story, season by season, with interviews, well-researched facts and runway, backstage and front row photos shot by Randy Brooke and Roxanne Lowit, two of the best fashion photographers out there. It’s a great book for anyone interested in fashion or in an important piece of New York City history.
As the day proceeded, a woman came in to purchase two copies of the book. She asked Mell to personalize one for its intended recipient, Ralph Lauren. She offered that Lauren knew Mell was going to be in the store, and wanted a copy of the book for himself.
Mell had arrived, I thought. It just goes to show that you can never stand between a tenacious woman and her dreams.
The Power of Light
Can a small flask of oil burn for eight days when it should burn for only one? That’s the miracle of Chanukah, the festival of lights that begins this evening at sundown and goes for eight days.
The story of Chanukah takes place during a time in early Greece when the Jews were severely oppressed. Denied the right to observe the Sabbath, to study Torah, and to practice Judaism, some Jewish priests got together and rose up against the Greeks. Miraculously, they prevailed, and were able to take back Jerusalem and the Temple. Seeking to light the sacred menorah in the Temple, they found only a single flask of oil, which should have sustained the menorah for one day. The story goes that the oil kept the menorah burning for eight days, just enough time in which to prepare new oil.
What do we make of the miracle of Chanukah lights? The Chanukah story speaks to the triumph of good over evil, of the few over many, of freedom over oppression. But more importantly, the story speaks to the power of light – light that sustains us and transforms the darkness of the world through acts of goodness, kindness, and charity.
So, the question is not whether the menorah really truly stayed lit for eight days when it should have stayed lit for only one, but how we can use our own inner light to brighten and even heal our imperfect world. The Chanukah lights are the ones we carry inside of us, and which hold the promise of a brighter new day.
Sevan Bicakci – Inspiration
I took a trip to the magical city of Istanbul last month, and was completely blown away by the sights and sounds of this rich cultural melting pot – the massive dome of St. Sophia that’s carved into the skyline, the exquisitely tiled Blue Mosque, the minarets and mosques, the bright colors and exotic scents of the Grand Bazaar. No plane fare was expended nor passport required, as I traveled there by viewing the extraordinary jewelry of Sevan Bicakci, who shared his story and his work with me at Hirshleifers during one of his rare trunk show appearances.
Bicakci, who grew up within the old city walls, described how he was captivated by the elegant twists and turns of the city’s mosques, minarets and other monuments. Sitting for hours at a time to sketch them, he dreamed of ultimately translating them into fine jewelry. Originally working as a freelance model maker where he felt creatively stifled, he ultimately put away enough money to launch his own collection, and has not looked back.
Drawing inspiration from the sights, sounds and feel of his native Istanbul, his pieces provide entrée into the richness of that magical place. He uses precious metals and unique cut stones and employs techniques like intaglio carving and micro-mosaic to produce extraordinary jewels. Earrings, cuff links, padlock pendant necklaces – an old symbol of Istanbul – are adorned with pave diamonds or stones. Rings – with the silhouette of Istanbul engraved in lemon topaz, or decorated with fine porcelain with a fountain engraved inside the stone – are more an architectural masterpiece than a piece of jewelry. Chain bracelets with diamond closures and signature sword clasps – delicate, yet strong armor – are crafted with an open or tight weave and are offered in rose gold or sterling silver. Embellished with exotic parrots, turtles and pomegranates, his pieces are guaranteed to mesmerize and enchant.
Shy, understated and humble, Sevan spoke of how lucky he was to have grown up in a place where ever-present reminders of the past inform his life and ground him. Our conversation was intense, filling me with a renewed sense of wonder about my place in history’s changing landscape.
A TRIP TO FRIEZE ( Part 1) by Cheong Kwon
Mai-Thu Perret “Flow My Tears” Foam Mannequin, blown glass head, replica of Schiaparelli silk dress.
Even as a regular attendee of international art fairs, I looked forward to this year’s Frieze Art Fair, on 13–16 October because I have such fond memories of the last time I attended Frieze week in November 2008, when I had the pleasure and honor of going to both Anthony Gormley & Tracy Emin’s studios in London. I also remember quite vividly the strained but exciting buzz at the art fair, as it was right after the economic collapse, leaving everyone in a quandary as to what to expect. Nevertheless, the champagne flowed easily, and the tempo that year was downright festive, an all around much needed respite from reality outside the art world.
Flash forward to this year, to the ninth edition of Frieze Art Fair, which is the last year that this leading contemporary art fair will remain an event exclusive to London’s Regent’s Park. Starting in 2012, Frieze will have an ancillary Frieze in New York City. Sponsored by Deutsche Bank, the fair has 170 of the world’s most exciting contemporary art galleries, representing 33 countries, presenting new work by over 1,000 of the world’s most innovative artists and valued at over 350 million pounds. Frieze tends to forcast the upcoming autumn auction season.
Marilyn Minter @ Salon 94 Photo: Cheong Kwon
What relevance, might one ask, does this art fair have with Hirshleifers, aside from becoming a MUST event on the calendars of East Coast art lovers? A lot. Fashion and art are by no means strangers to each other, and one of the first things one notices approaching ANY art fair, is the proliferation of all things current in the world of fashion, not unlike being outside a fashion show. The most obvious collaboration between art and fashion would be Louis Vuittons’ success with Murakami’s designs, and even more importantly, “Savage Beauty” at the MET, which has forever changed Alexander McQueen’s status from fashion designer to bonafied artist with a capital A. Cindy Sherman is soon appearing in a MAC cosmetics campaign, and one of my all time beloved photographers, Nan Goldin, is shooting for Jimmy Choo (!) following Marilyn Minter last year. Acne is teaming up with artist Daniel Silver to create a range of clothes…. The list of collaborations are endless. Creativity breeds creativity, and fashion and art have in common, the borrowing and elaboration of ideas from each other as well as certainly sharing like-minded clientele.
A TRIP TO FRIEZE ( Part 2 ) by Cheong Kwon
One of the things which I appreciate most about Frieze, is its’ manageable size, which allows one to take in such a diverse array of art without becoming overwhelmed. And while it is not easy to pick out trends in art, this was the first time that I was at an art fair to report not just on the art, but also on the style outlook. I found that the fashion / style / art quotient oftentimes coincided. Funnily enough, the photographs I took tended to seamlessly merge these moments as can be seen the following photographs: the Alexander McQueen scarf wearer with the Wilhelm Sasnal “Untitled” painting of a pregnant headless figure, the wildly dressed woman carrying a Chanel bag juxtaposed with the sexually explicit phallic Franz West sculpture at Gagosian Gallery, and the head to toe wearing fan of Brunello Cucinelli observing the rustic beauty of the Tacita Dean pieces “Rosenbett” at Frith Street Gallery.
I must say there was simply a plethora of Chanel bags, in fact, unlike usual, where most collectors opt to carry their Birkins, the clear preference at Frieze this year was for Chanel, and fairgoers were populated with Jumbo and Maxi Timeless Classics, the 2.27, and some limited edition bags wearers. In fact, this year I witnessed more Chanel than I’ve ever seen before at any other fair. One woman who particularly stood out was wearing the Chanel Patchwork bag dominantly accessorized with Loree Rodkin jewelry.
The overall mood was one which, while defiant to giving into economic doom and gloom, remained mindful of taking too many risks. Artwork also followed suite, as dealers often chose brightly coloured and /or two dimensional (primarily paintings) works this year. Sex, politics, and economics took secondary positioning to the comforting and collector friendly livable art. Serious collectors AND the fashion flock were visible. From the fashion tribe namely, Valentino Garavani, Giancarlo Giammetti, Alber Elbaz, Dasha Zhukova, Elle Macpherson, Natalia Vodianova, Phoebe Philo. Also present were an increasing number of art advisers.
Pierre Huyghe’s work for Frieze Projects, Recollection, 2011 received quite a bit of press when the original hermit crab for his aquarium installation was stopped by US customs because it was believed to be inhabiting the shell of an endangered species.
Huyghe had to coax a replacement crustacean into a replica of Brancusi’s Sleeping Muse, 1909-10. “Brancusi is a well-known symbol of culture and modernity,” says Huyghe.
“[The reference] is also about reactivating the head or a particular psychological state.”
Fish tanks are a recurring theme in the artist’s work. He says: “They are about constructing
situations; they become an equilibrium of a situation that we find ourselves in.”
As usual, most of the fun at the fair was to be had in the aisles, where fairgoers were apparently having more conversation than usual with each other than gallerists, although sales were reportedly good, with many of the A-list artists selling quickly.
A TRIP TO FRIEZE ( Part 3 ) by Cheong Kwon
Another stall I’d like to mention is that of Sadie Coles, who was the winner of the “Best Booth of the Frieze Art Fair 2010”. I consistently find the quality of her artists’ works and presentation above the fray, never neglecting to stop by her booth at Art Basel.
At Alison Jacques Gallery, there were two works which I took particular fondness to, one by Hannah Wilke of 48 separate pieces of porcelain, which immediately evoked memories of making homemade wonton’s, and “Lighthouse”, by Catherine Yass, whose lush colors were simply magnetic.
This year’s Sculpture Park presented work by some of the most acclaimed international Sculptors, including the piece “Seer” by Kiki Smith. Her triptych work “Reminiscent” inside the fair was also stunning.
Lastly, any report on Frieze Art Fair this year would not be complete without mention of James Brett and the “Museum of Everything” at Selfridges. It was the show not to be missed, and its’ presence was all pervasive. To imagine that only three years ago, I attended a private viewing of Mr. Brett’s “La Collection Bretanique” in his home and did a reportage on his collection is nearly unfathomable considering the drastic personal transformation he has undergone from passionate private collector to master of everything in the London art world. That just goes to show, three years is just enough time to entirely change ones’ life and universe to encompass everything.
See you at Frieze New York 2012!
SIMONE I. SMITH: PROVIDING THE HARMONY
It always amazes me how the stories we choose to share about our lives reveal so much about us. They speak to our dreams, our disappointments and, most tellingly, to the values we live by. The other day I had the chance to speak with Simone I. Smith, talented jewelry designer, devoted mother of four, cancer survivor, gourmet cook, a woman whose heritage spans many cultures, a person of strong faith, and longtime wife of LL Cool J. While that last reference might garner the most attention, the fact is that Simone is a force unto herself – a strong, grounded, warm, genuine woman – whose stories speak to the importance of family, to her spiritual connection and to her commitment to give back.
Simone told me that she was born and raised in Queens by loving hard-working church-going grandparents and her mom; that her family was culturally diverse, with relatives from Barbados, the South, Italy, and that were Cherokee Indian. Family dinners would run the gamut from Italian food to soul food. The church was an important part of her upbringing, and she sang in the choir for many years. Both of her grandparents also had their own careers, her grandmother working in the field of nursing and catering parties until she was 80 years old.
It was these stories she chose to share with me that speak to what Simone values and the life she has built for herself today. A strong matriarch completely devoted to her children and her husband, a woman of faith with a great capacity to give to others, a strong work ethic and a natural creative talent – this is the Simone Smith I had the pleasure of connecting with.
In a band, the bass guitarist is responsible for the steady pulse of music and for how we hear harmonies – because when we hear several notes played together, we hear them all relative to the lowest sounding pitch, the bass note. I can’t help but think of Simone as the ultimate bass guitarist, setting the rhythm, providing the harmony, permitting the music to take shape around her. Caryn Hirshleifer
Reminiscing with Lillian Hirshleifer
I was looking at the Style and Fashion Section of the Wall Street Journal, and there on the front page was a photo of fashion’s first lady, Eleanor Lambert. Eleanor was the first woman to say, “get your look and stick with it.” At that time, she was promoting fashion and owned a public relations company.
Old memories suddenly flashed through my mind. The year was 1963. Eleanor had a house, Casa Leonor, at Las Brisas in Acapulco. All the properties there were cantilevered on a terraced mountain, each one different and each one spectacular.
Our friend, Lew Prince, who owned a fashion company called Larry Aldrich, knew Eleanor quite well and made arrangements for us to use her house for a week’s vacation.
We arrived at the house – which was completely fabulous – and began to unpack. Little did I know I’d be sleeping with a baby lizard crawling up and down the wall. My husband, Paul, who could put anything out of his mind, fell right to sleep, but I went to the couch, lifted my feet up and sat cross-legged, watching, watching. I had all the lights on, but by about 3 a.m., I was so exhausted that I crawled over to the bed and fell asleep.
With four in help that cleaned and cooked our meals, we were settling into a very relaxing vacation until the telephone call came. It was Ladybird Johnson’s secretary on the line, asking if Ladybird could stop by the day after next, to see the house. A close friend of Eleanor, she was in town, and had never been to Casa Leonor. We were in no position to refuse her, although the FBI, after four visits and at least a thousand questions, almost made that decision for us.
But on the appointed day, the doorbell rang and we welcomed not only Ladybird and her security team, but also philanthropist Mary Lasker and Mr. and Mrs. Jack Valenti. At that time, he was the head of the motion picture censorship office. The group entered, and we gave them a tour of the house. We then settled into the living room for some drinks and conversation.
Ladybird was warm and friendly, but all I could do was smile and shake my head. What to say? How to say it? Being in the presence of the First Lady can have that effect on you. Desperate to say something, I finally decided to ask how the younger birds were doing, the only topic I could possibly manage.
It sounded extremely silly when it came out but Ladybird politely responded, “Very well, thank you.” And then, the 30 minute visit – which had consumed 48 hours of anxious anticipation – was over. It was the longest 30 minutes I had ever lived through, my visit with the First Lady.
Summering on Long Island Part 4 : Farm Stands
For me, summer isn’t summer until I’ve visited my local farm and sampled its fresh home-grown veggies and corn. Two Long Island farms that come highly recommended are the Quail Hill Cooperative Farm in Amagansett and Young’s Farm in Old Brookville.
The Quail Hill Cooperative Farm is a personal favorite of our very own Lori Hirshleifer Sills because of its sheer beauty and purity of essence. Located just outside of East Hampton, the farm is something you don’t want to miss. Seeking to create a cooperative farming environment that focused on land conservation as well as the promotion of bio-diversity, it began in 1990 as a project of the Peconic Land Trust.
While you have to be a member to visit this farm, its exclusivity is surely worth it. The farm provides fresh, natural products, and also serves to inspire the community to be sustainable and organic. There is a wide assortment of natural foods and herbs and some of Lori’s favorites include; snap peas, radishes, green beans, and tomatoes and potatoes later on in the summer. The farm is a must see if you’re out east. Make sure you visit in the morning to avoid the heat and the crowd!
Young’s Farm, founded in 1892, is the personal favorite of our very own Caryn Hirshleifer. To visit the farm is to step back in time to a place where life is slower and simpler. Whether it’s fresh Long Island corn, tomatoes, cucumbers, lettuces, herbs or other locally grown produce, you’ll find it all in the rustic oversized cabin, along with a wide selection of home made soups and freshly made fruit pies, jams, preserves, applesauces, cookies, lemon bars, and other delectable desserts. Don’t overlook the jars of penny candies that sit side-by-side on the back shelf, or the basket of Red Hot candies, pieces of Double Bubble bubble gum, and other blasts from the past.
Young’s Farm is a feast for the eye and the pallet, its lush fields of beets, carrots, and corn painting a picture perfect scene of tranquility and balance. Both farms are great ways to get some summer into your summer.
Chloe Golod
Summering on Long Island Part 3 : Walking On a Dream
There’s something I really love about summer concerts, especially when the venue is out doors or open-air, and you can be part of the summer sky growing dark and the moon rising in the distance. Attending Avicii at Governor’s Island earlier this month was one of those events which was not just exhilarating but an experience at the highest volume. Luminous, neon lights continuously exploded from the stage while the music lifted the crowd.
Prior to the concert, I had never been to Governor’s Island, nor had I seen Avicii live, but I’d been told that they were incredible. The concert was Sunday July 17th, on what was one of the most spectacular days of the summer, clear, blue skies, zero humidity and a shining bright sun. It was the perfect weather for what proved to be the perfect performance. The concert began at 4 but we got there around 6, in time to witness an amazing sunset. The venue offered us an outstanding view of the Manhattan skyline and the Statue of Liberty.
Tim Bergling, whose stage name is Avicii, is a Swedish DJ and remixer who puts together the most creative beats and sounds, that all sync so cleanly. His music – perfect for the ultimate dance party – is best appreciated in a concert venue. Must hear songs include Seek Bromance, My Feelings For You and Fade into Darkness. Whether you can make it to a live show or not, his music is a must listen!
Another great summer concert venue is the Nikon Theatre at Jones Beach (Long Island). I’ve attended several concerts there, and because the theatre is open-air, you get these incredible views of the water reflecting off the summer night sky. The parking lot is directly next to the Jones Beach beaches so you can spend the day at the beach beforehand if you’d like. The theatre holds General Admission along with seating.
Summer concerts are always fun, especially when you can also enjoy the summer air along with your favorite music. There are several great venues for outdoor concerts on and close to Long Island. Check them out. It will be time well spent.
Chloe Golod
Summering on Long Island Part 2: “Take a Hike”
Achieving that summer body we dream about is never easy – especially when the appeal of being cooped up in a hot, steamy gym runs low. Hiking gives me the hard workout I’m looking for without the feeling of being in the gym. And when it comes to hiking and exploring, Long Island is textbook material. Its pristine, natural scenery and the Long Island Sound provide a magnificent workout sanctuary.
Some unique spots I’ve come to know and love include Caumsett National State Park and the Greenbelt Trail (CSH), which bends and turns throughout Long Island. Spanning 1750 acres and overlooking the Long Island Sound with a brilliant view of Huntington and Lloyd Harbor, Caumsett is located on Lloyd Neck. The park offers biking and hiking trails, fishing, horseback riding, and a bird conservation area, to name a few activities. Whether you decide you want to turn it up or keep it light, you can walk, jog or run the route that circles the park (approximately 3 miles). The Volunteers for Wildlife Hospital and Education Center – who work to rehabilitate injured wildlife – can also be found in the park.
The Greenbelt Trail is wonderful too because it not only overlooks Cold Spring Harbor Village and Long Island Sound, but also runs along the Cold Spring Harbor Nature Conservancy. I’ve jogged through this part and while the hills and rocky terrain are challenging, it is an awesome workout with unforgettable scenery. The lush greenery offers a magical escape into nature. Due to the vast size of the Greenbelt system which can take you to the southern shores of Massapequa, there are lots of trails to explore, allowing for several types of workouts. Its location also allows you to stop into Cold Spring Harbor Village afterwards to grab a quick bite, shop the boutiques or visit the historic Whaling Museum.
Another great spot worthy of checking out is the Long Pond Greenbelt Trail in Sag Harbor (1,100 acres). This Sag escape offers one of the rarest collections of plants and animals on Long Island, in New York State and worldwide! Its most significant aspect is its distinctive collection of 13 coastal plain ponds as well as pond shore communities.
So get out of that hot, stuffy gym and explore the scenic trails Long Island has to offer. I can assure you that you won’t be disappointed.
Chloe Golod
Summering on Long Island
Happy 4th of July!
While it is American tradition to celebrate with barbeques, fireworks and parades, the Fourth of July is really a time to commemorate America’s declaration of separation from Great Britain which occurred on July 4, 1776. Our freedom and our democracy is a direct product of the determination of our forefathers who worked through obstacles and fear to establish the United States as a free country.
Today we express our thanks to those whose great efforts resolved problems and differences in order to maintain the integrity and values that the Declaration of Independence was founded upon. Now the famous document serves as one of the greatest symbols of our freedom. Here at Hirshleifers, we wish you a safe and festive July 4th!
Day of Reflection: Memorial Day
Originally called Decoration Day, Memorial Day is a day of remembrance for those who have died in service to our country. It was first widely observed in May of 1868, to commemorate the sacrifices of Civil War soldiers. Memorial Day is celebrated at Arlington National Cemetery each year with a ceremony in which a small American flag is placed on each grave. Traditionally, the President or Vice President lays a wreath at the “symbolic Tomb of the Unknown Soldier.” In 1971, Memorial Day was declared a national holiday and is now about reconciliation and coming together to honor those who gave their all. Ways we can observe this holiday are to visit memorials, fly the American flag at half-staff and place flags or flowers on the graves of fallen heroes. Here at Hirshleifers, we want to express our gratitude for all who have served our country, and continue to wish for peace for the citizens of the world.
Signed Copies of Gwyneth Paltrow’s book – My Father’s Daughter
Last week, we were fortunate to have Gwyneth Paltrow stop by and sign copies of her highly acclaimed new cookbook, ‘My Father’s Daughter.’
Complete with 150 wonderful recipes that are healthy and accessible, rich photographs celebrating the joy of preparing food with and for family, and personal stories of cooking with her father when growing up, the book offers a glimpse into her life as daughter, mother and wife. In its short time in print, ‘My Father’s Daughter‘, with an introduction by Mario Batali, has been widely heralded as a great addition to everyone’s cookbook collection.
Signed copies of Paltrow’s cookbook are now available for sale at Hirshleifers. Profits from the sale of Paltrow’s signed cookbooks will be donated to Amfar International, Habitat for Humanity and Feeding America, three organizations designated as the beneficiaries of Hirshleifer’s yearlong charitable initiative, Why Fashion Matters, at www.whyfashionmatters.com. Check us out online, leave a comment on our Dialogue or Facebook page, make a donation to the three designated charities, come in to Hirshleifers and check out Paltrow’s great cookbook.
$100 each – limit of one per customer please.
Telltale Signs
I often travel to Snowmass, Colorado, and drive the four hour trip from Denver along Interstate 70 – a large modern interstate. Even on the Interstate, I’ve had some pretty hairy driving experiences that have made my NYC suburban heart just about jump out of my chest. I’ve seen highway signs flashing alerts the likes of High Winds, Extreme Fire Danger, Wildlife on Roadway, 6% Grades-Truckers Stay in Low Gear, Chains Required, White Out Conditions Ahead, Ice On Roadway, Caution-Controlled Burn Ahead-Smoke Conditions. I’ve seen runaway truck ramps strategically positioned every few miles, reminding me, as if I needed reminding, just how serious the stakes are while driving across the Rockies.
That all pales in comparison to my recent drive from Denver to Crested Butte and then from Crested Butte to Aspen. The ride to Crested Butte was fairly tame by Rocky Mountain standards. Yes, it was dark and the snow-covered road was slippery, and there was even a flashing alert warning of black ice on the roadway. I hate when that happens. Another sign that casually advised – Local Penitentiary Nearby. Do Not Pick Up Hitchhikers – made me wish I had taken a stronger dose of the sedative before we got into the car.
But the car ride through the Black Canyons of the Gunnison to Aspen topped it all. A lone single-lane circuitous road hugged the steep mountain, with grayish slate shoots of canyon falling off to the right, leaving little room for driving miscalculations. The fiery red setting sun cast shadows on the starkly beautiful ice packed cylindrical peaks. The recognition that you were completely alone, exposed and vulnerable, hit like an arrow landing right between your eyes.
And then the sun started to set, followed by a loss of cell service. Things were definitely going to get worse before they could get better. And then:
A sign: “Watch for fallen rocks on the roadway.” But I’m calm.
The next sign: “Rough road ahead.” Breathe, Caryn. You will get through this.
The next sign: “Caution. Snowy conditions exist.” Nothing I don’t already know, there. I am peaceful. I am calm.
And then we spotted a huge boulder on our side of the road. We had to come to a complete stop to drive around it. That was close.
A series of hairpin turn signs, followed by – yes, you’ve got it, hairpin turns.
A sign: “Avalanche area. No stopping or standing for next 2 miles.” Are they kidding me?
A sign: “Caution. Snow plows turning on the roadway.” As if you could see anything on the roadway at this point.
And then the elk signs started, becoming more ominous as we proceeded. A yellow sign showing a large horned animal in a mid-air leap first appeared, and was followed by that same sign with two red flags attached to it. My mind is working overtime. How many elk are they talking about? How much time will we have to get out of the way? And then, we come upon a flashing elk migration sign. Okay, I get it. Yes, there are elk migrating. But will we have a chance to …. Oh My God, David, swerve left. There are like 20 elk in the road.
And then to my relief, the telltale signs of civilization began to make themselves felt. A horseback rider crossing sign, a tractor crossing sign, from out of nowhere a red Dodge pick up overtakes and passes us doing at least 60. It was either a person who knew the roads much better than we did, or someone who ate the same enchiladas I did an hour ago. Step on it, David.
A school bus sign followed by the return of cell service. Oh My God. We’ve made it. We’ve made it back inside the warm bosom of civilization. I’m safe. Or so I thought, until I spotted the sign: Road Rage call *csp.
Brunello Cucinelli – An Interview By Cheong Kwon
Cheong Kwon: I believe that Brunello Cucinelli’s philosophy as a brand is a respectable model for the future by recognizing that economic value is nothing without human value. How do you think this philosophy effects the customer ? To what extent do you think your clients understand “the wise and moving words of Saint Francis, Socrates, and Seneca The Elder)” or participate in “the higher aim of true good”?
Brunello Cucinelli: For us the message of higher quality doesn’t stop in the garments, we want our costumers to also aspire for high quality in their every day living. This is what we’ve tried to create in our daily life here in Solomeo and I think, no matter your background, living a luxurious life can also be done when you reach a great balance between your personal and professional life and when you are able to work in a beautiful place, which inspires your creativity and soul. I am sure that our client really understands and shares this philosophy with us.
CK: When visiting Solomeo, I was immediately struck by how your palette, season after season, is directly influenced by the Umbrian countryside. Yet, your earliest collections were brightly colored cashmere knits. Can you tell me how and why your color sensibility has shifted?
BC: Brunello Cucinelli was born introducing dyed cashmere. Today, we are characterized by neutral tones like grays and browns, with a touch of soft colors, never too bright and with a worn feeling. We felt that the ease of the silhouettes, the use of precious natural fabrics all combined with a subtle use of color, created the aesthetic of quiet elegance we wanted to be identified with.
CK: Who and what are some of the artists and artistic sources that you admire ?
BC: I love the Italian Renaissance. I am fascinated by the perception of man and of the world that was born during that time; it was so much different from the previous centuries. In this historical period, man gets the awareness of being a unique subject able to cultivate his skills and to dominate nature, changing it.
I would suggest anyone a trip to Umbria to discover the works of Piero Della Francesca.
CK: In today’s world, it takes a brave person to speak about spirituality, which can be a political landmine. How have you manged to override these traps and remain unscathed ?
BC: By always referring to the great thinkers of the past who, with their lives and words, established values that have been truly relevant for many generations.
I approached them with concern and desire, and the teachings of those masters made me look at the world with different and more conscious eyes. Today, we should all look back at these ideals which established our society, universal principles of morality and ethics that should set the base for a better future, where human and natural values will get their importance back upon all the others.
CK: What attracts me most to Brunello Cucinelli is its’ purity and seeming alignment with nature. Each garment is special and designed with such an unassuming, yet beautifully proportioned design, not unlike what is found in nature. I wonder, how do you manage to personally stay connected to the rhythms of nature ? Do you have advice for your clients about this?
BC: We work in a simple and beautiful environment, surrounded by the Umbrian hills and nature. Our region is a constant resource of inspiration for us with its simplicity and rural tradition still in place. For example, our design team works in an office with big windows facing uncontaminated valleys. This peaceful atmosphere exalts people’s qualities and makes them more productive. I think everyone should find the time to break from the hectic moments of modern life and rediscover the pleasure of simple things.
CK: Are there any characteristics which you think define a Brunello Cucinelli client ?
BC: Our customer is someone who is really interested in fashion, but who doesn’t like to change drastically his/her image just to follow the seasonal trends. He/She sees our product as an investment and understands the true value of our quality. But what I most like in our clientele is their ability to see behind the product: they really are fascinated by our philosophy and Solomeo.
CK: What vision do you have for the future of Brunello Cucinelli ?
BC: We were born over 30 years ago as a cashmere company. We grew up during the years, and the brand offers a lifestyle collection today. We are spending resources in researching new ideas, especially on new accessories like fragrances and sunglasses to complete the gamma. We never cease to invest in our product research to always provide fresh and modern collections.
Cheong Kwon writes for Swiss contemporary art magazine DATÉ, and is the Associate Curator at The Foundation Tanagra.
Nicholas Kirkwood’s discerning eye
Visionary award-winning shoe designer Nicholas Kirkwood was only in the store for a brief time recently when he stopped by for a visit, but the impression he left on me was extraordinarily powerful. I can’t stop thinking about his quiet understated intensity and incredible focus. He went through the entire store – not just the shoe boutique – stopping at each display to examine fabrics, design, technique, and concepts I couldn’t even begin to contemplate. He missed nothing, using the opportunity to deconstruct and reconstruct everything his eye fell upon. We were looking at the same pieces, but what he saw was profoundly different than what I could ever begin to understand. I knew I was in the presence of someone incredibly thoughtful, passionate and energetic – a potent creative force.
His brief visit validated for me everything I had heard about him up until that moment – his uncompromising standards and designs, his innovative use of materials and the architectural quality of his work, his genius. It inspired me to be in his presence, to watch him study, experience and absorb each and every detail of the elements around him, and to witness the creative process that, for him, is as fundamental and necessary as breathing. Kirkwood’s visit was a distinct honor and a treat I will not soon forget.
The Passion of Giorgia Caovilla
I had the occasion to meet Giorgia Caovilla the other day when she came into the store to visit and do a bit of of shopping. She was heading back to Italy the next day, where she lives in a town somewhere between Venice and Padua. The strikingly young Caovilla, 37 to be precise, knocked me out with her presence, grace, maturity and quietly confident commitment to her new solo venture. After working with her father for the last ten years — the well-known luxury designer, Rene Caovilla – Giorgia has gone out on her own to launch O Jour, her first solo collection focused on daywear styles. Drawing on her own personal experience as a busy working mother of two young children, Caovilla saw a need in the high end shoe market for beautiful, sexy shoes that can be comfortably worn. The trick is in the design and proportion of the shoe which features a lower heel that is wearable as well as glamorous. And it is this vision that has moved her forward.
I was honored to have had the opportunity to speak briefly with her. Charming, smart, articulate and poised, she inspired me with her willingness to embrace an idea, an instinct, a concept that she strongly believed in. Passion like that is not easy to come by. And the confidence to follow through and breathe life into your vision is an even rarer thing to see.
While we only spoke briefly, our conversation was truly an inspiration.
Bravo to you, Giorgia. May your brave efforts be met with success.
CHAMPIONS FOR CHARITY. GIVE WITH CHEER. GIVE WITH LOVE.
Moses Maimonides, one of the greatest Torah scholars of all time, and a preeminent rabbi, physician and medieval Jewish philosopher, outlined 8 degrees of charity with the purpose of helping others to live a better life. As we head into Champions for Charity – an innovative three-day program in which participating tenants of Americana Manhasset donate a percentage of purchases to the participating charity of the customer’s choice – and into the holiday season, Maimonides’ writing is a call to action – to take stock of all the good in our own lives and reach out to connect with others less fortunate. Give with cheer, give with love.
Please click image to enlarge
3-2-1 Spotlights On
Powerful spotlights criss-crossed the Manhasset skies on Thursday evening to announce that Hirshleifer’s 100th anniversary party was under way. ‘Under way’ was definitely an understatement. Over 500 guests, among them some of fashion’s brightest faces came to celebrate the evening including Gilles Mendel, Aurora Lopez Mejia, David Rodriguez, Peter Marino, Sara Weinstock, Annie Fensterstock, Louis Morais, Ken Kaufman and Isaac Franco.
For the evening, Hirshleifer’s 3200 square foot Chanel boutique was transformed into the scenic Café Senequier, a chic café situated in the heart of St. Tropez. Tall sleek models wearing looks from Chanel’s Cruise 2011 collection sat under a red canopied overhang, surrounded by verdant palms with a thatched tikki bar offering refreshments to the guests.
In the adjoining space, an array of vintage pieces spanning the 1920’s through 1980’s was on view. Many of the pieces were on loan from Marlene Wetherell’s cool Vintage Fashion shop in NYC. A dress by Norman Norell, a fabulous coat by Pauline Trigere, a 1960’s powder blue shift by Andre Coureges, a Ceil Chapman dress adorned by a Nettie Rosenstein necklace, a Pattullo by Jo Copeland dress and jacket were all part of the collection; Rudi Gernreich, Donald Brooks, Jacques Tiffeau, Tiffeau Bush, Ben Zuckerman were all represented. The vintage display was flanked by floor to ceiling collages of Hirshleifer advertisements from the past fifty years, in which not-yet-but-soon-to-be supermodels Claudia Schiffer, Linda Evangelista, Naomi Campbell, and Christy Turlington wore the best of Hirshleifer’s collections.
Other highlights of the evening included music spun by the sleek, elegant DJ Kiss, whose talent has made her one of the most in-demand DJ’s in the country, and the presentation of an incredible cake, created by Kate Sullivan of Cake Power, a five-tiered pink and white edifice designed to resemble the façade of Hirshleifers, adorned with jewel encrusted skulls, models in looks from the history of Hirshleifers, and, of course, a Louboutin pump at the top of the cake.
First opened in 1910 by eastern European émigré Jacob Hirshleifer as a fur shop at 25 Manhattan Avenue, Brooklyn, the business has evolved and grown to become one of a handful of premier luxury specialty stores in the country today. Still family owned and operated by third, fourth and fifth generation Hirshleifers, the business currently occupies over 13,000 square feet in prestigious Americana Manhasset and has a growing web presence.
J. Mendel
J. Mendel is a fifth generation company founded on the values of extraordinary luxury, exceptional quality and unparalleled style. Gilles Mendel began his career as an apprentice to his father, Jacques, at the eponymous J. Mendel fur salon in Paris. In 1981, he came to the helm as designer and CEO, opening his first J. Mendel Boutique at Elizabeth Arden’s Fifth Avenue Salon. In 1985, he relocated his fur collections to a boutique at 723 Madison Avenue, which still serves as the company’s U.S. flagship.
Mendel evolved the company into a full lifestyle brand when he launched the ready-to-wear collection in 2002. His penchant for maintaining the highest level of craftsmanship when manipulating luxury fabrics in unexpected ways has attracted a wide range of top tier clientele who appreciate his gift for timeless, cutting-edge and exquisitely produced fashions. Since his induction into the Council of Fashion Designers of America in 2003, Mendel has shown his Spring and Fall collections biannually during New York’s Fashion Week and recently added Pre-Fall and Resort/Pre-Spring collections to his ready-to-wear line. Today, J. Mendel has successfully secured its niche not only as distinguished furrier but also as consummate fashion house.
It’s not only top tier clients who appreciate his penchant for elegant and enduring style. Choreographer Melissa Barak of the New York City Ballet tapped Mendel to design the costumes for Call Me Ben, her latest dance production. Mendel executed these designs with exacting detail, such as in the tightly pleated delicate chiffon for the female’s dresses, resulting in a luxurious spin on the classic bodice. The exercise for Gilles in the principles and techniques of ballet design was so inspiring that he applied the aesthetic and methods to his Resort 2011 Collection. Hirshleifers will be hosting a Resort trunk show on Tuesday, October 19th to preview this stunning collection. Stop by to secure your looks, and indulge yourself in the lightness and beauty of ballet-inspired style.
Solomeo – High On Cashmere
I was armed with a map of Perugia, taking in the colors of the Italian countryside, its’ rolling hills, the groves of olive trees, the terracotta homes and villas nestled into the carved landscape, both rustic and manicured. On my mind were two things : when I was finally going to taste Tuscan Wild Boar ragout and if and how I would find Solomeo.
Solomeo, home to Brunello Cucinelli, is not on the standard Italian road map. Of course, because we live in a digital world, it can be easily mapped on a Google map. But I took my chances and, deciding to do things the old fashioned way, drove through small winding roads towards what I anticipated and hoped would direct me near the fairied town.
It rained lightly, and as my travel partner and I passed fields of sunflowers with their heads bowed down and the vineyards exuding the scent of rich earth nourished by the fields of wildflowers from preceding seasons. In short, it was rustic, Italian aristocratic farm country.
Then, there in front of me: a modest road sign partially covered by an olive tree reading SOLO. The town lay on a hill, and it was necessary to climb a narrow manicured aisle of steps which led up to the haven for cashmere lovers everywhere ! Quietly and quickly I made my way into the small village developed between the end of the 12th century and the first half of the 13th century, which was perhaps the most well kept Italian village I’d seen, although I’d passed through many, too many to recall, and yet none of them compared to Solomeo. Yes, perhaps there had been towns which had more charm, or gusto, but, quite frankly, the carefully restored picturesque buildings and alleyways exuded something extraordinary. It exuded both intelligence and the mysticism of St. Francis of Assisi at once. And it was beautiful.
Walking through the narrow paths and peeking into windows, I felt somewhat like an intruder or spy. As I discreetly asked my partner where Brunello Cucinelli was (as the village encourages a measured voice), I realized, that without a sign announcing its’ presence, Brunello Cucinelli was ALL around us…..through the open windows and doors, I saw workers, sewing and crafting cashmere in tandem with the Umbrian breeze and ebbs of nature. A modest van was being loaded and unloaded, and two très chic employees casually entered what I deemed as the administrative building with a slight spring in their steps.
All in all, I knew it was true. From every lovingly restored cobblestone, to the modest but spectacular theater, to the seamstresses’ silently working, it was clear to me that Brunello Cucinelli is not just a brand, it is a lifestyle that puts humans at its’ center.
I felt a deep sense of relief and awe, that my small admiration of Brunello Cucinelli from reading texts about the philosophy of the company, wearing the treasured few pieces I owned, and the experience of touching and examining its’ qualities from afar, had proved itself to be worthy of all that has been touted in the press as “Ethical Capitalism” and a “Humanistic Company”.
As we walked back down the curved steps, my partner turned to me and said, “The honesty of the material, and the name astounds me. They are not selling attitude, and THAT is what makes it different from other brands”. And I couldn’t agree more, I thought, as I walked away, high on cashmere.
Stay tuned for an interview with Brunello Cucinelli himself in November…..
“Work, which is considered an expression of a person’s value, also becomes a part of one’s spirituality and achieves the higher aim of the Supreme Good”
Brunello Cucinelli
Cheong Kwon, 3 September 2010, Zurich
Why Fashion Matters
Hirshleifers is excited to launch an inspired new initiative, WHY FASHION MATTERS, a year-long project that seeks to use fashion’s global reach to bring about positive change. This effort, intended to make people cognizant of the fundamental nature and power of fashion, will coincide with Hirshleifers celebration of 105 years as a fashion business, and is our own way of expressing thanks to an industry that has given us so much.
We have invited a select coterie of designers and other persons prominent in fashion to offer their written perspective on the question, Why Fashion Matters. We have already received responses from Lucien Pellat-Finet, Jason Wu, Guiseppe Zanotti, Norma Kamali, Loree Rodkin and Ashley Olsen, to name just a few, with submissions forthcoming from a host of others whose unique perspective enhances this important conversation.
In January, 2011, we will launch www.whyfashionmatters.com, and post the submissions received. The goal is to initiate a conversation – the broader in scope the better – about fashion and why it is relevant. In addition, we hope to run a series of charitable events over the year, and will donate a percentage of sales generated to three different charities, selected for their international reach and for the fact that they address themselves to the fundamental requirements of health, housing, and hunger. The designated organizations are Amfar, an international AIDS organization, Habitat for Humanity International, focused on providing affordable housing to people worldwide and Feeding America, a charity that addresses hunger throughout the United States. We also hope to offer products specific to this initiative for sale online, the proceeds to be donated to the designated charities.
Finally, we hope to assemble the submissions received into a book, available for purchase online and at Hirshleifers, the proceeds of which will be returned to the designated charities. These ideas represent just the beginning. There is great opportunity for us to collaborate to enhance the life of others.
ASHLEY PITTMAN – MAKING FASHION MATTER
Ashley Pittman is one of a coterie of new designers who is working hard to make fashion matter. An entrepreneurial young woman whose career first began in finance, she had a passion to do more. She followed her heart to Africa, accepting a volunteer position with the Clinton Foundation’s HIV/AIDS Initiative in Rwanda. There, she fell in love with the beauty of the people and the richness of the culture. And it was here that her business plan coalesced with her vision to build a sustainable company that would provide much needed employment and business training to local artisan groups. Her idea was to give back through empowering local communities to do for themselves.
Designing jewels of horn and other materials indigenous to the region, she employs local artists to hand-craft her pieces. She employs a local women’s cooperative to carve the natural horn – a material prominent throughout her collection. She uses only fair-trade semi-precious gemstones mined in East Africa, and her bronze and brass chains, studs and other metal elements are recycled by local artists.
Ashley’s designs reinterpret the power and simplicity expressed in the shapes and textures of centuries-old African jewelry. Her collection offers elegant cuffs in light and dark horn studded with amethyst, topaz and other stones, striking shield shaped pendants in horn with bronze studs, charm necklaces of horn and bronze, bronze necklaces with quartz or rubies, and a variety of natural horn bangles, some thin, some thicker, coming in sets.
And finally, Ashley Pittman donates 10% of all profits to help fund the operation of a rural health center and primary school in an area of Kenya plagued by severe drought. Through giving local artisans the opportunity to take responsibility for their own lives, Ashley Pittman is engaging in a type of charity that will not merely sustain itself but will build over time as businesses beget other businesses, which then leads to better health, education and to a more fulfilling way of life. Ashley Pittman is impressive, not simply because she designs fabulous pieces, but because she is out there making a difference with the pieces she designs. Ashley Pittman certainly brings relevance to fashion, and is making fashion matter.
Check back as we take up and explore the important question of Why Fashion Matters. Coming January, 2011.
The Symmetry of Giving. Katrina Five Years Out.
I was incredibly privileged to spend the last week in New Orleans – NOLA, as it’s called, even the acronym sweet and easy – among volunteers who descended from across the country to take part in Habitat for Humanity’s ‘5 houses within 5 days buildathon’ to commemorate Katrina’s 5th anniversary. Because we had volunteered with New Orleans Habitat for Humanity before, we were among those invited to be a part of this historic effort.
The work took place in the 7th Ward, a poor area smashed to bits by Katrina’s wrath, and the goal was truly ambitious. Five foundations having been poured, we had 5 days to complete the framing, siding, roofing, windows and external doors on 5 lots. We labored in daunting conditions – oppressive humidity and a sizzling sun from which there was no escape. And the work itself – lifting and moving ladders and heavy materials, installing roofing, siding, insulation and windows, taping and caulking – was so exhausting that by the end of the day, we were barely able to walk the short distance back to our car which was parked just around the block.
And yet, the experience was nothing short of exhilarating. It’s hard not to fall deeply and irretrievably in love with the people of New Orleans, so gentle and unassuming, yet so resourceful and determined. Accustomed to asking for and receiving nothing, they sit in silent disbelief as Habitat volunteers and community members move in like a wave, bringing life, renewal and hope to communities wracked by devastation and despair. Like Christmas in August. An elderly man in a Cleveland Indians cap sitting on the porch of his modest home, watching as two abandoned garbage strewn lots across the street are transformed into dwellings. A young woman sitting on a stoop, young child in her arms, standing up to dance and cheer as the roof of one of the houses is raised. The quiet dignity and unbreakable spirit of those whose suffering can be seen in their tired eyes touched me in ways profound and unexpected, and left me feeling connected and moved beyond imagination.
Working side by side of volunteers of all races, ages, economic status, religion, places of origin and political spectrum, I couldn’t help but feel grounded, alive, inspired, purposeful and ultimately joyful. Hot, tired, sweaty, achy but spiritually soothed and joyful.
So, for the last five days, that’s where you’d find me and my family – on a lot at the corner of Frenchmen and N. Roman – defying the heat and pushing the limits of physical endurance and my abilities, in order to do my small part in a grand grass-roots movement of rebuilding and renewal. And through my efforts, I was able to experience my own sense of spiritual rebirth, an unexpected gift that will sustain me for some time to come.
ON FREEDOM
Have you ever thought about freedom? I mean really really thought about it, and about what it takes to create a society where dissent and differences are tolerated, even embraced (albeit not always happily), because they’re understood to ultimately facilitate and inform a more enlightened majority point of view. Have you ever thought about the personal sacrifices that have been made over time to sustain such a society – our society — imperfections and all?
Would you have had the guts to stand tall with the Patriots at Lexington and Concord or at Bunker Hill – a ragtag assembly of untrained, undisciplined farmers, craftsmen, artisans and the like – and face down the strongest, best trained and best equipped army in the world, risking life, income, everything – your world as you knew it? Would you have been willing to risk imprisonment by offering shelter, comfort, a slice of bread or a drink of water to an escaped slave who, with nowhere else to go, happened to knock at your farmhouse door in the dead of a wintry night? The many examples of such courage throughout the history of our great country go on and on, and the question remains the same. What would you have done? What would I have done?
I deeply fear that I wouldn’t have had the courage to rise to the occasion, to stand up at my own peril against injustice, in support of freedom and the supremacy of the rule of law. Yes, it’s easy to be principled when the risks are minimal. To stand up when the going gets tough, though, takes the kind of courage I can only dream of possessing. And while that disappoints me about my own moral fiber, it helps me to truly appreciate the strength of character and conviction of those who came before me, who put themselves in harm’s way in support of a belief, a principle, an idea, an abstraction – the concept of a society in which the people are imbued with certain rights and freedoms and the power to enforce their will through the government they establish.
And so, on this July 4 holiday, I urge you to take a moment to reflect on the sacrifices of those who have come before to bring us the many freedoms we enjoy, and to consider what personal sacrifices we as a people might be called on to make in order to sustain our freedoms for generations to come. Let us honor all those who have worked to create this powerful, wonderful, yet imperfect, legacy of American democracy
To Everything There Is A Season…
‘To everything there is a season, and a time to every purpose under heaven.”
Whether you know it as Ecclesiastes 3:1-8 or the Byrd’s 60’s hit, ‘Turn, Turn, Turn’, the passage is profound and beautiful. I love it because it tells me to live life to its fullest, to look for and savor the many moments of joy and beauty it offers. And that’s what I try to do – everyday.
And so, I’m excited to share news of an impending moment of joy and family connection. Tonight, Shelley Hirshleifer’s daughter, Marci (and niece to myself and my sister Lori) will get married. Because she would kill me if she knew I was writing about her wedding, I will say only that her heavenly husband-to-be, Chris, is an incredible guy – mature, caring, responsible, honest and smart. We are thrilled to welcome him and his family into our midst.
And for the bride to be, the sensitive, caring, kind-hearted, zany Marci – the first of our fifth generation at Hirshleifer’s – we send her our love. We wish Marci and Chris a long full life, health and much happiness, and, most importantly, the ability to look for and savor its precious moments of beauty and joy … because to everything there is a season.
With great love from all of us.
Caryn Hirshleifer
Thank You, Eric Gaskins
Eric Gaskins’ blog post of last week, wherein he tackles the question of what is fashion and why it matters, inspired a host of impassioned comments from readers determined to weigh in on a subject that touched them profoundly. The dialogue that unfolded, as comments and responses went back and forth, fascinated me. I wanted to join the discussion, but the more I thought about it, the more I realized that I was at a loss for what to say. That doesn’t happen very often.
And my ruminations led me to think about why. Why didn’t I approach the idea of fashion with the same passion, energy and sense of wonderment that was manifest in what the commentators wrote in response to Eric’s post? Why could others, and not me, connect with fashion they way I connect with a Monet or a Michelangelo? What does fashion really mean to me and what place does it inhabit in my world? Like a religious leader who doesn’t believe in God, am I a fraud, writing fashion blogs without appreciating the magic of fashion, the myriad of things it represents to so many?
And then it occurred to me why. I grew up in a household where fashion – the art form – was eclipsed by fashion – the business model – and where names like Norman Norell, Paulene Trigere, Originalla, and the likes, floated across the dinner table not so much for the contribution each made to fashion but for how their pieces should be merchandised, who else carried them, were their goods shipped timely? The fashion, we never quite got to – the lines, the shapes, the colors, the fabrics, the textures, the workmanship, the statement made by the pieces was all taken for granted. Sort of like having a great antique vase in your living room and thinking only about how much to insure it for and how to maintain it, missing the opportunity to appreciate its beauty and artistic elements.
And once you begin to think of fashion for the pure sake of fashion – you come away with a new appreciation for your role as an owner of a fashion business. You begin to see yourself as a custodian or trustee, a caretaker, whose role is not merely to ensure the continuation of the business (which in and of itself is a great challenge), but to do so in a way where you support and foster the true art of fashion, with all of its transformative creative elements. Such a task, I fear, is easier said than done.
Thanks Eric, for getting me to the point of thinking about this.
Caryn Hirshleifer
The Dogs Of Hirshleifers
Kristen Farrell & the Power of Real
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There’s something about a person who loves to read that leaves me feeling immediately and intensely connected with them. I find that those who truly love books – who travel through them to places distant and remote – share a sense of community and connectedness with each other that transcends what they do, almost who they are. If you and I love the same books, we know each other. We identify with the same experiences, dreams, fears, and challenges.
And so, when I first met the extraordinarily talented Kristen Farrell – painter, sculptor, goldsmith, fine jewelry designer, and only 28 years old – what struck me was not just the sheer power and majesty of her jewels, but the fact that she, like me, is and has always been a lover of books – a devotee of stories and adventures that leave her mind rich with people and elements from times medieval to the present, places real and imagined, simple and fantastical. Exotic caravan routes that crisscrossed India, tall menacing spires on Gothic churches in England, tales of love lost and love found, are all part of her canvass, the stage on which she creates her work. This rich tapestry of images informs both her and her work, rendering both Kristen and her work disarmingly and refreshingly pure, intense and deep. I’m amazed at how someone so young can know so much about life, and also be willing to lay bare her soul to a judgmental world.
There are so many cool things in Kristen’s collection. Just their names evoke a strong sense of fantasy. There are mystical talon bracelets, shield and star pendants, wolverine rings, angel wings rings, dagger earrings, knight earrings, lancelot pendants, creature heart pendants and armor bangles. Each piece has its own story and holds its own magic.
Once upon a time there was a little girl named Kristen, who fell in love with the magic and mystery of brightly colored beads, and dreamed of growing up to create fantastic jewelry. With tenacity, and a sensitivity and openness which permitted her to take in the beauty of the human experience, Kristen has emerged as the lead character in her own bedtime story. And the story is one that’s both amazing and inspirational.
ANDY FEINBERG, CHEF DE CUISINE
One of my favorite people on earth is my nephew Andy Feinberg. Some call him Andrew, but he’s always been Andy to me. Honest, loving, sensitive, gentle, kind, consistent, reliable, generous, hard-working, handsome and a culinary mastermind. Who knew that he and Francine, his wife and kindred spirit, would become the creative geniuses behind Franny’s and BKLYN Larder, both Flatbush Avenue, Brooklyn mainstays which, in their relatively short time in business, have received rave reviews from food critics and clientele alike, and have brought new life to the area. Don’t take my word for it. Google them. Read the tons of articles in the New York Times, in New York Magazine, and online at websites like Chowhound which sing their praises. And then go check them out. If you’re not both amazed and impressed, I’d like to hear why.
It’s hard not to connect with their simple yet exquisite dishes where flavors and tastes are subtly layered in and unfold as you work your way through them. And then, there’s their philosophy of sustainability and openness that permeates everything they do, and the vibe of warmth and connectivity that I get when I eat at Franny’s. Sitting at a table, I feel part of a greater community of people coming together to eat and to share with each other. It’s a feeling I can’t say I’ve had much in a restaurant. More like how I feel when I go to Saturday minyan services, which I try to do as often as I can. It’s a sense of taking time out to experience, relate, and rejuvenate. There’s an almost spiritual aspect to it. No matter what I’ve eaten, I leave feeling refreshed, connected and extremely satisfied and content.
Both Franny’s and BKLYN Larder pride themselves on using fruits, vegetables, dairy and eggs, meat and fish procured almost entirely from local and organic producers, the coffee certified as fair-trade. Andy and his staff make their own sausages and cure their own meats. They also practice eco-friendly strategies which include converting kitchen grease to biodiesel fuel and using biodegradable takeout containers and environmentally correct cleaning products.
So, I asked Andy if he would answer some questions I had about olive oil, of which I know very little. Not Popeye’s Olive Oil. I’m old enough to know about her. It’s the other olive oil I’m talking about. The Larder offers a very particular selection (everything at Franny’s and Larder is particular and done with great thought) for purchase and also has a handsome stainless steel fusto perched on its counter from which olive oil can be dispensed into dark glass bottles well-suited for storage in your kitchen pantry. So, what follows are my questions to Andy, and his responses on the topic of olive oil.
CMH: What are your current favorite olive oils?
AF: 1. Manicaretti extra virgin olive oil : Titone
………2. Gustiamo Disisa Extra Virgin Olive Oil
………3. Trevi Extra Virgin Olive Oil
………4. Tibvrtini Extra Virgin Olive Oil
CMH: What do you look for in an olive oil in terms of taste, consistency, smell and feel?
AF: I like oils that taste like olives. I look for balance and a pure clean taste. Smell is very important. A good oil should smell of either fruit, flowers or green leaves.
CMH: Where do the best olive oils come from?
AF: Italy, of course!
CMH: What is the real difference between virgin and extra virgin oils, and can an olive even be promiscuous in that way?
AF: Extra virgin olive oil is the highest quality oil available. The acidity of the oil must be below 1%. Lesser olive oils have a higher acidity and therefore are not as delicate and have been obtained from 2nd and 3rd pressings. As for the second part of your question, I don’t think so. Maybe in Italy?
CMH: What is it about the oils you selected that make them special?
AF: I love these oils because they are delicious and they make my food taste better.
Thanks Andy for everything you do. I’m so proud of you and I love you.
Caryn
A Conversation with Aerial Photographer Andrea Sanders
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Andrea Sanders graduated from the University of Virginia in 1991 with a BA in both Fine Art and English Literature. In 1996 she received an MFA from the School of Visual Arts Department of Photography and Related Media, culminating in an exhibit of photographic mixed media works at the Visual Arts Gallery in Soho. She followed at the Bronx Museum’s Artists in the Marketplace seminar program, which resulted in a 1997 museum exhibition and, since then, has exhibited in numerous group shows in and around New York City. Her studio is located in Brooklyn, where she also resides. What follows is a brief conversation between Caryn Hirshleifer and Andrea Sanders.
Caryn: Why aerial photography? How did you get into that medium and why do you like it?
Andrea: I have always been interested in the disconnect between the stillness of our surroundings (the earth, architecture, etc) and the movement of time. We live among things of relative permanence, yet our lives are in constant forward motion and are anything but permanent. I began exploring this idea by photographing houses from moving cars. That eventually and remarkably naturally morphed into photographing the earth and the marks we make on it from planes. I travel a lot for business and pleasure, so I began just shooting from commercial flights. I like aerial photography in part because it gives us a perspective on the world (and our place in it) that is at once very unusual and very familiar.
Caryn: What are you seeking to capture when you shoot open spaces from the sky?
Andrea: I’m interested in capturing the ways in which we try to control our world. Houses, for example, literally ground us to the earth and supposedly protect us from the chaos outside. All of the marks we make on the earth — buildings, crop circles, bridges and roads, etc — are on some level our way of proving our existence, of literally “making our mark” and defying the fact that at the end of the day, we don’t have control and we ourselves are not permanent. By documenting a place in time, by making a photograph, I become part of the attempt to hold on to things that can’t be kept, to stop time, to stay still. I gravitate toward relatively empty, open and even generic spaces, as opposed to congested, urban spaces. There is a quietness in these open spaces that I think invites contemplation. Seeing a lone farmhouse from the sky, one wonders what lives have been lived and lost in that singular place over time.
Caryn: In an aerial composition, what artistic elements do you look for?
Andrea: I try to keep an open mind when looking out the window. But I do find the geometry that we inflict on the earth to be particularly fascinating. To me it symbolizes the order we need in our lives to feel in control. I’m not looking for a very sharp level of detail. I actually prefer a softness to the images. We move through life seeing things–and remembering things–as a bit of a blur, not in perfect focus, so I want the images to reflect that. The result is also that the images look somewhat like paintings, which adds a whole other dimension to the work.
Caryn: What is your favorite aerial shot and why?
Andrea: This is a tough question. I find it hard to commit to just one, but if I had to choose I would say that “Untitled (2 barns & space)” might be my favorite. In its minimalism and simplicity I think it conveys very clearly the sense of melancholy and reverence for beauty that is at the heart of my work.
Check out Andrea’s website at www.andreasanders.net. Her digital photographic images can also be seen and purchased at Hirshleifers as well as at Americana Manhasset’s Concierge.
PAUL REVERE, SELF-EXPRESSION AND SEEING RED
I love history because it informs the way we live. It’s not the dates, the battles or the epic moments that I care about. It’s the ideas that fascinate me – the underlying beliefs and philosophies of the people who lived during different times. And with the 18th of April having just passed – the anniversary of the midnight ride of Paul Revere — I am reminded of the power of ideas, the power of beliefs so passionately held that people are willing to risk life, limb and family in order to exercise them.
Which brings me to the notion of self-expression, the uniquely American idea born of the American Revolution. Our founding fathers valued self-expression as an end in itself because it affirms the dignity of every member of society, and leads to the realization of a person’s full potential. And with self-expression comes music, art, and, of course, fashion, one of its ultimate and yet basic manifestations.
To say that there is a connection between the political system in which one lives and the ability to express oneself through fashion is an understatement. We are extremely fortunate to be able to come and go as we please and to exercise the many personal freedoms we partake in. But even in the most oppressive regimes, where rules tell women what they must wear, if and when they can go out of the home and with whom, there can still be found the subtle elements of personal style – how she places her hair, how she buttons her dress, how she folds her socks or leggings – because even in the most politically repressive places, people still have the need to express themselves as individuals. Indeed, self-expression is a fundamental human need that imbues one with a sense of self-determination and power, even where they realistically have none. It transcends political systems, religious systems or any other system because it is a human system which brings us all together no matter where we live or what we believe in.
So, as we remember Paul Revere and contemplate how his ride advanced the cause of self-expression, there’s one piece of fashion advice that stays with me, because it could have altered the course of history: This goes out to all you British soldiers. Remember: when marching through the forests of New England trying not to be noticed, you might consider wearing a color other than red.
Caryn Hirshleifer