"Mercedes Benz Fashion Week NYC 2011"

Alton DuLnaney, Set Designer, MBFW NYC 2011.

It's that season again in NYC, the temperature is slightly cooler and fashion is crackling in the air. This week is also Fashion Week in NYC. As Set Designer for one of the shows in The Tents at Lincoln Center, I was on-hand for the festivities, and bring you a behind-the-scenes look at some of what goes on in preparing for a fashion show.

Above, the Set Designer posing with the Sponsor, Mercedes Benz. I like the Motto: The Best Or Nothing! My sentiments exactly.

As Set Designer for the fashion designer Monique Lhuillier, I took inspiration from her debuting collection to produce a complimentary and flattering back drop to present her designs. 

Set Design, MBFW, NYC, 2011.

Of course, before that 10 minutes of glamor and paparazzi, there is a lot of work to be done. Here, in the studio, the scenic painters are preparing the hand-painted muslin that will be stretched to cover the runway.

Set Design, MBFW, NYC, 2011.

Later, in The Tents at Lincoln Center, the crew begins the laborious task of laying down the runway.
First, 4x8' sections of MDF are laid out in the shape of the runway, in this case an 88 feet long "U" shaped runway.

Set Design, MBFW, NYC, 2011.

Then the painted muslin is laid out, carefully pieced together like a puzzle. The space we are working in is called "The Theater" and is the largest venue at The Tents during Fashion Week.

Set Design, MBFW, NYC, 2011.

Next, the very talented and patient crew, work diligently to stretch the muslin over the runway, making sure everything is perfectly aligned and tight, without wrinkles or imperfections. For the back-wall, we use a bright white drop with a 14" baseboard running across the bottom, to add an architectural element.

Monique Lhuillier, MBFW, NYC, 2011.

After the lighting is perfected and the sound is cued, it is SHOWTIME. Above the first model makes her way down the runway.

Monique Lhuillier, MBFW, NYC, 2011.

The collection included bold color blocking and stark use of color, from cobalt blue to cadmium yellow, to fuchsia, a departure for the designer best known for her bridal collect. The fashion was both daring and elegant, and looked great against the crisp white back drop and as the models glided down the stripped runway (if I do say so myself!)

Monique Lhuillier, MBFW, NYC, 2011.

The finally was an army of gorgeous women in evening gowns, marching off to a gala or red-carpet event. Speaking of, there were plenty of celebrities in the audience, eying what they might soon be wearing to their own event.

Mandy Moore at MBFW, NYC, 2011.

Spotted on the front row was Mandy Moore (pictured above), Rose McGowan, Robert Verdi, Miss Jay. and others,  as well as all the editors and media.

Monique Lhuillier, MBFW, NYC, 2011.

The show was well received, and backstage, the celebrities, the press, and the fans all flocked to congratulate Monique Lhuillier on her edgy new collection. Above, George Whipple from NY1 interviews Monique.

Overall it was a great experience - hard work that paid off with a beautiful and glamorous show.

To see out more of the show, check out Style.com.
http://www.style.com/fashionshows/review/S2012RTW-MONIQUE

"Nicola Formichetti Pop Up"

Nicola Formichetti Pop Up, NYC, 2011.

In celebration of Fashion Night Out, (8 September 2011) I ventured downtown to brave the crowds at the new Pop Up Boutique and Gaga (as in Lady) Gallery from Nicola Formichetti. The 'store' occupies a space on Walker Street, near Broadway, just below Canal street - not your typical high end retail address. Still, there was a queue of people waiting to get into the shattered mirror space to see what all the fuss was about.

It was well worth braving the crowds, as the boutique and gallery is brilliant with its multi-faceted reflective walls and disco-tech lighting. The whole space feels more a night club than a retail experience, though the creations from Mugler's Creadtive Director and Lady Gaga's personal stylist are equally powerful.

Nicola Formichetti Pop Up, NYC, 2011.

The designs ranged from the wild to the completely ridiculous, but all with a couture, rock-and-roll edge. Something one could easily imagine Gaga wearing on an everyday basis.

Nicola Formichetti Pop Up, NYC, 2011.

And while it is easy to see the value of these on stage or in other types of performances, the taste is definitely very specific. 

Nicola Formichetti Pop Up, NYC, 2011.

Perhaps with Nicola Formichetti's recent appointment as Mugler Creative Director, the fashion world might should once again prepare itself for some runway theatrics and outré couture creations.

The crowd was equally over-the-top, with downtown hipsters rubbing elbows with nightlife glitterati.

Mugler model Rick Genest, NYC, 2011.

I even spotted the head-to-toe tattooed Mugler model Rick Genest, posing along side artwork of himself. Every visible inch of his body is covered with anatomically provocative ink, including bones, veins and musculature fully covering his face.

Nicola Formichetti, NYC, 2011.

The man of the moment was also present. In addition to his involvement with Gaga ( who was apparently a no-show, unless she was in disguise) and Mugler, Formichetti is also fashion director for Vogue Hommes Japan, and fashion director for the international retail chain Uniqlo. A busy guy!

Alton DuLaney, Nicola Formichetti Pop Up, NYC, 2011.

Of course, I took time to stroll around with NY's hippest, posing for a few photos of my own, before jumping back out into the night, to attend other parties and art openings.

The Nicola Formichetti Pop Up is located at 50 Walker Street near Broadway in Lower Manhattan. But hurry, it's only there until 21 September 2011.

"Recycled Stationery"

'Recycled Stationery", Alton DuLaney, 2011.

As an avid letter-writer, I am always looking for ways to make my correspondence interesting, and to really stand out in a pile of poste. Now, as few people actual write letters anymore, the mere fact of taking the time to produce a hand-written letter is usually enough, but the over-acheiver or dedicated artist might strive for more. Remember, mail art starts with the envelope. Enter: Recycled Stationery.

What do you do with all those return envelopes that come with offers you can refuse, or bills that are paid on-line? Well, I save them and then re-purpose them as my own customized recycled stationery.

Above, is one of my favorite tricks, using an envelope with one of those handy built-in windows designed to show the address. I like to combine this with a page ripped from a magazine, which becomes my stationery, folding it carefully so that some interesting little bit peeps out from the window. In this example, an abstract swatch of a bare chest is sure to get some attention.

'Recycled Stationery", Alton DuLaney, 2011.

Another resource is the bank, with those envelopes given with your withdrawel. I save and then reuse them, as seen in this sample. Note: Be sure to mark out any pre-printed addresses to avoid confusion within the postal system. This one is to my friend Morgan, a philatelic collector who always sends me amazing old stamps, so I try to return the favor by keeping my letters to him inspired and unexpected.

'Recycled Stationery", Alton DuLaney, 2011.

Speaking of stamps, did you know that postage never expires? So even vintage or antique stamps can be used at face value so long as they have not been previously used and canceled. On this recycled envelope to one of my students, I use a combination of vintage and modern stamps, all referencing the face peering out from the built in envelope window.

'Recycled Stationery", Alton DuLaney, 2011.

Another trick I love to employ is decorating the envelope. When you buy stamps by sheet, the sheet sometimes comes with an enlarged graphic used to illustrate the theme of the stamp collection.  These are printed on the same adhesive backing as the postage, and can be added on the front or back of an envelope to dress it up. On this collection featuring the work of Industrial Designers,  I cut out the larger image of a fan, and used it to cover the pre-printed address on this recycled stationery I picked up when staying in a hotel. It makes for an interesting graphic statement on any envelope.

For more on stamps, to use, buy or collect, check out the US Postal Services website.
https://shop.usps.com

For more on great letter writing ideas check out my Paper Arts course on Craftsy.
http://www.craftsy.com/class/Paper-Arts/25

"Los Angeles County Museum of Art"

"Urban Light', Chris Burden, LACMA, 2011.

In August, I ventured out west to see what kind of trouble I could stir up in Los Angeles. While there, I visited the Los Angeles County Museum of Art (LACMA) for the first time in years.  There are numerous New Yorkers who frequently bemoan the lack of arts and culture in LA, and to them I say: "Don't be a hater." Overall I found the experience to be quite worth the visit.

Approaching the museum from Wilshire Boulevard, along the Miracle Mile, I was first struck by the beauty of the street-lamp installation in front of the main entrance. Artist Chris Burden has collected and installed 202 vintage street-lamps into an impressive statement. But this being LA, before I could actually enjoy it, I had to first find a place to park the car. Making the block a few times, I eventually found my way to the underground parking facility, and then up the glass enclosed elevator to the museum grounds.

Renzo Piano, LACMA, 2011.

Coming up from the garage, I was immediately impressed with the bold Renzo Piano addition to the museum. His choice of stark red and blinding white somehow seemed perfectly at home in its sprawling surroundings.

Renzo Piano, LACMA, 2011.

The structures are both uber-modern and classical at once, and make a valiant effort to unify the other buildings on the 20-acre compound. Over the years, since its inception in 1961, the museum's collection of both art and architecture has grown, with the progress of expansion being rather obvious.

Renzo Piano, LACMA, 2011.

Piano's bold strokes, combined with regionally appropriate landscaping, help tie it all together. Again, and pardon me for playing into the stereotypes, but it all felt tré-LA!

Once inside, after paying almost the same amount for parking as museum admission, I decided to also focus on the works that to me best represented modern art masterpieces as related to Los Angeles.

One could not help but notice all the long lines, as crowds queued up to see the Tim Burton exhibit. Fitting, as he is a film-maker and this is Hollywood. Luckily, I had already seen the show at the MOMA in NYC, so I skipped the lines and made my way to other galleries.

Jeff Koons, LACMA, 2011.

 Of course, what's more LA, than Jeff Koons? His 'balloon' sculptures are a real crowd-pleaser, with their juxtaposition of contrasting surfaces, the reflections incorporating the viewer as well as the surrounding works.  These too, I had already seen in NY, on the roof-top of the Met a few years back. But what I had never seen in person, was his Michael and Bubbles piece, which I found to perfectly sum up Koon's love affair with glam and kitsch.

Jeff Koons, LACMA, 2011.

And what a great statement Michael Jackson makes, with his celebrity status in epic proportion, achieving near immortality. Alas, poor Michael was the youngest of the Jackson 5 to check out - heck, even his chimp out-lived him! But here in the museum, he will forever be, the King of Pop.

He is in good company too, as the same space shows the other Priest of Pop, Andy Warhol.

In fact, the museum is full of all the masters one might expect to find in a world-class art institution such as LACMA. They have Picasso and Matisse, Diego Rivera and René Magritte. I even found a Rembrandt in the permanent collection.

The museum also has a lot of space, (again, LA!), and space is exactly what is needed to house the works of one of my favorite artists - Richard Serra.

Richard Serra, LACMA, 2011.

Serra's works of undulating rusted Corten steel always amaze me, with there weight and force and presence. At LACMA the piece occupies a gallery all to itself, and the viewer is invited to wander the perimeter of the imposing structure, tucking within its towering walls, should one be so brave.


Of course, what I love most about visiting any museum, is the opportunity for discovery. And I am pleased to report that my favorite piece of the day, was a work by an artist I had only read about.

Jack Pierson, LACAM, 2011.

Jack Pierson's piece, "Last Chance Lost",  is a seemingly random collection of letters, apparently salvaged from various signs, and pieced together to form a message.  Pierson gained some notoriety a few years back, when it was claimed that then Creative Director of Barneys, Simon Doonan, has copied his style with the in-store signage used in Barneys Co-ops, in NYC. Of course, Pierson wasn't the first or last artist to use signage, lettering, or neon in his work, and in the end most artists appropriate ideas. Coincidentally, the fuss came at the same time as Pierson's solo exhbit at a NY gallery. One can only guess that the press from the ruckus must have drawn media attention to the exhibit.

Controversy aside,  Pierson's work at LACMA really spoke to me, as I love signage and neon art. Further, it felt perfectly Los Angeles, with its message illuminated and forceful, though still somewhat vintage.

It was a great ending to a great afternoon in Los Angeles.

When you are in LA, be sure to visit the Los Angeles County Museum of Art. And when you're not, check out their website,
http://www.lacma.org/

"100,000 Dollar Bills" by Hans-Peter Feldmann

Hans-Peter Feldmann, Guggenheim, NYC, 2011.

How much is $100,000? What exactly does it look like? Have you ever seen $100,000 all at once? What is the scent of American currency? What would you do with  $100,000 if you were an artist and that was your prize money? Well, Hans-Peter Feldmann answers all those questions and more in the current installation at the Guggenheim Museum in NYC.

Hans-Peter Feldmann, Guggenheim, NYC, 2011.

There are so many things that could be said about this exhibit, from the quality that the pre-circulated currency conveys, an everyday and all to familiar object touched by the hand of the common person and now elevated to new heights when presented as fine art, to the pattern the material makes when covering all the walls and columns of a sizable gallery, to the feeling of tranquility one encounters when entering this sanctuary to the green back dollar.

Hans-Peter Feldmann, Guggenheim, NYC, 2011.

Repetition is a powerful hypnotic in and of itself, and when combined with the aphrodisiacal properties inherent in cold, hard, cash, words falter to describe the energy present in this exuberant installation. Hans-Peter Feldmann is know in the art world for taking the mundane and everyday, and transforming it into political and artistic statements. A wallpapered room of singles is the perfect medium to achieve his artistic and aesthetic goals.

Hans-Peter Feldmann, Guggenheim, NYC, 2011.

Then again, it brings me back to my reoccurring questions: What is the value of art? What is art worth? And is it worth more or less depending on the material it is created from?  Those questions, I will allow you to ponder. What I can say is that entering the space, a feeling of wealth rushed over me. As I made my way around the room in a meditative state, I absorbed the energy emanating from the high walls and columns. I breathed in the distinct scent of the familiar dollar bill and let the magic wash over me. My date for the evening, Adrina, and I both felt a personal and financial blessing from the experience. (Hopefully I will be much wealthier the next time you hear from me!)

Alton DuLaney, Guggenheim Museum, NYC, 2011.

And the good news is, for the artist at least, when the exhibit comes down, all 100,000 dollar bills go back to his bank account, compliments of Hugo Boss, who funded the prize and exhibit.

For more on the exhibit see the Guggenheim website:
http://www.guggenheim.org/

"Wine Wrap"

Wine Wrap by Alton DuLaney.

I enjoy beautiful things from lowbrow to highbrow, from cute to couture. So when I recently took a bottle of wine to a house-warming party, I came up with the Wine Wrap using wine glasses as a gift embellishment. This is great for a house warming gift or a hot date. You are sure to impress with this easy and attractive wrap - the rest of the evening is up to you!

Materials needed for Wine Wrap.

First, get your materials together.
You will need:
-bottle of wine
-two wine glasses
-wrapping paper
-tissue paper
-cello paper
-wire-edged ribbon
-scissors
-Scotch Pop Up Tape

TIP: A cold bottle of wine is a great thing to bring to a party, but the condensation from the bottle can damage your wrapping paper. By wrapping the bottle in layers, including a layer of cello, you create a moisture barrier so your wrap will look great to the eye and be cold to the hand! Plus the layers makes the opening more of a process and builds the anticipation.

Step 1 of Wine Wrap.

1st: Roll the bottle in a sheet of tissue paper of your choice, with the edge of the tissue going just to the bottom of the bottle. (Don't have it overlap the bottom of the bottle as this only creates extra bulk which you don't need.)

Step 2 of Wine Wrap.

 2nd: Next roll the bottle in cello, this time leaving enough overlap to just cover the bottom of the bottle. This is your moisture barrier. If you are wrapping an un-chilled bottle, you can skip this step.

Step 3 of Wine Wrap.

3rd: Next roll the bottle in your wrapping paper of choice, allowing some of the tissue to stick out of the top, and allowing about a 1 inch overlap on the bottom.

Step 4 of Wine Wrap.

4th. Fold over the bottom overlap in small sections to completely cover the bottom of the bottle. Apply a piece of Scotch Pop Up Tape to hold it all in place. Add a piece of Scotch Pop Up Tape along the side seam if needed for extra security.

TOOLS: I like to use the Scotch Pop Up tape because it comes with a wrist band, so my tape is always handy. Also, the pre-cut strips make it easy to use and apply.

Step 5 of Wine Wrap.

5th: Wrap a wire-edged ribbon around the neck of the bottle and tie a very secure half-knot. Make sure the half-knot is very tight to avoid slippage.

Step 6 in Wine Wrap.

6th: Cross two wine glasses in an X formation across the neck of the bottle, on top of the half-knot.

Step 7 in Wine Wrap.

7th: Tie an additional tight half-knot on top of the wine glass stems, and then finish your bow.

TREND: Adding a little extra something, like the two wine classes, as a gift attachment turns any bottle into a gift kit. I call it putting the present in presentation, as it adds an additional gift to the package.

You can take this concept and run with it. If its sparkling add champagne glasses, if its gin add martini glasses, etc.

When giving a bottle of vodka, I like to tie on a bottle of Tabasco sauce, which I call the Bloody Mary Gift Wrap!  By the way, in case you haven't noticed, I like to give AND receive booze!

Bloody Mary Wrap by Alton DuLaney.

For more great gift wrap ideas check out my course on Craftsy.com.

http://www.craftsy.com/class/Paper-Arts/25

"Hotel Chelsea"

Sign on door of Hotel Chelsea, NYC, August 2011.

Word came at the beginning of August that the Hotel Chelsea, (Or Chelsea Hotel, or simply The Chelsea) would no longer be receiving guests. The doors to the infamous hotel had finally closed after well over 100 years of operation. Located at 222 West 23rd Street in the vibrant neighborhood of Chelsea, (just a block from my apartment!), the hotel had been a haven for artists, poets, musicians, writers and other creatives since the 1960's. Although most of the long-term residents are still inhabiting their homes, the closing finalizes the end of an arts-era in NYC.

Hotel Chelsea, NYC.

The 12-story building, with its wrought-iron balconies, and iconic neon sign, has long been a fixture in the neighborhood. The list of notables who have passed through its doors, and the history, artistic and otherwise, which has unfolded there, is a long and sordid tale. The facade framing the main entrance is littered with bronze plaques memorializing the boldface names, from Arthur C. Clarke (who reportedly wrote "A Space Odyssey" here) to Dylan Thomas. Other writers such as Allen Ginsberg, Virgil Thomas,  Charles Bukowski, Tennessee Williams, and Patti Smith, who's book "Just Kids" chronicles her time spent at the Chelsea with Robert Mapplethorpe,  all resided there at one point or another.

The lobby and the hallways are virtual galleries dedicated to the visual artists, whose numbers are too long to list,  who have stayed there, often bartering their work for rent with the long-term hotel manager Stanley Bard. Among others, Andy Warhol and his Superstars, frequented the hotel.

Alton DuLaney at Hotel Chelsea, NYC, 2011.

And while art filled the walls, music certainly filled the air from guests and residents such as Leonard Cohen, Bob Dylan, Janis Joplin, Jimi Hendrix, Iggy Pop, the aforementioned Patti Smith, none other than Madonna, and of course, perhaps the most scandalous, Sid Vicious and Nancy Spungen.

Hotel Chelsea, NYC, 2011.

The rowdy punk-rock couple of Sid and Nancy checked into room 100 in October 1978, and, well, Nancy never checked out. She was found stabbed to death on the hotel bathroom floor. But Nancy wasn't the only guest to end their story at the Chelsea, the fashion designer Charles James died there from pneumonia, and Dylan Thomas was rushed from his room, dying at a nearby hospital upon arrival. Additionally, more than one drug-addled or lovelorn soul is documented to have leaped from its gabbled roofs and ornate balconies, or overdosed behind the closed doors of its rooms. The halls seemed filled with the ghosts of these guests, and of the rich, sometime painful history that lived and died there.

Alton DuLaney, Chelsea Hotel, NYC, January 2011.

Luckily, I can say that I have experienced the Chelsea many times over the years. I have eaten at its authentic restaurant, El Quixote,  partied in its bar, and hung out in its rooms. I have had the opportunity to explore the building, marveling at the architecture, the art, and the pure eccentricity of the establishment.

The building, first opened in 1884 as one of the first residential co-ops in NYC, the tallest building in the city until 1899, and which transitioned into a hotel in 1905, was recently sold. Rumor is that it will re-opened after remodeling (and re-branding). Of course the locals are already bemoaning the loss of the cultural landmark, and decrying the end of an era. And of course this is the way that these things work. The zeitgeist happens and then moves on.

But the story of the Hotel Chelsea will not end here. It lives on in songs and poems and photographs and films and memories. It will always be a part of art and history, just like NYC itself.

Alton DuLaney, Hotel Chelsea, NYC, 2011.