Olatz describes herself as Basque-born and Paris –raised, which might be the secret to her lovely sense of aesthetic. When Julian Schnabel first laid eyes on the beautiful Olatz, he must have been captivated by what he perceived to be art personified. For, she is just that, in manner, appearance and capacity for self-expression. Olatz possesses the ultimate in classic beauty. Maybe it’s the way that the outer corners of her eyes turn upward, or the manner in which she smiles (ever so slightly) with her full pouty lips. Maybe, it’s the poise of her tall slim figure, swathed in billowing silk chiffon that makes me look upon this creature and feel that she is elegance defined. But, she takes us further, as she mixes her Basque- born intuition with a Paris-raised tutelage to create the most sumptuous interiors that I have ever seen. She dares the visitor to explore her design with giant works of art and poetic antiques set against vast negative spaces. Every corner, every angle, every viewpoint hums a melody, and the overall impression is that of a full on operatic drama. Her talent gives me pause…
LOVELY doesn’t begin to describe the work of my friend, the London based, millinery artist Bridget Bailey. Having worked in the fashion industry for over thirty years, Bridget’s work has evolved from the more traditional, into accessories and headpieces that are true works of art with a functional twist. Vibrant color, drama and a dash of whimsy are all ingredients in a recipe that yields her delicious results. Taking her inspiration from nature, Bridget’s approach to accessory design is fresh and lighthearted.
This fall, I sat down with Bridget to ask her a few questions about her work.
Kaki: What elements of your childhood do you think contributed most to your creative endeavors?
Bridget: I grew up in the countryside. My dad was a farmer and my mum is an artist. I have always been surrounded by animals and gardening, as well as the art thing. I was always making things and growing things then and now.
Kaki: How did you come to work in the accessories and hat designing side of the industry?
Bridget: I studied textiles at college in 1980. I did lots of hands on work with dyes. The first collection I made was a range of pleated fabrics. I showed my work to Jean Muir the classic designer of little black dresses, and she commissioned me to make cocktail hats for her catwalk shows. That is how the hat thing started.
Kaki: How would you describe your work? How would you describe a Bridget Bailey customer?
Bridget: My work is a combination: All the colour and richness of textiles mixed with the elegant lightness of millinery. I love the unexpected where the lid of a bag becomes a fascinator or you wear a pea pod instead of a rose. My perfect customer is a creative person: actress, writer or architect who likes to be witty and elegant.
Kaki: What projects do you have planned for the future?
Bridget: I showed a collection of jewelry pieces at the Philadelphia Museum of Art in November and had a great response so; I’m working on expanding that range. Getting the lightness and fun of millinery into jewelry makes a very fresh look.
Her flawlessly executed craft aside, Bridget is a delightful friend. With a kindly spirit she exudes life and a sincere curiosity for that which God has given us. She is a delightful combination of the same lighthearted freshness that her work exhibits. And I am grateful to have her as a friend.
Contact her in her London studio for commissions at: email@example.com
I’d love to hear from you!Last month, I found myself running through Charles de Gaul, late again, with hair hopelessly disheveled. My trench coat, having been removed, replaced, twisted around my waist, thrown over my shoulder, wrinkled and tucked under my arm, was now, trailing behind me, dragging across floor, like Linus in an incredibly insecure moment. Low and behold, even in my most disoriented state, I was able to channel my inner compass, and find that last chance newstand where I could grab a coveted copy of the current Paris Vogue. October’s issue was particularly lovely and included a supplement for”enfants” that inspired a yearning for the Alps and the post below.
Via:Chalet de Fermes de Marie
Lately, I am so intrigued by Anna Dello Russo, the 50 year old ( Yes, I said 50 year old ) Editor-at-Large and Creative Consultant at Japanese Vogue, who launched her line of bold and gold accessories this fall at H&M. I’m not sure if it’s her unabashed ability to express herself through style, or her choice of provocative motifs ( like snake bracelets and dominatrix boots) that makes me stop-take notice and say- COOL ! But, ultimately, that’s what Anna Dello Russo is, the cool girl- the one who exudes her crystal clear inner compass and who doesn’t even notice the frenzy of people around her. She’s the girl that always knows what she wants and doesn’t waste one moment contemplating being anybody but herself. Besides, who else do you know that can scribble a signature using “double letter drama” in all three parts of her name. -Now, that’s VERY COOL!
Originally posted on I love green inspiration:
Rome is the landscape of an exclusive spy fashion movie showcasing FENDI’s new iconic bag. The “Two Jours” bag, to sound like the French for “always” is the new emblematic and faceted Fendi’s style.
Chic and classic. Versatile and simple to wear. The video shows a mysterious Rome and a enigmatic exchange. The bag fits different looks and feelings. “The film gives the handbags personality. The first handbag shows playfulness, the second intrigue, the third danger and, finally, glamour”. (John Casey)
Roma è lo scenario di un esclusivo “fashion movie” di spionaggio che ha come protagonista la nuova borsa iconica di Fendi. ”Two Jours”, suona come il Francese “per sempre”, è il nuovo emblematico e sfaccettato stile di Fendi. Chic e classico. Versatile e semplice da indossare. Il video mostra una Roma misteriosa e uno scambio enigmatico. La borsa si presta a diversi outfit e sensazioni. “Il film restituisce la personalità della borsa. La prima è giocosa, la seconda intrigante, la terza pericolosa e l’ultima glamour”. (John Casey)