|Italian Beidermeier table, signed Magiorelli, c.1828|
|Jens Quistgaard flatware, Finland, 1967|
|Chinese latticed doors, Shanxi Province, c.1850|
|Galvanized table, England, c.1930|
This I want. In front of a window, laden with plants (scented geraniums among them, the spicy kind) with baskets underneath.
|Pair gilt-steel lanterns, France, 1940s|
JonBee was investigating Cesar, squirming nervously. When JonBee got too jumpy, Cesar would correct him, with a tug on the leash. Because Cesar was talking and the correction was so subtle, it was easy to miss. Stop. Rewind. Play. "Do you see how rhythmic it is?" Tortora said. "He pulls. He waits. He pulls. He waits. He pulls. He waits. The phrasing is so lovely. It's predictable. To a dog that is all over the place, he's bringing a rhythm. But it isn't a panicked rhythm. It has a moderate tempo to it. There was room to wander. And it's not attack, attack. It wasn't long and sustained. It was quick and light. I would bet that with dogs like this, where people are so afraid of them being aggressive and so defensive around them, that there is a lot of aggressive strength directed at them. There is no aggression here. He's using strength without it being aggressive."
"Timing is a big part of Cesar's repertoire," Tortora went on. "His movements right now aren't complex. There aren't a lot of efforts together at one time. His range of movement qualities is limited. Look at how he's narrowing. Now he's enclosing." As JonBee calmed down, Cesar began caressing him. His touch was firm but not aggressive; not so strong as to be abusive and not so light as to be insubstantial and irritating. Using the language of movement—the plainest and most transparent of all languages—Cesar was telling JonBee that he was safe. Now JonBee was lying on his side, mouth relaxed, tongue out. "Look at that, look at the dog's face," Tortora said. This was not defeat; this was relief.
|Cesar Millan & pack (including the one missing an eye, see)|
|Isaac Mizrahi. All images Style.com|
"All right, who put the old lady in the oven - heavily peppered and dusted with foot powder? Allow me to cyberslap you, Miller Harris. How dare you let loose such a fetid stench on this good green earth. How dare you, Sirs. What did Jane Birken [sic] ever do to you? Did she describe to you a geriatric hospice with the thermostat set at a steady 84 degrees, rife with the reek and fog of Shower to Shower and the hope that you would capture that, in her memory, to her honor, for all the world's horror? Beasts."Who then proceeded to give it five stars (maybe that was an accident).
|Birkin & Gainsbourg|
|Gustave Tassell taffeta cocktail dress, 1950s|
|Satin halter dress, 1950s|
|Pauline Trigere silk day dress, 1960s|
|Mark Walsh Leslie Chin poured glass cuff|
|Lanvin embroidered velvet dress, 1960s|
|Lanvin silk scarf, 1950s-60s|
|Chanel velvet clutch|
|Henry Dunay melted amber & gold bead necklace, 1970s|
|Yves Saint Laurent silk blouse, 1970s (sold)|
|Sandor crystal necklace and earrings, 1950s|
|Countess Alexander cocktail dress, 1960s|
|Cartier 18k gold sunglasses with 188 diamonds (!)|
“Son, if you want people to think you believe in yourself, walk like you’ve got a cape on.”Which I thought would be interesting to try. Next morning, on my way to work, I pretended I was wearing a cape. And it works.