Detox Delight

My tongue is green, my head is spinning and my teeth are furry. I haven’t had solid food in over 24 hours. No, its not the plague, its Detox Delight! Which is really funny if you think about it. A delightful detox? Really?

Well, actually, yes… I’m only on day 2, but already I’ve lost 2 kilos. I know that this is weight that will come back if I return to my evil ways, but that is the other delight of this program. The two days I spent “prepping” have really help point out my evil ways. Particularly my habit of going into the kitchen for a little snack between the articles I write.

Its a break. I need to stretch my legs, and rest my eyes from the computer screen. I always choose a healthy snack; a clementine, a rice cake or a few almonds. But I must have skipped my math because those calories add up!!! Now I boil some water and grate a bit of ginger inside. Same break, zero calories.

Another delight has been the comments from my family;
“You’re crazy, Mom, you look perfect.”
“No toast for me this morning, I’ll just have a plain yogurt, I’ll do a mini-detox. Like you.”

And then there is the delight of having all my meals planned for me. Detox Delight delivers. They deliver your entire menu for the next to days. They’ll be delivering chez moi for five days. This week I will not have to ask myself “what’s for dinner.” Not even once! The family is surviving on leftovers I freeze, which means they are cleaning out my freezer, too!!! And since there is no cooking, there are no dishes to wash. Now that is what I call delightful!!!

The not so delightful part has been the rather large, water logged legs I had to hoist into bed last night with their sexy sock lines that had to hide from Mr French. And taking the metro home from a meeting last night, sitting next to a young man who was munching innocently away on his fresh out of the oven baguette as I used all of my resources to resist the urge to pounce on his snack and reveal my inner gluten glutton.

Street Art

There is a fine line between Street Art and vandalism, and I really have no idea where to draw it, but for most of us, we know it when we see it and this weekend we saw a good share of it at the Musée de la Poste (the Post Office Museum), just up the street from chez nous.

Small and not exactly known for exciting exhibitions, very few people know where the Musée de la Poste actually is. I know exactly where it is because it is less than half a block from my favorite crèperie, Ty Breizh, in the shadow of the Tour Montparnasse on the boul de Vaugirard.

“There is no boul de Vaugirard!!!” exclaimed Mr French, its “rue de Vaugirard!!!”

Lets just say, that it took us 20 minutes for a 5 minute walk. But getting lost in Paris has its rewards; we discovered a very high end stereo store perfect for Mr French  and stumbled upon a great looking restaurant, Le Quinze, that features sustainable fish. We’ll be trying it just as soon as I am eating again (Detox. More on that tomorrow).

Before we knew it, we were at the museum and enthralled with the art. The collection was surprisingly international with some of the best graffiti artists today. There were the accidentally counterfeit bills by Banksy. Space Invaders done in Rubik’s cubes, pochette paintings by Mis.Tic and lots of videos to see the stars at work. The show is short, just one large room and the crowd was refreshingly manageable for Paris. Even Em, who hadn’t been particularly thrilled about getting out of bed on a Saturday morning, loved it and the videos were so well done that I stopped to watch them, which really doesn’t happen often. What is known to happen often is that embarrassing moment when I burst out into a spontaneous guffaw of laughter. This was a two guffaw show.

Between my gourmandise and the morning’s detour, it wouldn’t shock you to hear that we then headed to my crèperie. Lent is coming up so the Ty Breizh was full of families in a festive mood, on addition to the usual lot of travelers who come for a treat before catching their train and Japanese tourists. I don’t know why it is, but this crèperie is in alot of Japanese guidebooks.

Sat am, and we’d already gotten lost, seen some great art and had delicious treat. I was looking forward to what the rest of the day had in store for us!!!

The World’s Origins

It’s art, I get that and I am major fan. Yet, I was still kind of surprised this morning when I went to Le Figaro’s front page and saw a rather large, extremely clear photo of The Origins of the World painting by Courbet. Yes, I started my morning looking into the vagina of a stranger (shown below).

Now, I am not a prude. I’ve seen The Vagina Monologues, have a frequent buyer card at Good Vibrations in San Francisco and I am regularly called upon by friends looking for fresh new ideas for tips and tricks in the bedroom. But the painting is graphic and it was what I’d call a rude awakening.

Through my morning fog, I first thought I was staring at a photo set up to look like the painting. The work is definitely a sample of the realism school of art. Fortunately, I didn’t spit out my Prince Vladimir, Kusmi tea in surprise, but rather clicked through to learn more.

It turns out that this internationally acclaimed painting is only half a painting and that the artist originally included a head. Earlier this month, French art expert Jean Jacques Fernier declared the head of the young lady had been found. Or rather, the painting of the head had been found. Not the actual head, which I am not sure is even missing. Unlike Richard III’s, which did pop up rather recently.

According to Le Figaro’s expert, Hubert Duchemin, the entire story is pure nonsense and “even a two year old” could see that the portrait of Jo, the beautiful Irish girl that was Courbet’s muse and Whistler’s lover, did not come off the same brush as the rest of the painting regions. It makes for a great story; 19th century love, sex and porn tied to a potential multi-million€ windfall as two experts fight it out for international prominence.

The question remains, how did Le Figaro decide society was ready to see this photo splashed across the front page? I am not the only one who finds it pornographic. When someone used the painting as his FaceBook profile photo in 2011, the company suspended his account. A book with this image as cover art was not allowed to be displayed in the windows of bookstores in France in 1994, nor in Portugal in 2009. The painting was shown at an exhibit in Paris in 2005, and although the entire room was a collection of sexually graphic sketches and illustrations, this particular painting was in an isolated area you had to go out of your way to enter.

The cover of Paris Match features the same painting, but type covers the most intimate details, making it infinitely less surprising. On one hand, I am all for the open exhibition of anatomy, on the other hand, I know that the allusion can be sexier than the reality and I wonder if seeing penis and vaginas on public display, spread across newsstands may not detract a bit from the magic and the mystery of sex.

I can’t wait to hear what you think….

Bend It

M had a friend over for dinner on Friday night. Mr French had just flown back from Atlanta and after a week of Michelin star dining interspersed with popcorn dinners, I was looking forward to a quiet meal at home.

Not being in the mood to cook, I defrosted some of my infamous pesto and sent M out to the market for some angel hair pasta and a baguette. Which is a little idiosyncrasy I will never understand. How can anyone eat bread with pasta? Pasta is just bread in another form. The need alludes me and kind of revolts me, but in my rather Euro household it is a necessity, with the masses threatening a revolution of their own if I offer nothing but cake.

We sat down to a cosy meal, talking about our new cat, the vote for gay marriage (pro) and who we hoped would win the Superbowl (Niners). Mr French shared some news that he’d heard over radio when driving home, news that had M jumping in her seat, applauding with joy. The friend started to hyper-ventilate, her face turning red, her eyes and mouth opening into large O’s as she fanned herself. Her body went stiff, her back curved and I prepared to perform the Heimlich before remembering that this was angel hair pasta. The girl couldn’t possibly be choking.

It would seem the news that our neighbor, Depardieu, had sold his 40€ million mansion to M and Mme Beckham had the girls looking like dead gold fish in their bowl; rigid, their bodies arced and unable to breath. They’re not even soccer fans! He’s 37 years old!

I had visions of hysterical teens in every corner. I imagined having to tiptoe over the bodies of prostrate young girls as I made my way to the corner café, and catching fainting young souls in my arms as they heard the news at the bakery. I looked up through the pandemonium in our dining room and glanced at an all too amused Mr French.

It may not be April, but this was definitely a poisson*. The Beckhams did not buy, Depardieu did not sell and all will be well with the world. Mr French was quite pleased with himself and his little joke, M knows him and was not over-shocked, but I’m afraid that our guest will never trust him again.

Even worse she might, because these girls are in a bilingual school. A bilingual school that has doubled its security since the holidays. In the past the girls have had classmates with names like Sarkozy and His Honorable Highness…, so we just assumed the child of a VIP from Mali had enrolled. Can’t wait until Mr French tells them its a Beckham!

*poisson d’avril is an April fish, the French version of April Fool’s.

I want my Dali….

If Hopper was a great artist, Dali was pure genius. It is not really fair to compare, but we enjoyed a double header last week, seeing Hopper late Saturday evening and Dali first thing Sunday morning, so I can’t help myself.

Sunday was our third attempt at seeing the show, every time we’d tried to see it previously the lines, even for ticket holders and members, had been outrageously long. A sign outside suggests visitors arrive after 6pm, or face the three hour long waits that are common earlier.

I’d read that on Sundays the museum opens at 11am, but the Dali show was open to members and ticket holders starting at 9am. We arrived at 9h20 and despite the pouring rain, the line already crossed the entire square. It moved quickly, giving us just enough time to enjoy the hot coffees Mr French scored us from a nearby café.

The show begins in an igloo shaped structure that reminded me of Dali’s home in Cadaques. The walls looked like white stucco and a docent was explaining to her group that usually there was an image of the artist in an egg projected on the walls. Unfortunately the A/V expert had over-slept and there were no videos that morning.

This show, like the Hopper show, presents the artist’s work chronologically and what is so striking with this show is the realization that Dali never had to find his voice. He was painting lobsters from the very beginning and even if some of his earliest work was realist, his palette, his line and his landscapes were all there, just as we know them from his iconic works of melting clocks and distorted elephants.

The result is that you step immediately into the world of Dali and start to develop the vaguest sense of his mind. If you read the signs, you’ll learn that as a young child he became obsessed with the idea that the two farmers stopped for prayer in Millet’s Angelus were actually praying over the body of the child, their child, they had just killed. The obsession stuck with him his entire life, clearly visible throughout his art and at one point he even convinced the Louvre to take his idea seriously and investigate the painting itself. Which shows that not only did Salvador have a very active imagination, but he took that imagination, and himself very seriously.

This is another very popular show and it is over crowd, with people waiting in line patiently to see each painting. After two or three rooms, this got rather tiresome, but at about the same time, the show goes multi-media. There is a fantastic theater with white plastic versions Dali’s famous lip couch, brightly lit, welcoming spectators to watch…

watch what? I had no idea because the screen was white. The guard just outside the door explained that the A/V person had never shown up and there would be no videos for the morning. 5 minutes later a voice came on over the loud speakers announcing that “Due to technically difficulties, the A/V system would up and running within the hour.” Technical difficulty must be the new term for hang over.

Regardless, the A/V system was running within 10 minutes, which game me just enough time to discover Dali’s 3D paintings, which are displayed with mirrors to get the full 3D effect. And then the real fun began. There is his Mae West room, which is decorated just as Dali specified, then projected against the wall, so you can photograph yourself, a bit of art within the art and a great souvenir!

There were also video clips of Dali being Dali. Some of it was in French, some I couldn’t hear and most of it, well it really didn’t matter, because the visuals were enough. Dali, signing a rock at Cadaques, Dali sponsoring a trendy party in the 70’s, giving everyone cotton candy, Dali explaining Alka Seltzer.

The videos were so good I went back to see if the film was running. It was and it was pretty funny. He talks about his famous Venus de Milo dresser with all those drawers, explaining that they are the drawers in which we compartmentalize ourselves according to Freud. And he poses his wife Gala, as he explains the American obsession for blood (its in all their movies), his melting watches (they’re so rushed, they love the idea of time melting away), and massacring children (every American’s secret fantasy, don’t you know?).

The exhibition is an inspiring orchestration of life imitating art, creating an experience that was truly surreal.

A Woman of Valour

When I was seven years old my rather devout, convent school raised, Roman Catholic mom decided to become Jewish. Her husband, my father, was Jewish and she somehow got it into her head that my brother and I needed religion. My Dad was not going to start attending church, so she signed up at the local synagogue and before any of us, not my Dad, not even the Rabbi, knew what had hit us she was organizing a conversion ceremony. I still remember that day, driving up to The City with a RABBI in our car, dressed to the nines, a gazillion bobby pins in my hair, ready to go to the Mikvah (a ritual bath).

Because we were already born, and to a shiksa no less, my brother and I had to go into the bath, too. There is not a single photo of this day, but I can tell you that I was wearing a polyester a-line pale pink, yellow, and orange dress that had a square neckline and white knee highs with patent leather mary janes (my fashion habit started at an early age). I had to take it all off, and then we had to remove every one of those bobby pins from my rather long, unruly hair before heading into the bath. I remember my mom being annoyed with herself for not having understood that when they said we’d have to be as naked as the day we were born, that included our hair. I was just relieved they p hadn’t insisted we shave it off.

Immediately after that, pork was banned from our house, those lovely crab dinners were out and a new tradition began; Friday night dinner. Every Friday night we had to be home for dinner. My mother would light the candles, we would sip some really horrible sickly sweet wine and we’d all say a prayer over the bread. Then my Dad would bless us. There is a special prayer in Judaism, asking that your children grow up to be healthy, good people. If you’ve ever seen Fiddler on the Roof, you’ve heard the prayer, you just didn’t know it was a prayer because they snuck it in there as if it was a Broadway melody. Finally, my Dad would recite a poem for my Mom, a hymn really, written by a king (Solomon) and fit for a queen.

Those dinners stopped a few weeks before my brother’s Bar Mitzvah and my 16th birthday, when my mother died. She was 39 years old.

A WOMAN OF VALOUR who can find? Her price is far above rubies.
The heart of her husband doth safely trust in her, and he hath no lack of gain.
She doeth him good and not evil all the days of her life.
She giveth food to her household, and a portion to her maidens.
She stretcheth out her hand to the poor; yea she reacheth forth her hands to the needy.
Strength and dignity are her clothing and she laugheth at the time to come.
She open her mouth with wisdom and the law of kindness is on her tongue.
She looketh well to the ways of her household, and eateth not the bread of idleness.
Her children rise up and call her blessed. Her husband also, and he praiseth her;
“Many daughters have done valiantly, but thou excellest them all.”
Grace is deceitful, and beauty is vain,
But a woman that feareth the Lord, she shall be praised.
Give her of the fruit of her hands and let her works praise her in the gates.

Happy Birthday, Mom

;

Inès sez…

Inès sez…
To heat things up this winter wear a lacy bra under your cardigan, its the sure fire way to keep the gentlemen around you feeling a little hot under the collar.

Inès is the face of l’Oreal Rivatlift, for heaven’s sake! She’s fifty! I know women who believe that turning fifty is going to be the beginning of the end, but Inès knows better. She’s French so she knows, unflinchingly that there is no age for being hot, it is all about style and owning your sexuality. Even my daughters’ 72 year old French Mamita turns men’s heads with her elegant chignon and pencil skirts and winter is no reason to cover up.

This understanding is one of the things I adoooore about living in Paris. I don’t have to go to workshops to remember that being sexy is a great, healthy part of life, I’ve got women like Inès and the ads on bus stops to remind me that there is no age for workin’ it!

 

What sized Palais?

Après notre petite soirée romantique à l’expo Hopper, on avait des réservations au restaurant le MiniPalais, qui est dans le Grand Palais, parce que ça crée la confusion et pour le coup on est bien content quand on y arrive.
La conversation est un peu comme ça.
– On va où pour dîner ?
– On va au MiniPalais.
– Ah, c’est en face, il faut traverser. Je ne savais pas qu’ils avaient en restau.
– Comment ? De quoi tu parle ? On ne traverse pas ! Non, mais, ça, c’est le Petit Palais.
– Et on ne va pas au Petit Palais ?
– Non, nous allons au MiniPalais.
– Mais ça, c’est le Grand Palais !
– Tais toi et fait moi confiance.

Ouf, effectivement j’étais bien content d’arriver devant l’entrée du restaurant. Ce n’est pas parce que Mr French est français qu’il connait Paris ! Le MiniPalais est un énorme hangar, ultra chic avec un décor atelier d’artiste. Le sol en parquet, des toiles de bateau sur un mur, des morceaux de sculpture grecque sur un autre et une vitre qui donne sur le nef du Grand Palais. Comme dirait mon ado, c’est très stylé.

Surtout la grande terrasse avec ses colonnes impériales, ses palmiers, sa vue sur le Petit Palais et l’accompagnement d’un bon cocktail, si bon que le restaurant attire une clientèle plus tôt jet set et très Costes. De temps en temps ça me branche d’être entourer de très belles femmes et leurs hommes parfumés. On entre dans un autre monde, le dépaysement est assuré.

Eric Frechon, le chef étoilé du Bristol est aussi chef des cuisines du MiniPalais. Il nous offre une carte qui assure cette dépaysement ; créative avec une forte influence internationale et un esprit légère où le tamarin côtoie le tandoori et du piment d’espelette.

Dans les assiettes c’est bon sans être gastronomique, il y un déséquilibre décevant entre certain plats. La soupe de champignon avec châtaigne et foie gras était riche en saveurs avec des textures qui plaisent au palet, or le crabe en rémoulade était sans intérêt. Le saumon écossais était complètement fade, mais le cabillaud nacré de tamarin agréable en bouche. Rien n’était excellent, mais rien n’était mauvais non plus.

Entre le beau monde, une carte fusion et des plats quelconque, on avait la sensation d’être dans un restaurant Costes avec un twist.

After the Hopper show, we had reservations at the Mini Palais. What with all their masculine and feminine, and the dreaded subjunctive, it seemed natural that the Mini Palais would be in the Grand Palais, just across from the Petit Palais. Mr French had a hard time with the concept, and was sure I was leading him astray.

Which is why I was glad when we finally walked up the stairs and found the right entrance. Mr French was glad because there were two drop dead gorgeous woman standing there in form fitting black dresses, waiting to seat us.

I love the space of the Mini Palais. An enormous loft, it was designed to look like an artist’s studio; a very rich, not very productive artist, who collected bits of Greek sculpture and sewed up a few sails to make his drop cloth, which he hangs on the wall. Exactly the kind of artist who would hang out with the international jet-set crowd that fills the tables at the Mini Palais.

There is no artist. The crowd comes for the cool space and the even cooler terrace that features imperial columns, a mosaic tiled floor, palm trees, a fantastic view of the Petit Palais and excellent cocktails.

Eric Frechon, the Michelin starred chef of the Bristol is the executive chef here and her has put together a fusion menu with tamarind, tandoori and piment d’espelette all in a row. The food is good, without being great. Some of the dishes are disappointing, like the somewhat boring crab in remoulade, or Mr French’s tandoori salmon. While other dishes were actually excellent, notably the rich mushroom soup with chestnuts and foie gras.

Le Mini Palais is a fun place to dine after a late night visit to the museum or when your itching to pass some time with the see and be seen crowd, but what I really love is going for the cocktails on the terrace, which gives me another reason to look forward to the spring!

 

Hopper

                                                                photos courtesy of ibiblio

version anglais en bas de la page…

Je ne sais pas ce qui se passe à Paris, mais j’ai l’impression que tout le monde est devenu amateur d’art avec des queues insupportables devant tous les musées de la ville. Il nous a fallu trois visites au Pompidou pour osé Dali, on a raté Guardi au Jacquemart André et c’est seulement grâce à une prolongation qu’on a pu voir Hopper ce weekend.
On a quand même hésité. Avec les foules comme ça on n’a pas le temps de vraiment apprécier la collection. Mais je connaissais peu sur cet artiste et j’avais une grande curiosité. Et, la gourmande que je suis, j’étais motivée par nos réservations au Mini-Palais pour après l’expo.
L’oeuvre de Hopper est relativement petit, que 100 tableaux, 26 graveurs et une poignée d’aquarelles. Le tout est présenté en ordre chronologique, ce qui a démontré l’évolution de cet homme en tant qu’artiste.

Pour enrichir l’exhibition et démontrer le parcours de Hopper, les oeuvres de ses collègues et de ses amis, des artistes comme Degas et Pissarro sont exposés dans les premières salles. Ce sont les oeuvres qui ont influencé, enrichi et défini le travail de Hopper.
L’exhibition commence avec son apprentissage avec Robert Henri. Dans les tableaux mono-chromatique de son copain George Bellows on distingue déjà un intérêt pour l’architecture, la puissance de la géom’trie, la force de la solitude.
Après ses études Hopper se rend à Paris et rencontre l’Impressionisme. C’est ici sur Degas et Pissarro qu’il développe sa palette et étudie la lumière. Pour gagner sa vie, il travaille comme illustrateur publicitaire.
Hopper déclare que c’est en travaillant en graveur qu’il a trouvé sa voix et c’est dans cette salle qu’on voit la solitude sans relâche : l’homme qui surgit des ombres à côté des rails d’un chemin de fer, la maison isolée avec la silhouette d’un homme, deux pêcheurs sur un bateau seule face aux vagues. Et vous observez tout ce “seule” dans une petite pièce pleine de visiteurs. Vous êtes bousculé, poussé, entouré, mais infiniment seule. La juxtaposition est époustouflante.
Bientôt vous descendez et vous êtes avec ses tableaux, au peu près une quarantaine, ce qui êtes impressionnante pour une exhibition sur une artiste de cette importance. Et facilement, sans trop y réfléchir, vous observez d’autres thèmes. Chez Hopper, la lumière, elle est jaune, les ombres sont fortes et le vert est presque une personnage, tellement c’est présent dans son oeuvre. Il y a des angles, presque toujours un angle fort qui traverse le tableaux, montant de la gauche au droite. Et encore l’immobilité.  Une danseuse burlesque semble être figée sur scène, son pianiste ne bouge pas, non plus.
Je n’ai vu qu’un seul toile avec du mouvement, The Bridle Path avec des chevaux qui courent vers un tunnel, les cavaliers anxieux et mal à l’aise. Ce n’est pas un grand tableaux et ça démontre bien pourquoi le meilleur de Hopper ne bouge pas. Ce qui est sans importance, parce que c’est l’émotion, une solitude sans pitié qui nous remoue chez ce grand artiste.

Last week a friend went to see the Hopper show and afterwards pronounced that she’d been very disappointed. The crowds were thick and there’d been very few paintings. This made me a bit hesitant about heading out into the cold on Sat night for our 20h30 reservations to see the show, but my instincts told me that this was an important show for me to see.

There was a lot of confusion at the entrance, with three separate queues for ticket holders, non-ticket holder and some swanky private party guests.  I was starting to think that maybe I should listen to my friend and try to scam my way into the party, but this was a date with Mr French and that is not his style. We’d be doing what we’d set out to do; see the Hopper exhibition.

The format and layout of an exhibition are almost as important to me as the content of a show, and in this show, the presentation was nothing short of sensational from an intellectual perspective. The curator presented Hopper’s work chronologically, grouping everything by periods.

I could immediately understand why my friend felt their were few paintings; Hopper’s entire oeuvre is only 100 paintings, so the show starts out featuring the work of his friends, colleagues and collaborators. But, by the end of the show I had (very unscientifically) counted about 40 paintings, which means that those attending the show got to see a very large percentage of his work, which is incredibly rare for a show featuring an artist of Hopper’s importance.

First, there is his work as a student with Robert Henri and when you see the monochromatic grey paintings of his fellow classmate George Bellows, you suddenly start to “get” Hopper. Then there is the art from his Paris years. Unexceptional, except this is where he really seemed to master his sense of lines and boundaries. And you can clearly see the influence of his impressionist friends Pissarro and Degas on both  his subject matter and his palette.

You then see his work as a commercial illustrator, followed by his first American paintings. Again, there are paintings by the friends and colleagues that inspired and influenced his work and it is at this moment that I started to see a theme; solitude. All the influences in Hoppers art and nearly of all of his subjects, from two sailors at sea to a solitaire home, from a person emerging up next to railroad tracks to the customers at a coffee shop in his seminal work, Nighthawks, Hopper’s work defines alone.

The show has drawn over half a million visitors and as you strain to study the etchings that helped him find his “voice” as an artist you are jostled by a tight crowd, bumping into people every where you turn, yet absolutely surrounded by alone. It is a impressive juxtaposition.

As the show continues, so does the solitude. And you may start to notice other themes. In Hopper’s world, light is yellow and shadows are clearly delineated. Green is every where, always brightly toned, in a multitude of hues from kelly green grasses to lichen green wall paper. Life exists at a tilt with sharply illustrated diagonals, general one very clear diagonal per image, often running up, from left to right. And finally, the stillness. Even a burlesque dancer in the Girlie Show looks completely still, although her arm is raised and she is clearly on stage.

The only painting with any serious movement, The Bridle Path, is of three horses racing into a tunnel, their riders looking awkward and reticent to advance. It is not a great painting and does a lot to show why Hopper’s best work is absolutely devoid of any motion. But not Emotion. Hopper’s painting are full of that; solitude and loneliness abound and it is this intense feeling he provokes in the viewer that makes him a great artist.

Coats

When we first met, Mr French was a bit concerned with my lack of fashion and thought I needed lessons in chic. He did not get my California hippy penchant for large, clunky shoes in odd color combinations, like fushia trimmed vomit green. Or my handbags that could double as a stuffed animal which I alternated with my equally inappropriate ‘Eastpak’ collection. He has since ‘corrected’ my ways and helped me develop a rather unhealthy habit regarding both shoes and bags.

These days, he can not understand why I still insist on wearing my threadbare, black frock coat when I could wear my other, perfectly modern, black wrap-around coat.

“But it’s from the 1940’s.” I whine.

“Yes, and it looks like it.” he reposts.

He’s right. The lining is shredded, the sleeves are worn and there is no button hole, so the coat can not be closed to ward off the winter winds. It is a little nutty to be wearing torn, worn out clothing when there are practical, yet gorgeous alternatives just one hanger over.

I bought the frock coat at one of those rag dealers near Les Halles when I was a starving student here in the 90’s. I was with my brother, and being a fille from la Californie, I didn’t own a decent coat. I found this one and have loved it ever since I loved it a little more when a tailor taught me it was a redingote, a traditional  French style that draws its name from the French trying to say “Riding coat” around the time of Marie Antoinette. I still loved when that same tailor mistakingly removed 6 inches from its length.

I have, it would seem, a passion for vintage coats. Like my 1950’s Paris couture black velvet, A-line coat with wide 3/4 length sleeves and a zoot suit lapel, or my 1960’s baby llama’s wool coat with jet black buttons (and holes torn under the arms). I’m missing the 70’s, but the 80’s are represented by my purple, inverted fleece Norma Kamali wrap around coat that I bought new for a small fortune and have worn ever year since then. The 90’s I went classical with a Burberry trench.

Now that we’re on to the next century Mr French is trying to show me the evil of my ways. He has guided me in the purchase of a grey Max Mara; practical, but boring and its already fading at the sleeves after just a few years!!! IHe has even gotten me into a warm, sensible, yet dreaded for being totally un-stylish, yet heart breakingly trendy Moncler, which my daughters hope I tire of sooner, rather. And I’ve acquired a lovely black cashmire trench style from Paule Ka that I love and look forward to wearing as vintage some day!

 

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