I This Much Is True...

I have not been over here to post in a while. Reasons don't seem to be important, but the truth of the matter is that life and living to life's fullest seem to have been taking up much of my time. I am not complaining on that matter, for it seems that life and my reflections on living in the moment have been teaching me much.

Some of my most favorite quotes come from Thich Nhat Hanh. It is he who said "there is no enlightenment outside of daily life." I have been richly blessed in that category.

When I had first started the musings here, I had truly thought that there would not be a central theme, hence the title "Musings...". My passions led me to much discussions around the scarves that I love so much. More recently my wanderings have led me back to the real reasons I fell in love with them in the first place. That is for their artistic value, both the statements being made by the artist who create them, and the art one creates upon oneself when one wears them. For me those two characteristics seem to me intertwined, and it becomes difficult to separate the two. Hence they have become somewhat of a part of my own identity.

A paper I did in a college class on the relationship between collection and identity comes to mind, for it was in the research of the paper that I found that what we collect and how we collect says much about our inner being. I think for a long time I got lost in that world and only recently was able to reconnect to the roots which were the foundation for my collection. That being my true love of what I see as art.

This much I know is true, the entire universe is art. An infinite canvas which not only awaits our discovery, but is there ever changing from moment to moment. We are hurried creatures, so focused on trivial, meaningless tasks, that we often miss the glory all around us calling out to be seen. The age old idiom, "stop and smell the roses" should be a rule for living rather than a colloquial saying.

There are so many the world over who for one reason or the other (ie. war, oppression, hardship, poverty ) can not recognize beauty around them. I count myself as blessed and fortunate to have been given the opportunity to drink it in, and appreciate the created splendor all around me, and perhaps in some small way preserve and share it as I go.

It is all art, and art is all there is around me.

Looking In On An Old Friend

Rose Araignée Boudoir

A Chorus Of Life

Through Water's Veil

Tree Skin

A Gathering Of Drops

Hollywood

On High

On A Hill Far Away

Ancient Sisters

A Fairy Ring

Fireworks Are Where You Find Them

Zen

Rainy Berries

Mouth Of Truth

Quiet Reflection

Raindrops On Roses

Phoebe

Musings on a non Hermes Scarf Design, "Flora" by Gucci designed by Artist Vittorio Accornero

"Flora" patterned shawl design by Vittorio Accornero for Gucci

As I have said before, it is the artist and the intricate designs that draw me into the love of scarves. I do believe that it is very hard to find a match to the quality of workmanship that is present in an Hermes scarf, but there are other companies with long histories that have quality pieces which display equally wonderful designs. One of those companies is Gucci particularly the designs commissioned to artist Vittorio Accornero.

Vittorio Accornero born in 1896 in Casale Monferrato (Italy), Accornero's work debuted as an illustrator; after the first world war under the pseudonym Victor Max Minon. Under the name Minon, Accornero would become well known and win many awards for his illustrations of children's books, posters and illustrations for cruise lines (ie. menus, and advertising). He would also collaborate with his wife at the time Edina Altara. All of this happening before the 1930's.

In 1934, Accornerno and Altara would divorce and go their own separate yet very successful ways in the art world. Accornero continued to illustrate children's books most notably editions of Grimm's Fairy Tales, Hans Christian Anderson, Pinocchio, and Shakespeare. He would also claim fame in the world of theatrical set design for movies, opera, and stage.

And so it should come as no surprise that when Rodolfo Gucci would go searching for the best artist to design a new line of scarves for the world renown House of Gucci, his choice would be none other than accomplished artist Vittorio Accornero.

The story goes that Hollywood actress and later Princess, Grace Kelly one day entered the shop of Rodolfo Gucci in a bit of a panic for a last minute gift for a friend who was getting married. She desired to purchase a floral scarf. Gucci had nothing in a floral design at all. Much of the shops textiles consisted of coarse materials for bags and bag linings, and other sturdy accessories.

In 1965, Gucci wanting to pay homage to the then Princess Grace, commissioned Accornero to design the now famous "Flora" pattern to honor the princess because she had a passion for flowers.The design itself a botanical piece consisting of 37 different colors within the design. Intricately dispersed among lilies, carnations, daisies etc. there are also butterflies, dragonflies, lady bugs and various other types of small beetles.

Flora was an instant success, and surpassed all sales records within the United States. Still today more than forty years later, has become a beloved and sought after design by collectors all over the world. Gucci resurrected the pattern in the early 80's and placed it not only on scarves, but bags, shoes, ready to wear pieces, and luxury items for the home.

Most recently in 2004 Frida Giannini then design director for Gucci's accessory line, once again resurrected the Flora design on handbags, wallets and other Gucci accessories. And once again with overwhelming success the pieces sold out rapidly making Flora again much sought after by collectors.

2004 Billboard Add for Gucci's re-release of "Flora" design

in their bags and accessory line

Accornero did other designs for Gucci's line of scarves. His work is most notably recognized by the inclusion of fanciful insects hidden throughout the piece.

However not all of Accorneros prints include insects. There were many floral patterns done after the original "Flora" they are easily recognized as Accornero designs by those who admire his work. Most of all of his pieces for Gucci printed as silk scarves include his famous V. Accornero signature.

Gucci used the "Flora" design in ready to wear resort type wear and wool shawls. Those pieces do not carry the Accornero signature, but are easy to recognize. The original "Flora" design is distingished in that it includes tiger lilies as one of the flowers in the design.

A summer dress from the Gucci line done in the "Flora" pattern

Circa 1980's and not signed by V. Accornero

Accornero died in 1982, but he lives on in his beautiful designs, that although rare can be found on other fabulous Gucci pieces other than scarves.

Gucci Tea set in "Flora" pattern signed by V. Accornero

There is one internet reference that states that Accornero also designed for Hermes. I have never been able to verify this, and in all of my collecting I have never seen any Hermes pieces done by this artist.

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Musings On The Muse Of Annie Faivre's Rencontre Ocean

There is a new aquarium in San Francisco at the California Academy of Arts and Sciences. The underwater displays are all updated placing the observer, deep in the midsts of the undersea world. Recently one particular exhibit looked very familiar, and then I realized that I was viewing the living contents of the central portion of Annie Faivre's Rencontre Ocean. I wonder where she was when the muse for this design struck her?

Here I have overlayed a picture of the habitat at the aquarium in San Francisco over a picture of my Rencontre Ocean. Viola! The undersea world of Rencontre Ocean.

Hermes Halloween Greetings

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Musings On "Le Geographe"

In 1992 Hermes issued a design by artist Sandra Laroche titled appropriately enough "Le Geographe". The scarf takes it's title from a French ship bearing the same name. Le Geographe was a 30 + gun corvette, originally commissioned the Galatee. Her name, as well as the name of the sister ship which would accompany her were changed right before the historic expedition she would undertake.

Captain Nicolas Thomas Baudin

Captain Nicolas Baudin had appealed to General Napoleon Bonaparte to be allowed to command a scientific expedition which would conduct a scientific examination of Terres Australes ( Australia) and possibly find an opening for a French settlement.

The Institute of National France sponsored the expedition. On October 19, 1800 Captain Baudin left La Harve, France with two ships the Geographe, and the Naturaliste. There were approximately 100 people aboard each. There were 23 scientists aboard each of the ships, astronomers, geographers, mineralogists, geologists, hydrographers, gardeners, botanists, zoologists, and a pharmacist. There were also portrait, natural history and landscape artists on board. Each discipline had two or three representatives that were spread between the two ships.

Francois Augustine Peron

Among the many scientific professionals under Baudin's command was a zoologist trainee by the name of Francois A. Peron. Peron had saught to join Baudin's expedition after a tragic end to a love affair. He had wanted to serve as an anthropological observer, instead he was appointed zoologist trainee, later in the voyage his position would be elevated to a prominent position of sole zoologist after others were lost along the voyage due to death and desertion.

Historically Peron would become famous for documenting the voyage after the death of Captain Baudin. But most importantly with the help of fellow shipmate, artist Charles Alexandre Lesueur, Peron gathered over 100,000 zoological specimens. The most comprehensive Australian natural history collection to date.

Charles-Alexandre Lesueur

Charles A. Lesueur was employed for the main job of illustrating Baudin's log books. As the journey progressed Lesueur became more of a specialist in drawing animals. This is because he became very close friends with the zoologist Péron. Péron was disliked a great deal by Baudin and made many enemies during the voyage. However, he and Lesueur became firm friends. Under Péron's guidance, Lesueur learnt the art of taxidermy, and the skills for trapping and hunting animals. At other times Péron would dance about and play the fool to distract the Indigenous Australians while Lesueur sketched them. Lesueur also learnt from Péron the importance of colour and paying particular attention to detail. Apart from completing drawings of many animals, he produced a variety of landscapes often including aspects of Indigenous Australian culture.

On July 18, 1801 similar expedition had set sail from Great Britian.

Matthew Flinders

Having been given command of the vessel "The Investigator" Matthew Flinders set sail with a group of scientists, his orders were to chart and map the coast of Australia.

On December 6, 1801, Flinders reached Australia at Cape Leeuwin, and proceeded to begin surveying Australian coastline moving southward along it's shores.

On 8 April 1802 while sailing east Flinders sighted the Le Geographe, a French corvette commanded by the explorer Nicolas Baudin. Both men of science, Flinders and Baudin met and exchanged details of their discoveries, at what would later be named Encounter Bay.

This design is a jacquard. Hermes no longer produces jacquards supposedly having found them too expensive to produce today. When you wear a jacquard the designs woven into the silk catch and reflect the light. In this case kangaroos, and anchors dance and vie for the right to shimmer in the design.

Musings on Jonques Et Sampans

One should never spend too much time with a scarf that one is thinking of culling from their collection and selling, it just might not end up where you had planned.

So the story went with my best laid plans of this morning. I have had Jonques et Sampans for sometime now and not worn it. I kept thinking that I would but then did not and it kind of sat there with the others never saying a word until today.

I would love to know what inspired famed french illustrator Françoise de la Perrière; when he mused upon the design "Jonques et Sampan". Had he actually taken his in his inspiration while viewing Junks in their original setting in some far off Asian setting, or had he been inspired by the artwork of another such as shown in the ancient Japanese Ukiyo-e woodblock pictured above.

I actually spent quite a lot of time traveling in the Orient, while I lived in Japan. The massive floating hulls of the Junks are a sight to be seen. That was what had originally drawn me to this piece. Today I took a deeper closer look into its watery depths. I have always considered some of the other colorways of this design a bit garish, preferring the subtlety of this sea-glass colored version. I purchased it about the same time as I purchased a "Geisha" in a rather similar colorway. I realize now that I was reminiscing and missing my time spent in the orient and that is what probably prompted the purchase of both designs.