September 3 2014

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5 posts tagged "Charlotte Kidd"

Red Hook For Democracy


“Man, this is really where it’s at, this is the hot spot for art right now,” one man told his friend as they stood outside of Dustin Yellin’s The Intercourse art space in Red Hook, Brooklyn, last night. But it wasn’t the art that drew the crowd to last night’s party—the likes of Glenn O’Brien, artist Charlotte Kidd (pictured, in Reformation), musician Adam Green, and Yellin were there in support of Downtown for Democracy (D4D), an alliance of arts and creative media professionals (founded in 2003) dedicated to using its cultural capital for political power.

“People need to be aware of these things. That’s what D4D does; it makes people aware of the bigger picture and the politics in our country,” said Yellin as he made his way out to the backyard garden, where chefs from the who’s who of Brooklyn restaurants (including Frankies 457, The Good Fork, and Fort Defiance) were grilling up a storm and guests were sitting cross-legged on the lawn sipping beers from Brooklyn Brewery. “People need to get their voice and need to get involved.”

Though political talk might have been trumped by art chatter (and ice cream from Vinegar Hill House), D4D board member Audrey Gelman, who is Manhattan Borough President Scott Stringer’s press secretary as well as Terry Richardson’s better half, took a moment to address the crowd. “We are taking on Tea Party 10 this year, so thanks, everyone, for not being in the Hamptons and being here instead,” said Gelman of the night’s fundraising efforts. (The Tea Party 10 is the name given to the ten most extreme Tea Party-affiliated members in the House of Representatives.) To close out the night, Green performed his quirky ballads, including one of his better-known hits, “Jessica,” about Jessica Simpson. “I wrote this song before Jessica Simpson was fat—just saying,” he said. At that, guests went searching for a cab (or their bikes) to find their way home from Red Hook.

Photo: Angela Pham /

Venus Rising


After the fluorescence of Frieze, last night’s cloistered and barely candlelit opening of Venus Over Manhattan was a shock to the art system. The new gallery at 980 Madison Avenue is the latest passion of Adam Lindemann, and if it seems strange for an art writer and collector to turn dealer at age 50, well, strangeness is part of the aim. “I was fascinated with the novel À Rebours,” Lindemann said, referencing Joris-Karl Huysmans’ decadent classic. “It means ‘against the grain,’ and it’s about a debauched nineteenth-century aristocrat who destroys his life with drugs and art.” (It also gave him the title of his inaugural exhibition.) He was offering a modulated version of excess: a late, 10 p.m. start time (the better to coexist with Sotheby’s contemporary evening sale, one of the big events of the auction house’s year) and a different drink from the usual gallery-opening Champagne. “Have you tried the absinthe yet?” he asked the crowd, which included Linda Evangelista, Rita Ackermann, Hope Atherton, Charlotte Kidd, and Richard Kern.

Elise Øverland had not. “I can’t do hallucinogenics,” murmured the designer (pictured), just back from sabbatical in India. “It’s trippy enough just being in the dark,” added art world impresario Yvonne Force Villareal. “I think this is my first candlelit art opening, and I love the mystery, the feeling that anything could happen.” Erin Fetherston felt it, too. “It’s been so long since I did anything spontaneous,” she said. “I love it. My friends said let’s go to this art thing, and now I’m in a haunted house.”

“Isn’t it so weird here and wonderful?” sighed curator Stacy Engman. “I hardly know what time it is or where I am, but it could only be New York.”

Photo: Steve Eichner

One To Watch: Emily Jerome


As a native New Yorker who is currently straddling both coasts, Emily Jerome‘s namesake Jerome line has come a long way since its launch in Spring 2010. After being given the opportunity to debut a small collection in Paris that March alongside Gregory Parkinson, Jenni Kayne, and Katy Rodriguez, Jerome (who counts Intermix and Confederacy as stockists) was compelled to take her designs to the next level.

For her 70-piece Spring ’12 lookbook, the emerging designer enlisted Charlotte Kidd to photograph her nouveau Western collection against MASS MOCA’s imposing instillations, by artists like Sol LeWitt, Katharina Grosse, and Federico Díaz. “This collection dealt with the familiar ideas of the American West and paid homage to it in an updated way,” Jerome tells For the collection, Jerome reimagined Western symbols like the bullhorn and chevron and hippie silhouettes were rendered in sleeker fabrications with richer design details. Instead of doing fringe in conventional suede, she uses silk paired with an equestrian fabric for good measure. “We see suede and fringe jackets in vintage stores all the time, but there hasn’t been a lot of updating of that aesthetic, which was an inspiration behind what I’m trying to do.”

The designer’s bicoastal lifestyle still informs her incessant need to keep things modern. “I started out designing with a single idea, and on this collection, we’re working with five different types of knits, silk jerseys, and so many different fabrications,” she says. “This shoot let me showcase the designs and really speak to the kind of customer I’m trying to target.”

Photos: Courtesy of Emily Jerome

At The Jane, An Aiko Family Reunion


On Wednesday, the scene at the Jane hotel was like a family gathering for movie night in the living room. Charlotte Kidd, Lydia Hearst, Aiko designer Cynthia Mittweg, Lily Kwong, and friends gathered to watch the Kidd-directed Aiko Fall 2011 short film, starring Hearst. The gritty short follows a mysterious Hearst throughout various places in Los Angeles, including a grimy motel, as she shows off Mittweg’s designs. “Charlotte was one of the very first people I met in New York, actually,” Kwong, who modeled in Aiko’s recent lookbook, explained. “We met at one of Jamie Johnson’s film premieres and we are still good friends—tonight is a real family affair.” (She also mentioned she and her boyfriend are hard at work on a fashion film of their own. “It will be in a completely new medium than people have seen before, but I can’t share details just yet,” she said.)

For Kidd, last night marked her first official foray into the fashion film arena and she already has her sights set on doing more. “It’s funny, one of my very first internships when I was like 16 was in fashion, and immediately after that I decided I didn’t want to be directly in the industry,” Kidd, who happens to be doing another film with Hearst right now, said. “I think I would definitely like to do more fashion films, for sure.”

Photo: Neil Rasmus /

Meet the Muse: Charlotte Kidd


Girl-about-town Natalie Joos spends her days casting for shows like ADAM and Yigal Azrouël and editorials for the likes of Mario Sorrenti and Mariano Vivanco, but her passion is vintage clothing. Joos’ blog, Tales of Endearment, spotlights Joos’ “Muses,” impeccably styled girls who share her secondhand obsession. In a new partnership with, Tales of Endearment’s subjects will preview their shoots right here on Style File.

Not too tight, nor too clingy. Those are the basic wardrobe requirements of Natalie Joos’ latest Muse, New York artist Charlotte Kidd. “My thought was, if some wild apocalypse happened, I’d always be able to get away in what I was wearing,” she explains. But this Kidd is more than all right. Her perfect getaway outfit includes a motorcycle jacket, oxfords, and sailor pants, and her wardrobe is complemented by a well-curated collection of eclectic pieces, such as prairie capes and baseball jackets. caught up with the Kidd Yellin art studio co-founder (she created the compound with Dustin Yellin in 2007) to find out where she nabs her enviable vintage pieces and talk about art’s influence on her sartorial choices.

How did you first become interested in vintage?
I was about 12 years old, with not much pocket money, and would go with my girlfriends to the flea markets and Goodwill to hunt.

And how would you describe your style these days?
Easy and simple. [I'm inspired by] Coco Chanel [and] strong women who are true to themselves.

Strong women—and yet in her story, Natalie describes you as a tomboy at heart. What’s the most feminine piece of clothing in your closet?
An antique wedding dress!

What are some of your favorite pieces from your wardrobe, both vintage and non-vintage?
An 1880′s bear coat that used to belong to a hunter, [a] leather jacket, my necklaces of porcupine quills that I got in the Amazon, Givenchy jumpsuits, stripey sweaters, a Louis Féraud white sixties coat, black ankle boots, and countless jeans.

Where do you like to buy your vintage pieces?
EBay and on road trips. Things are so picked over and everyone knows what everything is worth now, so you have to go off the radar. The Upper East Side, Palm Beach, Palm Springs—places where older ladies give away their Yves Saint Laurent for nothing!

What do you look for in particular?
Victorian mourning capes, white lace, worn-in motorcycle jackets, old Japanese army boots, 1920′s bathing suits, Americana.

How does your fashion sensibility connect with your artistic sensibility?
I get inspired by costumes in the films and paintings I’m looking at that moment. [Right now,] Picnic at Hanging Rock, Jules and Jim, Buster Keaton, the coolness of [Michelangelo] Antonioni, the colors of Japanese woodblock prints…

Finish the thought: What’s old is new again when…
You reinvent it!

For more from Charlotte’s shoot, visit Tales of Endearment.

Photos: Natalie Joos