My Trip To New York

April 16th, 2010 — About Me, Travel

Every year, my best friend Clemmie and I take a trip somewhere in the world. Last year we went to Paris for Fashion Week and this Spring we decided to take a much need holiday in New York. I know the city like the back of my hand as I used to live in Tribeca. Below are a few of my favorite high lights from the trip. – THE WIFE

Clemmie in the Car, The drive from JFK our Hotel.

Clemmie poses before we head to dinner with friends at Sant Ambroeus.

Taryn Cox

Me in a Rodarte for Target Dress mixed with the  beautiful view from the room at the Cooper Square Hotel.

The gorgeous view from the Boom Boom Room at the Standard Hotel.

The Bar at the Boom Boom Room.

Clemmie and Friend Karim.

Taryn Cox

Clemmie and I strike a pose before heading off to Avenue for a little dance party.

We meet up with friends Tom and Kate at Avenue.

Mini Morning Photo Shoot before Lunch.

Lunch at Kelly and Pings in Soho.

Clemmie shops till she drops…

Lady in Red!

Ambiance at Gemma, Bowery Hotel.

Dinner with Friends: Clemmie, Tom, Me, Kate, and Salim.

Cocktails at Provocateur.

Salim, Tom and Joe.

Then Back to Avenue for another late night dance party.

Clemmie and I in a giggle fit.

Bluegrass Brunch at Nolita House.

On Saturdays and Sundays Nolita house has a live Bluegrass band that plays through the afternoon. The French toast was phenomenal!

Walking through the West Village on our way to Bagatelle.

Clemmie.

West Village townhouse stoops remind me of the Cosbey Show… Viva la Claire Huxtable!

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Awesome wall

Jump!

Early bird gets the worm.

Taxi Ride to The Met.

My first time at the Opera… Soo exciting!

Stunning Chandeliers adorn the Theatre.

Tom and Kate .

Waiting for La Triviata to begin….

Taryn Cox

Filled with joy after seeing the most beautiful love story on stage, I LOVE The Opera!

Easter Brunch at  E.A.T Uptown. They make my all time favorite egg salad sandwich. Yummy!

Taryn Cox

An afternoon walk through Central Park.

Clemmie in her Spring floral dress.

Clemmie catches some rays.

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Off to Broadway!

Sunday afternoon we went to see my darling friend Eddie Redmayne in a genuis preformance with Alfred Molina in the play “RED.”

Taryn Cox

Back stage in Eddie’s Dressing Room.

After the matinee preformance we all went to Sweetie Pie for sweet sugary treats.

My Ice Cream Sundae.

Eddie with a giagantic lolli.

Eddie and I in the window. I embarassed everyone by making us eat at the table in the gilded bird cage.

Clemmie, Tom and Kate walking to Cafe Habana for a little Cuban Food and grilled corn.

Us Girls walking through Nolita.

Clemmie being silly.

We discovered this very odd address… Very Alice in Wonderland.

Taryn Cox

Shopping on Bleeker Street.

Ahhhh… My very favorite Pizza in the world! Joe’s on Bleeker and 6th Ave.

We were blessed with Gorgeous weather, So to  Soho House we went for rooftop cocktails with friends David and Billy.

My friend Misha’s apartment was a playground for photo shoots… I loved this British Uniform complete with matching bear skin hat!

Dinner with all my Brit friends at The Village Tart Restaurant. In this photo: Natasha, Misha, Clementine and Tom.

My dear friend Kaylie, Being Eco friendly by riding her bike around the city instead of taking cabs! Gotta love it!

After dinner it was on to spin for little late night ping pong. The evening got very heated in a very intense ping pong match.  Clemmie and I verses Karim. We Lost… Sad face!

Karim and I warm up, With Tom and Kate at the table next to us.

Hit me with your best shot!

I pose with my Ping Ping Paddle.

Clemmie serves…

Karim’s Victory!

Tom’s Game Face!

THE END!

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Behind the Scenes of My Custom Made Couture Dress

April 15th, 2010 — About Me, Dress Up

After dreaming up this latest design,  I found out I would be attending the Opera while on holiday in New York. To mark the occasion I thought what a perfect event to wear such a glamorous dress. So to work my Mom and I went on creating such a delicate gown.  The double tier full skirt is Made from the best silk in Italy (Taroni) and the elegant top from Italian Lace and the waistband  is fitted with a silk bow belt. – THE WIFE

My lovely Mom, a.k.a The Seamstress, Threads a needle to get ready to hand stitch the hem.

My mom hand sewing all of the hook and eyes

The waist band with a silk and lace bow

Yards of Italian lace take up the kitchen counter.

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WIFE Icon: Grace Kelly

April 14th, 2010 — Article, Wives

The rare beauty and stunning self-possession that propelled Grace Kelly into the Hollywood pantheon, onto the Best-Dressed List, and ultimately to Monaco’s royal palace were more than captivating—they were completely genuine. As London’s Victoria and Albert Museum unveils an exhibition devoted to Kelly’s style, which still inspires fashion from Hermès to Tommy Hilfiger to Mad Men’s costumer Janie Bryant, the author looks at the intertwined qualities of an icon: white-gloved ingénue, elegant goddess, passionate—and frankly sexual—romantic. By Laura Jacobs

It may be the softest kiss in film history. The sun is setting over West Side rooftops, the sky persimmon. A man, his leg in a cast, sleeps near an open window, undisturbed by a neighbor singing scales. Just after the highest note is reached, a shadow climbs over the man’s chest, shoulder, and chin. We see a face: blue eyes, red lips, skin like poured cream, pearls. Then he sees it. The kiss happens in profile, a slow-motion hallucinatory blur somewhere between myth and dream, a limbic level of consciousness. The director, Alfred Hitchcock, liked to say he got the effect by shaking the camera. In truth, this otherworldly kiss comes to us by way of a double printing. Has any muse in cinema been graced with such a perfect cameo portrait of her power?

“How’s your leg?” she murmurs. “It hurts a little,” Jimmy Stewart answers. Another soft kiss, more teasing questions. “Anything else bothering you?” she asks. “Uh-huh,” he says. “Who are you?”

Who, indeed! In 1954, when Rear Window premiered, Grace Kelly had been in only four films. She was hardly known to the public, and then she was suddenly known—a star. In her first film, Fourteen Hours, she played an innocent bystander, on-screen for two minutes and 14 seconds. In her second, Fred Zinnemann’s High Noon, she co-starred as the pacifist bride of embattled sheriff Gary Cooper. In her third movie, John Ford’sMogambo, she was the prim wife of an anthropologist (Donald Sinden) and Jane to big-game hunter Clark Gable’s Tarzan. It was a steep and impressive learning curve, straight to the top. By the time Hitchcock got his hands on her, figuratively speaking, casting himself as Pygmalion to her Galatea, Grace Kelly was ready for her close-up. Hitchcock gave her one after another, in three films that placed her on a pedestal—Dial M for Murder, Rear Window, and To Catch a Thief—enshrining her as an archetype newly minted. “A snow-covered volcano” was how he put it. She was ladylike yet elemental, suggestive of icy Olympian heights and untouched autonomy yet, beneath it all, unblushing heat and fire. By 1956, two years, six films, and one Academy Award afterRear Window—while the country was still wondering, Who are you, Miss Kelly?—she was gone, off to Europe to marry a prince, whence she would become Her Serene Highness Princess Grace of Monaco.

he appearance and then sudden disappearance of gifted, beautiful blondes is not unknown to Hollywood. Before Grace Kelly’s five-year phase of radiance in the 50s, there was Frances Farmer, whose brilliance roused the industry for six years, from 1936 to 1942. Like Kelly, Farmer was intelligent, her own person, and a serious actress wary of binding contracts. In 1957, only a year after Grace Kelly’s departure, Diane Varsi took the baton, making a big impression as a sensitive ingénue inPeyton Place. Varsi, too, was both smart and skeptical of Hollywood, and fled the industry in 1959. (She returned in the late 60s, but without momentum.) Farmer and Varsi left, respectively, in mental and emotional disarray. The word “disarray,” however, would never find its way into a sentence that included the name Grace Kelly. She was always in control. Always prepared. Always well groomed and well mannered, delightful and kind. And always, eternally it seems, beautiful.

Though it is in Rear Window where Grace Kelly achieves full iconic stature, answering Stewart’s question by circling the room in her pure-white snowcap of a skirt, there is nothing “rear window” about her. She states her full name as she switches on three lights, and her picture-window, Park Avenue perfection is itself a kind of incandescence. Here was a white-glove glow to make men gallant and women swoon, and it was present whether she was dressed in dowdy daywear (her beloved wool skirts and cashmere cardigans) or in the confections of Hollywood designers and Paris couturiers. Hitchcock goes so far as to make a joke of it. “She’s too perfect,” Jimmy Stewart complains. “She’s too talented. She’s too beautiful. She’s too sophisticated. She’s too everything but what I want.” And it was true, except for that last, because at the moment when Miss Kelly left Hollywood the whole world wanted her.

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Henri Cartier-Bresson Exhibit at the MOMA

April 14th, 2010 — Art and Culture

“It is through living that we discover ourselves, at the same time as we discover the world around us” – Henri Cartier-Bresson, 1952

Henri Cartier-Bresson (1908–2004) is one of the most original, accomplished, influential, and beloved figures in the history of photography. His inventive work of the early 1930s helped define the creative potential of modern photography, and his uncanny ability to capture life on the run made his work synonymous with “the decisive moment”—the title of his first major book. After World War II (most of which he spent as a prisoner of war) and his first museum show (at MoMA in 1947), he joined Robert Capa and others in founding the Magnum photo agency, which enabled photojournalists to reach a broad audience through magazines such as Life while retaining control over their work. In the decade following the war, Cartier-Bresson produced major bodies of photographic reportage on India and Indonesia at the time of independence, China during the revolution, the Soviet Union after Stalin’s death, the United States during the postwar boom, and Europe as its old cultures confronted modern realities. For more than twenty-five years, he was the keenest observer of the global theater of human affairs—and one of the great portraitists of the twentieth century. MoMA’s retrospective, the first in the United States in three decades, surveys Cartier-Bresson’s entire career, with a presentation of about three hundred photographs, mostly arranged thematically and supplemented with periodicals and books. The exhibition travels to The Art Institute of Chicago, the San Francisco Museum of Modern Art (SFMOMA), and the High Museum of Art, Atlanta. – MOMA.Com


Henri Cartier -Bresson
The Modern Century
April 11 – June 28 2010
Museaum of Modern Art
Sixth Floor
www.MOMA.Org

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Traveling Again…..

March 31st, 2010 — About Me

Well Darling Wives and Wives To Be…. I’m off traveling again, this time to New York for a little over a week. I won’t be posting while I’m away… But don’t worry I’ll be back before you know it! – THE WIFE

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