Deckard design 1
Tuesday, June 30, 2009
Sunday, June 28, 2009
Friday, June 26, 2009
Wednesday, June 24, 2009
Saturday, June 20, 2009
Wednesday, June 17, 2009
"Agnes de Mordaunt adjusted her veil and wimple in order to
ensure that her forehead was covered before leading Sister Idonea out of the chamber; she tied her monkey with a long ribbon to the base of her close-stool and, taking up her crozier, proceeded down the stone stairway to the refectory."
from The Clerkenwell Tales by Peter Ackroyd
Saturday, June 13, 2009
Thursday, June 11, 2009
Wednesday, June 10, 2009
"A MAN, WHO was a secret agent, parked his car in a rain-drenched square and took a bus into town. That day he had turned forty-one, and as he dropped into the first seat he came across, he closed his eyes and fell into bleak contemplation of his birthday. The bus pulled up at the next stop, jerking him back to consciousness, and he watched as two girls sat down on the empty seat in front of him. The girl on the left had hair the color of copper–dark copper with a glint of gold. It was sleek and gathered at the nape of her neck with a black velvet ribbon, tied in a cross-shaped bow. This ribbon, like her hair, radiated a crisp freshness, a pristine freshness to be found in things as yet untouched by a fingering hand. Whoever tied that ribbon with such meticulous care? wondered the man of forty-one. Then he waited for the moment when she would turn her profile to her friend, and when she turned to her friend and he saw her features, his mouth fell open in a stifled cry. Or did it perhaps escape from his mouth? Anyway, the passengers did not react."
-from The Minotaur, by Benjamin Tamuz
Sunday, June 7, 2009
Thursday, June 4, 2009
Wednesday, June 3, 2009
Tuesday, June 2, 2009
"Though Tony Curtis' wardrobe in The Boston Strangler consisted almost entirely of work clothes, he insisted that everything be custom tailored. The assignment fell to costume designer William Travilla, a high fashion couturier under his professional name, Travilla, and the designer of Errol Flynn's costumes in some of his swashbuckling and codpiece epics. 'I'm not knocking Tony, but he is a pain in the neck to work with,' Travilla said one day. 'He's such a perfectionist. But I guess it's a very serious picture and the clothes couldn't be handled by just buying a green zipper jacket. We wanted to get as slender a look as possible, so the pants were dropped to the hipbone and made with fewer pockets. Then the work shirts were made to measure so there wouldn't be a lot of extra bulk to push down into the pants. Then everything was put into the washing machine and mangled so that they'd have character. Oddly enough, the changes we made in the clothes aren't noticeable. The character comes out moody and nasty and certainly doesn't look custom made. The clothes create a more sensuous approach, and after all, the Strangler had to have sex appeal to get into all of those women's apartments.'"
-from The Studio, by John Gregory Dunne
Monday, June 1, 2009
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