The Editor is IN
It’s been a long day. And a late night is looming--got to get the May issues of the magazine off to the printer. Taking a break to check my email, I’m reminded of an invitation to a single-malt scotch tasting this very evening. In celebration of Tartan Week (whatever that is—the Irish have their day, the Scots have their week, I guess), it’s happening just across the street from the office, so—swearing to myself (and my boss) I’ll be gone no more than a half-hour, I descend into the still-light, but still-cold April evening, an associate in tow.
I was recently at the Metropolitan Museum of Art, viewing a show of Civil War Photography, which I found to be a very sobering experience. The photography really brought to light the drama of this, the first major war every recorded through the photograph. Young men (18 years old!) staring solemnly into the camera, in full military gear; injured men, with amputations and gun shot wounds, baring their scars of war for the photographic record; scenes of destruction throughout the North and the South; and so much more.
Authenticity. It's harder to come by in a restaurant than I'd like. With so many kitchens trying desperately to cook up the next cutting-edge culinary trend—over-ornamenting traditionally simple dishes, sacrificing palatability for presentation, engaging in cross-continental fusion fiascos (the list goes on)—it is refreshing to go to a restaurant where food is just food.
Not surprisingly Nora Ephron’s Broadway valentine to tabloid journalism, Lucky Guy, starring Tom Hanks, is attracting the fourth estate. Seen taking a busman’s holiday at Wednesday’s preview performance were Sue Simmons, former news anchor at WNBC in NYC (we miss you, Sue!); Ellis Henican, Newsday columnist, radio host and political analyst on Fox News; and Hal Rubenstein, fashion director of InStyle, attending with his husband, David Nickle, fittingly on the first day the Supreme Court heard arguments on the constitutionality of the federal Defense of Marriage Act of 1996.
I come not to bury Hands on a Hardbody but to praise it. Hands down, it’s the best new musical on Broadway since Once.
In anticipation of the Guerlain pop-up shop, their first ever in the U.S., which opens April 8th at Bloomingdale's, (1000 Third Ave., at E. 59th St., 212.705.2000), I received a generous preview of the beauty goods to come. The brand is one long associated with Parisian glamour and the well-curated capsule collection that will appear shortly on the ground floor of the Bloomingdale's flagship aims to reflect both the tradition and future of the beauty line.
I remember being told to color within the lines when I was a child. The command was spoken with regard to an actual coloring book, but I expect my preschool teacher also meant the phrase to apply to life at large. You know—because four-year-olds are so good with metaphors. Shortly thereafter, however, I remember looking past my mother’s elbow (being too short to look over her shoulder) while she was painting.
Considering I hadn't been down to the Fraunces Tavern, or the museum, since, well, I don't know when, I decided to recruit my executive editor Frances (yes, Fraunces/Francis) to take the ride down to Lower Manhattan with me for a bite of lunch and a quick tour. In all honesty, I wasn't expecting much.
I’ve always considered fashion an art form. So it’s a thrill to see Serious Cultural Institutions sharing my view–as the Metropolitan Museum of Art is doing with its current Impressionism, Fashion, and Modernity exhibition. Covering the mid-1860s to the mid-1880s, “when Paris emerged as the style capital of the world”, as the Met’s catalog puts it, the show is devoted to the interplay between the purveyors of fine art (the Impressionists) and those of decorative arts (couturiers and clothing designers like Charles Worth, just emerging as name celebrities at the time).
NYC is the continental capital for ultra high-end nightlife experiences. Extravagance and excess are trademarks of our city's tippling culture, and the options are tantalizing—haute cocktails made by master mixologists, lounges furnished with seating upholstered in ostrich leather, table service underneath crystal chandeliers and late nights on packed, quaking dance floors.