I could not be more excited. I have never been, but I have been planning this adventure in my mind for years.
I turned 30 at the beginning of the month, so this trip is a big “grab the world by its ass” sorta experience. My intention is to launch myself into my third decade on this planet — head first! And with impeccable style.
This trip also feels particularly poignant because my grandma passed away on Sunday. She was a beautiful woman; a gentle, humerous, kind soul. She was a strong person, but she cloaked it behind a veil of modesty and genuine servitude for those she loved. She always told me to wait before settling down. She had wonderful style. She was from Indonesia. She loved Hawaiian music. She called my grandpa her “silver fox.” I think I inherited my coyness from her.
Unfortunately I will have to miss her funeral in California because I will be on the other side of the continent in New York celebrating my 30th birthday.
Is this self-indulgent?
Maybe.
I feel an odd mixture of elation and deep sadness, but I believe she would have wanted it this way. I will think of her a lot during my trip because it’s a celebration of my life, but I’m realizing it’s also a celebration of her life too. I plan to have a moment of silence in a church somewhere in NYC to honour her on Friday.
Rest in peace, grandma.
You inspire me.
Pieces of you are in every woman.
For further inspiration, I’d like to share some of my favourite New York women captured on The Sartorialist. They embody a sort of elegant lightness and depth of style that could only possibly come from within.
Ahh, BFFs. Adored. I will see mine in a few short hours as we board the plane for what is sure to be the trip of a lifetime. With this trip I am also celebrating her, for our friendship has fed my soul immeasurably. Without her in my life, I would be a different person.
I don’t mean to punctuate our trip on such a sombre note. There are soooo many fun things we have planned this week, it’s unbelievable!
Live music, fashion, art, theatre, sightseeing, photography, people-watching, tea in our little garden escape in Brooklyn — it’ll be insane!
We will have so much fun.
Because, of course, to please our grandmas — we wouldn’t have it any other way.
I’ve been thinking a lot about what it means to be from Vancouver this week. It all started with a message:
“Anyone wanna see Grimes with me on Feb. 18 @ Fortune? She’s this wicked dreamy synthpop chick who opened for Lykke Li on her last tour. I can’t stop listening to her albums. (Yay!) Tix are only $13. Think about it! — L”
I rallied the troops to catch this rising star — born and bred of the same mountain air, sandy beaches, underground hippie culture, and leagues of outdoor space as myself.
The tiny 23-year-old hopped onstage to face a packed crowd that was already feeling restless. I missed openers Born Gold so I wasn’t quite riled up, but people around me were gettin’ growly.
Grimes was dressed in a simple v-neck longsleeved, and she had her hair piled in a giant ponytail at the top of her head. Her eyes were awash with enough pink shadow to make Bowie proud. When she took the mic, she flopped her hair to cover one side of her face and said in a trademark, high-pitched register,
“H-h-hey!
…Uh, I’m Grimes.
Hehheh. Thanks. Thanks for coming to my show!”
Or something to that effect. So awkward! She was like a nervous teen asking for a first date! Adorable.
Then she started up the synth and all cuteness evaporated into the ether.
This chick can lay down a beat. She started out with a more experimental sound, stopping at times to ask for more of this, or less of that, from the sound peeps.
She was joined by the two members of Born Gold who hit up the synths/keys/drum machines behind her as she would “coo,” or “goo,” or “gaa,” or “check” to test the sound at random intervals, which sounded strange — like a baby backed by a synthesizer and a lot of amps.
But what an unhappy baby that would be! Her bass was fucking loud. And her hits were immediately recognizable to the crowd. The chunky beats of Oblivion melted into the speeding momentum of Vanessa, which melted into the warm and fuzzy synths of Genesis. And all were matched with throaty catcalls and flailing limbs. The crowd ate her up completely.
The song Be a Body. Oh my god. What a GREAT track! And she absolutely KILLED it live! There was not a body there without arms in the air and feet stomping along to a deliberately simple electropop beat that masks some really impressive, experimental vocals.
Take a gander at her latest video for Vanessa:
I must say though, Grimes’ voice was underscored by frequent mic feedback and sometimes obscured by throbbing bass, so her high-pitched, R&B-influenced singing style did get a bit lost.
And yes, her voice did come across as inconsistent at times, but I expected it to because that’s how it sounds on the record. It doesn’t matter. Her voice is interesting, and her beats are fucking wickedawesome. Like, The Knife-style wickedawesome. (If you’re a fan of me or my blog, you will know I have a permanent love-on for The Knife — I even wrote them a poem. <3)
Regardless of any criticism of her musical ability, Grimes comes across as real during her performance. And that’s all I really wanted.
And living in Vancouver myself (I grew up in Metro Van), it’s hard not to notice her popping up everywhere here. The sky’s the limit for this Vancouver girl, though now she calls Montreal home.
So what does it mean to be from Vancouver?
Let’s ask some notables:
“The sea has now changed from it’s natural, to river coloured water, the probable consequence of some streams falling into the bay, or into the ocean to the north of it, through the low land. To describe the beauties of this region will, on some future occasion, be a very grateful task to the pen of a skilled panegyrist.”
–George Vancouver
“It’s a foodie town, a chef town, a multicultural city. A proverbial melting pot where the elements don’t melt too much and lose distinct flavours.”
–Anthony Bourdain
Hm. If you asked me what it meant for an artist to be from New York, or Tokyo, or Paris, or even Cleveland, I’d definitely have a picture in my mind; at least some distinctive imagery to describe the artist’s influence.
So what of Grimes?
I think her music — with its airy melodies and deep pop hooks; tingly synths and jagged beats — shows that being from Vancouver means we’re all a little raw.
You know. Edgy. Unfinished. Beautiful, but hauntingly vague. Like the rain we must endure for so many waking months, we can’t be pinned down.
People are really transient here. Friends come and go. Summer lovers get washed away with the seasons. The perpetually grey sky can make us desperate for light. We don’t talk to each other enough in public places. We’re inside our heads a lot of the time.
As Grimes herself said to the Vancouver Sun, ““I don’t have a phone. Everyone I know is always on their fucking phone on the Internet all the time. I just wanted to write a song about being alive in the real world — ‘be a body.’”
With her edgy, experimental beats and enough artistic talent to rival seasoned pop divas like Robyn and La Roux, Grimes is coming out of her head and into yours.
North Carolina’s poetic indie-rock outfit The Mountain Goats makes music like bittersweet breakup letters. Like heartache put to 4/4 time.
I love this band and have only seen them once before at Sasquatch 2010. They were great, but admittedly, they’re not a band you can appreciate at a big music festival. Their show at The Biltmore Cabaret on June 17, 2011 was far more intimate, and way more memorable.
And John Darnielle is a great frontman — one of the best I’ve seen, in fact.
He is so intelligent, well spoken, gracious… and funny! He chatted with the audience between every song, speaking about his artistic influences, his personal life, anecdotes from the band and current events. His trademark, witty musings were simultaneously dark and light-hearted — just like his music — and my three friends who were not familiar with the band had no trouble forging a connection.
Darnielle even apologized about the riots that happened in our city two nights before, eloquently lamenting the negative impact of such a pointless event. Having been there for the start of the riots, I was surprised at how emotional I felt as my friend and I fled the downtown core. Everyone we met during the exodus was surprised and angry; opinions were infinite; any feelings of civic pride were dashed.
Though it was sad for me to realize the bands I love will probably talk about the riots before gigs in VanCity for a while to come, it was really nice to belong to a loving, respectful crowd on this night. Truly, this is the Vancouver I am proud to be a part of.
The Mountain Goats played an energetic hour-and-a-half-long set, switching effortlessly between crooning love songs, bitter ballads and upbeat indie dance tracks. Darnielle, with Jon Wurster on drums, Peter Hughes on bass, and touring keyboardist Yuvol Semo, had no shortage of energy as they all wailed on their instruments in the most sincere fashion. This band is known for their sincerity, and their stage presence confirmed it as they all looked like geeky college professors breaking loose from grading papers.
Speaking of stage presence, Darnielle’s is excellent. He is truly a seasoned performer. He had no trouble interacting with the crowd, and at one point pressed his face against the steel enclosure along the side of the stage and crooned through it. After that, he hung himself off the side of the stage and caressed people’s faces as he leaned in for a few intimate moments with fans.
Oh, and he wasn’t wearing any shoes.
Did I mention I love this band?!
Anyway, given that it was an early show with a 10:30 pm curfew, The Mountain Goats played a rich set that included 18 songs (I was too busy swaying to count — thank you Setlist.fm). They started with“Liza Forever Minnelli,” a new, slower track, and worked on building an infectious energy that carried us through “Broom People,” “Damn These Vampires,” and “This Year.” And the energy didn’t peak for a moment. From this secretly emo heart, I was particularly excited to hear “Broom People.” The songwriting makes me feel mushy every time:
’36 Hudson in the garage
All sorts of junk in the unattached spare room.
Dishes in the kitchen sink
New straw for the old broom.
Friends who don’t have a clue
Well meaning teachers
But down in your arms, in your arms
I am a wild creature.
Floor two foot high with newspapers White carpet thick with cat hair Half eaten gallons of ice cream in the freezer Fresh fuel for the sodium flares I write down good reasons to freeze to death In my spiral-ring notebook But in the long tresses of your hair I am a babbling brook
God I love those lyrics! It was very cathartic live.
After this, it was just Darnielle, mic and guitar. When the bare-bones love song “It Froze Me” began, the crowd fell silent, entranced by his wavery vocals and expressive guitar plucking. This song goes all the way back to ’96, and it was amazing to hear Darnielle’s poetry come alive much like it would have on his early demos. Watching him perform this song felt like experiencing a first kiss with someone you really like: soft, electric and infinitely uplifting. I’m a big fan of this band, but I’d never heard this song before and the title described my reaction exactly.
What a beautiful song, and such a pleasure to experience live:
Later in the set, the band played a special song only performed live called “You Were Cool.” Darnielle told the crowd he first performed it in Victoria, B.C., and that it was “really special” to be able to play it for a Vancouver audience. Aw!
To close the set before the encore, the band played the ever-popular “This Year,” which had everybody shouting out:
“I am gonna make it, through this year, if it kills me.”
In a city that is still reverberating from the deep wounds of senseless, violent rioting over nothing, where young people are wearing the blame and everyone is searching their souls to find a way to understand, this felt very apropos.
When the first few chords of “No Children” rang out and I shrieked with glee. This is one of my absolute favourite songs EVER! I quickly discovered I wasn’t alone in my enthusiasm: nearly everyone around me was shouting or muttering along with every word, which was awesome, because for this band the words are many.
The words are what it’s all about:
I hope I cut myself shaving tomorrow I hope it bleeds all day long Our friends say it’s darkest before the sun rises We’re pretty sure they’re all wrong I hope it stays dark forever I hope the worst isn’t over
And I hope you blink before I do Yeah I hope I never get sober And I hope when you think of me years down the line You can’t find one good thing to say And I’d hope that if I found the strength to walk out You’d stay the hell out of my way
I am drowning There is no sign of land You are coming down with me Hand in unlovable hand And I hope you die I hope we both die
All in all, it was the ideal end to a very un-ideal week in Vancouver. I’m so glad I was there. While falling asleep that night, I thought about how The Mountain Goats are the perfect symbol for how to behave with dignity in the face of negative emotions.
Their music illustrates how anger, when met with intelligence, can inspire beauty.
I love wearing sandals. In fact, I recently confessed to a friend that I measure success and happiness by how often I get to wear a bikini and sandals in a given year.
I am going to do both of those things tomorrow and I’m guessing my serotonin levels will skyrocket.
Here’s a sneak peak of the sandals I’ll be sporting today. Picked ‘em up at this year’s epic shoe sale at Army and Navy for a tidy $40. Not too shabby for Nine West! And today is the first wear! O how I love them.
In her book Shoes, Linda O’Keefe says sandals were the first crafted footwear. They date back to 3500 BC, when ancient Egyptians made imprints of their feet in wet sand, fashioned soles out of braided papyrus and added rawhide thongs to keep them in place. The sandal existed in some form for thousands of years — in Italy, Japan, Spain and even rainy England.
After having gone out of fashion for more than 1,000 years, the sandal made a comeback in the ’20s. Heels were attached, accentuating the feminine arch, and this gave the previously modest foot an excuse to sport coloured toenails and rhinestone straps.
Tres sexy.
Shifting gears back to modern day, I always get excited for sandal season’s new styles. Here are a few choice finds for spring 2011:
Polyvore.com is my new favourite website ever!!!! With this site, you can browse fashion spreads made by both pro and self-made stylists, and you can pick through and save the items you like best to make your own spreads. Finally! My dream of being a fashion magazine editor has come true!
This is what I would wear to Sasquatch if I were going this year, and if I had unlimited funds. But since I can’t make it, and I don’t have unlimited finds, I’ll live vicariously by creating this fantasy look using these coveted Paul Smith boots and amazing utility vest as my staples.
I dare you to look at the back of that vest and not be driven to buy it.
Also, I simply must have those boots. The desire is rooted deep. But at $525 saving for them will be a lesson in delayed gratification, which is a lesson I sorely need to learn.
Blusey indie rock act Spoon are the masters of minimalism. Their strong, simple sound contains guitar hooks you can’t get out of your head, and lead singer Britt Daniel’s sweet yet gravelly voice cuts right to the core.
Theirs is the type of pop-rock that could fill an empty room, or help you stay sane on a deserted island. You’d only need a candle, a stump and some Spoon to survive.
So when I arrived at The Orpheum on a sunny Sunday evening I was pretty darn stoked. I’ve seen them once before at the Commodore and they gave a flawless, emotionally-charged performance. Needless to say, I was READY for this!
But I cannot lie about what came first. Openers Micachu & the Shapes were painful; their frenetic, experimental sound didn’t match the venue. Perhaps it was because I had balcony seating and I wasn’t able to witness the band’s penchant for hammering away on hand-made instruments. Or perhaps it was because a large open space like The Orpheum with its gilded interior and fantastic acoustics only served to amplify their lack of talent — I don’t know.
In any case, Micachu & the Shapes’ jangly, ragged guitar and droaning, post-punk vocals made me feel hungover.
After this, ambient punk/alt rock act Deerhunter took the stage. I was pretty psyched for this as I’m a fan of lead singer Bradford Cox’s side project Atlas Sound. Deerhunter’s set was good, not great, but generally pleasant. The general pleasantries were aided by Cox’s dorky yet lovable stage manner (he is super tall and incredibly thin, and uses words like “sock hop” and “groovy”). Cox even flopped his lanky frame onto the floor the for the last number causing a jubilant dance party at the front of the stage. It was adorable!
As well, Spoon’s Britt Daniel, Rob Pope and Eric Harvey all pitched in intermittently throughout the set, which was pretty rad.
And then, it was time for Spoon.
The stage was decorated simply, with just a few strands of Christmas lights, some floor-mounted lightboxes and a single spotlight to highlight the band’s pared-down approach to rock and roll.
Lead vocalist Britt Daniel started the set with a bare-bones rendition of “Before Destruction” that gave me chills. His voice is so raspy and masculine it makes me want children. And right as the last notes faded like smoke, the band revved up to a bluesy rendition of “Nobody Gets Me But You.”
Yes!
Some additional highlights were a totally transcendental performance of the “Ghost of You Lingers” that was so powerful it had me reviewing images from the last ten years of my life. All my failures and accomplishments flew by in rapid succession to the stark, repetitive notes of Eric Harvey’s controlled keyboarding.
Then it got fun. Popping out hits like “Cherry Bomb,” “Rhythm and Soul,” “Don’t Make Me a Target,” and “The Underdog,” Spoon had everyone in the joint bobbing heads, tapping toes and showing teeth. God, Ga Ga Ga Ga Ga is a great album. (Try saying that three times fast!)
Luckily their massive catalogue is so solid that the band doesn’t have to coast on just one album. With tracks hearkening all the way back to 2002′s Kill the Moonlight, and an encore boasting two of my favourite Spoon tracks of all time — “I Turn My Camera On” and “Don’t You Evah” — it was impossible not to cheer my heart out for them when they exited the stage for good.
If I were to make one complaint, nay, two: there were a few instances where the guitar was turned up too loud drowning out Daniel’s vocals. Also, their rendition of “Anything You Want” didn’t contain any keyboard action. They did the riff with guitars, and it didn’t sound nearly as good as it could have.
But all in all, their entire performance was given with such controlled precision that I can honestly say Spoon is one of the most professional, and accessible, acts in rock and roll.
Now you must watch a live bootleg of “The Way We Get By” recorded live from the very same night. Enjoy!
(I still work out to that song allthetime! Beat so good!)
It will help you get “in the mood” for the sexiness of spring.
And the first day is fast approaching, friends. Fast approaching! I even wore my bikini at the beach on Saturday.
Let me reiterate:
Bikini.
At the beach.
It is still winter in Canada.
But my bikini saw real sunlight! I am so excited for spring now I can hardly contain myself. Could it be because my day of birth is in the spring? Perhaps. But even more exciting are the new fashions that accompany the new season.
If I had to choose a fave right now t’would have to be Kenzo, designed by Antonio Marras.His designs are easy, feminine, worldly and dripping with bohemian sophistication — just what I feel like emulating as daylight slowly conquers evenings.
It’s also easy to achieve the layered, ’70s look on a thrifty budget.
In fact, Kenzo’s eponymous Japanese founder Kenzo Takada’s very first designs were made from a hodgepodge of vintage fabrics because he could only afford to buy secondhand. Therefore, Takada had to combine several striking fabrics together to make a single garment.
And here I thought I was the only one who made scarves out of old, mismatched socks!
“Kenzo proved his sense of dramatic appearance when,in 1978 and 1979, he held his shows in a circus tent, finishing with horsewomen performers wearing transparent uniforms and he himself riding an elephant.”
Excellent.
Look for me blogging live from atop an elephant this spring.
I don’t wear them super often, but when I do, I feel my zealous woman powers come out — one hundred per cent femme fatale!
“I got gloss on my lips (lips), a man on my hips (hips)
Hold me tighter than my Dereon jeans
Acting up (up), drink in my cup (cup)
I can care less what you think”
So you can imagine how a large grin spread across my face when I stumbled across these amazing harnesses by Norweigan Wood on Kingdom of Style. I cannot stop thinking about all the sexy/edgy possibilities!
Made by Canadian seamstress Angie Johnson who learned to sew from a combo of school and motherly influence, these creations are nothing short of inspired.
Prior to starting Norwegian Wood the Montreal native worked in the mainstream fashion industry for eight years, but has since released herself to work on Norwegian Wood full time.
I really can’t stop picturing myself in these. What a strapping young lady I would be. Hmah!
These harnesses would make even the most wallflowery of girls strut insane, with the glow of the limelight reflecting off her varnished lips.
“Ahhhhhhh!”
Also I’m a huge fan of the harness-over-t-shirt look. Casual dominance. I like it.
And check out some of her other inspiring creations:
She crafts her wares from vintage and new fabrics, and, in her own words, “various trims and other bits that I dig up in strange little stores throughout the mysterious city of Montreal.”
Super sweet.
Just LOVING the pocket-protector-meets-tribal-embellishment look. Big fan of leatherwork over here.
These creations are so inspiring all I wanna do is picture myself dancing in them allnightlong.
1. Delphic – Doubt (Riton Remix)
2. Chris Lake & Lys – La Tromba (Stupid Fresh’s We Announce The Remix)
3. Starkillers – Bitch Ass Trick
4. Britney Spears – 3 (Wolfgang Gartner Remix)
5. Luvstuff vs Alena – Turn It Around (Lazy Rich Remix)
6. Junior Senior – Move Your Feet (DJ Nejtrino + DJ Stranger Remix)
7. Pascal and Pearce – Disko Biskit
8. Tittsworth feat Kid Sister & Paserock – WTF (Tim Healy & Deekline Remix)
9. Jon-E Industry – Skanky Sandwiches
10. Binkers – Do It Right (Calvertron’s 59 Fifty Remix)
11. Frankie Goes To Hollywood – Relax (Spencer & Hill Remix)
12. Mike Snow – Animal (Fake Blood Remix)
13. DJ Dan – Tribute To Voodoo Ray
14. Chase & Status – Eastern Jam (Kyle Watson Remix)
15. Fake Blood – Mars (Jack Beats Remix)
16. AC Slater – Play The Record Again
17. Agnes – Release Me (Moguai Remix)
18. Stanton Warriors – Precinct (Plump DJs Remix)
19. Laidback Luke, Lee Mortimer – Blau!
20. Fatboy Slim – Praise You (Fedde Le Grand Remix)
21. Yeah Yeah Yeahs – Heads Will Roll (A-Trak Remix)
22. Splitloop – Party People
23. Mightyfools – Hoo Haa
Photos courtesy of kingdomofstyle.typepad.co.uk and etsy.com/shop/iheartnorwegianwood.
Well call me pleased as a pumpkin! I’ve already found the first album for my “Top Ten of 2010″ list, and January isn’t even done.
It’s official: Teen Dream, the third effort from Baltimore dream-pop duo Beach House, and I are an item.
We have run away together.
This is not an affair characterized by drunk dials, cheap motels or unrequited love; rather, it’s one built on warmth, complexity and the careful exposure of one’s own vulnerability.
A “teen dream” it is indeed, as the album’s sweeping emotions recall teenage glory-days where highs were high, risks happened daily, and heartbreak was lurking ’round every corner.
Oh the sadness and the splendor of it all!
This is the first album Beach House has released on Sub Pop. Because both CD and LP formats of Teen Dream come with a companion DVD featuring a video for each song made by a different director, it appears the record label folks are just as dedicated to making this a complete sensory experience.
And what an experience it is.
LISTEN HERE:
Vocalist/organist Victoria Legrand spans an incredible range with her rough, androgynous sound. Her voice is described as “beautifully oaky and deep,” like a fine wine. With incredible vocal dexterity and her trademark controlled wavering, Legrand’s melodies create a world where sadness is a regular fixture, but the depth earned from weighty lessons is far more significant.
Interestingly, Legrand’s sadness is balanced by her bandmate Alex Scally, who brings a tinkering, starry-eyed optimism to the album.
For example, the strong pop-powerhouse loop that opens “Norway” and the easygoing guitar twang that accompanies Legrand’s tormented melody form a delightful contrast.
“Norway” is epic and disorienting: perfect for riding your bike downhill after a first kiss.
Also, the shimmery synth-pop track “Lover of Mine” is suitable for reminiscing about drinking outdoors with good friends. It’s got the simultaneous warmth, excitement and release of going pee in the wilderness. (What?! Who doesn’t love that?)
And if that’s not enough to sell you, the boozy, calm sway of “Silver Soul” will call up memories of the best beach vacation you’ve ever had.
But the true gem of the album is “Real Love,” in which Legland’s soulful voice drips with tears. Here it’s just her and some gorgeous heavy-handed piano for a gut-wrenching five minutes and 23 seconds.
I am tranquilized:
“The color you say is black is the one you might lack / In the size of your eyes, is there a righteous prize?
“There’s something wrong with our hearts / When they beat pure they stand apart / In the black room, the light, watch the seabird fall / Real love, it finds you somewhere with your back to it”
You’ll need to get carried away by the band’s airy, emotional car chase, but rest assured there is a steady hand on the wheel.
Das right — three discs and/or three LPs depending on how you roll. This be some highly anticipated shit.
For those of you unfamiliar with Ms. Newsom, here is all you need to know: She is exquisitely beautiful (see photos above and below), prodigiously talented (she plays the harp and piano, and sings with medieval dexterity), incredibly articulate (she writes stanzas in archaic lingo), and she is the same age as me (this impresses me all the more).
Also, her voice sounds like a delightful mixture of girly girl and kitty cat.
Mmmmm!
If this piques your interest, her first track “81″ is now available online. The track is mellow yet evocative; it solely consists of Newsom’s idiosyncratic voice and fingers plucking away like mad on the harp.
In other words, the perfect tease to excite the fans.
“After seeing her perform, it’s clear that she is… a sort of Prometheus, bringing an elite musical tradition down from the mountain and into the lowlands of indie rock, where attitude-not-training is the rule, and a certain spiritual posture is more important that traditional musicianship. She’s been punished accordingly by the gods (in this extended metaphor, a cynical press) for her efforts to cross that divide.”
Indeed Newsom is criticized for being toosincere. In an indie culture that is so suspicious of pretentiousness and posturing, the road through Newsom’s music is forked. One path is for those who love her brainy, classical style for its enviable honesty; the other is for those who despise her wavering voice and complex language for the same reason. (Obviously you can make out the path I followed…)
And isn’t pretentiousness in the eye of the beholder anyway? I’m certain it’s not always, but in this case I think it’s a relevant idea to ponder.
Speaking of pondering, after the stratospheric success of her last album Ys in 2006, Newsom stepped out of the spotlight and retreated to her native California to work on new material. Thank goodness she came out of hiding last fall and posed for Giorgio Armani’s United Artists Campaign though.
Gorgeous.
For those fashion-obsessed out there, she’s wearing Giorgio Armani’s beaded black and blue silk blouse and sequined black silk shorts; Emporio Armani hat; and Carolina Amato gloves.
To add to the fun, see below for a playlist of my fave Joanna Newsom tracks:
