NEW YORK — When Patty Griffin’s parents received the “Man From La Mancha” original cast soundtrack from Patty’s older sister, little did they know that, decades later, they’d be featured singing a song from the...
NEW YORK — When Patty Griffin’s parents received the “Man From La Mancha” original cast soundtrack from Patty’s older sister, little did they know that, decades later, they’d be featured singing a song from the record, “Impossible Dream,” on their daughter’s fourth studio-released album.
“They loved it,” Griffin says in a call from her home in Austin, Tex. “So I would hear them singing different songs from it, growing up, and I knew that record was important to them.”
The song perfectly embodies the more personal flavor of Griffin’s latest album — appropriately named after the track — as well as the political one. The singer-songwriter suggests the characters in the musical and the people living in the Sixties were virtually searching for the same thing.
“There were all kinds of people trying to formulate a different future at that time,” she says, “and there’s a lot on [the soundtrack] about trying to create a different reality.
“I think that’s how a lot of people who have no control over the politics of the world feel right now, like a helpless, discouraged feeling that kind of creeps up on you, as it certainly did with me.”
Her political concerns join songs of home and family, friends and love on “Impossible Dream,” released last month and certainly Griffin’s most personal album to date. “This one is really more about me and my personal confusions,” she admits. Griffin will be promoting the album at Town Hall here tonight and Saturday night.
But, having turned 40 in March, the Maine native is revealing her full colors, both in her music and in her style. On stage, rather than slicking herself up in the sex-soaked fashions so popular today, she often sticks to more classic looks of the Twenties and Thirties.
“People have told me for years that I look like an old movie actress, so I never really fit into this sort of modern look. I don’t look good in little lacy, hot pink things,” she laughs.
Griffin turns to Austin-based designer Jyl Kutche for many of her stage frocks, and to Boudoir Queen, an Austin boutique, for some of her “old, antique” accessories. “I try to use a lot of local people,” she says. “You can really get some unique stuff and you can work one-on-one with them.”This route also allows her to get the custom handiwork she prefers. “I really like simplicity, and with older clothes, there’s just a lot more care [taken] in general,” she explains. “An average person [at that time] would have a dress that was really meticulously well made because they were only going to have three of them.
“I love the fact that somebody’s hands have made an item of clothing,” she continues. “There’s some soul in that.”
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast