‘Calyer’ for the Captain Ashore!

I asked Craig Cafton, one of the owners of Calyer, where he got the seafaring inspiration for the interior design for the restaurant. He answered by telling me a story about shipbuilding. The Greenpoint area of Brooklyn was, once upon a time in the 19^th century, the wooden shipbuilding capital of the US. But when ships made of iron and steel took over the seas, Greenpoint became the wooden ship dismantling capital of the US. In fact, many houses in the area were built with the wood from those dismantled ships. Being passionate about Brooklyn in days of yore, Craig decided to incorporate some of this peculiar history into the decorative elements of Calyer. By sourcing boards and fixtures that had already been reclaimed once for houses a century ago, he’s given them a third life in the new restaurant.

Craig, along with his partners Josh Cohen and Blair Papagni (who also own another neighborhood restaurant, Anella), kept true to this vision of creating something seemingly antiquated while showcasing something decidedly new.

The newly opened restaurant not only has great décor, it also has delicious food. The menu is the creation of chef Gabriel Moya, who wanted to utilize the spices he grew up loving from his native Dominican Republic and Puerto Rico cuisine. This inspiration can be seen in dishes like Bacala Mousse. I tried the Fluke Tiradito, which is comprised of fluke slices, an avocado puree, cilantro, and sesame seeds. It was light yet savory and the mix of different textures were enjoyable on the palate. The pan-seared bluefish was beautifully prepared (with perfect crispy skin on the outside) and its presentation could not be surpassed. This is just two of the many tempting dishes available at Calyer. There is a full bar, with an assortment of wines and desserts. 

Calyer

92 Calyer Street (between Franklin and West Street)

Greenpoint, Brooklyn 11222

Hours: 6:30-11PM- everyday. Closed Tuesday. Cash only.

Directions: Take the G train to the Nassau Ave. stop. 

Pan Seared Bluefish with Salasa Criolla and Red Slaw.

Hats Entertainment: Stephen Jones, Milliner

I first met Stephen Jones back in 1985, when I was a dancer and designer for Madonna and he was working on an exhibition at the Palladium. I was already a fan of his millinery skills, which could be seen at the time in my favorite magazines from London, I-D and The Face. Stephen was at the beginning of his career then, one that now spans three decades and includes collaborations with many designers, such as Dior, John Galliano, L’Wren Scott, and Marc Jacobs. He has designed hats for a celebrity clientele with many varied backgrounds including English royalty, the actress Anne Hathaway and the burlesque performer Dita Von Teese. His skills are also called upon for stage and film. Some of my favorite hats were seen on Cate Blanchett in the historic movie Elizabeth and its follow-up, The Golden Age.

It was such a thrill to be able to attend the opening of his survey of favorite hats at the Bard Graduate Center this past Wednesday night. Afterward, there was a delicious dinner given by the Bard Center as well. I’ve never felt so naked in my life as when I sat hatless at that table, surrounded by Stephen and his friends and collaborators, like the photographer Justine. (Note: I was hatless because I had a screamer of a migraine- even my very short hair hurt, but I was not going to let this stop me from attending Stephen’s opening).

When asked about some of his current inspirations, Stephen replied that he could be inspired by almost anything, a statement that is in evidence when reviewing his prolific, wondrous and fanciful creations. Do yourself a favor and try to see this exhibition, which is currently at the Bard Graduate Center in NYC until April 15, 2012.  It will also be on tour. 

Erika Belle with Stephen Jones at the opening for 'Hats: An Anthology'

 Oriole Cullen, curator, in a 'Flower' Hat

One of my many favorite Stephen Jones Hats

A Fur Ball Hat (worn by Bjork in London, 2008) designed by Soren Bach.

A fine feathered hat.

A lovely woman in a feathered hat and a trompe l'oeil 'pearl necklace' dress.

Hats and hat boxes.

Two beautiful woman standing next to the Stephen Jones silhouette.

Christina Clare Ewald and Fritz Donnelly in 'Take Out' Hats.

The wonderful Tziporah Salamon.

To The Newness of Things

I always think I’m so jaded. Oh, I’ve seen everything. Oh, nothing could ever surprise me or impress me. Especially in terms of fashion. Child, boo! I say. I’ve seen it all and have done it all. I managed to have killed these two birds with one stone while having a leisurely Sunday brunch in London with the late Isabella Blow.

Or so I believed. Nothing impresses me more than the possibility of a new fashion mode. Before it happens. Before it reaches the hallways of the suburban high school and becomes rote and truly passé. Like the straight-legged jean, now erroneously called ‘skinny jeans’. I first wore them decades ago when they were almost impossible to find and, if you did, quite expensive to purchase. I didn’t wear them to signal that I belonged to the prevailing social milieu; I wore them to show I did not.

When a brave pioneer wears something that is so new or outré that there is not a word to define what it is yet, I’m held in awe. This person does not hear your snickers. This person could care less about your opinion. (This person may be in need of prescribed psychotropic help, but I do not wish to digress.) I recently saw such a person walking proudly down a Soho street, wearing what I call a mammy-jammy. 

Mammy-jammy is my term for an indefinable article of attire. It exists as a new sort of thing, a piece of fashion that can’t be constrained by words like shoe or dress. As an example I can only think of the Comme Des Garcons collection of dresses that were constructed with a built in hump, so the wearer gave the appearance of being humpbacked. A piece from that collection was not merely a dress – a new word should have been invented for it, like drump.

The woman I saw in Soho was wearing something akin to a dress, but it looked as if she left a bathroom too rapidly and part of the dress remained stuck in her underwear, and decided to stay there. Or it gave that illusion, an appearance that few of us would ever want to sport. It was a blue and white striped affair, very simple at the top half, that seemed to gather around the mid-thigh like a kind of diaper-bottomed jumpsuit, but with more fabric draped between the legs. It was a tunic that gave something more, but I couldn’t tell exactly what was on offer. This ‘jumpsuit’ was worn with simple black oxfords and black tights, which declared that her outfit was worn on purpose. 

I was confused, but I was also held in a rare light wonderment. And to this young crusader, I must tip my Philip Treacy hat.

Erika Belle in a mammy-jammy at Agnes B. during FNO 2011. Photo by Patrick Albino

I Was Never A Hippie

I was never a hippie. I never wanted to be anything close to a hippie. I hated the style, the false and dangerous “’love everything and everyone” ethos and the horrid guitar solos. Blech. Those people not only needed serious direction, they needed to use soap. The only time I ever got close to wishing I knew what it was like to be a hippie, was when I heard Keith Morris sing that he was a hippie in one of the best songs ever recorded. This song is Wasted, which was performed and recorded by the seminal punk band Black Flag.

Wasted is 51 seconds of pure adrenaline fueled joy. It is the perfect marriage of lyrics and music, if you need music and lyrics to function as a liter-sized espresso shot. It starts with guitarist Greg Ginn’s heavily distorted crushing chords. The lyrics are really just an honest lamentation, but they are sung with such urgency that you find yourself placed within context of the song. Just by listening, you too become involved. You understand and empathize with what it must feel like to be completely aimless. Morris even uses hippie idiom, stating “I was so heavy, man. I lived on the strand.” You can say with authority, because you are now a participant, “I guess he was, um, wasted.” 

Check out this song and everything on early Black Flag’s Nervous Breakdown EP if you dare, but first make sure you’ve had enough sleep the night before.

Black Flag – Nervous Breakdown on SST Records (includes Fix Me, I’ve Had It, Wasted). Artwork by Ray Pettibon (who also designed the infamous Black Flag 4 flags logo, and is Greg Ginn’s brother). Do check out this gentleman’s artwork at www.raypettibon.com and at David Zwirner gallery.

Band members*

Greg Ginn, guitar

Keith Morris, vocals

Chuck Dukowski, bass

Brian Migdol, drums

 *I am well aware of Henry Rollins’ history as a Black Flag’s long-term lead singer and beefcake. This song was recorded before his tenure with the band.