A CURATED COLLECTION FROM NEUE GALERIE NEW YORK

GRÜNFINK KIMONO
Han Feng for Neue NOW
Wiener Werkstätte Grünfink textile pattern
Designed 1910 by Lotte Frömel-Fochler
100% silk charmeuse, fully reversible
Both sides feature two hip pockets and one left breast pocket
Slim fit, one size

TEXTILES, FASHION, AND DESIGN REFORM IN AUSTRIA-HUNGARY BEFORE THE FIRST WORLD WAR
Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-siècle culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.

GRÜNFINK SHAWL
Han Feng for Neue NOW
Wiener Werkstätte Grünfink textile pattern
Designed 1910 by Lotte Frömel-Fochler
100% silk charmeuse
Features two discreet pockets
20 x 84 in.

HOLY SKIRTS: A NOVEL OF A FLAMBOYANT WOMAN WHO RISKED ALL FOR ART
No one in 1917 New York had ever encountered a woman like the Baroness Elsa von Freytag-Loringhoven—poet, artist, proto-punk rocker, sexual libertine, fashion avatar, and unrepentant troublemaker. When she wasn't stalking the streets of Greenwich Village wearing a brassiere made from tomato cans, she was enthusiastically declaiming her poems to sailors in beer halls or posing nude for Man Ray or Marcel Duchamp. In an era of brutal war, technological innovation, and cataclysmic change, the Baroness had resolved to create her own destiny—taking the center of the Dadaist circle, breaking every bond of female propriety . . . and transforming herself into a living, breathing work of art.