Ft Wright Drama Elf Jr Unisex Shirt
Letter from Joan Mitchell to Barney Rosset (page 4 of 8), August 26, 1979. Joan Mitchell Foundation Archives, New York. “Everything about her was no-nonsense and practical, even her boxy haircut with its straight curtain of bangs,” says the artist Peter Soriano, who considered Mitchell a mentor. “She couldn’t stand people who fussed with themselves. One critic we both knew kept brushing his hair out of his face, and it drove Joan nuts.” Adams and Bloch-Champfort remember Mitchell’s suitcase, which was usually stored on the billiard table at Vétheuil. “It was the suitcase to go on the road, to come to New York, to visit her sister in California, and even though it would often be on the billiard table open, I don’t think it was something that she unpacked and repacked for the next trip,” says Adams. “I think it had whatever her current selection was of the clothes that she was going to wear when she was not at home in the studio.” Bloch-Champfort, who worked for Dior and Celine during his friendship with Mitchell, remembers a green-blue wool cardigan of his that she wore to the 1982 opening of “Joan Mitchell: Choix de Peintures, 1970–1982” at the Musée d’Art Moderne de Paris. If it was a decidedly more casual look than, say, the unstructured sapphire-blue velvet blazer, blue turtleneck, and mauve flared pants that she wore to an opening at the Whitney in 1974, it was equally specific, bold—and a long way from her bourgeois roots.Ft Wright Drama Elf Jr Unisex Shirt
It also fit a pattern: Several of the pieces in which Mitchell was photographed the most were gifts from friends. She often wore a golden yellow parka from Bloch-Champfort in the garden at Vétheuil, and treasured a Willem de Kooning T-shirt given to her by her dealer and gallerist Xavier Fourcade. But one of the best examples is surely a sweatshirt, featuring four white bears with red ribbons looped around their necks, that Adams remembers artist Malcolm Morley giving to Mitchell. She wears it in the documentary Joan Mitchell: Portrait of an Abstract Painter by Marion Cajori. Mitchell’s sparky sartorial style, which significantly predated the art world’s wider involvement with fashion, is ultimately due celebration because it’s so full of genuine, unabashed character. There is a scene in Cajori’s hugely watchable film that sees Mitchell sitting at a table with a vase of yellow flowers on it, presumably from her garden. There is nothing particularly exceptional about her look—she is wearing a blue cardigan, slim cords, and black leather slippers—and yet everything about it seems perfect; absolutely, brilliantly Joan. That, in the end, was her great style secret: as Adams puts it, Mitchell merely “set aside conventional expectations and independently dressed for herself.”
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