Status Updates From Women's Work: From Feminine...

While some critics remarked that it was a shame the works were not made of more traditional, long-lasting sculptural materials, [Dorothea] Tanning was unbothered by the impermanence of cloth and saw this as one of the sculptures' more interesting qualities. [She stated] in a 1976 interview … that soft sculptures celebrate the triumphs of 'cloth as a material for high purpose' and 'softness over hardness’.

[Schiaparelli collaborated] with other artists on her work. In 1936, she worked with Méret Oppenheim to create a fur-covered bracelet - a design that Oppenheim explored further in her famousObject (Le Déjeuner en fourrure) sculpture of a furry tea set later that year. The bracelet was part of a collection that also included a [fur ring].

[Schiaparelli’s] interest in beauty can be traced, in part, to her mother, who constantly called her ugly. Ever the defiant child, she began to imagine whimsical ways of proving her mother wrong. This led to one occasion when she stuffed her ears, nose and mouth with seeds in the hope of sprouting flowers.

Phenomenal book but especially so bc I love love love love looooooveee anything that discusses fibre art (/quilting ) as a serious medium and gives it the respect it deserves !!!!!!!!!