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Selfie! First try! .
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Narmer takes the role of Toby chien and I give my first try at Colette, as we sit atop an early 18th century Queen Anne tavern table in the office (a late Federal "fancy chair" in the background), a composition John based on one of several promotional photos of Colette in the guise of her literary creation (and reflection) Claudine. I wear a true vintage Edwardian silk dress with white collar (from Zappas Vintage on Etsy), and amazing vintage style boots from @americanduchess, appropriately called "Colette" (available alongside more vintage styles at americanduchess.com, swipe for a detail of the boots). Colette was an animal lover, and her black French Bulldog Toby frequently appears in her shockingly modern photo shoots (swipe for the inspiration); my basenji familiar Narmer does an equally great job posing (Kemi took a pass). In 1907, Colette performed at the Moulin Rouge with her lover Missy, the Marquise de Morny, in a show called "Dream of Egypt." Colette sported some incredible ancient-Egypt-seen-through-the-eyes-of-French-Orientalism ensembles, as a mummy who is ready to be unwrapped by Missy, attired as a male archaeologist. We can hope that the ancient Egyptians would have been more approving of Colette and Missy's on-stage dalliance than the violently negative reaction in Paris. In Egyptian religion, rare images of the goddesses Mut and Nephthys have erect phalli, a willingness to use sexual imagery to express virile and male creative potential of an otherwise female being (much like de Lempicka's own Neo-Futurist views). Colette and Missy may have chosen Egypt for their performance for the same reason Egyptian styles have repeatedly enjoyed popularity—a new style, a newly public expression of love, finds validation in the anchor of Egypt's hoary antiquity.
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