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The result is moody, cool and mysterious, and quite magnificent. Sleigh bells and sonic opacity give “If Love Is The Law” a Spector-esque feel, but it’s the kind of yearning romance Noel could write in his sleep, and maybe did; and while the widescreen production of “The Man Who Built The Moon” strives to deliver the drama promised by “Fort Knox”, it doesn’t quite succeed.
But it’s still by far his best post-Oasis work, an album which doesn’t try to challenge that heritage, but strikes out to explore new territory.
When Björk showed up to the 2001 Academy Awards wearing a dress that looked as if a swan were draped around her neck, the singer became the first word in red-carpet ridicule.
Now, the most infamous ensemble in Oscar history is demanding a second look as a highlight of a new Museum of Modern Art retrospective honoring the Icelandic musician’s body of work.
“The whole narrative that season was inspired by the motion of a merry-go-round, with all these different animals. “Björk loved it.” “The whole dress was like a sculpture, done three-dimensionally in a mixture of so many different fabrics, from suede leather to woolen felt, goose feathers, swan feathers — lots of down,” Pejoski says.
Often forgotten is the fact that Björk brought six ostrich eggs with her to the Oscars and scattered them on the red carpet.
it’s just a spectacular and amazing thing that it came back full circle.” In honor of the exhibition, which opened this month, here’s a look at the dress that launched a thousand parodies — and why it’s Pejoski who’s getting the last laugh.
Björk may have flown the dress into the spotlight, but it originally debuted on designer Pejoski’s fall/winter 2001 runway.
(He’s now designing for the buzzy London line KTZ.) “That [the dress] made it into Mo MA …The only semi-successes are “You’re All I Need To Get By” and “(You Make Me Feel Like) A Natural Woman”, on which the string caresses are more apt; but it’s still a case of polishing away the patina that’s an intrinsic part of the performances.