I made this fur lifejacket partly in homage to Meret Oppenheim, one of the founders of surrealism and most famous for her “Object in Fur,” a fur teacup and spoon. Oppenheim is yet another woman artist who did not receive the credit or status she was due.

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Every few years this romance of ethnic plus nomad comes back around. For a previous example, see 2008. This year it seems to have returned as the usual Siberian/Mongolian nomad style, but hybridized with a specific pastiche of ethnic costumes and craft embellishments.

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These “modern nomad” or “urban nomad” styles appeared in Canadian fashion magazine Flare this fall, and Vogue and and others published similar photographs. Since fashion and other areas of design tend to be strangely prescient about historical circumstances – for example, American Depression-era styles were on the runway for nearly a year and a half before the recent stock market crash – does this interest in nomadism mean anything?

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Fur hammock by Bless, the design collaboration of Desiree Heiss and Ines Kaag, who work out of Paris and Berlin. The fur is probably not recycled, but it’d be a great piece if it were.

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It is very odd to find yourself being used to illustrate some oblique purpose. My fur lifejacket, made as a sort of surrealist conversation piece from a real vintage lifejacket and a discarded mink jacket found in thrift, ended up here:

Fur for LACMA: “Following up on the announcement from the New York Times that the LA County Museum of Art isn’t getting Eli Broad’s collection, may I suggest this fur life jacket to be distributed to the museum committee.

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