"Apparently, Bill O’Reilly wasn’t the only one displeased with Lady Gaga’s holiday display at Barneys," notes New York magazine (as if anyone gives a shit what he says). "In a video that has recently surfaced online, the multimedia artist Colette Maison Lumiere suggests Gaga should have given her attribution for the windows’ creative direction. Colette has been prolific in New York since the seventies, creating installations, fashion collaborations, and live exhibitions in studios, stores, and nightclubs — some of which, the video insinuates, reappear in Gaga's windows."
Let's go to the video, shall we?
Now, the artist who calls herself, simply, Colette, looks to me like she's off her nut. Kind of the Baby Jane Hudson of the New York art world, I'd say. Her dismissive attitude and out-of-touch grandiosity, when two young women attempt to talk with her, clearly illustrates Colette is not a well woman, as she hands them her business card with a contemptuous grimace. "I'm gonna do my thing and you do yours! Try not to attract attention," Colette instructs the person filming her. She then proceeds to deface the sidewalk outside Barney's windows by painting a personalized protest message on it in full view of passersby on a busy Manhattan street.
Intermixed shots of Colette's window dressings from her salad days against the Barney holiday display actually point out the vast lack of similarity of the works in question. Colette even tries to make a case that the clunky platforms she is wearing on the street inspired the stilettos seen on Gaga's display mannequin! "Edge of Glory" plays over this, on the video, ironically. Colette may be on the edge, but it ain't glory that awaits her, I'm afraid.
Judge Beaverhausen, with the bang of his gavel, respectfully tosses this out of court and fines Colette for uninspiring graffiti and overall bogusness.
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