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By Andrea Rouda

YOU KNOW those TV commercials for sleep aids and pillows that show people waking up with a smile, stretching happily and jumping out of bed, then rushing to the window to gaze out at a brand new beautiful day? That was not the scene at my house this morning.

No, it wasn’t. Instead, I was rudely awakened by a tick burrowing its way into my head. It was still dark at five in the morning, and while I did jump out of bed, that’s where the similarity to those commercials ended.

My shrieks of horror woke my husband. He was not happy either, since his ominous task was obvious to both of us. Digging around my scalp with a pair of tweezers (mercilessly I might add, despite the fact that yesterday he was all sweetness and light on our 35th anniversary), Mitch successfully removed the disgusting little creature in its entirety, but not very easily and with much cursing from both of us.

It was nothing at all like those commercials. You never see stuff like that on TV, even though it is a far more likely occurrence than the smiling, stretching pillow people, at least here in Maine during deer tick season, which is basically all the time except when there is snow on the ground, and then, well, you have to deal with all that snow on the ground. Anyway, remind me never to go outside again.

—Andrea Rouda

Andrea Rouda blogs at The Daily Droid.

Three’s the magic number. Left: Jake Johnson’s bud vases come in different colors and are small enough to fit on a window sill and look stunning in a group. Right: The artist’s love of whimsy comes through with his trio of spotted vases. 

By Janet Kelly

FOR THE  WAYNESBORO, Virginia-based ceramicist Jake Johnson, it was love at first sight for clay. He embraces the squishy, soft and malleable material to make his nature-inspired pieces.

“I spend a lot of time in the woods, hiking, looking for mushrooms, and finding plenty of other things along the way. The variety and diversity of life that I encounter finds its way into my work,” says Johnson.

“I try to make works that engage users visually and tactfully, while also fulfilling a purpose. I think that feeling of animation and energy has remained constant, and it is this which I view as the defining characteristic of what I produce,” notes Johnson.

Tea tastes better in Johnson’s thoughtfully designed (a “catch” on the lid to prevent it from tipping off) and  lively  porcelain clay pots.  

But the man who says making things with his hands makes him feel more grounded does like to go off script to do “arty pieces” —a vase not meant to hold flowers or unusually shaped pitchers that he doesn’t have to think about whether they will pour right.

Vibrant and colorful, Johnson’s pieces can brighten up even the darkest corners of your home. What’s more, his ceramics may even charm you into thinking that they’re off partying while you’re not looking.

As much as he’d love to be part of a live Smithsonian Craft Show –“nothing beats an in-person experience,” where visitors could actually see and touch his work, this year’s virtual one is a “pretty close second for Covid times.”

The virtual show, “Celebrating American Artistry,” begins October 23 at 9am and runs through October 31 at 10pm. For more information and details, go to the event’s website.

Sponsored by the Smithsonian Women’s Committee (SWC), the Craft Show is a sale of the finest contemporary craft and design, handcrafted in America. Artists are selected from a competitive pool of applicants by a panel of jurors. Proceeds support grants to the Smithsonian for innovative education, outreach and research projects.

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By Andrea Rouda

IN THE 1930s and ’40s, there was a Lucky Strike ad that claimed doctors prescribed smoking cigarettes as a good way to relax and achieve health. Then it was discovered that actually they were a good way to get sick and die.

Doctors are not gods, gurus or seers. Some are clueless about what really helps in many situations. For example, they rarely suggest the practice of meditation as a legitimate route to wellness.

Unfortunately, not many people engage in meditation on a regular basis. Instead, a lot of us are hooked on a raft of serial TV dramas. Even reading books has fallen by the wayside for the average American, including those of us who made our way through gigantic tomes like Beowulf and Moby Dick in high school and college.

I’m one of those average Americans who no longer reads books for an hour a day and instead plays Words With Friends on my iPhone, telling myself that it’s good for my brain and since my mother died of Alzheimer’s I pretty much have to do it. This is, of course, hogwash.

Fortunately I was recently introduced to the wisdom of Sam Harris, which he dispenses in a podcast called Making Sense and an online meditation class called Waking Up. His observations on how we squander our thoughts and thereby waste our precious time have been helpful in calming my anxiety, dissipating my anger and most importantly, relieving my pervasive sadness. Google Sam and sign up for a free trial.

—Andrea Rouda blogs at The Daily Droid. 

LEFT: The “Palmyre” evening dress of embroidered ice-blue satin, designed by Christian Dior for the Fall-Winter 1952 Haute Couture.
RIGHT: A cream wool coat worn with a patent-leather “Bar” belt, from the Fall-Winter 2008 Haute Couture, created by Christian Dior designer John Galliano. Photographic images by Katerina Jebb. From Christian Dior: Designer of Dreams, published by Rizzoli Electa.

By Janet Kelly

IF YOU can’t make it to the Brooklyn Museum of Art to see its blockbuster exhibition, visit vicariously by getting your hands on the book  that accompanies the show.

Divided into discrete chapters, Christian Dior: Designer of Dreams, published by Rizzoli Electa, is written by a cast of experts, each from his/her own perspective.

Jérôme Gautier, Dior publishing director and author of Dior New Looks, describes the designer’s early career struggles and how opening Christian-Dior New York “transformed Parisian spirit into American ready-to-wear sold in the country’s biggest stores.” In another chapter, American design historian Maureen Footer provides context in which to view the success of Dior with an explanation of the workings of the haute couture in Paris, starting with Louis XIV. She maintains that the New Look (an ultra-feminine combination of rounded shoulders, a cinched waist and a very full skirt) was not only a fashion coup but an event “signaling that the world had turned a page.”

The evolution of the House of Dior is told through pictures from the exhibition of Christian Dior’s and subsequent designers’ creations. When Dior died of a heart attack in 1957, his 21-year-old assistant, Yves Saint Laurent, influenced by street fashion, gave Dior another new look—with his black crocodile mink-trimmed jacket. A star-studded list of famous designer names followed: Marc Bohan, who held the post for 30 years, was known for his sculpted silhouettes; Gianfranco Ferré for his architectural clothing; John Galliano for his unorthodoxy; Raf Simons—who now collaborates with Miuccia Prada—for his tailoring, and Dior’s current first female creative director, Maria Grazia Chiuri, for her conceptual designs calling attention to the issues of the day.

LEFT: The “Miss Dior” dress is embroidered with a lattice of flower and petal motifs, created by Christian Dior designer Maria Grazia Chiuri for the Spring-Summer 2021 Haute Couture.
RIGHT: This evening dress of black-and-white printed faille was created by Christian Dior designer Marc Bohan for the Fall-Winter 1986 Haute Couture. / 
Photographic images by Katerina Jebb. From Christian Dior: Designer of Dreams, published by Rizzoli Electa.

It wouldn’t be a Rizzoli publication if weren’t illustrated with outstanding illustrations and photographs, and these from artist Katerina Jebb (shown) and the world’s most famous photographers do indeed dazzle.

Senior fashion curator at the Brooklyn Museum, Matthew Yokobosky, explains how Jebb used a scanner to deconstruct and then reassemble 35 of the House of Dior’s most famous designs into mosaic-like images—from the 1947 “Bar” suit  (an ecru shantung jacket and black pleated wool crepe skirt) to a 2021 one-shoulder dress with a cascade of gold metallic fringes by Maria Grazia Chiuri.

The book concludes with a terrific portfolio of photographs from America’s most celebrated masters—including Richard Avedon, Irving Penn, Bert Stern, Horst, Louise Dahl-Wolfe, Annie Liebovitz and Deborah Turbeville—who captured celebrated beauties, top models (from Dovima to Christy Turlington), famous actresses (Elizabeth Taylor and Marilyn Monroe, to name just two) and rock stars (Rihanna) wearing Dior from the 1950s until today.

LEFT: Shown on the cover of Christian Dior: Designer of Dreams is the designer’s iconic “Bar” suit, creating “the New Look” for the Spring-Summer 1947 Haute Couture.
RIGHT: This is the “Chat Noir,” a black silk crepe dress adorned with two rows of pearls and created by Christian Dior designer Yves Saint Laurent for the Fall-Winter 1960 Haute Couture. / Photographic images by Katerina Jebb. From Christian Dior: Designer of Dreams, published by Rizzoli Electa.

Clockwise, from left to right: Erica Moody works in metal, designing refined implements to elevate daily tasks; Phil Gautreau uses a variety of repurposed and salvage wood to create functional accessories; Judith Kinghorn is inspired by nature for her multilayered, textural designs like this chrysanthemum pin. Hannah Long handcrafts each component of her contemporary heirloom jewelry, such as this cuff with a star ruby and diamonds with 18k gold bezels.

By Janet Kelly

CHALLENGING times demand flexibility—and quick turnaround time. Which is exactly what was required of the Smithsonian Women’s Committee. All the stars were aligned for the 39th Annual Smithsonian Craft Show to open as an in-person event at the National Building Museum, just as was the norm for the majority of previous shows.

Last spring as Covid-19 cases were going down, optimism that the show would go on—live—this fall was high. The artists were looking forward to connecting with an audience to show off their work and let people touch, feel and try on. But by the end of July/beginning of August, the pandemic was in charge and for the event to happen, everyone had to pivot.

The fall show will be virtual again. Beginning October 23 at 9am and ending at 10pm on October 31, “Celebrating American Artistry” will feature the work of nearly 100 contemporary craft artists online.

Says Trudi Hahn, Smithsonian Craft Show co-chair, “We think of it as one of the premier, most prestigious shows in the country for the quality of the crafts. If you want first-class objects that are gorgeous to wear or display, this is the place to get them in a wide variety of media.”

Whether you’re in search of gifts (hey, Christmas is coming!) for family and friends or you’re a serious collector, you’ll be able to browse and shop for one-of-a-kind pieces in categories that include wearable art and jewelry, ceramics, furniture, leather and glass and sell in a wide range of prices. Purchases will be able to be made securely through each artist’s digital shop. For more information and details, go to the Smithsonian Craft Show website.

Sponsored by the Smithsonian Women’s Committee (SWC), the Craft Show is a sale of the finest contemporary craft and design, handcrafted in America. Artists are selected from a competitive pool of applicants by a panel of jurors. Proceeds support grants to the Smithsonian for innovative education, outreach and research projects.

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By Andrea Rouda

DISPOSING OF A body— be it your own or someone else’s— is almost always a costly affair, unless you are in the Mafia. Cremation is about $2,500, and a traditional burial can run to $10,000 depending on the quality of the casket and how fancy the lunch is afterwards.

A brand new idea is “body composting,” which is exactly what it sounds like and is also not cheap. (One could say it costs an arm and a leg but really it’s all four limbs and the head and torso, too.) A company in Colorado, one of only two states where the process is legal (the other is Oregon), charges $7,900 per corpse, so a lot more than just those veggies and egg shells rotting in your compost bin.

This is very unfair to poor people who can barely afford to keep themselves alive, let alone take care of their dead. I say if you’re strapped for cash, just load some big rocks in your jacket pocket like Virginia Woolf did and go for a swim.

—Andrea Rouda blogs at The Daily Droid. 

Ed. note: Local and state governments offer free burial to the poor or in the case of unclaimed bodies. 

Banana Republic’s fall 2021 collection blends nostalgia and contemporary. A long suede dress looks back to the brand’s safari days.

By Janet Kelly

I FONDLY remember the Paratrooper Canvas Messenger Bag I bought from Banana Republic— decades ago. I loved the army green color and the red embroidered insignia. As my mother would say, “It had a look.” So did the BR clothing in the ‘80s and ‘90s—safari-inspired khaki shirts, suede jackets and multi-pocket vests for the globe-trotting photojournalist.

Banana Republic’s canvas messenger bag from the late ’80s.

The stores themselves evoked a spirit of adventure, propped with elephant tusks and open-top jeeps by husband-and-wife team Mel and Patricia Ziegler, the design and marketing brains who founded the company in 1978. (They sold to The Gap in 1983).

For at least the past 20 years, though, the brand has been better known for its mostly conservative, not-so-imaginative workwear.

Something had to give; the label’s years of declining sales spurred the charge for reinvention, along with the hiring of a new CEO in 2020 —Sonia Syngal—and a chief brand officer —Ana Andjelic—in 2021. A campaign updating the styles of the brand’s heyday launched in early September with the theme “The New Look.”

The fall collection focuses on old favorites, especially suede and leather but also brings back the materials Banana was known for—Italian merino wool, silk and cashmere. As Anjelic has said, the clothes take the best of the past and use it to make the DNA for the future.

LEFT: In hopes of reinventing the past, rather than repeating it, BR’s High-Rise Cargo Pant ($119) is slimmed down and instead of just khaki, it’s available in blush and cream and in petite, as well as regular, sizes.

RIGHT: This Merino Cashmere Sweater (a blend of 70% merino and 30% cashmere, ) nods to the oversize knit trend. Details like slits in the hem, a funnel neck and wide cuffs add to its contemporary look. It sells for $249 and comes in navy, too.

LEFT: A mid-shaft Slouchy Boot ( 3-inch stacked heel) in suede looks luxe and with a cushioned insole should feel that way. Pair with slim jeans, cargo pants or midi skirts. Also available in taupe and black. It’s $239. A similar pair from Manolo Blahnik is $965.

RIGHT: An in-between seasons essential in a cotton-linen blend, but you can also layer BR’s Cargo Jacket ($149) under a winter coat. It has the look of a safari jacket but with tweaks, such as the shawl collar, armhole grommets and camo-green shade.

LEFT: A throwback to Banana Republic in the ’90s but without the bulky aviator look. Unfortunately, this suede jacket is sold out, but note how it’s styled—with a chunky cable knit turtleneck over a leopard-print slip dress.

RIGHT: Again, inspired by former BR styles, but more refined with quilting on the sleeve and in pebbled leather. The semi-fitted, above-hip-length moto jacket ($598) looks even more hip when worn with wide-leg wool pants.

MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale. We are also an Amazon Associate.

From left to right, faux leather jackets and skirt from Staud, Alice + Olivia and Nanushka.

By Janet Kelly

THERE’S MUCH to admire about the buttery soft and supple feel—and durability of leather. I have a 20-year-old pair of lambskin leather pants to prove it. (Unfortunately, my husband gave them the thumbs-down, saying they looked too out-of-fashion to wear again.) I don’t remember how much I paid for them, but the starting price now for a pair of equal quality would probably be $800 to $1,000, a cost that includes the animal hide, the tanning process and labor (whether it’s hand-or-machine-made).

In recent years, “leather” has expanded to include synthetics, such as polyurethane (PU) and combinations with viscose and polyester, variously called faux, vegan and alternative leathers because they don’t require animal hides in the manufacture process. If a search on the Nordstrom site for leather pants is any indication of popularity, the number of faux leather pants on the market far exceeds those made with animal skin. Out of 112 results, 90 were synthetic.

In a bid for sustainability, brands like Agolde are using recycled leather—along with synthetics—in their designs. Swedish manufacturer Deadwood crafts its leather goods—without synthetics—out of recycled materials mainly sourced from furniture manufacturers and tanneries.

As the threat of climate change looms ever larger, designers are looking to the next generation of leather alternatives. When French luxury leather goods label Hermès announced last March that it will be using a leather-like material (made from mushroom roots) to reimagine a duffle bag, you can guarantee others will follow.

But in the meantime, here are our picks for pants, jackets, coats and skirts for this season, faux and not faux.

LEFT: The Denise Leather Blazer ($575, AS by DF), a blend of 60% recycled leather, 20% polyurethane and 20% polyester, is chic as hell with its tailored fit, shawl collar and covered buttons.

RIGHT: You may associate Apparis with its fab faux fur jackets and coats in vibrant shades of raspberry, hot pink and green. The label has expanded its faux offerings, including this fall’s double-breasted oversize khaki Trench Coat ($395, 24S) in a polyurethane and viscose blend. A terrific transition piece.

LEFT: Budapest-based womenswear brand Nanushka has been at the forefront in creating well-designed faux leather clothing. This patchwork Melody midi tulip skirt ($475) with exposed stitching is an elegant example.

RIGHT: Here’s a clever combination of faux leather —on the sleeves, collar, waistband and pockets—with a cotton body. If you’re constantly battling to artfully push up your sleeves, you won’t have to on this Renee Vegan Leather Jacket from Alice + Olivia—they’re already ruched. It’s $395 at Saks Fifth Avenue.

ABOVE: This oh-so-cute, cropped Mohave Top ($393, Wolf & Badger) is made by AS by DF, a brand that’s committed to being carbon neutral. If you are, too, know that it’s constructed from using leather scraps that would otherwise be waste and that their signature recycled leather collection uses “90% less water than traditional tanning methods.”

ABOVE: Have I mentioned that real leather, made from animal hides, like this lambskin high-rise pant from Lafayette New York 148 is spendy, as in $1,798 spendy from Neiman Marcus? The label is pricey to begin with, but you can bet on the quality and that you’ll have these trousers forever —or at least until your spouse/partner/girlfriend says “they look old-fashioned.”

LEFT: Known for his sculptural evening wear, Australian designer Toni Maticevski designed this 100% lambskin leather skirt with a classic pencil silhouette, draped waistline and asymmetrical patch pocket. It’s $920 at Moda Operandi, which advises dressing it down with lug-sole boots.

RIGHT: I was looking for slouchy, elastic-waist leather or faux leather pants and found a perfect pair —Run the World Pants—from BB Dakota by Steve Madden at a local shop. I tried on the medium, but the small would have fit far better if only I were able to try them on before they were snapped up by the woman who got there first. They’re sold out at many other places as well but still available at Zappo’s—for $79.95.

LEFT: If you love the luxe look of a leather coat but the prices not so much, Staud’s mid-length petrol-green Ashley Coat in vegan leather is a fresh spin on the traditional trench for $550. It also comes in periwinkle.

RIGHT: A splurge of a lambskin jacket from Cinq a Sept. The sleeves are already scrunched for you; the color is a yummy blue and the jeweled buttons steal the show. It’s $895 at Saks Fifth Avenue.

LEFT: When the occasion calls for chic yet casual—which in my book covers most of the time—this faux leather Button-Up Shirt ($473, limited size availability, Farfetch) from Ganni will be go-to staple for fall.

RIGHT: Using what many brands would consider trash, Stockholm-based Deadwood repurposes leather to create “fresh pieces with a vintage soul.” This slim-fitting, white recycled leather jacket with snap buttons and flap pockets is on sale at Urban Outfitters for $234.99, but only available in large. It also comes in black—for $420.

LEFT: Known primarily for denim, this season Agolde introduced a line of leather designs using pieces that would normally be discarded during production. Made of 50% recycled leather, 30% polyurethane, 10% viscose and 10% polyester, this pair of straight-leg pants with a high-cut waist is $300 at Moda Operandi.

RIGHT: I like the look of  3.1 Phillip Lim’s Sunburst Pleated Skirt in vegan leather (polyurethane). The olive color is a neutral, and the concealed back zip closure gives it a graceful silhouette. And it’s just the right thing to wear with an oversize sweater and boots this fall. It’s $550 at Saks Fifth Avenue.

MyLittleBird often includes links to products we write about. Our editorial choices are made independently; nonetheless, a purchase made through such a link can sometimes result in MyLittleBird receiving a commission on the sale. We are also an Amazon Associate.

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By Andrea Rouda

YESTERDAY I made the mistake of going outside to do some yard work, something I rarely do in summer, and when I do I make sure to apply bug spray and wear gloves and a hat and long sleeves and long pants tucked into boots. Yes, wearing that all makes me very hot, but the alternative is worse.

So anyway, seeing as how the calendar said SEPTEMBER I ventured outside not in my usual full anti-bug regalia and spent about half an hour cleaning up the garden, time enough for me to become an All-You-Can-Eat bar for the mosquitos, Satan’s flying henchmen, who, somehow knowing their end is near, stuffed themselves silly.

As a consequence, last night sleeping was out of the question because all the bites made me puff up like the Pillsbury Doughboy. Instead I spent the night itching and scratching and applying creams and lotions and cool compresses, none of which worked, all the while cursing my stupidity. How could I have been fooled that way by a simple word on a calendar?

Soon enough it will be OCTOBER, which is the real deal, with cool days and cold nights and bright orange leaves crunching underfoot. And no bugs. Then I’ll go outside again.

—Andrea Rouda blogs at The Daily Droid. 

Wrap yourself up. From left to right: Buffalo check cape from Isabel Marant Etoile, Twinset quilted cape jacket and Gabriela Hearst’s Alec Blanket.

By Janet Kelly

AS THE days between early and mid-to-late fall become cooler and, shorter—alas—we’re going to need an extra layer. Our candidates for those temperatures? Capes or ponchos. Although designers use those terms loosely and often interchangeably, in general, a cape is an outer garment that fits closely at the neck and hangs loosely over the shoulders. Ponchos are more like blankets with a slit in the middle through which your head goes.

You don’t have to be a super hero to wear either, but confidence in your sense of style helps—so you can wear with swagger.

Both ponchos and capes got some love from the Fall 2021 runways, where designers from Etro to Jil Sander gave them a heads-up as trend-worthy silhouettes. They’ve been in regular rotation at Chloe for years.

Because they will attract the most attention to what you’re wearing, it’s best to lower the volume on or coordinate with your lesser players—pants, boots, sweaters. Take a hint from Loro Piana’s styling of its rose-colored Agathe cape.

Yes, practical issues such as how to carry a handbag with either style are to be reckoned with. Wearing a shoulder bag under a poncho or cape adds unnecessary bulk, plus it looks awkward and uncomfortable. Choose a clutch or top-handle bag for easy accessibility.

New and unexpected color and color combinations —pink, pale blue checks, plaid, as well as textures (pointelle)— make the decision to invest in a poncho, cape or both an appealing one this fall.

Here are some to consider.

LEFT: A voluminous, cool blue-check cape is made from a felted wool blend. Take note of the thoughtful details: cozy rib knit-lined high neck, partial zip-front and side-snap closures. It’s from Isabel Marant’s Étoile label and is $770 at Nordstrom.

RIGHT: No one does cashmere like Loro Piana, and has been noted here previously, you pay for it. But oh, to own this warm and enveloping but light as air, impeccably made Agathe Cape.  I’m smitten with those buttons. Style it as shown, and you’ll look like a million bucks.

LEFT: Made to wrap neatly around your shoulders, this single-breasted Allora wool cashmere cape comes with a funnel collar that hides hand-sewn nickel snaps. Generously deep slits allow plenty of arm movement to hail a cab or swing your top-handled handbag. Overall, a perfect piece to wear over other equally tailored clothing. Made in Melbourne, it comes in five other colors and is $606 at Wolf & Badger.

RIGHT: It may share some of the details of a traditional trench — pointed collar, neutral hue and storm flap— but Cos Stores’s Relaxed-Fit Cape ($225) has more style going for it. Wear it now to fend off the rain drops; later, layer it over a chunky knit sweater or dress.

LEFT: When your cotton T-shirt is no longer weather appropriate, swap it for this colorful, loosely knit, boldly striped turtleneck poncho, which sells for $130 at Anthropologie. Distressed, hole-y jeans not necessary nor recommended.

RIGHT: More cowl neck than turtleneck, this diagonally striped poncho ($120, Anthropologie) serves up warmth, bright hues and rows of fun-to-wear, multi-colored tassels. Fringe is in full swing again.

LEFT: Soft and oh-so-plush-looking, Lafayette 148 New York’s Italian alpaca silk poncho ($498) is shown here worn over a sweater in a gorgeous blue that reminds me of the sea surrounding a Greek island. Be careful to counter the relaxed look with trim pants or a pencil skirt.

RIGHT: Designer Gabriela Hearst’s clothing collections are as shockingly spendy as they are sought after. This 100-percent cashmere blanket/shawl or ruana, hand knit by a women’s collective in Hearst’s native Uruguay, is no exception. Depending on your point of view, it’s an arty, über-stylish statement or bears a striking resemblance to your grandmother’s afghan. While you wouldn’t wear you granny’s throw, Hearst’s website suggests this pricey piece should double as a home accent.

LEFT: Army green stays strong this fall. To wit, a padded cape/jacket from Milan, Italy-based Twinset. Made of lightweight nylon, this urban-chic piece stands out with a variety of quilted patterns, appliquéd kangaroo pockets and a hood. It’s $223 at Farfetch.

RIGHT: Lately, I’ve been noticing sweaters with pointelle (airy, open stitching) patterns from the likes of Ulla Johnson, Vince and Gucci, too. That makes good sense when you’re looking for a lightweight sweater for fall’s in-between weather days. So, don’t put away those summery white pants yet. Pair them with Talbot’s cotton-blend Lattice Poncho ($139).

LEFT: When the temperature dips, wrap up in a mohair, alpaca and wool-blend tartan check coat that doubles as a cape and includes fringe benefits. On cold winter days, drape it over a slim-fitting coat. It’s $399 at Farfetch.

RIGHT: A contemporary Italian brand that retains its vintage-inspired roots, P.A.R.O.S.H. offers it buffalo-check cape ($635, Farfetch) in a classic silhouette and colors. What gives it panache are the riff on the traditional check pattern, a useful hood, and sleeves, the front, the sides and hem edged with fringe. Wear with black leggings. Forget the cumbersome shoulder bag; instead opt for a cheery yellow mini sac.

Beloved actor Ed Asner, who died last week at the age of 91.

By Andrea Rouda

EVERY SO often my husband, 11 years my junior, and I discuss aging. I tell him it has little to do with your age in years. It has nothing to do with wrinkled skin or physical decline, or even mental decline. It is simply letting go of popular culture and thus losing touch.

My first mistake was not getting a Twitter account years ago because I thought it was dumb. I still do, but apparently everyone who’s anyone, including captains of industry and political leaders, people far older than I, is busy tweeting.

So, not being on Twitter, I still don’t understand what a hashtag is, despite my son explaining it to me countless times. I suppose I get it, sort of, but again, it seems pointless. Why would you want to go where everyone else is? I’m mystified.

Next came TikTok, something which I have yet to see or certainly understand. But yesterday’s New York Times printed an article about “the greatest TikTok star ever,” or at least today — a young girl who posts videos of her life from her bedroom and now she’s rich and famous and so is her entire family, all of them making deals for TV shows, product endorsements and who knows what else because I stopped reading.

Suddenly I realized that millions of people are spending their time looking at smart phones or iPads or computers and watching other people who are actually living life. And meanwhile I’m just living my own life and have never even heard a song by Billie Eilish. Instead, I’m sad that Ed Asner died.

That’s old.

Ed. Note: The other day I heard that Abba was going to release a new album in November and was excited to report that to my younger cousin.  He responded, “Really, Abba? You’re old.” 

—Andrea Rouda blogs at The Daily Droid.