{"product_id":"crillon-dress","title":"Crillon Dress","description":"\u003cp class=\"p1\"\u003eThough they were gone when he came into the room, they were at once everywhere, evidenced in the dressing of use—the familiar marks made from materials rearranged. A dark green tea cup, left with one or two sips of coffee on a room-service tray; a linen, bell-shaped jacket, purchased on a lucky whim, draped over the desk chair; a toothbrush with damp bristles; one pillow on the rug; the brass window handle to the courtyard, invitingly tilted slightly to the right. Was it from last night or this morning? These remnants, as familiar as a body, formed their own kind of corporeal knowledge—the kind people usually remember after death, in the emptiness of a house without the leftover traces of someone’s routines, now exposed, in absentia, as sacred. He himself was in the business of mark-making, but knew, if only for a few seconds, in the silence before the door opened, that even with infinite effort, no feats of intention could make marks as exquisite as these.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Crillon Dress textile reproduces and multiplies a photograph taken at Hôtel de Crillon in Paris, prior to the hotel’s renovation. The silk fabric, produced in Italy, has two faces, each recreating the image in differing ways: one side of the material is gridded with black stitching—like the grids used for perspective in Renaissance painting—echoing the weave of the material; the other side, a burnout technique, leaves remnant black diamonds of fabric through which to view the image, like looking through a gate or blown-up scrim. Assembled in panels, outlined by French seam-binding in charmeuse, the construction stutters the dress into film-like frames.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Crillon Dress is made-to-order. Please allow six-weeks from the time order is place for construction. The dress has a v-neck, a looser fit in the body, and a sailor collar. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\" style=\"text-align: center;\"\u003eSilk\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"text-align: center;\"\u003eDry Clean Only\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCalle, Sophie. \u003ci\u003eThe Hotel.\u003c\/i\u003e 1981–1983.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eChanel, Coco. \u003ci\u003eEarly Dress Designs\u003c\/i\u003e. Paris, c. 1910s–1920s.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eDerrida, Jacques. \u003ci\u003eOf Grammatology\u003c\/i\u003e. Baltimore: Johns Hopkins University Press, 1976.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eKrauss, Rosalind. “Grids.” \u003ci\u003eOctober 9\u003c\/i\u003e (1979): 50–64.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eLong Distance Phone Call.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eMartin, Agnes. \u003ci\u003eGrids.\u003c\/i\u003e Paintings. 1960s–1970s.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eRoom Service.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eSick at a Hotel.\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003eSlimane, Hedi. Interview by John Roberts. \u003ci\u003eThe Travel Almanac\u003c\/i\u003e.\u003c\/p\u003e","brand":"The Glass House","offers":[{"title":"1","offer_id":55601001726025,"sku":null,"price":1480.0,"currency_code":"USD","in_stock":true},{"title":"2","offer_id":55601001758793,"sku":null,"price":1480.0,"currency_code":"USD","in_stock":true},{"title":"3","offer_id":55601001791561,"sku":null,"price":1480.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/6111\/0857\/files\/09025TasselLampcopy.png?v=1774660374","url":"https:\/\/welcometotheglasshouse.com\/products\/crillon-dress","provider":"The Glass House","version":"1.0","type":"link"}