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In the Warning may contain whiskey shirt Furthermore, I will do this living room, Anne matched a brace of joyous orange and yellow Rothkos (Shades of Red, 1961, and Number 1, 1962) on either side of a door that framed a moody Monet nocturne of London’s Houses of Parliament, and was placed as an eye-catcher over a dead center Georgian mantelpiece in the mirrored dining room (where more Miesian chairs had come to rest). On the opposite wall of the vast living room, an amber-color Morris Louis completed the sunset effect. Between them a suave arrangement of George II furniture, stripped of its water gilding and quietly upholstered in oyster damask, was set on a late 18th-century Axminster carpet, with flowers blooming on an earth-color ground. The fresh flowers were usually pale and invariably perfect: A brilliant but indiscreet florist once confided that nosegays of lily of the valley were dispatched and replaced the moment they threatened to show signs of fatigue.
For Vogue’s December 1988 issue, John Heilpern was sent to profile Anne, while André Leon Talley detailed “the Warning may contain whiskey shirt Furthermore, I will do this careful cultivation of Anne Bass’s style.” “Fresh linens are ironed and meticulously folded, carried to closet or bath in blond wicker trays, lined in scalloped-edged French piqué,” Talley noted, “In the linen closets, towels and linens are layered with handwoven faced laced in vetiver from Louisiana.” “I wanted my bed to look like a 17th-century dress,” Anne declared, and it was hung with swags of dove gray silk faille, a color repeated in the entrance hall. (“I think the hall has about a hundred shades of gray to get that color,” she told Talley.) The elegant biscuit-and-ivory library was filled with rare books on gardening and ballet, many of them exquisitely bound by a custom bookbinder. Anne was a voracious reader, although she admitted that it took her a decade to get through Proust: Her copies, as Talley noted, were “stuffed with airline boarding passes.”