TILDA GOES FULL MENIL From the looks of this W magazine fashion shoot with photographer Tim Walker, glacial space oddity Tilda Swinton managed to gaze upon and or fondle every objet d’art John and Dominique de Menil brought to Houston, be those treasures stashed away in their River Oaks home or on display in the Montrose museum. At the latter, while wafting through the South Seas galleries in a full-length Del Pozo coat, Swinton was in the mood to coo, ah and ooh. “They presumed art to be good for human dignity,” Swinton says of the de Menils to William Middleton, W correspondent and author of an upcoming biography on the arts patrons. “There is a practical magic that shows itself in the exquisite simplicity of each installation; there is nothing to get in the way of a direct relationship between the viewer and a work of art.” (With unfortunate results, in one high-profile recent case.) Swinton also donned “a painted metal corset by the London designer Johanna O’Hagan, a pair of black boots by Versace, and little else” in order to recreate Retour de la Belle Jardinière, Max Ernst’s 1967 reincarnation of his own La Belle Jardinière, a 1923 Surrealist near-nude that was later condemned as “degenerate art” by the Nazis and presumably destroyed. (The first Jardinière was itself Ernst’s reworking of a Raphael Madonna-and-Child painting by the same name.) The de Menils purchased Retour, thus affording Swinton and Walker the chance to shoot a retour of a retour of a retour of la Belle Jardinière. “This is the special magic of these collaborations,” Swinton tells Middleton, still clad in her skimpy Jardinière regalia. “There is not just a vague referencing of de Menil but also an immersion into her world. We’re crossing into a no-man’s-land between history and imagination, in an attempt to evoke her spirit, and the spirit of the world she inhabited.” [W ] Photo: Tim Walker / W magazine.