{"id":8352,"date":"2010-11-26T01:22:20","date_gmt":"2010-11-26T06:22:20","guid":{"rendered":"http:\/\/wendybrandes.com\/blog\/?p=8352"},"modified":"2016-04-03T21:54:44","modified_gmt":"2016-04-04T01:54:44","slug":"new-york-style-icon-post-punk-scenester-anya-phillips","status":"publish","type":"post","link":"https:\/\/www.wendybrandes.com\/blog\/2010\/11\/new-york-style-icon-post-punk-scenester-anya-phillips\/","title":{"rendered":"New York Style Icon: Post-Punk Scenester Anya Phillips"},"content":{"rendered":"

If you’ve been reading my blog for any length of time, you know that my jewelry designs<\/a> are largely inspired by interesting historical women, including Cleopatra<\/a>, Elizabeth I<\/a> and Anne Boleyn<\/a>. But I’m also fascinated by ladies of more recent vintage such as Sally Randall<\/a>, the mid-’80s New York It girl whom I wrote about in February.<\/p>\n

A pre-Sally It girl — Anya Phillips — has been periodically on my mind since I read Please Kill Me: The Uncensored Oral History of Punk<\/em><\/a> by Legs McNeil and Gillian McCain in 1997. Anya was a powerful presence on New York’s punk and post-punk scene in the late ’70s and early ’80s. She was a co-founder of New York’s famed Mudd Club<\/a>, which was name-checked, along with the influential club CBGB<\/a>, in the Talking Heads<\/a> song “Life During Wartime<\/a>.”<\/p>\n