The “Inside-Out” furniture series is the latest creative endeavor from innovative design firm Minale-Maeda. Founded in 2006 by Mario Minale and Kuniko Maeda, the pair was brought together by their similar approaches to design. Minale-Maeda works to strike a balance between utilitarian function and cultural expression, all while remaining true to the cultivated skill of quality craftsmanship. The duo’s work has been exhibited in museums (Tools Galerie, Paris) and design shows (Design Miami/Basel) all over the world.
While the pieces in the “Inside-Out” series are indeed stunning, it is the ideology behind the furniture which makes the series so remarkable. The series was designed with the intention that consumers would make each piece themselves, making it truly a “Do it Yourself” project of the most creative kind.
For amateurs wary of building an entire piece of furniture from scratch, never fear, as the series incorporates characteristically crude design elements, such as brackets, into the overall silhouette of each piece. The simplicity of the overall form is accented by the brackets which bring an overall sense of interest to each piece.
Once plans have been purchased, all that is required is minimal length cutting and drilling. No specific variety of lumber is required either, really making each piece one of a kind. And Minale-Maeda is taking the concept of green-living to another level with the “Inside-Out” series. All materials are sourced locally by the consumer, consequently reducing the environmental costs associated with transportation and storage. It makes for a winning idea both in conception, design and overall experience.
When we first met Lissy Trullie some three years ago, she was the epitome of the New York “it” girl: part-time musician, part-time DJ, occasional fashion model and full-time muse. Whether she was spinning at a party, tearing up the stage or helping her friends design a clothing line, Trullie’s effortless cool and authenticity was evident to each audience. Now, it’s time for her to take center stage.
Trullie announced this week that she’ll be releasing her self-titled album on March 6th 2012. Produced by John Hill (Santigold, M.I.A., Shakira) and David Sitek (TV On the Radios, Yeah Yeah Yeahs, Liars), “Lissy Trullie” is the follow up to her critically acclaimed debut EP “Self-Taught Learner.” The first single, “Madeleine,” is a lush and arresting introduction to the album, which fuses a brisk punk foundation with memorable pop choruses that are at once dark and swirling. Trullie’s voice and presence is commanding throughout; with her elastic singing, she comes across at times like a modern-day Chrissie Hynde. Expect to see a lot more of Trullie in the coming months as she promotes the new disc. In the meantime, listen to “Madeleine” below:
They say that everything old is new again and nowhere is that more apparent than in the worlds of art and fashion. The hankering for nostalgia and authenticity has led to a proliferation of “heritage” brands, and re-introductions of “vintage” goods for a modern audience. It’s what also led British designer and brand developer David Gilston to launch his website, “Once Was England.”
Like a carefully-curated online treasure trove of photos, artifacts and ideas, the site chronicles what Gilston calls a “vanishing land: a simpler, more characterful place where villagers cheered ‘hurrah!’ as they watched cricket on the green, policeman rode bicycles and waved as they cycled by, one’s neighbour would pop in for a cup of tea and a slice of Victoria Sponge Cake and factories would built things that were made to last.”
Gilston roves across England with his notebook and camera in search of this elusive land, visiting factories (from Land Rover’s to Church’s Shoes), English fairs and festivals, and speaking to people who capture the spirit of yesteryear and keep it alive today.
We met Gilston recently and had a chance to chat about the motivations behind his site, the rise of “heritage” brands in fashion and why moustaches are not as classic as you think… Read the rest of this entry »
The nature of the fashion industry unfortunately prevents many of the behind-the-scenes figures from the receiving the recognition they deserve, and the century-old textile house of Jakob Schlaepfer most definitely falls into this category. Described by the legendary French couturier Christian Lacroix as “a couture house itself,” the textile house is responsible for producing the fabrics used by some of the most famous designers in the world, including Christian Lacroix, Nicolas Ghesquière, and Marc Jacobs.
While it’s a designer’s task to envision every aspect of garment, it is up to the textile house to bring the designer’s vision into reality. Textile houses are especially popular among high-end brands because they enable the brand to maintain exclusivity by using custom fabrics. This involves having access to a highly skilled and technical fabric mill, which weaves a quality fabric from a drawing. Sometimes, textiles houses also work with designers to forecast trends in clothing design and construction.
Beginning as a small embroidery business in St. Gallen in 1904, the company has now grown exponentially, producing fabrics for prêt-á-porter, haute couture, furniture and most recently, costume design. The Schlaepfer team was responsible for the design of the sumptuous textiles worn by the performers for at the Zürich Opera House during the summer 2011 season. The fabrics featured painstaking reproductions of artwork by Fragonard and Boucher, literally rendering the pieces as wearable works of art.
Though their most recent projects push forth new ideas and innovations, the iconic house continues to cater to aspiring and established designers alike, with custom and ready-to-wear Schlaepfer fabrics produced each season. And while the team at Jakob Schlaepfer may not get the press or attention given the designers they work for, their influence is undeniable. It’s a legacy and workmanship that’s been passed down for decades and one that will continue to be seen in fashion and beyond for decades more to come.
We are loving the work of Brooklyn-based artist Matthew Day Jackson. In particular, his sculptures of skulls cast in a myriad of luxurious mediums. The skulls range in hue and texture from a rough dirty-gold, to electrifying pops of red and orange; a testament to a concept Jackson terms, “the horriful,” or the dichotomy of beauty and horror occurring simultaneously in life. The “horriful” remains ever-present in Jackson’s skull series where the viewer’s fear of mortality combines with the beauty and luxury of the materials used to create the pieces. In a recent interview with The Independent, Jackson clarifies his philosophy on death: “I’m not really afraid of death,” he says. “As you go through life you’re continually shedding bits of yourself.”
Jackson’s strength in the face of a concept as terrifying as death is translated in his stunning artwork. The skulls transcend sculpture; they represent Jackson’s commentary on our societal fear of death and aging, while making perfect discussion pieces for others to participate in as well.
Those who have followed Esteban Cortazar’s still-burgeoning career knows that the fashion wunderkind and... Read More...
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