2004 was a special year for the Belgian designer Dries van Noten, it was the year he designed his 50th women’s collection and launched a book commemorating his career. Barneys, being one of the first stores in New York City to carry his line, decided to throw a party in honor of Mr. van Noten and launch his book in the United States. The event took place at Barneys on November 4th, working closely with Julie Gilhart and Simon Doonan, and produced by Dizon Inc.
As you entered the 4th floor of Barney’s, the room was covered in projections from past runway shows, layering over each other, wrapping the architecture and the racks of clothing. The center piece of the room consisted of a massive waterfall of images, pages from the book hung on strips of grosgrain ribbons, creating what now looks remarkably like a tumblr feed of images of his shows throughout the years. The strips, hung at different lengths, spanned a long narrow table displaying the books. Dries van Noten 01-50: A Golden Anniversary included photos of shows and invitations of every show since 1991, artfully chronicling his singular vision.
For more information about Dries van Noten and his close relationship with Barneys, have a look at this article.
THAKOON X LAURIE SIMMONS: ROSELAND
Thakoon Collaborated with Laurie Simmons to create a unique print for his Spring 2009 collection. The project had been in development for a few years before it actually hit the runway. Back in 2006 Thakoon Panichgul was at an auction and fell in love with Laurie Simmons and her work. Following this encounter Laurie Simmons was invited for his next runway show. As a thank you for attending his show, Thakoon sent her a bouquet of roses. These roses became the starting point for the textile design Laurie Simmons created for Thakoon’s Spring 2009 runway collection.
Laurie Simmons (wearing a Thakoon blouse) and Lena Dunham for Tinny Furniture
Imagery by Style.com, W magazine and Dwell.com
For more information on the collaboration between Thakoon and Laurie Simmons, see the full article on W magazine or on Laurie Simmons website.
For more information on Laurie Simmons, click here. To see her latest exhibition, click here.
A recent fieldtrip to the ICFF fair got us inspired! Today we will share with you a few of our favorite designs, materials and installations.
A favorite of ours is the Family Tree installation by Frederick McSwain for Bernhardt. The installation consist out of six wall sculptures, each representing the growth, history and people of the Bernhardt family from over the years. The wall sculptures are inspired by the concentric rings of a tree. Frederick McSwain says “When contemplating an appropriate tribute to the generations of Bernhardt craftsmen who carry on the tradition of fine woodworking, this visual was the initial catylist”.
A second installation that captured our eyes was the Antolini Luigi booth. They were presenting a Spanish fossilized limestone in a veneer format, which is available in slabs, tiles and cut-to-size pieces. What fascinated us is how they presented this material in an original refreshing way, by cutting the limestone in pillars resembling a forest of pencils.
Lastly we discovered a new way of creating space dividers, seatings and lighting by the use of Molo’s softwal + softblock modular system. It is a free standing, flexible partition system made from paper and textile structues. It is a very multifunctional and good solution for a temporary wall divider or for seating at an event.
Photography by RubenVDB and the lookbooks of the designers.
Odin recently opened a pop-up store in the East Village, at 330 East 11th Street, which offers their growing selection of fragrances for sale. The store is a collaboration with Snarkitecture who created the sculptural installation to display the unisex fragrances and candles. The installation consists of plaster casts from the Odin fragrance bottles. On the ceiling they created a wave of the plaster bottles, while in the middle of the store they are clustered together to display the fragrances.
When visiting the pop-up store you will feel like you are entering a space of relaxation, an escape from the busy streets in the city! An advisor, completely dressed in white, will guide you through the different scents and explain the ingredients, helping you to find the perfect scent for you.
I recently had a chance to sneak away and spend a day in San Francisco to see the “Balenciaga and Spain” exhibit at The De Young, curated by Vogue’s Hamish Bowles, and was happily inspired by the museum itself, just as much as the exhibit.
Having grown up in the bay area, going on countless field trips to Golden Gate Park and its museums and gardens, I must admit I had long taken them for granted since moving to New York. Coming upon the grand plaza of the Music Concourse, flanked on either side by The De Young and The California Academy of Sciences I was struck by the fine balance between old and new, nature and architecture.
The Plaza, completed in 1900, lined with neat rows of trees and facing the band shell of the Spreckels Temple of Music has the more formal feel of turn of the century design. Yet somehow, the two highly modern museums that surround it, both redone in the last decade, provide an interesting compliment to the plaza.
Before the recent renovations, both museums had sustained significant damage by earthquakes. The California Academy of Sciences, designed by Renzo Piano, is the world’s greenest museum, garnering the highest possible LEED rating. Its buildings feature a canopy of solar panels, a 2.5-acre living roof covered in native plants, and recycled denim used for insulation among other innovative elements.
The De Young was redesigned by Herzog and De Meuron and opened in 2005. It is wrapped in a warm copper surface that continues to change and shift as the patina develops. Because of the continued risk of earthquakes the museum was built sitting in what amounts to a mote so that it can shift during an earthquake to minimize any damage.
Although the new building cuts a modern geometric figure, they managed to integrate historic elements from the old De Young; including the sphinx sculptures, the Pool of Enchantment, and the original palm trees creating a connection between old and new. While in and around the building I was struck by the strong angles and geometric shapes created in different areas, such as the cantilevered roof over the cafe terrace and sculpture garden.
The De Young’s fashion exhibits have generated some controversy among some purists; however, Cristobol Balenciaga’s work was so connected to the worlds of art and architecture it seems a fitting choice. His approach was highly intellectual and conceptual. By the late 1950’s his clothing involved radical experimentation with form and volume paralleling his increasing engagement with contemporary art. The exhibit highlights these relationships and features a dress whose aerial view was based on a shape from a Joan Miró painting.
Balenciaga’s strong relationships were key in his work for example when he collaborated with The House of Abraham to develop Silk Gazaar, a silk gauze that allowed him to create sculptural pieces with minimal seaming which became a trademark of his work. The exhibit features strong colors and large format photos of his inspirations displayed with the corresponding collections. It was an inspiration to see the footage from Balenciaga shows from the ’50’s and get a glimpse of how simple the shows used to be.