Last Saturday we were honored to be a part of another important celebration. Atelier New York, the cutting edge menswear boutique, feted their ten year anniversary. It was an intimate gathering, with designers and representatives from various labels the shop carries flying in from Europe. To mark the occasion, designers from Yohji Yamamoto to Boris Bidjan Saberi produced exclusive pieces for Atelier (my favorite was a version of Ann Demeulemeester’s feather necklace, dipped in silver and stamped “A NY X 10”).
Thank you everyone for making yesterday an overwhelming success: to all those who came and packed the place full, to Jennifer Tzar and her musicians for putting on a kick-ass performance, to teams from Boris Bidjan Saberi, _Julius, Guidi, M.A.+, Augusta and Werkstatt Munchen for coming half the way across the world to be there with us, and to the gracious staff at TriBeCa Grand.
As I was packing for Europe last Monday I got an email about the opening of Deborah Turbeville’s new show “Unseen Versailles.” It was to be on the one full day I was in Paris, and Turbeville would be attending. There is something especially joyful about meeting someone half way across the world from whom you are normally separated by a subway ride. Needless to say, I went.
The exhibit is quintessential Turbeville in its feeling of intimacy. It is held in the Galerie Serge Aboukrat, which must be the smallest gallery in the world (two people holding hands would be able to span its perimeter). Tucked away in a postcard-picturesque and postage stamp-sized Parisian square complete with a roundabout that can barely fit a car and an ornamented lamppost straight out of a fairy tale, the gallery is not easy to find, but the exhibit is well worth the trouble, as was evidenced by the intimate gathering that included the singer Charlotte Gainsbourg and the designer Haider Ackermann.
Ever since its doors closed, followers of Carpe Diem have been anxious to see something new from its creator Maurizio Altieri. Their hunger has been fed slowly. In 2009 Altieri showed Avantindietro – a small collection of footwear and garments which followed the ethos of Carpe Diem and its sister labels in the sense of being, despite its minimalism, unlike anything else on the market. Fast forward another 2 years, and Altieri emerged with a follow up dubbed Avantindietro_Field, this time collaborating with Alessio Zero – the Italian designer behind Layer-0 – to produce a small collection of footwear using leather they had buried years earlier. This once again showcased Altieri’s devotion to making something entirely unique, even if it takes years of preparation.
This past week we were honored to be a part of festivities at Dover Street Market in London. We found ourselves in good company; throughout the store there were installations by designers whose work we respect and value. Maurizio Altieri had created an installation that ran through the building – from the rooftop to the basement cave, where he presented his new footwear project, m_moriabc.
“The smell and taste of things remain poised a long time, like souls, ready to remind us, waiting and hoping for their moment, and the ruins of all the rest; and bear unfaltering, in the tiny and almost impalpable drop of their essence, the vast structure of recollection.” – Marcel Proust, Swann’s Way
I first saw Mad et Len candles at Pitti Uomo in Florence. I walked by, then did a double take, attracted by the black brushed iron cases. They were pointedly anti-luxury. I walked back and took a whiff of the Black Fig candle. Instant love. I examined the other scents. Incense. Tobacco. Amber. Leather. Pot-pourri made from lava rock. It has never occurred to me before to put the words “dark” and “scent” together. I made a mental note.
It takes a show like the current exhibit of early Russian photography at the Nailya Alexander Gallery in New York to remind us of several things. One, that the visual age we live in is neither as sophisticated nor as original as we think. Another, that the size of a photograph is part of its intended meaning or, at least, an important part of its impact, and that this critical information is frequently obliterated in physical reproduction or on the Internet. Or that we need to get into galleries where we can experience physical prints, particularly vintage prints, because their featheriness, deep blackness, greasiness, technical (im)perfection and chemical tactility ground them as physical objects as much as imagery itself.
There is no doubt in our mind that the Iceland-based designer Sruli Recht is one of the most interesting creators out there. Finally, there is an opportunity to buy his otherworldly designs from his newly relaunched webshop. We highly recommend the wallets, bags, and of course the special edition of StyleZeitgeist magazine.
Following the success of their first shop Desenzano del Garda, Italy, the founders of Tabo, Riccardo Bettoni & Nicola Tononi, now opened a second boutique in Brescia. The unisex boutique, housed on two floors of a 1940s building is an exercise in aesthetic restrain, with a white interior and minimal decor. Among the more established designers such as Boris Bidjan Saberi, Nicolas Andreas Taralis, A1923, and Julius, the shop will carry brands like InAisce, Masnada, Y.Project. The owners plan on monthly installations and collaborations with designers, artists, and musicians.
At StyleZeitgeist magazine we count the menswear editorial, “America Still Likes Me,” one of our proudest moments. Based on the Joseph Beuys’s 1974 infamous performance piece, “I like America and America Likes Me,” it was published in volume 2. We have tried to recreate everything as it was, down to the hay, the felt, and the newspapers. The gorgeous creature playing the part of the coyote is actually half-wolf, half-husky.