Fashion

July 3 2007




Matthew Williamson was called 'the king of bling' by the Sydney Morning Herald for a reason.
 
Since his London debut in 1996, one thing has remained constant: Williamson's models will sparkle. His 2003 spring collection saw gold-sequined blouses and brocade jackets, while the fall of 2005 line had shiny velvets and satins and the fall of 2006 featured shimmering gold and silver jumpers, to name a few.
 
The trend continued most recently during February's New York Fashion Week. Williamson paraded his traditional flashy jewel-hued mini minis and doll-sized dresses - but this year there was also a noticeable smattering of fashions to file under - the bigger the better. Models processed down the runway in gaping shorts and trousers that were paper-bag-synched at the waist, as well as tent-sized sparkly muumuus and necklaces boasting fist-sized shell pendants. The most innovative of these enormous fashions could be credited to the pioneering of jewellery designer Scott Wilson.



Wilson and Williamson are both decorated alumni from the UK's finest art institutions. Wilson studied jewellery design at Middlesex Polytechnic and millinery at the Royal College of Art while Williamson began his career at star-spangled Central St. Martins. Both designers earned coveted fashion positions early in their careers. Immediately after graduation Williamson began working for Marni, while Wilson earned employment with Karl Lagerfeld as an undergrad. Williamson eventually went on to launch his own successful eponymous line. On the other hand, Wilson has garnered much of his renown through his collaborative efforts with showstoppers Burberry, Rifat Ozbek and Hussein Chalayan in particular � though he continues to maintain his own jewellery line. As Wilson explained to the International Herald Tribune, 'One-off pieces are the ultimate expression of my work, but they can be very time-consuming.'
 
In their collaboration, Wilson clearly embraced Williamson's predilection for shine with his jewelled bracelets, which are evocative of bedazzled bocce balls. The enormous bangles were seen on the lanky limbs of Hilary Rochas and Maryna Linchuk during Matthew Williamson's parade of jewel-colored frocks at New York Fashion Week in February. According to Fashion Wire Daily, Wilson's 'sequined bracelets [were] a deft accessory addition to a collection that underlined how British designers stint showing in America has helped him mature into a producer of highly wearable, yet always hip, clothes.'
 
The funky though undeniably glamorous bracelets have most recently been spotted cuffing the delicate wrists of Mischa Barton on the cover of UK Elle. The bracelets are custom-made, and available to the most audacious of luxury collectors for a mere $900 each. Contact the creator himself at (TK Scott Wilson's email address). By L. Harper

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July 3 2007



Retro video game iconic heroes have been making a come back for some time now. From T-shirts through to shoes, we have seen the likes of Mario, Donkey Kong and dare we say their rival, Sega's Sonic The Hedgehog plastering their  pixelated faces all over some funky wears.

Hot on the heels of this fad, gaming giant Nintendo have promoted their latest baby Wii in Italy with this interesting wall display created by a series of posted notes. Behind each not lies a message inviting the recipient to relive the 80's through some classic games available on Wii. The post it notes make a nice 3D representation of a 2D pixel. Cute. By Andy G

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Design

June 28 2007


Staying at a hospital or visiting a dentist are mostly unpleasant events, even if you were there just to get a little nip-and-tuck or have your teeth whitened. The universal ugliness and dullness of those bland walls and uninspiring furnishings is surely not going to make you feel better. Plastic surgeons, spas and hair salons fare a bit better, but even most of them are just paying lip service to design or luxury with no real imagination, nothing that makes a lasting impression. Except a few. We’ve seen some that have undergone real makeovers and we want more! Let us know where the coolest places of beautification are — from hospitals, plastic surgeons, dentists to hair salons, spas, manicurists... By Tuija Seipel. Send [email protected]




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Fashion

June 26 2007


Consider it an antidote to the mass-produced “designer” fashions of Target and Wal-Mart. CoLab, an eyewear accessory collaboration, hand selects talented “street artists” from all over the world to become CoLab professors. These wisemen of design infuse their artistic aesthetic into the humble sunglass frame, creating a tantalizingly unique summer accessory.

CoLab is a brand-new venture out of Sydney with the aim of creating matchless art disguised as fashion. For the Spring/Summer 2007 season, CoLab invited Perks and Mini (PAM) of Australia, EBoy of Germany, Geoff McFetridge of the US, Rockin’ Jellybean of Japan, and Neasden Control Center of the UK into their “Colaboratory” to create inspired eyewear. Each pair will be sold as a limited edition, with no more than 1000 pairs of each design sold. Come next season, CoLab will select an entirely different slew of artists.

Each artist has contributed anywhere from three to five designs, culminating in a CoLab portfolio of 20 sunglass designs. Despite the commerciality of fashioning art into sunglasses, the project is inherently appealing to the underground artist as CoLab dictates: “There is no constraint, no rules to follow, no target market to appease.”

The designs intimately reflect this freedom, from blue goggle-shaped “Eyes” frames by PAM, to decal-ridden EBoy shades, to vintage inspired oglers by Rockin’ Jellybean.

The tragically hip lenses can be found through worldwide stockists, most notably, Paris’s Colette, which became CoLab’s first global stockist in January of this year.

In its distinctive pursuit, CoLab has created a brand without a brand — a welcome respite to those beleagured by the choice: Ray-Bans or absurdly-priced “designer” shades. By L. Harper


Food

June 25 2007



If decidedly unfashionable cuckoo clocks, Tyrolean kitsch and yodeling form your memories of Austria, update your impressions next time you are in Innsbruck. It is hard to not look up in Innsbruck, the provincial capital of Tyrol, with the Nordkette Mountains hulking all around. But focus a bit lower and zero in on the new Town Hall. The Dominique Perrault-designed building is on the Old Town’s (Altstadt) main artery, the 17th century Maria-Theresien Strasse.



Go up to the rooftop Lichtblick Cafe (also by Perrault) and marvel at the magnificent 360-degree views. The place is fashionable, sleek and definitely void of Alpen-kitsch. The walls are floor-to-ceiling glass and the roof is a translucent membrane allowing daylight through. At night, the entire cafe looks like a large glowing lighting fixture in the sky.
The 54-year-old Perrault is highly regarded for his ability to allow landscapes to be transformed but not interfered by his buildings. His notable upcoming projects include the EWHA Women’s University in Seoul, Korea (2008), the new Mariinski Theatre in St. Petersburg, Russia (2009), and the Olympic Tennis Centre in Madrid, Spain (2009). By Tuija Seipell.

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Art

Fashion

June 19 2007




Emma Hope has come a long way from the overbearing florals of Laura Ashley fashions. After designing and manufacturing six collections with the company, Hope jetted on to bigger and better things - namely, her eccentric Emma Hope collection.

Since the commencement of her designing efforts, Hope has garnered five Design Council Awards, the Martini Style Award, and the Harpers & Queen Design Award. Hope's eponymous collection began solely with shoes - footwear could be considered Hope's forte, she's designed shoes for Paul Smith, Anna Sui and Mulberry. Hope later expanded her offerings to include handbags with quirky creations like a henna suede tote bag with delicate floral silhouettes carved out of its base, or a pair of men's white leopard print sneakers fashioned from ponyskin .

The designer's most eye-catching number is easily a velvet sneaker bag which offered in bright hues of violet, gold and fuchsia, among others. The unlikely juxtaposition of luxurious velvet to hold your sweaty workout ensembles seems a perfect fit for the celebs who emerge daintily coiffed - with nary a bead of sweat - after hours-long training sessions. And for the obsessively coordinated amongst us, Hope even offers matching "Magic Basket" sneakers, which are swathed in the same unlikely shades of velvet. These indulgent workout fashions are available at either of Emma Hope's three shops in London (Sloane Square, Westbourne Grove and Islington) as well as 150 additional stores, including Neiman Marcus, Bergdorf Goodman and Harrods. By Harper Walsh

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Bars

June 18 2007



Yes, we all saw Lost In Translation and thought, ‘hang on a minute, if Bill Murray can seduce Scarlett Johansson by singing ‘More Than This’ then maybe we could too!’

Let’s face it, karaoke has always been the butt of bad movies, and its reputation is currently languishing somewhere between Japanese businessmen necking methylated spirit and hen parties ‘cutting loose’.



But recently, it has started to reclaim its cult status from half-tanked brides-to-be, and become a little bit more palatable.  This new karaoke bar has been quietly, or rather, loudly, winning acclaim for its alternative approach to the nation’s favourite pastime.

Rather than the dark booths of your standard karaoke club, this new private members’ sing-along has incorporated young artists to help liven up the interior.  Think Manga cartoons but with a Lichtenstein edge.



Each booth has its own distinctive decor, and every surface has a graphic to reflect the spaces they fill.  Which is a far cry from the matted walls and vinyl floors some bars choose.  And most of all, it’s members only, so there’s no need to worry about being harassed by a woman with oversized fairy wings stuck to her back. By Matt Hussey.

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Ads

June 15 2007



Roadside billboard ads set out in consecutive order to deliver their message are nothing new. However when the message is as poignant as this campaign, drivers sit up and notice.

Using the old flick book art form of animation and motion the individual images create a fast moving clip to a driver speeding by them at high speeds. Quite literally, for a speeding driver life can flash by them in a split second. By Andy G

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Music

June 13 2007


The creation of Parisian electronic masterminds Gaspard Auge and Xavier de Rosnay, Justice first implanted their pogo-inducing sound in last year's massive remix of Simian's 'Never Be Alone'. While Justice's remixing fingers have also moulded the sounds of stars like NERD, Soulwax and Franz Ferdinand, it's their critically-lauded new album '†' which is causing the most fan-fervour.

The band's current single 'D.A.N.C.E' - looped around the Jackson 5, chanting-child refrain of "Do the D.A.N.C.E/1 2 3 4 fight/Stick to the B.E.A.T/Get ready to ignite" - sounds like an electro-funk Go! Team shouting orders to the disco infantry.

The 'D.A.N.C.E' film clip follows two torsos as they charge in circles through a dark club. As they move, their t-shirts act as projection screens for a myriad of evolving graphic prints and patterns created by the art director of Justice's label Ed Banger.

Following the clip's release, a number of its featured t-shirt designs were put up for sale (Colette, Paris ) causing a feeding frenzy amongst the music-nerd elite and the fashion frantic alike.

Justice might be the best thing to happen to French electronic music since Daft Punk and given the buzz they are generating, expect more monster singles in the coming months. For now though, as Justice would say, things are 'prêt à allumer'. By Nick Christie

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Transportation

May 28 2007




Mazda's current design philosophy is moving in decidedly Zen-like circles. Like a child throwing pebbles into a mirror-still pool of water, the Japanese brand cast the diametrically different Sassou, Senku and Kauri concepts far out into the design community in 2005/6 and waited to see which way the ripples would take them.

From these three focal points an inward momentum was created, an inexorable circular movement towards a production car bearing a completely new Mazda design language. That car, hints Mazda North America's Design Director Franz von Holzhausen, will appear in pre-production form at the company's home auto show in Tokyo later this year.

'It's like a concentric circle,' explains the soft-spoken California-based designer. 'With the Sassou, Senku and Kabura we struck out in a bunch of different directions, but eventually we're going to land in the middle at something that you can go into the showroom and buy. For the moment, however, they're still circling the outer reaches of a design philosophy that Holzhausen has dubbed 'flow', or Nagare in Japanese.

At the Los Angeles Auto Show last November, this new form language physically manifested itself in the first of a troika of striking new concepts: the Nagare. A radical grand tourer for the year 2020 designed by Mazda's studio in Irvine, California, Nagare borrows the most successful elements from its three conceptual forebears and translates them into what Holzhausen describes as a 'concept of a concept car'.

'Flow is the study of how nature expresses motion. If you look at a desert landscape, it appears as if the air is moving across the sand even though you can't see it. That's what we wanted to create: a way of introducing ideas of texture and motion into the surface language,' explains the Pontiac Solstice designer. 'That's the thing: it's not just a stuck-on detail or a cliched road stance. We've got a lot of freedom to explore this.'
The most striking thing about the Nagare's design is the deep etch lines that run along the car's flanks. They converge, fading as they go, to an invisible point above the rear wheelarches before re-emerging and fanning out to form filigree-like strands of orange light that make up the rear light clusters. Like ripples on a sand dune, they create a sense of air moving across the vehicle, of unseen motion - a theme picked up by the twisted lines that form the headlamps. Sidewinder trails are what come immediately to mind.



The Nagare, says Holzhausen, was just the first expression of flow. For the Detroit show in January, the Irivine studio team distilled this idea into a deliberately more feasible and down-to-earth form: the 2010 Ryuga sports car concept. Again, deep etch lines dominate the overall look, and the Senku-inspired shark's head nose and sidewinder lights remain. But the feel is less extreme, especially inside where the Nagare's diamond-pattern seat configuration gives way to a more conventional 2+2 layout. 'It's still about motion,' insists Holzhausen, 'but in a much more calm and quiet way. Like a Japanese rock garden.'

Meanwhile, the Geneva show will debut an even more grounded expression of the philosophy, this time designed by the company's studio in Frankfurt, Germany. Something equally exploratory but more believable, promises Franz. As radical, as avant-garde, as these cars feel now, by the time we get elements and themes into the finished car two years from now, people will be like 'yeah, we've seen this. It's a Mazda'


Personally, I doubt people will be so blase. While parent company Ford's European arm continues to talk in a loud voice about its Kinetic Design philosophy and expressing 'energy in motion', Holzhausen has found a way of actually translating this into something you and I can touch, and hopefully buy. Interestingly, the US-born designer says that the roots of this can be traced back to Spring 2006 edition of Intersection, the one with the Colani concept on the cover: I saw that car, the way it was shot from above with those organic, flowing shapes, and said 'that's the kind of car we need to build'. All my recent concepts have sprung from that point. By Euan Sey. Exclusive online extract from Intersection Magazine.