Archive for July, 2009|Monthly archive page

Big shoulders, square shapes and endless boots

In Clothes, Fashion Designers on July 24, 2009 at 1:20 pm

paule ka

Great collection by Paule Ka, I don’t think I would wear these particular boots but the coats and dresses are great. Love the simple lines, the colours, the fabrics. Simply great.

Grégoire Alexandre

In Photographers on July 22, 2009 at 2:43 pm

Grégoire Alexandre

These are some images from photographer Grégoire Alexandre. His work has really interesting concepts in the way he combines the sets, it’s design and the models to produce his images. He definitely has a particular and unique style that tells him apart from the rest. It’s almost if he had created his own dream world and translated parts of it through strange, enigmatic pictures. Accessories, sets and models get confused in his images and there is not a central figure. Every object plays a part, a major part in the creation of his compositions.

Pretty bag

In Clothes, Fashion Designers on July 22, 2009 at 2:36 pm

wang bag

Beautiful and practical bag by Alexander Wang. Great texture on the leather and love the gold studs filling the bottom. Simple but perfect.

Fendi Winter campaign by Karl Lagerfeld

In Editorial, Fashion Designers, Photographers on July 22, 2009 at 2:26 pm


Fendy fall_winter 09 campaign shot by Karl Lagerfeld.

Monocle magazine

In Magazines on July 20, 2009 at 2:12 pm


Interview to Tyler Brûlé

Greg Lindsay – December 19, 2007
Tyler Brûlé’s name will forever be linked with Wallpaper*, the jet-setting lifestyle magazine he founded in the mid-90s while still only in his late twenties. He was hailed for capturing the era’s zeitgeist before he had even published a dozen issues, by which time he had sold the magazine to Time Inc., the company’s first overseas acquisition. He’d conceived of the magazine while lying in a hospital bed, recuperating from wounds sustained as a freelance journalist operating inside Afghanistan on behalf of the BBC. What once seemed like a deeply ironic contradiction — that he had dreamt of luxury living after his brush with geopolitics — have since merged into his latest project, Monocle. Best described as “The Economist meets Wallpaper*” Monocle is the magazine Brûlé has been dreaming of since his bitter departure from his first love in 2002. Published by Winkreative, the brand consultancy he has run full-time since then, Monocle marries the achingly tasteful and internationalist mindset for which he’s known with a news slant that relentless looks for opportunities and curios abroad rather than threats. The result is a manual-sized magazine that sells subscriptions for $150 a year and has a readership that’s also so well-curated that luxury advertisers are beating down his door. Brûlé replied to’s questions from (we think) an overnight train at midnight last week as he raced to the next appointment in his jam-packed datebook. Name: Tyler Brûlé
Position: Editor-in-chief & chairman, Monocle; chairman & creative director, Winkreative
Resume: Foreign correspondent, BBC; founded and served as editor-in-chief of Wallpaper*; created and anchored the news program “The Desk” for BBC 4; launched Monocle
Hometown: Winnipeg, Canada
Education: Attended Ryerson University in Toronto When did you first have the idea to create Monocle, and how & when did you finally decide to launch the magazine? What made you think that a fusion of international reportage with a jet-setting luxury lifestyle component would be an editorial and commercially viable magazine?
Jet-setting luxury lifestyle component? Are you reading the same magazine that we’re editing? I don’t see any of that in what we’re doing. The magazine’s international but hardly jet-set. In many ways Monocle’s the magazine I’ve always wanted to do. In fact, the basic concept pre-dates Wallpaper* by a good six years. We started work on rough layouts, structure and costs in the spring of 2005 and started raising finance in early 2006. I was convinced that the concept would work because I’ve spent many years watching consumers’ magazine purchasing habits at airports and it was frequently Wallpaper* and The Economist. I decided to merge elements of the two but refine the package.Who reads Monocle? What do you think is the maximum readership of the magazine worldwide. I understand that the eventual circulation target is 150,000 readers, which is more than Wallpaper* has now (and about the same as during your tenure as editor). Is the readership of Monocle the same as the readership of Wallpaper* during your era? And considering their geographic dispersion, is it truly possible to speak to them as a coherent community?
We invited all of our London subscribers to a shopping evening at our offices earlier this week so I can tell you that our readers are predominantly male (70 percent) and work in finance, public policy, assorted academic fields, media, and assorted travel sectors. They’re over 30, are probably leaving in a different country from where they were born, and are on the hunt for opportunities. They’re also looking for smart media.

I think some day we can take this up to a circulation of over 200,000 globally. That’s a dream, not our business plan. There’s definitely a constituency of readers who left Wallpaper* who’ve picked up with us and a whole new group of readers who’ve never even heard of Wallpaper*. I think Monocle’s readership is more interested in bigger ideas and doesn’t see a wall between politics and culture.As for geography, I feel it creates an opportunity. While many media brands go more local we can talk to a group of readers who want to feel connected to the world’s major cities.

Considering how wired (and wireless) your readers are, why is Monocle a magazine and not an electronic publication? What opportunities does print afford you that digital publishing does not? And please discuss your business strategy in light of your extremely high cover price ($10 US is what I’m paying every month) and even higher subscription price, which I don’t think exists anywhere else in the media landscape. What does that mean for your business model in terms of the contributions of circulation revenue, ad revenue, and digital revenue? I imagine it doesn’t look like any other magazine out there.
It’s both. As of today, Monocle’s ranked as the number three news/politics brand on iTunes. I feel that’s quite an accomplishment having only been present on the newsstand for 10 months and on iTunes for ten weeks. Print still sets the agenda but it needs a digital wing to give it a different, more varied metabolism.

Who said subscriptions should be cheaper than getting a title on newsstand? I think it’s a business model that simply doesn’t work when you’re shipping magazines to 79 countries. At the same time, when you offer up every single story archived there’s a value to that — hence the 50 percent increase on subscriptions. Today there is a consumer out there who will pay for quality journalism and recognizes that it can’t only be the advertiser that pays the bills. As for the business model, we’ve only assumed newsstand sales and ad revenues. We left the digital component and subs blank because we knew we were doing something different. 5,000-plus subscriptions at $150 has had a lovely year end effect on our plan.

How were you able to recruit a global network of contributors reporting on location from Rwanda, the former Soviet Union, Japan, etc. in an age where most magazines, television networks, and newspapers are cutting back on their international staff and coverage? I see that some of your staff, like Fiona Wilson, have been with you since the Wallpaper days, but how did you go about recruiting new correspondents in out-of-the-way places? How do you manage them? Are they essentially stringers pitching stories? Or are you assigning them?
Cut-backs elsewhere have created our network. There’s no shortage of good talent as a result of bureau closures and shrinking international news sections. While we started out by commissioning writers we’ve known for some time, we now have journalists all over the world contacting us with ideas and thrilled that there’s a new platform for international reportage. That said, 90 percent of the stories start at our hub in London.

How would you describe your editorial point-of-view with regards to news? American magazines’ tend to cover international news through the lens of the “War on Terror,” the Iraq War, and the damage to America’s self-image. This view is, of course, noticeably absent from Monocle. How would you describe the political and socio-economic stance embodied in the magazine?
Our view has a distinctly eastern side of the north Atlantic flavor. This means we sit in London but are influenced by the currents that have made this city more European and increasingly one that looks to Asia. Commercially, this viewpoint is proving to be a hit in America as readers are tired of seeing the world through the prism you mention.

How would you describe your point-of-view with regards to the design, fashion, and lifestyle coverage within Monocle? Your incarnation of Wallpaper* is justly famous for being so out-of-step with other fashion and shelter magazines and so locked-into its own vision of the world that it became an iconic, Zeitgeist magazine. Where and how did you develop this sensibility, and why — a decade after Wallpaper* burst onto the scene — are you still somewhat on the fringe?
Mmmmm, fashion. For starters, we hired a Japanese fashion editor to ensure we had pages with wearable, fresh brands and not spreads devoted to building the careers of photographers and stylists. I have a very clear view of who’s reading this magazine and as a result we want to shoot garments that are relevant and also have a story. Slowear’s a good example of a Monocle brand — it focuses on being best in class and is not consumed with being the brand of the season. I think Japanese fashion editors are more like buyers — they want clothes to sell and not linger in fashion cupboards. On a related note, our Porter bags have now sold over 1000 units (mostly to men) and we keep hearing that people like our vision because we introduce brands that are new, forgotten or rarely seen. There’s a political message here as well, you’ll note that brand provenance and legitimacy counts for a lot with us.

Ink Calendar

In Designers, Product Design on July 20, 2009 at 12:05 pm


Ink Calendar by Oscar Diaz:

“Ink Calendar” make use the timed pace of the ink spreading on the paper to indicate time.

The ink is absorbed slowly, and the numbers in the calendar are “printed” daily. One a day, they are filled with ink until the end of the month. A calendar self-updated, which enhances the perception of time passing and not only signaling it.

The ink colors are based on a spectrum, which relate to a “color temperature scale”, each month having a color related to our perception of the whether on that month. The colors range from dark blue in December to, three shades of green in spring or oranges, red in the summer.

The scale for measuring the “color temperature” that I have used is a standard called ‘D65’ and corresponds roughly to a midday sun in Western / Northern Europe.

The “Ink Calendar” was developed for “Gradual “, an exhibition featuring works, which were evolving during the exhibition time at the London Design Festival 2007.

William Eggleston

In Photographers on July 19, 2009 at 12:51 pm

william eggleston

William Eggleston was born July 27, 1939 in Menphis, Tennessee. This American photographer was highly important in making colour photography recognized as a legitimate artistic medium, worthy of being displayed in galleries and museums. His early work was inspired by photographer Robert Frank and Cartier Bresson. His subjects are characterized by being ordinary but is photographs are far from that. American artist Edward Ruscha said of Eggleston’s work, “When you see a picture he’s taken, you’re stepping into some kind of jagged world that seems like Eggleston World”. An interesting, arresting and colourful world.

Emma Summerton

In Editorial, Photographers on July 19, 2009 at 1:54 am


“Q. You’ve emerged quite beautifully and it seems that your pictures only ever appeared in great magazines, what was the secret to such a perfect launch?

••• Thank you honey! I think for me it has been about having a great agent and being fortunate enough to start working with Edward Enninful a few years back. The right stylist at the right time can change your career there is no doubt about it. I have a fantastic supportive network of people around me who give me great advice, like when to say no to certain things and not to spread myself thin. It’s a bit cliche but I always believed in quality rather than quantity but it is also very hard when your starting out to say ‘no’ as you want to do everything that comes up and shoot as much as possible. But what you don’t do is just as important as what you do. It’s helpful to have people to remind of you of that.

Q. You once told me that it was your dream to shoot for Italian Vogue, and you are now shooting for them quite often, what’s the next dream publication you wish to tackle?

••• A book of my personal work would be something I would love to do. I have a project I worked on for about 7 years, all on polaroid, all self portraits and abstracts, it’s been tucked away for the last few years. I have also just started a project with Charlotte Stockdale too which we are both really excited about so we feel we might give that a good year to shoot in between fashion action but we want to exhibit the images when it’s done.

Q. From following your stories I find you to have a very cinematic aesthetic, it’s something I attribute to your incredible lighting, but also to the concepts you tend to execute..are you the creator of such ideas or do you find that most of the stories are a collaboration between you and the stylist your working with?

••• It’s always a collaboration once you start discussing an idea with the editor your working with, whether it’s something I bring or they do doesn’t matter, once your ‘into it’ it belongs to the team. I tend to get really involved on every level but it is different with everyone and changes depending on the shoot. Collaborating is a huge part of the fun and inspiration for me. Lighting is another thing altogether and I love to light! I’m really into lighting that doesn’t look labored which i guess gives a cinematic quality and i do find a lot of inspiration in cinema, the capturing of emotion, a tale to tell, to try and evoke a feeling even if it comes out abstract in the image.

Q. You live in both London as well as New York, do you find any differences in your inspiration and idea’s between the two places or do you feel that your creative is without attachment to your current geographical location?

••• New York for me is about work and madness, London is more introspective and calm. I would have to say I think clearer in London but get crazy ideas out of New York. It took me so long to fall for London, there were many years of struggling to survive here that maybe my love for it is deeper, it won me over. But hey who wants one without the other!

Q.  Eva Herzigova told us after shooting with you for Vogue Italia, that you had inspired her more than any other photographer had in sometime..Some would assume that it’s your fresh point of view, what would you say the reason is?

••• Wow…that’s such a huge compliment! Thank you Eva! I’m kinda lost for words now actually. She was an inspiration for me too, I loved watching her , her expressions, she is a strong beautiful intelligent woman with tons of charisma! We had such a great time on our shoot, I think it was just a meeting of minds and a great energy from the start. I didn’t want to control her too much, with a model like Eva you shoot her for who she is, it’s like working with an actress and to reign her in too much would feel wrong to me.

Q. What do you think about the Return of the Icons and Supermodels?

••• Bring it on! There is such a need and space for powerful experienced women in the industry who know themselves and are confident about who they are in the world. These things only truly come with time. Don’t get me wrong there are young new girls out there who are fantastic but it’s the way forward to mix it up more and show the full spectrum of what being a woman is about.

Q. What’s an Emma Summerton girl?

••• She is a little weird, sexy, a bit tough, slightly mad and appreciates another women.

Q. You’ve recently made a habit out of shooting Janete Friedrich, aside from the obvious allure of her almost Art like beauty..what is it that you find so inspiring about her as a model?

•••There is something so weird about shooting Janete! She speaks hardly any english so the communication between us is very much about gestures, showing her a mood, and she just gets it and it’s wonderful to watch. She is very ‘in her body’…very comfortable, so i think she feels the picture because there is little verbal communication. Besides that she has a extraordinary beauty that is so refreshing, reminiscent of a silent movie actress, or a character from another time.”

Interview made to Emma that I found on one manegement blog.

Adriance House

In architecture on July 17, 2009 at 3:11 pm


This house by architect adam kalkin combines 12 shipping containers inside a larger structure. It was created in northern Maine. The containers are used partially for structure, supporting all the glass that makes up the rest of the house. The ground floor has the kitchen and the living area, there are two steel staircases that lead to the second floor where the floors are located. The sides off the home open with a similar system to a garage door connecting the interior with the outside. The house covers 4ooo square feet.

If I could turn back time

In Designers, Personal, Product Design on July 17, 2009 at 1:03 pm

verner panton

I wish I could have some of the objects Verner Panton created during his lifetime. Although some of them are still in production or can be found in auctions it is not like I am able to recreate the full environments that surrounded his creations. Here are some images of personal favourites. I could have posted many more images, the list is endless. A view his work as a huge source of inspiration from form to colour. If I had lived the sixties I sure would have my share of his brilliant designs.