Object Lessons, W Magazine, September 2014

mosquedaWhen Moss closed its doors in 2012, the SoHo design mecca left a void in New York’s aesthetic landscape. Now a former Moss acolyte isattempting to fill it—albeit using a very different approach. Founded by Juan Garcia Mosqueda, who assisted Murray Moss for a year and a half, Chamber—a new boutique in Chelsea—offers a highly curated selection of limited-edition objects. But rather than act as a one-man vetting committee, Mosqueda, 26, plans to hand over the aesthetic keys to the shop every two years to someone new. “I felt it was more interesting to involve various perspectives on collecting,” he says. “If it was only my vision, I’d probably get bored after a couple of years.” Continue reading

By George, W Magazine, May 2014

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When Billy Baldwin famously helped Diana Vreeland turn her 1950s Park Avenue apartment into what she cheekily called a “garden in hell,” he borrowed many of the furnishings and ideas from the home that George Stacey had designed for Vreeland 20 years earlier. Stacey’s list of clients included every society name from Babe Paley to Grace Kelly, yet while Baldwin would go on to be immortalized as the “dean” of 20th-
century American decorating, Stacey, who possessed neither Baldwin’s outgoing personality nor his legacy-preserving biographies, faded into obscurity. The release of Maureen Footer’s George Stacey and the Creation of American Chic (Rizzoli), the first book devoted to Stacey and his undisputed influence, should help remedy that. Continue reading

Trend Report: First Blush, T Magazine, April 2014

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The edges of modern design are softening this season with delicate hues in the palest of pinks.
Continue reading

The New Ceramicists, T Magazine, April 2014

NYT_CeramicsA group of young artists is redefining the formerly folksy medium with sleeker, more sophisticated forms. Continue reading

Best Desk Plants, Bloomberg Businessweek, April 2014

BBW_PlantsOffice plants galore, from aloe to ZZ. Continue reading

Objects of Comfort, New York Times Magazine, March 2014

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As part of Key, our mini­magazine on real estate and design, we asked
seven designers to tell us about the most comfortable things they own. Continue reading

The Collective Class, New York Magazine, October 2013

collectivesIn an era when design stars are given TV shows, pal around with Brad Pitt, and collaborate with megaretailers, it’s not immediately clear why any young hopeful would want to join a design collective. Doing so requires putting the name and the needs of a group before one’s own, obscuring any clear path to individual fame. In the past, collectives often had a kind of anti-commercial sheen, even when they were selling things. In the sixties, groups like Archigram and Ant Farm used design and architecture to further shared countercultural agendas. Similarly, Ettore Sottsass founded the Memphis collective in the eighties as a kind of postmodernist manifesto. But when the Droog collective came along in 1993, its more practical, less philosophical mission—promoting talents too new and obscure to make much of an impact on their own—marked a turning point for design collectives. Continue reading