Category Archives: People

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

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By George, W Magazine, May 2014

georgestacey
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

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

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

AD Innovators: Anton Alvarez, Architectural Digest, October 2013

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Before attending London’s Royal College of Art (RCA), Anton Alvarez spent two years at a craft school in Sweden, mastering the techniques of traditional cabinetmaking. Yet it was only after the London- and Stockholm-based designer set aside those time-honored skills that he was able to start his career in earnest, inventing a new joinery method he calls “thread wrapping” for his RCA thesis—a project that made him a breakout design-world star and got his sculptural pieces into a London Design Museum show last fall, alongside works by Arik Levy and Maarten Baas. Continue reading

One to Watch: Anna Karlin, Architectural Digest, January 2013

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After graduating from the Glasgow School of Art’s graphics program in 2006, Anna Karlin took a position at a prominent design firm in her native London. Two days later she quit. “People are not put on earth to work within such a confined, one-dimensional expression of their creativity,” she says. It’s a bold statement, reflecting her refusal to allow her talent — or ambition — to be hemmed in. Continue reading

Mood Swing, T Design, May 2012


The designer Lindsey Adelman is embracing her dark side. Who knew she even had one? Since opening her New York studio in 2006, she’s become known primarily for her Bubble Series chandelier, an industrially-inspired brass armature blooming with charmingly lumpy blown glass globes. It consistently tops the shopping lists of architects and designers like Peter Marino and Kelly Wearstler; a sheik in Kuwait has one, and Ivanka Trump has two in her new Park Avenue apartment. “It’s almost like hanging a tree branch from your ceiling,” Adelman says, who, as a design student at the Rhode Island School of Design, also dabbled in sculpture.

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