Isaac Manevitz of Ben-Amun: Design aficionados should be salivating at this photo. In the relatively unassuming entrance to Manevitz’s New Jersey home sit two very important pieces of furniture — an end table designed by Michele de Lucchi in 1984 and a sofa designed by Peter Shire in 1986, both produced by Memphis, the furniture collective founded in the 1980s by Ettore Sottsass and others. Turns out that Manevitz, the designer of Ben-Amun jewelry, is a collector of Memphis furniture. His other pieces include the totem-like Carlton shelf and the Treetops lamp, both designed by Sottsass, and four chairs by de Lucchi.

American Fashion Designers At Home

There's a certain taboo attached to pop stars who attempt to forge acting careers, and vice versa. Painters aren't normally supposed to take up fashion design, and just because you're a great photographer doesn't mean you'll make a great chef. But here at Sight Unseen, where we attempt to travel to the very heart of creativity, we delight in any and all cross-disciplinary meanderings, which is why our ears perked up when we heard about American Fashion Designers at Home, by Rima Suqi. Even if some of the more than 100 CFDA members featured in the book hired professionals to craft their spaces, the translation of their aesthetics from one genre to the other is an endless source of curiosity.
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Andrea Maack’s Fragrance Line

How do you turn a drawing into a fragrance? That’s the question Icelandic artist Andrea Maack began asking herself months ago when she first began to contemplate entering the world of scent design. The answer has never quite presented itself — Maack has yet to meet the small-scale French perfumer who turns her pencil strokes into notes of orange blossom, sandalwood, and violet leaf — but for her, the link between the two mediums is relatively obvious.
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To Make 30 Objects in 30 Days, by Dominic Wilcox

If London designer Dominic Wilcox's illustrated blog Variations on Normal is like a comic diary of conceptual one-liners, it's also filled with ideas that often seem too good to be true — what if we really could buy a device to remind us of people's names in awkward social situations? And who doesn't need a little "hill-walking easyfication" sometimes, even if wedge-shaped strap-on shoe platforms aren't exactly a commercially viable product? So when Wilcox was invited to participate in this year's Anti-Design Festival at London Design Week, as part of an exhibition called "Mistakes and Manifestos," he set himself a challenge: to execute one creative project per day for 30 days, with a budget of 10 pounds per day, in effect testing his ability to bring his idea-generation skills off of a sketchpad and into real life. "Speed Creating," as the project is called, documents his attempts to fabricate his cleverest, most fleeting whims — for better or for worse.
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Vintage and hand-crafted jewelry: When I arrived, Lee was wearing an amazing, architectural, mixed-metal cuff, which turned out to be the work of Anndra Neen, the Mexico City–born, New York–based jewelry-making sisters who made their TenOverSix debut last month. (That’s their necklace above as well.) The sisters hand-craft pieces made from copper, brass, and nickel silver at their workshop in Mexico City. “We actually just did shoe collaboration with them, with all of these little metal pieces on the front of the shoe,” Lee says.

Fashion Designer Kristen Lee of TenOverSix

Most people, if given the luxury of a third bedroom in a house they share only with a spouse, might choose to turn it into a guestroom, or a studio, or maybe a study. Kristen Lee, a stylist and co-owner of L.A.’s fashion and design emporium TenOverSix, turned hers into a walk-in closet. Step inside and you’ll discover rolling racks of designer and vintage, scarves tossed carelessly around a dress form, shoes lined up in neat little rows, a steamer in the corner, and accessories spilling out over the dresser. And yet for someone so clearly attuned to and obsessed with fashion, it’s not the clothes you first sense when you enter the Ed Fickett–designed, mid-century, Nichols Canyon home she bought last year with her husband and then “renovated the shit out of,” as she says. It’s the incredible proliferation of art. Stephen Shore, Banksy, Leopold Seyffert, Nan Goldin — and that’s just in the living room.
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“With my carafes, I was also referencing normal plastic containers, but finding a way to elevate them into a piece of art.”

Victoria Wilmotte, Furniture Designer

As the youngest child of a Parisian architect — with three older brothers working in the same field — Victoria Wilmotte had one thing going for her when she started studying furniture design at London's RCA four years ago. But she also had a few handicaps: she was only 20 years old, she had just been rejected from Paris's ENSCI school, and her professor at RCA, Jurgen Bey, couldn't comprehend her strange working methods. Obsessed with materials and surfaces, she wanted to spend all her time in the workshop, skipping the thinking and brainstorming part and going directly to prototyping. "Jurgen Bey was really into concepts," says Wilmotte, now 24. "He was more about a table telling stories, but I only wanted to talk technically. He basically said, 'I don’t understand you. But continue.'"
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Northampton, England: “Northampton became a center for leather and shoe manufacturing because it’s surrounded by forests, and you need tree bark for tanning. It was also on the route joining south to north. So I grew up around all these companies, like Gloverall and the Regent Belt Company, whose products I carry at C’H’C’M’. It’s funny how it’s come back to that: After living in Northampton and not giving it any attention, wanting to wear my Nikes and thinking the shoes produced there were for old men, now I absolutely love them. I visit the factories near my house every time I go back. You’ll see Japanese kids outside taking pictures, so you know something’s going on.” Above: A pair of Trickers shoes Patel purchased in Northampton last year.

Sweetu Patel of C’H’C’M’

“I like selling clothes that make people hyperventilate,” says Sweetu Patel. “Furniture doesn’t do that.” Trained as a furniture designer himself, Patel was the original founder of the design brand Citizen Citizen, but after giving up that business and putting in five years on the sales floor of New York’s Cappellini showroom, he shifted gears to start the online men’s clothing shop C’H’C’M’ last year. As it happens, though, Patel’s purveyorship of classic heritage brands represents more of a return than a departure — back to the clothing he grew up around, back to his sartorial instincts, back to the business model Citizen Citizen was originally meant to follow. We’ve always been a fan of Patel’s work, so we asked him to tell us his story, then share the eight inspirations that have led him to where he is now.
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Art of McSweeney’s

To an extent, Art of McSweeney’s — an oral history of the San Francisco–based quarterly, from Chronicle Books — is about the quirky illustrations, charts, graphs, and covers that have defined the look of Dave Eggers’s publishing venture for the last twelve years. But even more, it's about the art of book-making, which in this case means reproductions of original sketches; odd detours to visit Arni and Bjössi, the Icelandic printers who produced more than a dozen issues before McSweeney’s moved its printing facilities to Singapore and North America; interviews with authors and artists; charts of printing specs; drawings of pensive clouds; and guides to reviewing unsolicited material.
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Suki Cheema, Textile Designer

Sighted on the website of Dossier, the Brooklyn-based fashion and culture journal: An interview with the London-born textile designer Suki Cheema. "He collects vintage china, takes annual trips to India and owns more art books than is generally healthy. If these are his joys, then his work — translating these elements into unique textiles that are classic and exotic, artistic and marketable — can be nothing less than a passion."
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Our tour began on the third floor of Lobmeyr’s Kartnerstrasse showroom, which acts as a museum of sorts for the company’s extensive back catalogue. Glass cases filled with tumblers, drinking sets, and dishes line the perimeter of a narrow circular walkway, and in the middle is this copper-wheel engraving lathe — the first to be used by the company in the early 19th century. It’s almost exactly like the one that’s used today. “It hasn’t really changed in the last 300 years,” Rath laughs. Its variously sized spindles and discs are used to create a variety of textures and line effects on the surface of glass.

J. & L. Lobmeyr

Since its founding six generations ago, Lobmeyr has tended to follow its own compass rather than listening to the whims of the market — in other words, it’s never been afraid to be a little bit different. It’s why the company moved from its original role as glass merchants to manufacturers; what inspired a relationship with the radical designers of the Wiener Werkstätte; and why the company today collaborates with designers like Polka, whose 2008 beer glasses boast an engraving based on the goals scored during a 1978 soccer match between Austria and Germany.
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Ceramics: "For centuries, British porcelain makers were fascinated with Asian-style ceramics, so it's interesting to see people applying this old idea in new ways," says O'Neal. The artist Brendan Lee Tang, for example, sculpts playful, Manga– and pop-art-inspired armatures around what appear to be traditional Chinese Ming Dynasty vases.

AvroKo’s Anglo-Asian Influences

For the designers behind AvroKo, the New York firm known for its high-concept restaurant interiors, the most personal projects often start out as group obsessions. Lately, apropos of nothing, they’ve been compiling a collection of silent video clips featuring modern furniture or architecture, snipped from movies or pulled from obscure design archives. So far it’s just a game — “a meme floating around the office,” as partner Kristina O’Neal puts it — but the first time the team was so possessed, they began with a bank of photographs and ended up opening a restaurant. After securing several projects in Asia a few years back, they began carefully documenting the bizarre cultural mash-ups they found while on trips out East, from mangled English translations to neon-lit religious altars; in 2008 they opened Double Crown in New York's East Village as an homage to their Anglo-Asian fascination, with food evoking the 19th-century British occupation of India, China, and Singapore. With a new AvroKo office in Hong Kong fielding projects like the recently opened New York–style eatery Lily in Bloom, their anthropological depository keeps growing.
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Rosenberg works out of a sun-filled studio at the street-facing end of the railroad apartment he shares with his boyfriend, Gil, who's a surfer, musician, and assistant to the color theorist Donald Kaufman. Although Rosenberg doesn’t fancy himself a musician, he’s the synth player in their band, Jacques Detergent. (“That's day-ter-GEANT,” he says with a French flourish.) When I visited, Rosenberg was working on their record cover — an early draft is pinned to the wall — and preparing for a solo exhibition in Oslo this month called "Wallhangings of Today."

Jason Rosenberg, Artist

The first time I met Brooklyn artist Jason Rosenberg, I brought him a present. It was nothing fancy. Earlier that day, I’d gone to the doctor and left with a prescription tucked inside a tiny plastic pharmaceutical bag, printed with a picture of a pill and the name of a generic medication. Lest my gift-giving skills be called into question, I should explain that I was headed that night to Kiosk, the New York shop where Rosenberg was hosting a Plastic Bag Happening: The idea was to bring a bag and either exchange it for one of the many Rosenberg has collected over the years, or to have the artist, equipped with his vintage White sewing machine, transform the bag into something totally different — a hat, a pencil case, a coin purse, a wallet. I walked away with two slim sacks from Systembolaget, Sweden’s chain of state-sponsored liquor shops; Rosenberg, when I visited him in his Greenpoint studio last month, was still holding on to the bag I’d brought, though where to find it in his heaps of pseudo-organized boxes, bins, and file folders was another story.
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She used a similar technique for one of her best-known works, a two-sided geometric sculptural installation. From inside the gallery, visitors saw a pastel-striped landscape made from wood paneling that had been stripped from the interior of the gallery owner's boat.

Katharina Trudzinski, Artist

When Hamburg-based artist and textile designer Katharina Trudzinski decided to take a second residence in Berlin this spring, she found an inexpensive live-work space on the fringes of the up-and-coming Neuköln neighborhood — the city’s equivalent of Bushwick, Brooklyn — and saved two months’ rent by promising the landlord she’d renovate. But it was imagination, not thrift, that inspired her next move: After stripping the wood paneling from the walls and ceilings and tearing down a few ill-conceived door frames, she began painting the detritus and incorporating it into her sculptural installations and high-relief paintings. Made from constellations of scraps, street finds, and everyday junk cloaked in perfectly calibrated hues, her work — some of which becomes inspiration for the pieces in her clothing line — is meant to dialogue with its surroundings. “It’s not my intent that the materials should be cheap, I just like to use things that are around me,” she says. “I like to start with what I’ve got.”
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