There’s no real way to put this delicately: It can be somewhat difficult getting Ross Menuez to focus. Talk to the designer of the fashion label Salvor Projects for an hour, and your conversation might touch upon everything from the migratory patterns of birds to the intricacies of intarsia; ask him about his process, and he’s apt to fret instead about what to do with the signage for his first retail shop, which opened last week on a sleepy stretch of New York’s Lower East Side. His career has been equally hopscotched: He’d built houses for the Sandinistas in Nicaragua, designed under Tom Dixon at Habitat, and run a metal shop in Brooklyn before finally, a few years back, committing himself fully to the world of fashion, complete with seasonal presentations and showroom representation.
But as with any talent whose creativity flows faster than the mind can apprehend, it’s the unscripted aspect of Menuez’s work that makes it so compelling — you never know quite what to expect. In the eight years that have passed since Salvor Projects was founded in 2003, its offerings have encompassed Japanese-inspired steel-toe work boots; screen-printed balsa-wood wall hangings; flat-pack, laser-cut metal lampshades; polyurethane-coated roll-top canvas bags; and a cultishly popular line of printed modal jersey dresses, scarves, tees, and tanks that sell at stores like Barneys, Dover Street Market, and Project no. 8.
Menuez, though, was once rightly advised that customers would never fully understand the brand if they couldn’t see it all under one roof, and so the seeds of a store began last fall. Menuez found a co-designer and business partner in Nick Dine — an old friend who’s created retail interiors for Calypso, Stussy, and Kirna Zabête — and a location in a 400-square-foot storefront that’s a block away from New York’s Half Gallery and a few doors up from Menuez’s current Lower East Side studio. “The beauty of the store is that we’re basically going to make shit that we like for the first time,” says Menuez. “With production, once you make a large batch of something, you’re done. By the time something hits the market, you’re already over it. At the store we can make one of something and try it out, and you can perfect a piece as you go. There’s also this unexpected green side to it. It’s kind of like when you’re making a meal and you can use every single thing in your fridge. Don’t have enough fabric to make multiples? Cool, let’s just make one kimono.”
Sight Unseen visited Menuez’s studio last winter, when the designer was just figuring out his plan for the store and its inventory, which includes a new line of jeans sourced from Cone’s Mill in North Carolina and treated with plaster-like effects. You can visit the new Salvor store at 172 Forsyth in New York, and you can tour the designer’s jam-packed, ephemera-filled studio in the slideshow at right.
If you've ever thought about starting a podcast — a design podcast, sure, but really one on any topic at all — you probably have Debbie Millman to thank for that. Millman, who started the phenomenally popular Design Matters way back in 2005, was one of the first people working in the medium — and, as I was reminded when flipping through her new book Why Design Matters, which brings together more than 50 conversations from the show's past, remains one of the best. We're excerpting one of our favorite interviews from the book, with the filmmaker, graphic designer and artist Mike Mills, here today.
Press SF is interested in a refined but never rarefied melange of burgeoning artist’s movements and localized design, the kitschy and the iconoclastic, sourced from library sales and small secondhand bookstores with “a lot of different buyers and a lot of different viewpoints.”
In her latest solo exhibition at Nina Johnson Gallery in Miami, called Sour Tasting Liquid, Katie Stout focuses her experiments exclusively in ceramics, exploring processes like slab-building, mosaic, pinching, kintsugi, and more to make a body of work that is at once figurative and abstract, logical and absurd.