Here at The ‘Gig, were are all about Sweet Rides for Kids. Example: check out this Pink Primo Ride On Push Scooter, which is its full actual name. How cool is thing thing? Could you just die? I am dead already.
The scooter also comes in sunny, lemon yellow and pistachio green, but who gives a shit. Pink is always our color choice. Designed by Elisha Ruesch in 2019, this powder-coated iron scooter is patterned after a vintage Italian model and will give the recipient their first taste of a classic. Like a high-quality car, the Primo Ride-On Push Scooter is crafted from sheets of solid metal, and welded by hand from a minimum of pieces.
The Primo Ride-On Push Scooter is for kids over age one, who are also under 45 pounds. Available from the MoMa Design Store in Soho for just $199. Simple assembly required.
It was at the 2019 Salon Art + Design that we spotted this very rare and early first edition of the Flora / Model 852 Cabinet (1937) created by Austrian architect and designer Josef Frank (1885 – 1967). The cabinet was part of a prolific collaboration with Estrid Ericson, of the Swedish interiors brand Svenskt Tenn, which produced and retailed the piece. This piece was manufactured in 1950.
Cabinet Measures: 55¼ in. (140.3 cm.) High, 45 3/8 in. (115.3 cm.) Wide, 17 in. (43.2 cm.) Deep
This collaboration featured Frank’s highly developed personal style which focused on elements of Viennese elegance and Swedish functionalism. He wanted to incorporate natural forms and colors into his interiors, so that the inhabitants could breathe freely in the enclosed spaces. He believed that “ornament and complexity create peacefulness and get rid of the disturbing aspect of pure functional form.” A perfect example of this ideology is the Flora cabinet.
For the cabinet’s exterior, Frank (who also designed textiles) used hand-colored botanical prints from Carl Lindman’s book, Bilder ur Nordens Flora, which he then delicately applied onto the mahogany front and sides of the piece. Oak was also used in the manufacturing process, and the birch interior is fitted with four adjustable shelves. The contrast between the delicate floral motifs and heavy wooden form instills the cabinet with a light, playful and organic sense. Contrasting materials evoke an echo of the past, but create an indisputably modern piece.
My press comp to 2019’s Salon Art + Design included a much-appreciated perk of access to the Collectors Lounge, which featured a strikingly curated collection of unique art furniture from UK-based Sollands Gallery. Located in Mayfair, an affluent area in the West End of London, Sollands boasts elegant, contemporary pieces bearing the signature style of designer Grazyna (Gra) Solland. Gra, as she is called, is known for her strong sculptural statements, bold use of colors, and highly innovative and individual designs using high-end, luxurious materials. Working with both traditional and contemporary methods, together with a keen attention to detail and exacting quality, are hallmarks of Gra’s exquisite creations.
My favorite piece in the lounge was the vibrant, red lacquered Circ Coffee Table (2017). Having spent many years working on her STACK pieces, Gra decided she would like to further develop the theme, but in a much bolder manner. To create Circ, she regulated the wedge shapes and worked with circular shapes in a singular color.
Photographed in the Sollands Collectors Lounge at the 2019 Salon Art + Design in NYC.
The Bench I I a (2017) by designer Max Lamb is one of the first prototypes made from solid textile board, a material composed of waste cotton. Lamb created this piece for Really, a Danish company that focuses on upcycling discarded textile waste.
Really mills used textiles into small fibers that are then bonded together with a special agent. The dark blue color of this bench comes from the cotton material, which is discarded denim. The bench is at once a functional object and a conversation starter regarding the reuse of waste materials. The museum installation includes a video (iPad screen seen above) in which Lamb discusses the making of the Really collection of furniture.
What caught my eye immediately on flyers for the 2019 edition of The Salon Art + Design show was the included image of a vibrant Pink version of Chris Schanck’s Puff and Stuff Chair (2019). With it its quilted, glossy velvet upholstery and biomorphic sculptural base comprised of steel, aluminum, polystyrene, polyuria, aluminum foil and resin, the chair manages to look both organic and highly stylized simultaneously. The Pink Puff and Stuff Chair became my number-one-must-see item at the fair, but sadly my dream was not fully realized.
Puff and Stuff Chair Installation View
Friedman Benda, who represent the designer, chose to display Puff and Stuff only in a Sage Green. I was disappointed, sure; but that didn’t mean I wasn’t going to write about the chair. Because, look at how awesome it is.
It looks like the walls of a futuristic space cave — and please note that no two are alike. These chairs and the accompanying peach-hued pedestal table are inspired by Schanck’s2018 solo exhibit at Friedman Benda entitled Unhomely, which focused on the designer’s acclaimed sculptural approach.
Unhomely featured 15 works with independent, stand-alone narratives woven into an otherworldly landscape. Synthesizing premeditation and spontaneity, Schanck’s highly individualized, low-tech, idiosyncratic technique, Alufoil (in which industrial and discarded materials are sculpted, covered in aluminum foil and then sealed with resin) was conceived in 2011 during his MFA studies. The process begins with Schanck’s imaginative drawings and models, which are then executed by a team of artists and collaborators apprenticed in his Alufoil method.
Hybrids of sculpture and furniture, Schanck’s bold constructions blend biomorphic forms with elaborately crafted symbolism. These assemblages draw from a wide range of influences ranging from Brutalist and Art Deco architecture to ancient Egyptian, Anatolian and Aztec iconography. Skirting the line between refinement and camp, Schanck’s figurative, at times anatomical, creations reference science fiction films and conjure up visions of ancient aliens, hidden cavernous chambers, and monolithic space operas.
Despite overt references to fantasy and meta-fiction, Schanck’s assemblages are grounded in the reality of humanity’s relentless inventiveness. “In my work,” the Detroit native admits, “I take inspiration from the people and forms around me and dip them into a futuristic skin.”
Photographed in the booth for Friedman Benda at the Salon Art + Design 2019 in NYC.
Claude Lalanne (born 1924) is a French designer known for her eccentric works, which are often animal themed. She also worked with her late husband, Francois-Xavier Lalannne (1927–2008), under the name Les Lalannes.
Claude Lalanne’s gilt-bronze Banquette Crocodile is one of the designer’s most sought-after pieces, the realism of its reptiles coming as a result of a trip to the Paris zoo in 1972. It seems the designer had envisioned the creation of such a piece for quite some time but was in need of an actual crocodile upon which to base it.
Banquette, Rear View
As the story goes, Lalanne decided to put in a request to the city’s zookeepers for the remains of a crocodile, should one happen to expire of old age when nature took its course. And so a crocodile did pass away and, shortly thereafter, Lalanne went to collect her specimen in the company of fellow artist Niki de Saint Phalle.
Installation view with Claude LaLanne-designed Mirror and Candle Holders
Since then, the highly textured crocodile motif has taken shape in a number of her works, ranging from chandeliers to tables and chairs as well as the bench, which was designed in 2006, and cast in 2007 in an edition of eight with four artist’s proofs. Most of these pieces have been sold at auction at Christie’s and Sotheby’s for anywhere from $500,000 to $1 Million each.
Photographed in the Paul Kasmin Gallery, Located at 509 West 27th Street in the Chelsea Gallery District, NYC, Where You Can See This Bench and Other Works By Les Lalannes on Exhibit Through March 9th, 2019.
Mattel launched the Barbie doll in 1959, but it was only in the late 1970s and 1980s that much of her wardrobe became a bright pink, known as “Barbie Pink.”Jeremy Scott of Moschino collaborated with Mattel on this Moschino Barbie (whose outfit is copied in fine detail from the pink leather ensemble seen below) that was available to purchase in the spring and summer of 2015.
Both the doll and the outfit above were photographed as part of the exhibit Pink: The History of a Punk, Pretty, Powerful Color, on view at The Museum at FIT in NYC Through January 5th, 2019.
Unlike many 20th-century fashion designers, Norman Norell rarely sought inspiration from non-western or exotic cultures. Norell’sObi dresses (circa 1965) were a rare exception. Named after the wide belt used to secure and ornament a Japanese Kimono, the wrap-wtyle Obi Dresses were constructed with a built-in panel of fabric that encased the upper torso using a hook and eye closure.This interior garment allowed the outer wrap layer to glide smoothly over the body.
Photographed as Part of the Exhibit Norell: Dean of American Fashion, at the Museum at FIT.
Aptly called the Mermaid, Norman Norell’s shimmering, sequin-covered evening gown is arguably his most recognizable creation. Like many designers, he was influenced by Hollywood costumes, especially those created during the Golden Age. In fact, Norell began his career working for both Brooks Costume Company and Paramount Pictures during the 1920s. It is not surprising that he was one of the most successful at incorporating silver screen glamour in his luxurious, ready-to-wear evening garments, especially his Mermaid gowns.
Silver Blue Evening Gown (1972); Dark Purple Long Sleeve Evening Dress (1965)
What made Norell’s Mermaids so successful was his ability to strike the perfect balance of physical comfort and visual impact. Most often, he made the gowns using a base of knitted silk jersey. The base was then covered with a dazzling pavé of hand-applied sequins that were dyed repeatedly to match the jersey. Each of the tiny, reflective discs was sewn on with its on unique stitch pattern, allowing the sequins to shift and move independently. The result was a garment that reflected the maximum amount of light
Forest Green Evening Dress (1972)
Photographed as part of the Exhibit, Norell: Dean of American Fashion, on View Through April 14th, 2018 at the Musuem at FIT in Manhattan.
In 1937, Anglo-American couturier Charles James created the first high-fashion, down-filled jacket; an early James masterpiece. James meticulously constructed this classically inspired garment around the human form, resulting in a jacket quite unlike the boxy version produced by Eddie Bauer.
Photo of Model Wearing the Jacket
Soft and pliable, it was also dramatically different from James‘ own best known work: gowns as rigid as the hats he designed. The James jacket reappeared in the fashion press decades later. It then gained cult status and also may have inspired a number of New York designers who began to make their versions of the down-filled parka during the 1970s.
Down Filled Evening Jacket by Charles James was photographed in the Metropolitan Museum of Art in July 2014 (Top Photo) and in the Museum at FIT as part of the Exhibit, Expedition: Fashion from the Extreme, which closed January 6th, 2018.