new obsessions
We just got this life-sized mirrored skeleton from the French-based design collective Domestic, and I'm nuts for it. Job Smeets and Nynke Tynagel of Belgian cult duo Studio Job are behind the 5-foot-5 laser-cut Perspex wall decoration. The influential pair have worked with ceramics heritage house Royal Tichelaar Makkum and fashion avant guardians Viktor & Rolf.
Also love the "I Love Me" hearts by graphic designers Ich&Kar. The pair have given their whimsical take on fashion, food, music, design and architecture--and now these laser-cut mirrors. It's a grouping of individual mirrors that can be configured in whatever pattern you desire.
Now if I can only figure out where to stick them all in our house!

The Charming Charms are the bonafide bijoux of summer--their $22-$40 price for 3, being part of the appeal. Dutch designer Tord Boontje and L.A. studio Artecnica collaborated on this brand new collection of charms, plated in 18-karat gold or sterling silver and dangling from a black cotton cord. Loop them on hoop earrings, off a metal chain or silk ribbon, or from your purse. Each group contains 3 charms, and there are 4 different groups to choose. I love all 12 together, and knot them individually on a cord so they can be seen better.

what's in store?
April 23, 2008 3:02 PM  (go back to main view)
Branded: Free Love for "Sex and the City"
Some One to Look Over Me: SJP's Carrie Bradshaw feels safe in NYC
Is it any surprise that every fashion player worth its marketing budget was salivating for a moment on the big screen with Carrie Bradshaw and her gal pals?
The fashion phenom that is “Sex and the City,” from its six-year run through 2004 to the frantically hyped movie hitting theaters next month, is spelled out this week in Hollywood trade Variety, specifically how designers, jewelry houses and even a certain iconic Vogue editor, volunteered themselves and their product for the chance of a moment in the film. Plus an onscreen credit, of course. And why not? The show made Blahnik and baguette (as in Fendi) a part of the mass lexicon in a way that no provocative ad campaign or diamond-dripping red carpet turn ever has. So fans can expect this film to be just one big-screen commercial for all those labels tripping over themselves to be a part of it.
Variety reporter Diane Clehan, who despite having bylines on other clothes-related stories, comes off as less of an expert on fashion than a news writer who really pines to be a “fashionista” (a term she drops in the story which I pray will some day just go the way of the wool bathing suit and polyester elastic pants). After all, her lead promises that “Manhattan's style setters are getting ready for their close-ups” with the premiere of the film. But then she goes on to cite design houses such as Manolo Blahnik, Vivienne Westwood and H. Stern, who, although do have flagships and even execs based in New York, are actually sitting pretty in headquarters a continent away.
But why split hairs?
She still scores quotes from respected folks in the industry—who happen to also be appearing in the film—including Fern Mallis, the senior veep of fashion week producer IMG (um, not IGM as is printed in the article) and Vogue’s Andre Leon Talley.
And really, the more fantastic frocks, bags, shoes and baubles that grab the spotlight in “Sex” the movie the better. I mean, the sentimental camaraderie among the four women notwithstanding, what we really want to see is the fashion.
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