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Mattel + MAC = Moola. Barbie and MAC Cosmetics Collaborate.




Cosmetics Business, MARKETING
Colour cosmetics - "Sorry Ken, Barbie loves MAC" by Sally Morgan

Barbie, Mattel's best-loved, famously controversial doll and Estée Lauder's MAC cosmetics have collaborated to create a new make-up line targeting adults. So how does this fit with the luxury goods market?



North Americans will be the first to buy MAC's new Barbie collection of bright sugary pinks, buttercup yellows and warm green cosmetics from 13 February this year. Europe and the rest of the world will see them in stores in March. With prices ranging from $10 for a nail polish to $20 for beauty powder, the prices would be affordable for teenage girls reliant on pocket money. Along with the packaging - the pink Barbie emblem added to MAC's trademark black - it would be easy to assume that this was precisely the market for which the line is designed. But these products are, insists MAC, most definitely aimed at 20-30 year old women.



For three years, Estée Lauder and Mattel have been negotiating the association of MAC and Barbie. As any half of a brand extension deal will attest, it's vital to get all details right. In order to entice and combine two disparate markets, the balance, focus and compatibility of the brands involved are crucial. Do it right and you effectively double your ideal customer base, in turn raising the profile and marketability of the brand. Get it wrong and you risk a humiliation such as that experienced by Burberry when it's famous plaid was adopted by chav culture, resulting in a temporary wilting of their luxury market influence. However, three years is a long time for such negotiations and these, industry sources have revealed, have been particularly tricky to finalise, with MAC being reluctant to sign off.

Image Conscious

Despite the market strength and longevity of Barbie, the brand has been the center of repeated controversy regarding negative female image. The doll has been pilloried by feminists as having a grossly disproportioned body. This in turn led to watchdog bodies vilifying her as a damaging role model for impressionable young girls. MAC's reluctance to court such negative sexist attention is understandable; to risk offending its customer base of, “professional make-up artists and fashion forward consumers… All races, All sexes, All ages”.

It's also impossible not to at least nod towards a slight unease at a seductive adult cosmetic product being based on a child's doll and the dubious messages this association could convey. As the cosmetics side of the association, MAC could be interpreted as exploiting the already fragile innocence of today's female youth.


Above: Original 1959 Barbie® Doll

There is obvious financial potential to the partnership of course and the combining of these two brands should wield serious clout in the marketplace. MAC was credited in Estée Lauder's last annual report for being significant in the $6.3bn parent company's 13% net make-up sales increase ($274.8m). MAC's Small Eye Shadow, Studio Fix, Lustreglass and Pro Longwear Lipcolour products alone generated $70m in revenue. The vast Barbie empire, meanwhile, generates more than $3.5bn in sales globally. And Mattel has already seen great success with its first lines aimed at adults with as much as $100m coming from sales of adult targeted clothing, mainly in the Far East.

Adult Audience

Both companies insist that their new line is aimed purely at adults, and are going all out to project this view. The line, named Barbie loves MAC, will also form MAC's spring range and is to be accompanied by a limited edition MAC themed Barbie doll. But this too, manufacturers insist, is aimed at their grown-up customers.

“This is intended to be a very sophisticated make-up collection, designed for adults - not children,” said Peter Lichtenhal, general manager of MAC Cosmetics“. He stressed that their target audience is definitely not teenage, but also that it was light-hearted. “It's a collection that's fun,” he continued. “One of the things that we do is bring fashion and glamour to the make-up market.”



Former marketing manager of girls' brands at Mattel, Annabelle Kuhn, thinks the new collaboration is perfectly natural. “Barbie has always been more of a lifestyle brand for girls, way beyond being just a toy,” she said. “Barbie's core positioning and equity revolves heavily around fun, fashion, glamour and aspiration. I would say that is also the core to the cosmetics industry and the luxury goods market as a whole.”

Various Barbie products for young girls are now well established including apparel, publishing, room décor and a fragrance. And there is a whole range of collectible dolls aimed at adult consumers. Kuhn was part of the 2003 campaign that first linked top-flight fashion designers with the brand when she launched the limited edition Armani Barbie. Since then, Diane von Furstenberg, Anna Sui and Zac Posen have all dressed Barbie. These designer dolls retail for around $100 so are clearly aimed toward a grown-up market, but at the rather niche area of adult Barbie fans who want to own a special grown-up version of their childhood favourite.


Above: Designer Zac Posen's Ken and Barbie® Dolls


Above: Designer Diane Von Furstenberg's Barbie® Doll

The Barbie loves MAC collection is the first time Barbie has been aimed directly towards the open adult marketplace. It's also the first time Barbie has been linked to make-up in a 'Barbie comes of age' way, and by partnering MAC Barbie then appeals to perhaps the broadest cosmetic market there is.

“The Barbie loves MAC collection is the first time Barbie has been aimed directly towards the open adult marketplace”


Above: The Limited Edition Gold Label MAC Barbie® sold out upon release here in the US and abroad in a matter of days. Now, they're selling for upwards of $200 on ebay. If you can find one.


MAC as Maverick


Above: Viva Glam Spokeswomen for 2007

MAC has a reputation as something of a maverick, revolutionary brand. It heralded RuPaul as an icon, redefining traditional notions of feminine beauty. And with the Viva Glam range, it has created an effective means of raising funds with which to award grants to HIV organisations. Possibly MAC is the only adult cosmetic brand capable of successfully approaching a collaboration with Barbie. While all other leading make-up houses associate their products with real Hollywood or fashion faces - Elizabeth Arden with Catherine Zeta Jones, Rimmel with Kate Moss - MAC dares to be different. Caroline Geerlings, senior vice president of global marketing for MAC said: “we pride ourselves on doing the unexpected.”



Above: MAC ads featuring Rupaul

On a corporate level, the links between MAC and Barbie are strong. Richard Dickson, senior vp of marketing, media and entertainment at Mattel, has a background in cosmetics himself. He was involved, as vp of brand management and merchandising, for Estée Lauder when they acquired Gloss.com. This is an e-commerce site Dickson helped create and launch and he's helped smooth the concept of the collaboration with MAC.

Dickson, like Kuhn, is convinced that adult make-up and perhaps other adult products too are a natural direction for Barbie to take. “The core Barbie brand is distributed in many different ways,” he said. “It's the largest lifestyle brand for women. If you grew up with Barbie, the girl in 1959 is now 60-odd years old. This is a brand that's crossed generations, that has a legacy.” Executives of both companies have also expressed their surprise at the similarities in the artistic process used in the design of both Barbie and MAC products. Barbie loves MAC is all about evoking nostalgia in women; it wants to tap into memories of their innocence when dreaming of adult glamour as a child. According to Lichtenhal, “this collection is about the fun of applying make-up, and about fashion and style”.

Both sides are going all out to promote the positive elements of the Barbie brand and the fun aspect she will bring to complement the professional quality of MAC cosmetics. James Gager, senior vp and creative director of MAC worldwide steered his definition of Barbie kitsch by saying: “There's a classicism to Barbie that will never go away.” And when compared to such girly yet sophisticated brands as Pout, Stila and Benefit, the Barbie loves MAC collection appears well on trend.

Barbie's popularity is without question and, Kuhn believes, will eclipse any perceived controversy. She hails the partnership with MAC as “original and innovative”, one she compares to the collaboration of sport and music through Apple Ipod and Nike or Lambourghini cars with Versace-designed seat covers. Indeed, in the modern marketplace, brand association is steadily gaining on new product development as the ultimate goldmine of opportunity. Kuhn, who is currently brand controller of carbonates at Britvic and helped link, among others, the Pepsi brand with David Beckham, predicts that increasing numbers of big name brands will enter into associations.


Above: Barbie Loves MAC t-shirts sold out at most all MAC stores

She speculates that Estée Lauder's ultimate aim with Barbie might be more long-term and far reaching than just MAC. “It's brands with strong, succinct points of actual or perceived differentiation that will continue to enjoy growth,” she says. “I think the marriage of MAC and Barbie is a good example of this. MAC has a strong potential long-term concept layer while Barbie has many facets and associations. I can see a multitude of potential themes and product forms coming from this line.”

Barbie loves MAC is planned at this stage as a limited edition offer only. Head executives will not be drawn on whether they would consider an extension to the range, saying only that they expect the limited stocks to last eight to 12 weeks. But industry sources are estimating sales of between $8m and $9m in North America alone, with the majority coming from the cosmetics line.


Above: The Barbie Loves MAC Cosmetics collection now available at all MAC stores.

With grown-up make-up being the one area as yet unexplored in terms of Barbie's appeal, and 'mini Barbie's boudoir' areas being installed in selected outlets, the campaign is certainly not a small one. Gager commented that this cosmetics range will be a chance for women to “revisit fantasies [from when they were young girls] when they wanted to wear make-up and never could”.

After such a long planning stage, the limited availability time of just two to three months seems very short. Of course, this could be to inspire initial interest before a longer run is given the go-ahead. And if it's cult status that is sought, then this range, even prior to launch, is already well on the way to becoming iconic. One of the limited edition MAC Barbie dolls recently sold on Ebay for $105. The retail price is just $35.

Despite announcements that a Barbie loves MAC microsite would be available now through the US MAC site, at the time of writing this was still not accessible. However, cosmetic blog sites are already debating the new collection - a month before it's even available in the states. Despite MAC's cautious approach, the new collection is now the primary focus of anticipation for everyone involved or interested in the cosmetics industry. If the market takes to the new range as enthusiastically as the online community seems to have, the end result could be more a case of MAC loves Barbie than Barbie loves MAC.

Funky Find Of The Week: The Percushion Bluetooth Phone Pillow



A Pillow With A Built-in Bluetooth phone

By Urban Tool, the perCushion

For those of you who like talking on the phone while falling asleep, here's the perfect product for you...the Per Cushion!

description from their site:
Touching future communication!

Remember the times before our mobile digital lifestyle, when communication with a close friend stood for something emotional and touching. It can again with the soft and relaxing perCushion. Your cell phone notifies the digital cushion wirelessly, via Bluetooth and enables you to pick up the call while relaxing on your sofa.



dimensions
length 66 cm
height 30 cm
depth 13 cm
Details

material: cotton velvet with foam core.
The cushion is connected with your mobile wirelessly via Bluetooth.
integrated fabric interface: an activating/standby button, a Bluetooth pairing button, a button for answering calls and indicating LEDs furthermore a microphone and loudspeakers.
The lithium ionic battery can be charged with the enclosed charger.

Wanna buy one? You can right here.

A Pen That Inspires More Than Words: Montblanc Art




Montblanc Young Artists World Patronage
This unique project gave young and upcoming artists the platform to present their name and talent to a broader public and the international art scene in particular.

The concept was to have more than 300 Montblanc boutiques worldwide act as a gallery and exhibit simultaneously for a single artist with one particular artwork for a period of almost 6 weeks. The common theme for the artworks is the creative interpretation of the world famous Montblanc star (see image below).



The individual "star"-works were reproduced and exhibited in the Montblanc boutique windows.The original artwork became part of the Montblanc "Cutting Edge Art Collection" - one of the various Montblanc initiatives to support contemporary art and demonstrate the brand's commitment and contribution to art and culture.

Montblanc presented 5 young artists from all over the world in 2005. The selection of the artists and artworks took place together with reputed experts from the international art and culture scene.

1. Nicole Wermers
Hintergrund Schneegestöber 2003

Born in 1971 in Emsdetten, Germany, Nicole Wermers studied art at the University of Fine Arts in Hamburg and in 1999, she received her Masters of Arts in Fine Art at the Central Saint Martins College of Art and Design, London. From 2003-2004 she had an artist residency at the Delfina Studio Trust, London. Nicole Wermers lives and works in Hamburg and London.



In her collages and installations, Nicole Wermers explores the temptations of beauty and artificiality. She frequently assembles cut-outs from car, luxury goods and perfume and wine advertisements and creates three-dimensional works that combine elegant forms from the collected experiences of modern life. Her works are both aesthetic and useful and evoke contemporary reality.
Produzenten Galerie

2. Sophy Rickett
Bodensee 2003

Sophy Rickett was born in 1970. She studied at the London College of Printing from 1990-1993 and at the Royal College of Art from 1997-1999. She has had recent solo exhibitions at the Centre pour l´image contemporain Saint-Gervais, Switzerland, the Emily Tsingou Gallery, London and The British Council in Rome. She is currently based in London.



Sophy Rickett’s large-scale photographs are best known for their precise abstraction and purity of form. Her work is primarily non-narrative, and she photographs locations on the edge of mainstream society – peripheries of cities, road edges and parks. Her photographs are frequently taken at night and capture a tension between reality and fantasy.
Emily Tsingou Gallery

3. Harrie Gerritz
Composition (in the beginning of the night) 2003

Born in 1940 in Wychen, The Netherlands, Harrie Gerritz studied at the Academie voor Beeldende Kunst in Arnhem, The Netherlands. He spent several years working in New Guinea before returning to Europe to continue his studies at the Academie voor Beeldende Kunst in Arnhem. In 1996, 1999 and 2004, he was a Visiting Professor at the Fachhochschule in Hamburg. He has had recent solo exhibitions at the Galerie Clement in Amsterdam, Seasons Galleries in The Hague and A&A Galerie in Hasselt, Belgium. Harrie Gerritz lives and works in The Netherlands.



Harrie Gerritz regards himself as a landscape painter though his paintings explore more the essence of the landscape. His “imaginary” landscapes straddle the balance between figurative and abstract art, and focus on the emotional power of colors and the graphic rhythm of lines.
Harrie Gerritz website

4. Deborah Ligorio
Math_0032 2003

Born in 1972 in Brindisi, Italy, Deborah Ligorio studied art in Bologna, Milan and Paris, and participated in several study programs in Italy and the US. In 2003, she received a video and film fellowship in Berlin and a residency at the MAK Schindler Artists and Architects in Residence Program in Los Angeles. Deborah Ligorio lives and works in Milan and Berlin.



Deborah Ligorio investigates themes and issues related to physical, virtual and emotional space in her video, photography, and internet projects. In addition, through the realization of custom living units, she explores the relationship between living space and individual peculiarities, mood and character.
Deborah Ligorio's website

5. Christian Schmidt-Rasmussen
Untitled 2002

Christian Schmidt-Rasmussen was born in 1963 in Copenhagen, Denmark. He studied at the Royal Danish Academy of Fine Arts from 1986-1992. He had a recent solo exhibition at the Galleri Nicolai Wallner, Copenhagen and his work was featured in the 2002 exhibition, Private/Corporate, at the Daimler Chrysler Contemporary art gallery in Berlin. Christian Schmidt-Rasmussen lives and works in Copenhagen.



Christian Schmidt-Rasmussen's new paintings are inspired by signs and advertisements from popular culture. Their vivid colour surfaces have a brash directness that stems from his unique and expressive arrangement of colour and form.
Galerie Nicolai Wallner


Official Montblanc site

Art that will Floor You: Imaginative Rug Designs from Amazed Ltd.






Looking at a rug or carpet as a valuable and pretty piece of art is nothing new. From Navajo Indian rugs to Persian rugs to 18th century french rugs, the value as well as the craftsmanship has long been heralded. But Madeleine and Dudley Edwards of the UK have taken the art of the rug one step further. It's now 'conceptual'.

In addition to their talent for combining shapes and color, they have created carpets that conjure up nature, technology, spirituality and even trompe de'leoil. By carving textures such as tire tracks, garden mazes, footprints of humans and animals, the raked sand of a zen garden, crop circles and even the illusion of a broken window, their products become more than functional and beautiful, they become conceptual art.

Just take a look at a few of their creations below.






As applied artists Madeleine & Dudley Edwards of Amazed LTD. enjoy the opportunity of working with Architects and Interior Designers. The following quote is taken directly from their website:

“Bouncing ideas back and forth can be fertile ground bearing rich fruit. We often feel like session musicians being invited to jam. And like any good session musicians the first attribute is a willingness to ‘listen’ to what others are trying to achieve and to respond accordingly, whilst bringing something ‘uniquely ours’ to the mix. Reacting positively to other peoples creations can serve as a metaphorical springboard helping us to achieve greater heights. This symbiosis can bring about something entirely new that wouldn’t have been possible from working in isolation. For our modus operandi – we always aim to harmonize or contrast with the surrounding architecture thereby ensuring that our artwork would be an integral/indivisible part of the whole”. In turn, Interior Designers and Architects view their rugs and wall hangings (with the tactile soft warmth and sound insulating properties) as ideal compliments to today’s hard cold surfaces like laminates, glass, steel, marble and stone.



Together or independently Madeleine & Dudley have exhibited at the following gallery/venues:
Robert Frazer Gallery, London; Arts Council Touring Exhibition to Edinburgh, Glasgow and Cardiff; Madam Tussauds, London; The British Gallery, Atlanta, USA; Galerie 5, Geneva, Switzerland; The Association of Illustrators Gallery, London; Allgood Plc, London; The British Interior Design Association, London; Sothebys, London; Bonhams, London; The Dean Clough Gallery, Halifax; The Musee d’ Histoire Contemporaine, Paris; The V&A, London; The Tate Gallery, Liverpool; The Schirne Kunsthalle, Frankfurt; and The Kunsthalle Vienna.



Forthcoming shows:
Dudley’s work will be exhibited at The Whitney Museum of Art in New York May 07.
Their rugs don't just adorn the walls and floors of just anyone's home or office. Take a look at a few of their clients:

CORPORATE CLIENTS:
The British Pavilion, Montreal; Admiralty House, London; The Central Office of Information, London; Wolf Olins & Partners, London; The Saudi Arabian Ministry of Defence, Riyadh; Jones Lang La Salle, London; Eversheds, Manchester; Qatar Bank, London; HQ Global, London; St James Homes, London; ISIS Asset Management Group, London; Urban Splash Properties, Liverpool & Manchester; Hirsch Bedner, Hong Kong & USA; the Sheraton Ocean Grande Resort, Japan and Laing O’Rourke, London.

PRIVATE COLLECTIONS:
Lord Snowdon, Sir Paul McCartney, Lord David Queensbury, Ringo Starr, David Bailey, Mary Quant, Lord Lew Grade, Tori Amos, Prince Abdul Aziz-Zaidan, Hugh Grant, Jonathan Cainer, Andrew Rosenfeld, Christen Ager Hanssen and Daniel Bedingfield. The late - Henry Moore, Sir Hugh Casson, Reynor Banham, Lord Paul Reilly and Dudley Moore.

Bracelets That Blab. Words Worn On Your Wrist.


Bangle Bracelets that have something to say, literally and figuratively - seem to be all the rage this spring.

Selling out at lightning speed ever since a mention in the New York Times, are Jessica Kagan Cushman's carved resin bracelets, a more affordable (and more politically correct) version of her Ice Age Mammoth Ivory Tusk Carved Bracelets. See below:


Above: Jessica Kagan Cushman's Bangles for $125 each. Available from Ravinstyle




Above: Not to be outdone, is designer powerhouse Chanel with their resin carved bangles spouting phrases and words about design, style and luxury.




Another, less pricey option at 39$ are Janna Conner's decoupage bangles, also available at Ravinstyle

Always witty and graphic, is the fabulousSonia Rykiel and her ivory and black resin bangels. $150.00 a piece. Available at Sonia Rykiel, NYC and Boston.



So, arm yourself this spring with the fashion accessory that does the talking for you.

Kiss Me, I'm Wearing Nike's
OR Happy St. Paddy's Day



Nike has created a limited edition shoe for St. Patrick's Day.

I thought you might like to see what the Athletic Leprechauns are wearing these days:




Nike Air Max 90 QK
Special Edition for St. Patrick's Day!
One day a year, everyone wants to be Irish. Get into to the spirit of St. Patrick's Day with this quickstrike release of the Nike Air Max 90!

The Nike Air Max 90 was first released in 1990 and was known as the Air Max or the Air Max III until 2000 when Nike reissued these classic Nike running shoes. The Air Max 90 was originally produced with a Duromesh upper, synthetic suede, and synthetic leather. The striking color combinations, clean lines made the Air Max 90 highly sought after in its original release and still extremely popular today. The all black and all white leather models are the most sought after and also extremely difficult to find.

Interested in purchasing? You can buy it here.

Meet Michael Govan, My Hero.



I was so happy to come across the article below in the NY Times, especially in light of the tragedy of the tearing down of Richard Neutra's famous Maslon House in Palm Springs. in 2002.

Richard Neutra's Maslon Home in Palm Springs before demolition:


The Maslon House after Mr. and Mrs. Richard J. Rotenberg of Hopkins, Minnesota destroyed it in 2002:


A Museum Takes Steps to Collect Houses


By EDWARD WYATT
Published: March 15, 2007

LOS ANGELES, March 14 — Shortly after moving here last year to take over as director of the Los Angeles County Museum of Art, Michael Govan started looking at houses — not as a place for him to live but as potential museum pieces.


Above: Michael Govan, Director of LACMA and hopefully, The Savoir of L.A. Architecture

His idea — one that has rarely, if ever, been tried on a large scale by a major museum — is to collect significant pieces of midcentury residential architecture, including houses by Rudolf M. Schindler, Richard Neutra, Frank Lloyd Wright and his son Lloyd Wright, and to treat them as both museum objects and as residences for curators.

While he has yet to acquire any properties, Mr. Govan said this week that he certainly had his eye on some, including Frank Gehry’s landmark residence in Santa Monica, a collage of tilting forms. In an interview Mr. Gehry confirmed that Mr. Govan had discussed the idea with him but said that no agreements about the house’s future had been reached.

Below: Frank Gehry residence, Santa Monica


Mr. Govan, who moved here in March 2006 from New York, where he directed the Dia Art Foundation, said his project had been driven by the immediate impression that in Los Angeles, a city defined by outdoor spaces, architecture is inseparable from art.

“It started with an effort to rethink the museum, looking at the resources that are both locally powerful and internationally relevant,” he said. “It’s clear that the most important architecture in Los Angeles is largely its domestic architecture. I’ve talked certainly to a number of people who have interesting architecture, and I’m beginning to talk to other people about raising funds to preserve these works.”

The potential cost of the houses varies widely. Many of the most distinctive properties, in Beverly Hills or the Hollywood Hills, have most recently sold for millions of dollars. Others, like Schindler’s Buck House, on Eighth Street, barely two blocks from the museum, sold for less than half a million dollars in 1995, although it clearly would be worth more than double that today.

Below: R.M. Schindler's Buck House in Los Angeles


Mr. Govan was reluctant to discuss his plans in detail, partly because he has taken only “baby steps,” he said, but also because he does not want to set off bidding wars for houses in which he is interested. He said he hoped the museum could either buy houses or have them donated, the same ways that a museum would go about acquiring paintings or sculptures.

“This whole initiative will depend on generosity,” he said. “In the same way that someone would donate a Picasso, we want people to think of ways to see these houses as works of art and to think about ways to preserve them.”

Although he said he had received an “enthusiastic response” when he presented the idea to the museum’s trustees, “we have no funds at the moment” dedicated to the effort, he added.

But the idea has already started to generate chatter in the architecture community here. Richard Koshalek, president of the Art Center College of Design in Pasadena and a former director of the Museum of Contemporary Art, said Mr. Govan’s effort was “not only crucial for the city of Los Angeles but for the history of modern architecture.”

“Architects learn from other architects,” Mr. Koshalek said. “This history will be lost if people like Michael do not take this kind of initiative.”


above: Richard Koshalek, President of Pasadena's Art Center College of Design (my alma mater)

While owning an architecturally significant house in Los Angeles has long carried a certain cachet, many potentially valuable works have fallen into disrepair or been greatly altered by renovations undertaken by a succession of owners.

“A number of them haven’t been touched,” Mr. Govan said. “But many have been badly renovated and fundamentally changed. So I think it’s kind of the last chance to try to preserve a group of these as a collection.”

Mr. Govan’s idea is perhaps all the more remarkable because the Los Angeles County Museum does not have a department of architecture or design, unlike some older institutions, including the Museum of Modern Art in New York.

But one of the museum’s first acquisitions after Mr. Govan moved to Los Angeles, after 12 years as director of Dia, was a high-rise office interior by the Modernist architect John Lautner.

The Lautner office was formerly owned by James F. Goldstein, a real-estate investor who had Lautner design the space in 1987 for the 20th floor in a building in Century City, the commercial development on Santa Monica Boulevard in west Los Angeles.

In 2005 Mr. Goldstein was informed that his lease for the space would not be renewed, and a foundation devoted to saving Lautner works began seeking a patron who would preserve the space.

The Los Angeles County Museum initially turned down the proposal because museum officials felt it did not have the room to display the 800-square-foot office. But once Mr. Govan arrived, he seized the opportunity to acquire the work for an undisclosed amount and use it not as an exhibit but as an office — specifically, his.

Below: The 850-square-foot office that John Lautner designed in Century City.


The museum now plans to install the office, which includes copper walls, a wood ceiling and a floor of black slate, as part of the renovation of the May Company building, a former department store that is on the western edge of the museum’s 20-acre campus on Wilshire Boulevard. That renovation is planned for 2008 or 2009, and Mr. Govan said he hoped to use the space as his regular office, allowing visitors access to it as an exhibit on weekends.

Similarly, he said he hoped to use the houses that he collects not strictly as museum pieces but as housing for museum staff members, a perk that he said he believed would help the museum attract new curatorial talent.

“A lot of curators here have sought out interesting houses,” he said. “I thought, ‘You could just have house tours on a regular basis to allow the public to have access to them.’ ”

Although it does not have a design collection as such, the Los Angeles County Museum of Art has hardly ignored the city’s architectural history. In 1987 it organized a tour in the Silver Lake community of houses by Schindler, Neutra and other architects of the 1920s, ’30s, ’40s and ’50s. In 1965 the museum published “A Guide to Southern California Architecture,” a book that, although out of print, is prized by real-estate agents here who specialize in architectural gems.


Above: Charles and Ray Eames at work

Various Los Angeles organizations have also sponsored tours of houses that were built as part of the Case Study program: two dozen prototypes of modern architecture, by Charles and Ray Eames, Neutra and Pierre Koenig, among others, that were commissioned by Art & Architecture magazine and built from 1945 to 1964.

Silver Lake, an area around a man-made reservoir in the hills east of Hollywood, is the site of dozens of houses that would be potential acquisitions for the museum. The 2200 block of Silver Lake Boulevard, for example, has no fewer than five houses by Neutra, who was encouraged to migrate from Vienna to Los Angeles by Schindler, who was himself born in Austria and had worked in Chicago and Los Angeles as a construction supervisor for Frank Lloyd Wright.


Above: Schindler's Wilson House in Silver lake

Schindler’s work is also ubiquitous around Los Angeles. In 2001 the magazine ArtForum listed 32 significant works by Schindler, several in the parts of Los Angeles that visitors to the city rarely get to, including Torrance, Glendale, South Central and Woodland Hills.

Mr. Govan said that because the institution was a county museum, he did not intend to limit his collection to the area immediately around the museum’s west Los Angeles location.

With Mr. Govan’s plans already being discussed in architecture and real estate circles, the museum is certain to face some competition to acquire properties, including that of Mr. Gehry. His Santa Monica house, built in 1978 and remodeled in 1993, is known for its distinctive exteriors, which include corrugated metal, plywood and chain-link fencing.

It is also in the sights of the National Trust for Historic Preservation, Mr. Gehry said, which has talked to him about its registering the house or acquiring it once he completes a new residence in nearby Venice, Calif.

“In the meantime,” Mr. Gehry said, “I’m living in it.”

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Now That's A Cover, Girl. Wallpaper* limited edition Moving Cover


above: Wallpaper Magazine's limited edition lenticular cover (detail)

Now some of you may not know the word "lenticular' but you know what it is. It's multiple images printed on a special type of material that allows the image to 'move' when you tilt it. Some people call them Flickers, some call them Motion cards, but whatever you call it, it's the coolest magazine cover I have ever seen. Because I'm a suscriber, this was a pleasant surprise in my mailbox. But you won't find it on the newsstands, you'll have to order one of these from Wallpaper* if they have any left.

Wallpaper* March 2007 limited edition cover
text from the magazine:

Hussein Chalayan designs fashion about fashion which often looks nothing like most other fashion. And he experiments, in the most radical way, with form and material. All of which has given him a reputation as a somewhat difficult designer.

His collection for spring/summer 2007, though, brings together all of Chalayan’s passions and preoccupations – fashion as social fabric, formal experimentation – and makes them magical and mechanical, a steam-punk fantasy, shifting history and architecture.



The show was called 111 (the accumulated annum, as it happens, of show sponsor and collaborator, Swarovski), and was an elegantly executed and perfectly pulled off flip through 111 years of fashion’s back pages. Chalayan is now a designer of the cleverest but lightest and prettiest little dresses around. But while the main procession was more than a pleasure, the real jaw droppers were the five outfits that closed the show.



The first, a prim, high-necked Victorian corset dress which automatically opened itself, hitched up its hems, nipped and tucked and emerged slim, modern and flapperish. The dress above starts its pupation full and Forties, then balloons, deflates, flips, rises and comes to rest as a retro-futurist Paco Rabanne tribute shift. Meanwhile the hat morphs and moulds it self into bold new shapes. There followed amazing twitching and trickery, necklines unplunged and the show-stopping outfit retreated into a hat, leaving only a puff of crystal dust and a boldy bare-naked model. (There was something unsettlingly sexy about the styling and unveiling by hidden hands).

But if this was history as a magic show, it was also a look into the future and the further integration of gearing and wardrobe, wiring and evening wear. This is what we wore worn in ways we are only starting to imagine.



The March limited edition cover features Hussein Chalayan’s mechanical dress in spectacular lenticular action. To purchase a copy, call 44.1733 385170, while stocks last. The cover is also available to subscribers, so to ensure you do not miss out on future limited edition covers, subscribe by clicking here.

Abbey Update

For those of you who wished Abbey good thoughts, she's getting an MRI today (the 14th) for what turned out to be an acute vestibular syndrome onset. As always, I will keep you posted.

In honor of her and all other animals, check out today's Funky Find of The Week.

Please donate

C'mon people, it's only a dollar.