小学二年级
- 引线币
- 80
- 精华
- 0
- 注册时间
- 2005-5-14
- 在线时间
- 102 小时
- 积分
- 211
- 威望
- 10
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40引线币
Ever since President John F. Kennedy went hatless in the 1960s as a sign
of youthful vigor and disregard for traditional formalities, millinery has
become more costume than convention .Designer Kelly Christy revels in
this sartorial evolution,giving each of her unique hats a name to reflect a
specific mood or character, like “Let’s skate” or “Veronica Lake.”
Christy has a theatrical flair that made her the ideal choice to design hats
For the recent Broadway revival of Clare Booth Luce’s play The Women
(costumes were done by Isaac Mizrahi). “For a classic milliner,” Christy
Says, “that was a dream. The play is set in the late thirties, a perfect period,
Because that’s when hats were frivolous.” Inspired by French couturiere
Elsa Schiaparelli and Adrian, who costumed the play’s 1939 Hollywood
Adaptation, Christy created eighteen fantasy hats that mined the era’s
Penchant for toylike dimensions and exotic materials while visuslly
Portraying each character’s
distinct personality.
Christy helps her clientele achieve similar distinction. Working out of
a small shop in the fashionable Manhattan neighborhood of Nolita, she
designs and fabricates her own hats, hoping to keep her craft “personal
and detailed.” Recently she has focused her dramatic aesthetic on a series
of designs that put miniature landscapes on people’s herds. Combining
cloth and miniatures, this new generation of hats represents snow scenes,
Complete with skiers and trees, as well as ice skating rinks and picnics. An
Iowa native and nature lover, Christy sees analogies between her designs
And the canopied silhouettes created by groves of trees. Birds’ nests
Inspired a series of hats made of twigs, artificial birds, and eggs. In an age
Of mass-produced fashion,Kelly Christy holds out for customization,
transforming her clients into eccentric actors in the drama of city life.
Greg Vendena works in the city symbolizes postindustrial America-
Detroit. Substandard housing and dilapidated public spaces are among the
troubles addressed by Vendena and his architecture and design practice,
co-lab. Established in 2001, co-lab-a contraction of collaborative, labor,
and laboratory—includes Vendena, a graduate in architecture from the
local Cranbrook Academy of Art; Christine Dunn, an architect and artist;
and Fabio Fernandez, an artist, teacher, and community organizer. (Others
often join them as well.)Fusing social commitment and environmentalism,
co-lab’s major a “progressive response to the conditions around us.”
Co-lab’s major design strategy is a clever recycling of everyday
materials. Abandoned tires, plentiful detritus of Detroit’s car culture, have
been converted into outdoor plant holders and shingles that keep rain and
wind out of houses. Global automaking, however, doesn’t always reach
local residents. Only one in four city dwellers owns a car. The others often
rely on Detroit’s inadequate mass transportation, so co-lab has proposed
recycling thrift-store suitcases into colorful bus shelters. Co-lab also reno-
vates abandoned houses using renewable energy systems and recycling
materials such as wood scraps into tiles for floors, walls, and tabletops.
In the future co-lab wants to improve the furniture in local parks by
Capitalizing on an ad-hoc process in which residents have traditionally
Gathered discarded household chairs to create meeting spaces. Working
With the community, co-lab will transform scrap metal into 250-pound
replicas of these vernacular ancestors.
“Thinking ecologically,” Vendena says, “reasserts our organic reality
and the evanescence and interconnection of all things.” Co-lab’s approach
to specific local issues responds to problems vexing all post-industrial
cities. “Detroit,” Greg Vendena says, “is everywhere.”
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