Wednesday, November 17, 2010

I dream of kitties



Erin Wasson pour Jalouse Novembre 2010

http://www.knighttcat.com/search?updated-max=2010-11-05T10%3A14%3A00-07%3A00&max-results=9

Vogue ball

vogue paris masquerade ball

What's more glamorous than a Gossip girl-esque masquerade ball for Paris Vogue? I’m thinking nothing. Dressed to the nine’s, champagne and fashion’s finest, what more could you possibly want?





Playing dress up





Spring 2011
http://ilovewildfox.com/

Tuesday, November 16, 2010

Piggy bank

PYGGY BANK BY NENDO
November 11, 2010 - Bobby Solomon - Uncategorized



I’m in love with these Pyggy Banks by Japanese designer nendo. They were created for Isetan’s Piggy Bank Collection exhibition as a part of Design Tide Tokyo 2010. It’s funny that no one’s ever thought of something like this before, a mere simplification of the age old piggy bank. I also like that it comes in two different sizes so you can pair them together nicely. Such a fun, simple idea.

Bobby

http://thefoxisblack.com/index.php?s=pyggy+bank

Street style: Fake fur, real dog


http://facehunter.blogspot.com/search?updated-max=2010-10-22T17%3A58%3A00%2B01%3A00&max-results=31

Le club jeunesse

Youth Club

It seems that London is revelling in a moment of philanthropy as Youth Club is launched. Abandon memories of shell suits, playing pool and hanging out round the back of your local town hall - today’s regenerated youth club is a far cooler notion for London’s bright young things. The West End space just off Carnaby Street hosts a pop-up shop, gallery and acts as a creative HQ. A T-shirt line by Mrs Jones has been created, and artworks by youth culture voyeurs Gavin and Lawrence Watson are also on display. Director Sarah Dunlop has produced an online campaign exploring attitudes among under-25s on the subject of sexual assault. This admirable business model seeks to remove barriers between society, brands and creativity and act as a "cultural and commercial incubator". Watch this space.

Elle Hankinson, WGSN
Opens 11 November

Youth Club
35 Marshall Street
London W1F 7EX
Web: www.youthclublondon.com

http://www.wgsn.com/content/section/city_by_city/whats_new/london1.html

Monday, November 15, 2010

Dans mon boudoir


http://fashiongonerogue.com/jevne-ragnhild-david-bellemere-light-show-da-boudoir-marie-claire-italia-november-2010/#more-40504
November 10th

Decadent mourning




november 11th
http://fashiongonerogue.com/page/7/

Tom Ford


http://fashiongonerogue.com/tom-ford-returns-vogue-december-2010-steven-meisel/#more-40886
November 15th

News: Gmail killer

Facebook's 'Gmail killer'
Facebook could be poised to announce a radical overhaul of its messaging service, internet rumours are suggesting. But will @Facebook.com addresses really allow the social network to rival Gmail?

Facebook's invite to their Monday event uses its messaging icons
By Matt Warman, Consumer Technology Editor 1:22PM GMT 12 Nov 2010
Comments

Facebook will hold an event on Monday that internet rumours are suggesting could include the announcement of its own email service. The announcement of “Project Titan” could see personal “@facebook.com” email addresses unveiled for the public, and overhaul the site's entire messaging system.
No UK event is planned, however, so it seems that the so-called “gmail killer” may initially have a limited launch, if indeed it exists.
Techcrunch has reported that the product may be limited at launch, while pointing to the significant potential of an email application that integrates with Facebook’s popular places, photos and events applications.


Unusually, Facebook has chosen not to use its Palo Alto headquarters. Instead the even will tie in with the Web 2.0 Summit in San Francisco. The social network’s founder Mark Zuckerberg will be speaking at the summit the following afternoon.
According to Mashable, Facebook’s current messaging system is “difficult to manage; users are unable to send messages outside of Facebook; and the system can't handle simple things like attachments and forwarding. If Facebook really wants to take on Google, it needs to have a far more robust messaging system akin to web-based e-mail. Monday may be the day we see that happen.”
Project Titan was first mentioned in detail by Michael Arrington on TechCrunch in February. It has not yet, however, received any official confirmation that it is a full webmail product.

http://www.telegraph.co.uk/technology/facebook/8135442/Facebooks-Mark-Zuckerberg-launches-next-generation-of-email.html

News: One way ticket to Mars

Scientists propose one-way trips to Mars


AP – FILE - In this file image provided by NASA's Hubble Space Telescope a close-up of the red planet Mars …
Slideshow:Scientist Dr. Paul Davies

By NICHOLAS K. GERANIOS, Associated Press – Mon Nov 15, 7:06 pm ET
PULLMAN, Wash. – It's usually cheaper to fly one way, even to Mars.

Two scientists are suggesting that colonization of the red planet could happen faster and more economically if astronauts behaved like the first settlers to come to North America — not expecting to go home.
"The main point is to get Mars exploration moving," said Dirk Schulze-Makuch, a Washington State University professor who co-authored an article that seriously proposes what sounds like a preposterous idea.
At least one moon-walking astronaut was not impressed.
"This is premature," Ed Mitchell of Apollo 14 wrote in an e-mail. "We aren't ready for this yet."
Also cool to the idea was NASA. President Barack Obama has already outlined a plan to go to Mars by the mid-2030s, but he never suggested these space travelers wouldn't come home.
"We want our people back," NASA spokesman Michael Braukus said.
The article titled "To Boldly Go" appears in the latest issue of the Journal of Cosmology, which featured more than 50 articles and essays on Mars exploration.
Schulze-Makuch and Paul Davies, a physicist at Arizona State University, argue that humans must begin colonizing another planet as a hedge against a catastrophe on Earth. They believe the one-way trips could start in two decades.
"You would send a little bit older folks, around 60 or something like that," Schulze-Makuch said, bringing to mind the aging heroes who saved the day in the movie "Space Cowboys."
That's because the mission would undoubtedly reduce a person's lifespan, from a lack of medical care and exposure to radiation. Radiation could also damage reproductive organs, so sending people of childbearing age is not a good idea, Schulze-Makuch said.
Mars is a six-month flight away, and it has surface gravity, a thin atmosphere, frozen water, carbon dioxide and essential minerals. The two scientists propose the missions begin with two two-person teams, in separate ships that would serve as living quarters on the planet. More colonists and regular supply ships would follow.
The technology already exists, or is within easy reach, they wrote. By not taking the extra fuel and provisions necessary for a return trip to Earth, the mission could cut costs by 80 percent.
Davies and Schulze-Makuch say it's important to realize they're not proposing a "suicide mission."
"The astronauts would go to Mars with the intention of staying for the rest of their lives, as trailblazers of a permanent human Mars colony," they wrote.
They acknowledge the proposal is a tough sell for NASA, with its focus on safety, and suggest the private sector might be more fertile ground.
"What we would need is an eccentric billionaire," Schulze-Makuch said. "There are people who have the money to put this into reality."
Indeed, British tycoon Richard Branson, PayPal founder Elon Musk and Amazon.com Inc. CEO Jeff Bezos are among the rich who are already involved in private space ventures.
Isolated humans in space have long been a staple of science fiction movies, from "Robinson Crusoe on Mars" and "2001: A Space Odyssey" to a flurry of recent movies such as "Solaris" and "Moon." In many of the plots, lonely astronauts fall victim to computers, madness or aliens.
Psychological profiling and training of the astronauts, plus constant communication with Earth, would reduce debilitating mental strains, the two scientists said.
"They would, in fact, feel more connected to home than the early Antarctic explorers," they write in their article.
The mental health of humans in space has been extensively studied. Depression can set in, people become irritated with each other, and sleep can be disrupted, studies have found. The knowledge that there is no quick return to Earth would likely make that worse.
Davies' research focuses on cosmology, quantum field theory and astrobiology. He was an early proponent of the theory that life on Earth may have come from Mars in rocks ejected by asteroid and comet impacts.
Schulze-Makuch is the author of two books about life on other planets. His focus is eco-hydrogeology, which includes the study of water on planets and moons of our solar system and how those could serve as a potential habitat for microbial life.
Both men contend that Mars has abundant resources to help the colonists become self-sufficient over time. They write that the colony should be next to a large ice cave, to provide shelter from radiation, plus water and oxygen.
Despite the lack of enthusiasm from NASA, Schulze-Makuch believes many people would be willing to make the sacrifice.
He and Davies believe a Mars base would offer humanity a "lifeboat" if Earth became uninhabitable.
"We are on a vulnerable planet," Schulze-Makuch said. "Asteroid impact can threaten us, or a supernova explosion. If we want to survive as a species, we have to expand into the solar system and likely beyond."

http://www.cbc.ca/health/story/2010/11/10/happy-mind-wander.html#ixzz155G95w46

Sunday, November 14, 2010

La femme parfaite



Nienke Klunder talks to Yatzer
published in: Interviews, Art, Photography By Lauren Del Vecchio, 10 November 2010




Big Rock Candy Mountains
photo © Nienke Klunder
Nienke Klunder is a versatile young artist who offers a provocative look at modern American popular culture. Born in California and raised in the Netherlands, Klunder has successfully used her role as both European and American citizen in providing an outsider/insider stance on pop culture, giving her audience a one-of-a-kind perspective on women and their roles in society. Klunder is a graduate of the Breda Fine Art Academy and she joined Fabrica Research and Communications Centre in Treviso, Italy in 2003 for residency. Known for working in series and sequences (what she calls “visual essays”), Nienke Klunder tells stories in a cinematic fashion with her photographs. She also creates sculptures and drawings that are sprinkled into her exhibitions to fully communicate her stories.


Often using herself as a subject, she bravely puts herself in front of the lens giving a raw, honest aspect to her photography work in which she explores themes like “identity and transformation”. Klunder only recently embarked upon her first public collaboration with Madrid-born designer Jaime Hayon (whom she met in Italy in 2003). Their finished product, American Chateau, is an installation “taking inspiration from the iconic cultural exports of the USA and the opulence of 17th century European craftwork. Jaime and Nienke’s pieces are the icons of the booming, fast-food American dream, a kind of Versailles meets Disneyland hybrid.”


Nienke Klunder took time out of her very busy schedule to chat with Yatzer about her inspiration, her process, and of course, sausages…


I always like to start off by asking how you first started as an artist, inspirations, where and what you studied, etc. Do you see yourself as photographer first and foremost? Or a sculptor? Or as something else entirely? Is this something you always knew you would do?
Yes I always knew what I wanted to be. Not a fireman, not a pilot, but an artist. As a child I never stopped drawing, I was a dreamer and a very bad student. At the age of 16 I seized my fathers Pentax and was running around creating adventures, photographing people in the street, architecture and so on. At first, I wanted to become a war photographer, somebody working for Magnum and travelling the world. But when I started art school I changed my mind and became more interested in creating my own world, recreating and exaggerating my thoughts/ ideas. At the Academy I passed through sculpture, fashion, painting and in the end focused on photography. However, I kept my interests in the other medias and combined them as much as I could. I am still using photography primarily -- this is what I practiced for the longest time. However, these days I am also sculpting, painting and drawing. I like the fact that I am not restricted to only one medium. It gives me freedom!


You were born in California and raised in the Netherlands. When I look at your work, photographs in particular, they seem to be influenced and entrenched in California/Hollywood. Have you always felt a magnetic pull toward LA? Toward the culture? Would you call it your inspiration?
Ooh Yes! My American heritage has always been an influence on my work. I was born in the States and growing up in a little village in Holland I was always aware of the inherent culture clash between where I was born and where I was living. When I first re-visited the US I was in my twenties, my perception of the States was heavily influenced by the stories passed on to me by my parents, by photo albums from the 70's, movies and by the arrival of MTV in Europe. Since then I have traveled around a lot, spent some time in New York, visited LA on several occasions, Florida, and planned a road trip where I returned to my birthplace.

Arriving in America, all of those perceptions I brought with me from Europe were reflected back to me in all the glamour, but immediately sobered by the reality of the underbelly of modern America. The slick exteriors tarnished by the cost of creating them… it's at that point of connection between exterior and interior that I like to work. It's this love and hate relationship with the full spectrum of emotions between the two. The emotional conflict I have with my country of my birth will probably take me a lifetime to explore.

I am fascinated when artists can put themselves in front of the camera to express their own ideas and make themselves the object of speculation. It seems there's a lot of courage involved in that process. Were you ever intimidated or afraid of putting yourself in front of the camera? Is it purely for the execution and control (so it comes out exactly as you have in mind), or is it more of a process, you trying different things out and seeing what comes of it?
Posing in front of my own camera doesn't intimidate me, I actually have a jolly good time. Using myself as a model is mostly pure practicality. Sometimes ideas come to mind spontaneously and I need to enjoy that moment, what's better than to use yourself? For me the it's the ultimate way to concentrate; when I am alone with my equipment, all my props and the light, I know exactly what I want to carry out on celluloid plus I can experiment as long as I want not depending on or getting distracted by other people. The process itself is essential. Trying different things always leads to something else, something new. However it's not on every occasion that I can or want to use myself as the model. For some photographs it's simply impossible. When you are the one posing you are always a step behind than when you are behind the camera because being able to look through the lens gives you total control.

It's very interesting when an artist can make a strong commentary on popular culture through use of popular culture (your Donut Madonna, your Rocking Hot Dog). How did this come about? If you could sum up what it is you hope to convey on the state of popular culture today in one sentence, what would it be?
The Donut Madonna is a bronze sculpture of a woman praying, on her knees, wearing a bright, shiny food-fetish mask with doughnuts for eyes and sausage for lips. The surface of her body is like melting chocolate, or ice cream, and even though her face is decorated with a permanent smile there will soon be nothing left of her then just a pool. It's a criticism of the fact that women become victims of the pressure towards an exaggerated ideal, in which we have lost sight of what is real. They are part of the thin red line which walks through my work, trying to raise questions of ways women are represented in society. To express these thoughts I like working with icons from popular culture, clichés and stereotypes, things everybody is familiar with and are easy to understand. Also they are easy to absorb visually and mostly have a happy appearance about them, humoristic. However for me, in most cases they have a darker double meaning with an ironic twist.

The Rocking Hot Dog is part of the same show as the Donut Madonna, made in collaboration with Jaime Hayon called 'American Chateau'. It's an installation that includes furniture, sculpture and photographs. We played with the idea of decorating an old money European mansion with exquisitely crafted pieces inspired by nouveau icons of American popular culture. We came up with some very bold examples like the limousine, McDonald’s hamburgers, hot dogs, donuts, skyscrapers, cowboys, dollars and so on, which we turned around into incredibly crafted pieces. We used classical and traditional materials like marble, bronze, and carved mahogany wood. It's our contribution toward the growing critical commentary on consumer culture. For me it is essential to do that using popular culture.



Why sausages/hot dogs?
Why wouldn't I use sausages? It has great symbolism, a good form which looks like a smile, and it's meat! The big blown up silicon lips that women enhance themselves with remind me of ordinary fleshy sausages, which led me to a whole set of studies of sausage women: portraits of sausage faced donut eyed ladies, handbag carrying and high-heel wearing sausage monsters, and Archimboldo inspired still-life portraits. When watching MTV, celebrities, and Italian TV, the link between women and ordinary meat is very easy to make.



MELTDOWN
Image © Nienke Klunder

http://www.yatzer.com/Nienke-Klunder-talks-to-Yatzer

La dépression et le reve

Wandering mind not an escape: study
'A wandering mind is an unhappy mind'

Last Updated: Thursday, November 11, 2010 | 2:00 PM ET Comments128Recommend107
CBC News
Screenshot from trackyourhappiness.com. (Courtesy Matt Killingsworth)
People often let their minds wander but it tends to make them unhappy, psychologists say.

Researchers used an iPhone application to gather data on 2,250 volunteers' thoughts, feelings and actions.

Humans spend a lot of time thinking about what isn't going on around them, whether contemplating past events or what might or might not happen in the future. The ability helps us to learn, reason and plan.

In the study, participants were asked at random intervals how happy they were, what they were currently doing, and whether they were thinking about their current activity or about something else that was pleasant, neutral or unpleasant.

The real-time data showed that on average, people reported that their minds were wandering 46.9 per cent of time, and no less than 30 per cent of the time during every activity except making love.

P.O.V.:

How does daydreaming affect you?

"A human mind is a wandering mind, and a wandering mind is an unhappy mind," psychologists Matthew Killingsworth and Daniel Gilbert of Harvard University in Cambridge, Mass., wrote in this week's issue of the journal Science.

'Be in the present'

People were happiest when making love, exercising, or engaging in conversation. They were least happy when resting, working or using a home computer.

Kent Morley, a veterinarian in Calgary, says his mind isn't totally on the task at hand while on the job.

"My thoughts aren't going to be all sunshine and rainbows," said Morley. "They are going to be things I am trying to work myself through, either family stresses or work."

The researchers estimated five per cent of a person's happiness at any given moment was attributed to what he or she was doing. In comparison, "mind wandering status" accounted for nearly 11 per cent of a person's happiness.

Based on the timing of the responses to the trackyourhappiness.com website, the researchers said mind wandering was generally a cause of unhappiness rather than a consequence.

"It seems like human beings are often clumsy users of this ability and [this] often tends to reduce rather than increase their happiness," said Killingsworth.

Killingsworth and Gilbert noted that many philosophical and religious traditions teach happiness is found by living in the moment, and train practitioners to resist mind wandering. The new findings lend support to those traditions, they said.

"People keep fighting this simple, basic concept," agreed Vancouver-based life coach Monica Magnetti. "You have to be in the present to be happy. You have to know what makes you happy to be happy."

The subjects were mainly American and ranged in age from 18 to 88, with a variety of incomes, backgrounds and occupations.



Read more: http://www.cbc.ca/health/story/2010/11/10/happy-mind-wander.html#ixzz15KOAk7pW

cinema

Review: 127 Hours
James Franco is riveting in this visceral real-life survival tale
Last Updated: Thursday, November 11, 2010 | 6:00 PM ET Comments10Recommend24
By Martin Morrow, CBC News

James Franco stars as hiker Aron Ralston in Danny Boyle's real-life wilderness drama 127 Hours. (Chuck Zlotnick/Fox Searchlight Pictures)
Director Danny Boyle excels at turning the dark and dire into the kinetic and exhilarating. He worked that magic memorably with Trainspotting (1996), about the dead-end lives of heroin addicts, and again with his Oscar-winning Slumdog Millionaire (2008), which dealt with grinding poverty.

A film about such an ordeal could be an ordeal to watch, but director Danny Boyle makes it a dazzling, kaleidoscopic thrill.
In 127 Hours, he applies his alchemy once more, this time to the real-life survival tale of Aron Ralston, the gutsy young hiker who cut off his arm to escape death after being pinned by a boulder for five days.

A film about such an ordeal could be an ordeal to watch, but Boyle makes it a dazzling, kaleidoscopic thrill. He employs just about every director’s trick at his disposal: flashbacks, hallucinations, split-screen, digital video, vast aerial shots of the Utah wilderness and microscopic photography of insects and urine bubbles. (Yes, urine bubbles – more on that later.) This is filmmaking as extreme sport.

Boyle leaps into the story with the same reckless enthusiasm as its hero. The adventure-loving Ralston, played here by the charismatic James Franco, is a human whirlwind who goes roaring up to Utah’s Canyonlands National Park in his truck one spring weekend in 2003, jumps on his bike and whips his way – with the occasional wipe-out – to remote Blue John Canyon.

En route, he stops to help a pair of lost hikers (Kate Mara and Amber Tamblyn) and introduces them to one of the daredevil pleasures of canyoneering. Then he’s off again, rock music blasting in his earphones, bouncing through those sinuous ochre canyons like an ecstatic wild animal.


While scrambling along Blue John, he tumbles into a deep fissure, dislodging a boulder that jams his right arm against the wall. He’s abruptly stuck, unable to extricate himself from the narrow slit of rock. And yet the film itself doesn’t slow down. Boyle zeroes in on the details of Ralston’s predicament with an operatic intensity: his dwindling water supply, his drying contact lenses, his efforts to retrieve a dropped multi-tool with his bare foot. That same two-bit multi-tool proves useless at first. It’s no good for chipping away the rock and its blade is so dull that when Ralston first toys with amputation, he has to saw at the skin on his arm to achieve even a minor abrasion.

Ralston does have his rappelling equipment with which to rig a makeshift pulley, in the hope of moving the boulder. He also has his camera and a camcorder to document his plight and tape farewell messages for his family. As he becomes weak and dehydrated, the hallucinations kick in. Like Ralston, we’re not always sure what’s real and what isn’t. Obviously, not the giant inflatable Scooby-Doo that pops up in the canyon, but what about that apocalyptic rainstorm?

There isn’t a minute in 127 Hours that is less than riveting. But for all its narrative flash, it’s a fairly simple story. Unlike, say, the tale of Chris McCandless in Into the Wild, Ralston is not a troubled or particularly complicated character. His main flaw is a streak of selfishness that seems to have wrecked his relationship with an ex-girlfriend (Clémence Poésy) and has probably hurt his loving parents (Kate Burton and Treat Williams).

Ralston snaps a souvenir photo with fellow hikers Kristi (Kate Mara, centre) and Megan (Amber Tamblyn). (Chuck Zlotnick/Fox Searchlight Pictures)
In his usual stubbornly independent fashion, Ralston didn’t bother to tell anyone where he was hiking. He chides himself about this in a bitterly funny scene where, camcorder in hand, he pretends to interview himself on a TV talk show. It’s a bravura episode, both visually and emotionally. Boyle caroms playfully between film and video, while Franco turns the Q&A into a self-lacerating comic riff that makes you want to cry.

There will be jokes to the effect that spending 90 minutes trapped in a canyon with James Franco sounds more like heaven than hell. But in fact, the appealing young actor uses all his assets here to maximum effect. He gives Ralston a charming, sleepy-eyed self-confidence in the early scenes, which gives way to a James Dean-like sensitivity when he begins to convey the man’s inner and outer pain.

At the same time, his Ralston also has a saving sense of humour – when forced to drink his own urine, he compares it unfavorably to a Slurpee. (My favourite Franco role may still be his supernal stoner in Pineapple Express, but here, he’s just as trippy, in a different way.)

Boyle has assembled his winning Slumdog team, including screenwriter Simon Beaufoy (whose script is based on Ralston’s memoir, Between a Rock and a Hard Place) and cinematographer Anthony Dod Mantle. The latter shares shooting credits with Enrique Chediak, and together they provide what could be the best advertisement for the rugged beauty of Utah since the films of John Ford. And then there’s A.R. Rahman’s finely calibrated score, which is a breathtaking thing in itself.

As expected, the amputation scene is a tour de force of gore. But like the best bloody sequences (think Psycho) its effectiveness has less to do with what we actually see than with a nerve-jangling medley of excruciating sound effects, Franco’s agonized performance and our own horrified imaginations.

It’s also, ironically, a triumphant act – gruesome proof of Ralston’s overriding will to live. Once again, Boyle has made a movie about a grim subject that has you walking out of the theatre high on the pure joy of being alive.

127 Hours opens in Toronto on Nov. 12, in Vancouver on Nov. 19 and in Calgary, Edmonton and Ottawa on Nov. 26.

Martin Morrow writes about the arts for CBC News.



Read more: http://www.cbc.ca/arts/film/story/2010/11/10/127-hours-review.html#ixzz15KNF2wnf

streetstyle: chandail a chatons





November 3rd
http://www.thesartorialist.blogspot.com/

la bicyclette en talon


october 15th


november 4th

http://www.thesartorialist.blogspot.com/

streetstyle: pink pants!




http://www.garancedore.fr/2010/11/02/lolita/

masquerade vogue italia cover

november 9th
http://fashiongonerogue.com/dree-hemingway-richard-burbridge-vogue-italia-glitter/#more-40421

Friday, November 12, 2010

Food as material

THE LINK BETWEEN COOKING AND DESIGN

By Chris Lefteri, WGSN, 12 November 2010

From deciding on the ingredients to preparing the dish and finally presenting it in an appetising manner, the parallels between cooking and design are striking. In fact, if you were to look specifically at materials, you’d find that our need for food and products has always been closely linked - from wheat straws mixed with mud in adobe bricks to animal hides and fur in everything from clothing to shelters.

One of the earliest forms of plastic is called "casein", a name derived from "caseus", which is Latin for cheese, referring to the use of milk in the production of the material. A quick internet search for "milk plastic" will give you a variety of recipes for this versatile plastic that you can try out in your own kitchen.

The need to use every resource efficiently is as relevant today as it was for our ancestors, and this report will look at how food, cooking and even eating continue to inform the creative process. The materials, products and projects featured here all show that there are plenty of rich ideas in an area that may initially seem unconnected to design.

Traditional

Rice husk bird houses by Gina Hsu and Nagaaki Shaw

Traditional Japanese squid-skin sake cup, "ika tokkuri"

Rice husk and epoxy stool by Gina Hsu and Nagaaki Shaw

Venus chair by Tokujin Yoshioka

Vegetable-tanned leather bags by Massimo Varetto for Asap

Programmed Hive by Hilary Berseth

Venus chair by Tokujin Yoshioka

Vegetable-tanned leather envelopeby Massimo Varetto for Asap

  • Traditional Japanese sake cups, "ika tokkuri", are made with dried squid skin
  • Byproducts from rice growing are important materials in traditional crafts, reinterpreted here in Gina Hsu and Nagaaki Shaw’s bird houses and stool
  • Hilary Berseth coaxed bees to create shapes for her Programmed Hive project
  • Inspired by the traditional technique for making rock candy, Tokujin Yoshioka designed a whole range of materials, including the Venus chair featured here
  • The production of leather, although the material is natural and biodegradable, often involves the use of chemicals for dyeing and preservation, made completely redundant in Massimo Varetto vegetable-tanned leather goods for Italian brand Asap

Food waste

Nanai fish leather

Community Commerce by Kieren Jones

Solanyl

Eggshell stationery by Nicolas Cheng

Nespresso Battery by Mischer’Traxler

Nespresso Battery by Mischer’Traxler

  • Fish leather is a grossly overlooked resource, with the majority of skins from the fishing industry going to waste, but the German company Nanai (www.nanai.eu) supplies a wide range of fish leather, available in many colours and surface effects
  • Eggshell is a remarkable material in its own right, beautifully utilised in this range of stationery by Nicolas Cheng
  • Recent RCA graduate Kieren Jones’ Community Commerce project takes a look at local resources, turning a chicken coop into a manufacturing powerhouse, providing everything from moulded bone products to leather textiles - and food, of course
  • A clear demonstration of the potential of waste as a source of energy and raw material, Mischer’Traxler’s Nespresso Battery was used to power an array of clocks in an installation during Vienna Design Week 2010
  • Solanyl (www.biopolymers.nl) is a plastic material made with waste potato peel from Dutch potato-chip manufacturers, a resource that would otherwise go to waste
  • Chewing gum is, in fact, a form of plastic, an insight that led London-based designer Anna Bullus to develop a process for sterilising and recycling the material for use in new products

Supermarket ingredients

Autarchy by Formafantasma

Curran

Mirel

Autarchy by Formafantasma

Rice salt and pepper shakers by Takeshi Ishiguro

Silver Sugar Spoon by Studio Makkink & Bey

  • Young Italian designer Formafantasma developed the Autarchy range of durable products entirely from vegetables and other food crops
  • Curran (www.cellucomp.com) is a very strong and lightweight material with comparable properties to glass- and carbon-fibre composites, only it is made with entirely biodegradable and renewable carrots
  • These beautifully crafted salt and pepper shakers by Takeshi Ishiguro are made with moulded rice slurry
  • Unlike many of the early vegetable-based plastics, Mirel (www.mirelplastics.com) is a corn-based, durable and hard-wearing material suitable for everything from consumer products to packaging
  • Acknowledging the city’s rich cafe and patisserie tradition, Studio Makkink & Bey designed the Silver Sugar Spoon installation entirely from sugar for the 2010 edition of Vienna Design Week

Food in fashion

Bio-Couture by Suzanne Lee

Aveda Ecouture

BioCouture by Suzanne Lee

Gold Pills by Tobias Wong

  • Materials researcher Suzanne Lee started the Bio-Couture project to explore the use of laboratory-grown bacterial cellulose in textile design and fashion, using basic food ingredients
  • Despite difficulties in colour consistency and other production issues, Aveda’s range of Ecouture clothing uses vegetable-based fabric dyes throughout the collection
  • Taking the notion of fashion and materials into the extreme, Tobias Wong’s Gold Pills takes into account the fact that gold passes through the body without being affected by the digestive process

Designing food experiences

Marije Vogelzang, "eating designer"

King's College London Materials Library - the taste of materials

Till You Stop by Mischer’Traxler

Till You Stop by Mischer’Traxler

Rachel Edwards-Stuart, food scientist

  • Marije Vogelzang is an Amsterdam-based self-professed "eating designer", exploring the boundaries between form, taste and environment
  • Looking at the similarities between industrial manufacturing processes and cooking, Mischer’Traxler’s Till You Stop cake-decoration machine lets the user decide the amount of icing
  • UK food scientist Rachel Edwards-Stuart has worked with restaurateur Heston Blumenthal in developing novel culinary ideas at the chef’s Michelin-star eatery The Fat Duck, blending sensorial experiences such as tactility and acoustics with more traditional notions of dining and eating
  • Zoe McLaughlin and the rest of the team at the Materials Library at King’s College London are well underway with a broad-ranging investigation into the senso-aesthetic properties of materials, ie, everything from visual qualities to acoustics to taste. Last year they focused on taste, gaining valuable insights into how things like food packaging and cutlery may subtly influence our perception of food and eating

Grow your own

Time of Moss installation by Maketo Azuma

Active packaging

Mycobond

Mater-Bi disposable cutlery by Pandora Design

UrbanBuds by Gionata Gatto

  • Japanese designer Maketo Azuma used a material called Terramac® (www.unitika.co.jp) for his Time of Moss installation at last year’s Senseware exhibition. Terramac® is a three-dimensional textile made with biodegradable polylactic acid fibers that can be used to support the growth of plants like moss.
  • Mycobond® (www.ecovativedesign.com) is a new type of composite material that uses mycelium, the root system of mushroom, as a binder for a loose aggregate. These two components will gradually merge and form a strong and durable material.
  • Active packaging is the result of a joint research initiative between ’s Fraunhofer Institute and BASF that uses added natural dyes like riboflavin and chlorophyll in plastic films and mouldings to protect perishables like food, cosmetics and pharmaceuticals.
  • A classic material in the world of bioplastics, Mater-Bi® (www.novamont.com) is made entirely with fermented corn starch and supplied in pellets that can be injection-moulded and extruded just like any other plastic material. The disposable cutlery featured here was designed by Milan-based designers Pandora Design.
  • Eindhoven-based designer Gionata Gatto’s UrbanBuds project transforms recycled textiles into fertile ground for plants, realising the unexpected and hidden potential in this abundant material. For a selection of recycled fabrics, visit www.ovattificiofortunato.it
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