Q&A with Tini Bloom

Tini Bloom’s eccentric jewelry first caught my eye a few years ago at Bird, the Brooklyn clothing boutique. It’s stuck with me ever since. Her company moniker is Etten Eller, which means “either - or”, inspired by the Danish philosopher Søren Kierkegaard’s book Enten‒Eller. I read on a NBC blog that she intentionally changed the spelling. I especially adore that each piece is titled with a significant date and event, such as 08.27.1965: Le Corbusier dies while swimming in the Mediterranean off Cap Martin, or 02.18.1979: Snow falls in the Sahara desert. In this way, her jewelry becomes more than an object, it is a story or a memory. Visually her collections are delicate, yet strong and well crafted. Her exhaustive exploration in a scheme of metal discs, beads, and chains yields unending possibilities season after season.

I’m happy to kick off Rational Beauty’s Q&A series with Tini Bloom.

02.01.1884

The day the Oxford Dictionary debuted.

01.12.1963

The day Sam Cooke records Live at the Harlem Sq Night Club in Miami.

Job description: I design and produce a collection of jewelry.

Why do you do what you do? I think the motivation has changed and developed over time and continues to. My creative output however has always been a way for me to process the environment around me and the experiences I encounter. A visual diary of sorts. I ingest the world around me and digest it through my creative process and output. Its how I zero in on the details that interest me, the space in between, the moments that comprise my day and ultimately my life. I like to shed light upon the unexpectedly beautiful. To draw ones attention a little closer. Encourage one to slow down and move in a little closer to take notice and stock of the subtleties. With the jewelry I try to catch ones attention graphically and formally, intrigue one enough to make them stop and take notice and then once they come in a little closer they notice all these subtle details to the pieces.

How do you break through a creative block? Leaving the studio. Stimulating myself in the world and enjoying myself outside of the studio is probably the most helpful thing. Taking a break really. Doing something completely different. Feeding and informing myself in another way always proves to be the most beneficial to re-inspire me.

Education: I went to the School of the Art Institute in Chicago. While I knew I was attending a highly conceptual art school, heavy on theory, I was interested myself in developing skills to apply towards design for fashion, at the time it was textiles. The school had no core curriculum which allowed me to dip between departments developing, for example, color in the painting department, line in the print department, traditional textile practices in the fiber department, etc. All the while I was surrounded by interesting dialogues about art, which informed the way I viewed everything around me and ultimately developed my designs. I found this more important than just learning a straight skill.

Mentors: I find a mentor in pretty much everyone I encounter. Everyone has something of value to share and teach. I enjoy most about this work the opportunity to collaborate with different craftsmen and engineers.

What did you learn the hard way? Everything feels hard when you are unfamiliar with it, but then you learn and absorb it into your wealth of knowledge and each time the difficulties get a little easier because you understand it is the natural rhythm of the unknown. Learning is hard, but completely rewarding.

Most useful tool: My own two thumbs.

Favorite space: A large body of water. I like to be fully submerged with a open horizon line and expansive sky

Favorite design object: I don’t know if I would say favorite, but I think Apple does the most beautiful job with all their packaging.

Guilty Pleasure: Internet TV

Underrated: Living without the internet, I read a hell of a lot more when I chose to live without it for a year.

Overratted: The internet, too much information if you ask me. I often don’t even know where to go when i sit before a computer online. i prefer the more old fashion forms of discovery.

Dream project: To spend a year traveling and absorbing the world around me in various different places.

Where’s home? I’m not sure at present. I suppose wherever I am.

11.08.1895

German scientist discovers X-rays.

02.18.1979

Snow falls in the Sahara desert.

01.11.1813

The first pineapple is planted in Hawaii.

For more information: etten eller

Unravel: Knitwear in Fashion

Tilda Swinton wearing four Sandra Backlund silhouettes photographed for
Another Magazine by Craig McDean.

It’s pretty simple—right? Drop one, pick up two, drop one. In knittings most basic form all you need is a pair of needles and a ball of yarn. Think again. Early summer I had the opportunity to see the “Unravel” exhibition at MOMU—Fashion Museum Province of Antwerp. The show helps re-brand knitting from old fashion to “uber-cool”.

Kaat Debo, director of MOMU, states in the show catalogue—“This exhibition does not intend to sketch an exhaustive history of knitwear, but aims to look beyond the stuffy image that may seem to attribute to it.” The exhibit has been curated by Karen Van Godtsenhoven (MOMU) and Emmanuelle Dirix (Winchester School of Art, Southhampton Universtiy and the Fashion Department of the Royal Academy of Antwerp. The examples presented range from ready-to-wear to haute couture encompassing both hand and machine knitted from established names to young emerging designers.

The highlight for me were the designers who hand-knitted the garments. The pieces show innovation with a bespoke stamp. The garments appear to emerge from knitting rather than patterns. I particularly feel this way about the work by Swedish Sandra Backlund. (top picture)

For those who would like to learn more, the exhibition catalogue by Emmanuelle Dirix takes a look at the history, production methods, social histories and the aesthetic (r)evolutions of knitwear in fashion.

After leaving the exhibit I wanted to pick up my needles, gets some yarn and start a project. Once the summer heat dies down I’m definitely going to make the Margiela military sock sweater since he offers up the instruction in the true spirit of making.

A tribute to Ann Salens’s multi-colored silk dresses. (1970-1975)

Christian Wijnants created the tie-dye dress for the exhibition.

He is a teacher, specializing in knitwear, at the Royal Academy for Fine Arts in Antwerp.

His work has been inspired by Ann Salens (above). Photography: Viviane Sassen

1910 - 1930s knitted swimsuits ranging from wool, jersey and

cotton became an icon for the modern era.

Bathing Suit by Elsa Schiaparelli, circa 1928 © Condé Nast Archive / Corbis

Dirk van Saene’s Petite and Heidi, two woolen jumpers with

knit trompe l’oeil motives. (2008-2009)

John Car Doughtly, 1966 © London College of Fashion

Woolen sweater made from military socks, Maison Martin Margiela, 1991-1992.

Photo Jacques Sonck

Martin Margiela instructions on how to make your very own woolen sweater from socks

published in A Magazine ( June 2004 ) curated by Maison Martin Margiela.

Installation “The Supermarket of Style” designed by Angelo Figus, art director and trend forecaster at Pitti Filati/Pitti Immagine, Florence. Originally the installation appeared in 2006 for the Italian Fashion fair Pitti Imaagine to predict fashion trends. He created a world that is all knitted ranging from status symbols like the fashion bags, Rietveld chair to groceries and washing machines. In 2006 ironically enough a real knitted Vuitton bag appeared. As stated in the catalogue that Figus chose knitwear because “it is an art, but also a science, almost like algebra, that gives rise to new formulas that lead to new results.”

Mind-boggling handknitted pieces from various designers from Yohji Yamamoto to

Sandra Backlund. My personal favorite of the exhibition.

Included in the exhibition was fashionable and historical hosiery.

Above shows hoisery by Bernhard Wilhelm from his women’s collection from 2007.

Photo by Carmen Freudenthal. Styled by Elle Verhagen

Knitted fishnet stockings by Jurgi Persoons, 1999. Photo by Ronald Stoops

Lou Dorfsman and the CBS Wall

Lou Dorfsman (1918-October 22, 2008) is considered one of our graphic design greats. I don’t think many people would argue about that. At least from the research that I read. His designs are characterized by The New York Times as “clear typography, simple slogans and smart illustrations”. He sculpted and crafted the CBS brand (1946–1987) and was a big player in what I call the “golden age” of art direction. He oversaw all communications—ranging from print advertisements, annual reports, commemorative books to designing the sets for Walter Cronkite’s CBS Evening News. I think you get the picture. He had his eye on everything.

Dorfsman directed the wayfinding system, designed wall clocks, elevator buttons and even elevator inspection stickers to harmonize with the CBS Building designed by Eero Saarinen. The building is known as Black Rock because of the dark granite cladding and is considered a midcentury gem.

Dorfsman may be best known for the expansive wall (35 feet-wide x 8 1/2 feet-tall) for CBS’s cafeteria that he cleverly called “Gastrotypographicalassemblage”. The assemblage using a variety of hand-milled wood typefaces listed all of the food that the dining hall offered. The installation was completed by 1966 with the help from graphic design legend and friend Herb Lubalin, along with Tom Carnese whom skillfully crafted the typography.

Today I am inspired as if it was the first time I saw The Center for Design Study’s video about the “Gastrotypographicalassemblage” wall. It’s a piece of graphic design history from the 60s. The video is narrated by Dorfsman from a CBS interview. It’s quite lovely as he discusses the creation of the installation. It’s worth another look for those of you that have already seen it.

The Center for Design acquired the wall for preservation. As stated on their website “Unceremoniously abandoned in the late ’80’s, the walls 9 panels were salvaged by NY designer Nick Fasciano, however, time and storage has ravaged the monument leaving it in terrible disrepair.” If you would like to contribute to Dorfsman’s legacy please consider helping The Center for Design to restore a part of our graphic design history.

Wieki Somers

A few Sundays ago I found myself standing in front of Weiki Somers’ very red “Chinese Stools—Made in China, Copied by Dutch” (2007) at the Stedelijk Museum in Amsterdam. I had seen them published in various publications (American Craft, New York Times’ T magazine, etc) but the impact of seeing them twinkling in lineup at full scale stopped me in my tracks. They are casted aluminum from stools that Somers acquired while taking residency in Beijing the summer of 2007. She became curious about the customized street stools and the daily life in the fast growing Beijing metropolis.

Somers explains on her site, “These ancient chairs were often barely recognizable, having undergone so many improvised repairs and modifications. I was struck by their many charming details, which connect the diverse materials and parts, and link them to their respective makers. The stools testify to a long history in which both the maker and the user have left their traces. When I started to purchase some of these stools, the neighbors noticed by admiration, and they all invited me to their homes, where I became acquainted with the many stories attached to them.

Finally I decided to cast a few stools in aluminum. The original stools vanished in the process, but in this way I could preserve their memory from the ravages of time and pay homage to their makers. The colours of the stools refer to the other side of Beijing (some would call it the modern side): the public display of prosperity and pride by putting sparkling extra layers on cars and products.”

A few rooms later I came across Somers’ “High Tea Pot” in “On the table” exhibit showcasing a collection of utensils and dishware from various designers expanding nearly 100 years. As stated on Somers’ website, “A porcelain pig’s scull is a teapot, the tea-cozy is made of rat’s fur.” She explains the piece is about were the ‘tasty and unsavory, harm and delight’ are inseparable and it is her intentions to make “you get curious how the tea actually tastes.” The object isn’t for looking only—the vessel can pour tea!

Somers graduated from Design Academy in Eindhoven in 2000. Her objects are produced mostly as limited productions and collaborates frequently with specialized artisans, ceramicists, etc. You can learn more about her work by clicking here.

The Hourglass by Marc Newson

The Hourglass from Ikepod on Vimeo.

My friend Scott Newlin sent me this video showing the making of one of Marc Newson’s latest projects for Ikepod. The Australian designer revisits the design of the most memorable timepiece—the hourglass. The video is directed by Philip Andleman with music by Philip Glass. It’s stunning. The video documents the creation of the Newson’s hourglass inside the Glaskeller factory in Basel, Switzerland.

Chris Antemann

Chris Antemann’s figural porcelain tableaux are naughty, resembling 18th-century French courtiers and housemaids cavorting with naked suitors. I start thinking of Marie Antoinette and her entourage prancing about Versailles. An homage to traditional European and Asian figurines (think Meissen, Staffordshire, Royal Delft) Antemann’s milieus are marked by flawlessly delicate craftsmanship and are about relationships between women and androgynous men giving the settings an erotic and emotional charge. This summer Antemann is setting up shop at Meissen, the three-hundred-year old venerable German porcelain factory to embark on making oversize mise-en-scènes. I can’t hardly wait.

Marloes ten Bhömer

Marloes ten Bhömer innovative footwear combines clean lines, materials and construction techniques that are influenced by

design and architecture.

“Her works question our perception of functionality, fusing

art and technology to create an origami like production, working with materials ranging from wood to polyurethane resin,

tarpaulin, steel and fiberglass”, quoted from the Virtual Shoe

Museum.

Synesthesia / Directed by Terri Timely

Synesthesia is a neurologically-based condition when one sensory stimulus triggers a different kind of sensation like seeing colors and shapes when you hear music or like smelling one thing when tasting another. What does a blueberry sound like?

This short film titled Synesthesia is directed by Bay Area Ian Kibbey and Corey Creasey whose moniker is Terri Timely. The two met whilst studying at Berkeley and have made over 25 videos to date. Synesthesia is a personal project. The short depicts an asian family during which each member of the family experience a different aspect of the condition.

The set design and wardrobe was influenced by the architecture and interior design of Ho Chi Minh City’s Reunification Palace (Vietnam).