This Interactive Map Shows How Far You Could Travel In 24 Hours

Think your holiday flights were long? Think again.

At a time of year in which most of us are recovering from cramped flights, jet lag, and layovers, it’s easy to forget just how good humans have become at traveling distances that would have seemed virtually insurmountable a couple of hundred years ago. In fact, compared to our forebears, we travel so quickly and efficiently that we may as well be a race of transdimensional teleporters.

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Graphic Design: Bibliothèque’s AGI Index shows off the best of UK design

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Every year, just before the AGI Open, the AGI’s members come together in the year’s host city to present to each other their national design history – the major players and events that have shaped the design landscape over the past half century. This year it was the UK’s turn, and behind the closed doors of the Barbican a cohort of prestigious british designers presented themselves to the AGI’s global community.

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Film: Nine minute supercut of action movie one-liners? Don’t mind if we do

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All things considered, I’m not a menacing guy. I once stared quite sternly after a guy who barged into me on his way off a train but that’s about as tough as I get. Of course in the world of action movies; not only do our heroes get to kick the bad guys’ asses, he or she also gets a killer line with to accompany said ass-kicking. The fine folk over at Mewlists have put together this super-cut of the best action movie one liners, from calls-to-arms to corny wisecracks and pretty much everything else in between. All the usual suspects are here (as opposed to all The Usual Suspects) and if this isn’t perfect back-to-work-fodder then I don’t know what is.

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Burning the midnight oil

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Having both the main line in Opening Ceremony as well as the capsule collection is great,” Lou Dalton beams proudly over the Internet. “Both are very different, each say something different without compromise,” she excitedly exclaims. Joining forces with the rousing retailer, the design talent takes our hands again, leads us across the border once more and we fall for the charms of her imagined rig of Zetland Oil all over again. Through Opening Ceremony’s youthful filter, her autumn/winter 13 collection’s sartorial sharpness softens and becomes that bit more sportier. As with her own collection, the collection’s personal narrative falls seductively from the lips of the designer but here it feels like a fresh tale.
Having first been approached by Opening Ceremony for a series of London based designer capsules around the 2012 Olympics celebrating the store’s arrival in the capital, Dalton chose to explore cycling and intricately incorporated house signatures into the sport whilst making a point of it feeling a little more commercial and easy-to-wear. Unsurprisingly, the collection went down a storm and with this in mind she approached Opening Ceremony earlier this year to do something similar and this latest collection evolved from these speculative conversations.
“I enjoyed creating a fictional Oil Company called “Zetland Oil” for autumn/winter 13. ‘Zetland’ is an old Nordic term for Shetland. Shetland is such an inspiration to me. As you know I met the Haigh there (Justin Haigh, Lou’s fella of 10 years) who just so happens to work for an oil company that has an oil port in Shetland. The other logos used within the designs are all inspired by oil company branding from in around the late 70s mid 80s but re-worked and all carrying reference to Lou Dalton, either the year I was born or Shetland itself.
 
When I first discussed the ideas for the range with Opening Ceremony and the t-shirt prints in particular, we all agreed on the idea of making them take on a sporty mood. I looked at making them appear quite Motor Cross branded. For me, it was integral to incorporate the store’s branding into the capsule as much as my own. As the collection was to be a little easier-to-wear and even more accessible than the Lou Dalton main line, I kept it easy and quite relaxed. However, I did want to give it a strong reference to the Lou Dalton main line and did so by introducing one of the fabrics we had used on the autumn/winter 13 mainline which was a particular favourite of mine, this being a cloth that I refer to as Bobble. This cloth came in a whole ray of colours but for Opening Ceremony, we kept it to a tomato orange, bordeaux and black. Throughout, this collection felt very natural. I always believe that if it feels forced then you should just leave it and move on. Opening Ceremony are so great to work with, they understand and appreciate design and its end use without it becoming to banal.”
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The capsule collection includes caps, t-shirts, jogging bottoms and sweatshirts.
Opening Ceremony’s ever evolving relationship with some of my favourite London design talent, mixing straight main line season buys and really considered capsule collections, the fruits of which manage to balance the aesthetics of everyone involved perfectly, shows the way for other stores to follow. Meanwhile, Lou Dalton is sketching a fine blueprint that other designers can look to for inspiration. Since launching her own line in 2005, Dalton has refined a well crafted reputation for rebellious English sportswear with a keen eye for and attention to detail whilst establishing herself as the real shining starlet of British Menswear. As London menswear has demanded an ever increasing presence at London Fashion Week and respect far beyond the perimeter of the capital, evolving from an afternoon in to three full days of shows, presentations, previews, installations and exhibitions under the umbrella of London Collections: Men, she has matured in the spotlight, built a brand and helped pave the way forward. Long may Lou Dalton continue to strive forward and here’s hoping more follow.

BERTHOLD SS14

Harvesting, fusing and re-constructing references from a myriad of sources, she takes an anything-goes approach to the materials she uses to convey multiple meanings in unexpected ways,” is how the Saatchi Gallery describes the diverse designs of Isa Genzken. “I can certainly relate to that statement,”
Raimund Berthold confesses as we sit in his central London studio, surrounded by his spring/summer 14 collection, a cacophony of concrete, jersey, art and sportswear. “Now, I’ve been aware of Genzken’s work for three years or more, she used to be married to Gerhard Richter who I think is also absolutely amazing, but I hadn’t looked into her own work until I began coming across it at exhibitions and auctions. I always try and go to Christie’s, Sotheby’s and Phillips, it’s a great way to encounter art that is rarely publicised. Having appreciated her work for a while, it was when I saw her work Knocken, meaning bones, that really moved me. The feeling it created from seeing this cement block on a beautiful plinth inspired so many things in my mind, from the material itself to developing this idea of mixing hard and soft.” It is a feeling that BERTHOLD continues to provoke with his own designs.
Removing gender from the opening line above, the statment could easily apply to the bold menswear of Raimund Berthold. Led by inventive design and fit, it echoes Genzken’s totemic sculptures, colourful mirrored panels and lacquered paintings. As for the myriad of sources, mirroring the inspiration of the contemporary artist, we always prepare for the unexpected to adorn the designer’s foil mood boards. “A stunning image of mouldy bread, artfully stuck chewing gum on a wall, a shot of a neglected swimming pool, overgrown palm trees, an old photograph used as a styling piece and a variety of images that I shot myself in and around London, alongside scanned and printed ones from beyond,” are just a few of the image descriptions that fall from the designer’s mouth in between sips of espresso. Seemingly disparate and certainly peculiar, Berthold manages to balance and duly creates beauty from the unexpected. As this season’s silver canvas shimmers to the breeze, a process of assimilation occurs right before my eyes as discordant daydreams come together.
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BERTHOLD’s spring/summer 14 mood board
Mouldy bread, reimagined chewing gum, bruised faces, neglected pools and some snapshots that have been enlarged and manipulated all come together to create one cohesive concept. “As this is a spring/summer collection I wanted to make it sportier, to make it easy,” Berthold states simply. “I introduced more jerseys and t-shirts, it just felt right for now.” The simplicity and quiet modesty of his words fail to mask the depth of proportion play, fabric feuding, eagerness to experiment and desire to develop his label. One facet of growth is the signature of shape being sketched this season. “My natural extinct is to rip everything up and create something entirely new but this isn’t fair on the buyers because they would never know what they were getting to some degree. I worked hard to get two staple shapes, one oversized and one regular, that we could take forward to future seasons. Now, with these two silhouettes in place, we can experiment subtly and push them on.
Subtle and not so subtle experimentation in order to push on, this season. From simple concrete endeavours to complex print processes and 3D printing, Berthold and his team have been busy testing boundaries. In between further sips of an espresso, the designer excitedly elucidates:
We experimented by making cement ourselves which was a lot of fun. I liked how it came out quite brittle, just like a styling piece that could morph into something else. A small piece broke off and it was just perfect. We had it 3D scanned, printed and it became jewellery in resin, plastic and solid stainless steel. I had no idea that you could 3D print metal. I loved the experience, I can’t wait to do more, I just think it is genius.
 
For this season’s print, I wanted to approach it in a different way. I asked Ashley Joiner, a London based visual artist, to create a film which would then be manipulated into designs. He had complete freedom to create something around his interpretation of the brand. I really enjoyed working in this way and I’ll continue this for future seasons with artists that I trust. Ashley filmed himself in all kinds of make-up, very Lady Gaga now actually, from different angles, projected it through clear plastic bags and then took stills from the other side which have ultimately been blown up. Once I saw the print, I decided upon the sizes of it and matched it with the garments and accessories that had already been designed.
Lo and hi tech treatments were used side by side throughout this collection’s playful yet purposeful process. The result is a considered collection that teases and thrills. As I thumbed the tactile treasures, I couldn’t resist snapping my own detail shots but the Willem Jaspert shot, Jason Hughes styled and Aaro Murphy designed look book captures the purposeful promise perfectly. “I’ve known Jason (Hughes) for many years so we have an easy relationship, In terms of styling, I find it extremely interesting to see how he interprets my work. So when I finish a collection it’s exciting to pass it over and see his interpretation. After his initial play, we come together for the shoot and have real fun.” Taste the fruits of their fun here:
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Look book credits: Shot by Willem Jaspert, styled by Jason Hughes designed by Aaro Murphy and modelled by Stefan Lankreijer.
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Mirroring Stefan Lankreijer’s hopeful gaze on the future above, Raimund Berthold is shifting his focus on the next collection and continuing to push BERTHOLD on. “I’m at the research stage of autumn/winter 14. I like to surprise myself, I don’t plan what I’m going to design but the signatures are already there, it’s a case of developing them. I’m actually toying with the idea of a presentation at London Collections: Men and we’re at the early stages of working out just what a BERTHOLD presentation could be.” The designer floats away in his daydreams as he begins to ponder the future.  I, for one, can’t wait to see just what he’ll create next.

Hair Do Salon – Chiba, Japan

Entering the Hair Do hair salon in Chiba, Japan, is a surprising experience. No pink or frilly fake-spa softness, nor overly stark funky or shiny hair salon set-ups, just cool balance.

In this new, two-story building, with the upper-floor interior made to look like an old loft, there’s an overall sense of light and space and breathing room – our definite favorites.

Add to that the monochromatic wood-tone paneling and unpretentious furnishings, and we have a setting with real composure.

What makes this salon even more attractive, is the two-story glass wall that gives the clients something additional to look at than just themselves, and adds natural light as one of the main design components.

Located at the Chiba monorail station, the salon also adds some visual interest to the commuters’ daily routine.

The total area of the high-volume salon is 106 square meters (1,141 sq.ft). The architect and designer of the salon is the 36 year-old Ryo Matsui whose retail, office and residential work often includes wood paneling, monochromatic interiors and rounded edges. – Tuija Seipell

Photographs: Daici Ano

 

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