27 posts tagged "Charlotte Ronson"
Balmain’s been an editor’s favorite for a few seasons now but it appears that it’s winning over designers as well. Just two days into the New York shows, and the one-sleeve wonder is the toast of the town. Yigal Azrouël showed a modern take on what Alexis Carrington might have slipped into for a primetime catfight; Cushnie et Ochs crop-top evoked an Aladdin Sane-era Bowie; and Charlotte Ronson’s knit version looks almost snuggly. Everyone has a better side for red-carpet photo ops, but these looks beg the question: Do you have a better arm? Now let’s pause a moment to reflect on another one-sleeve creation, vaguely familiar, that went down in the Oscar Dress Hall of Shame—Kim Basinger’s self-designed dress that she wore to the 1990 awards show. Ripped to shreds by critics at the time, maybe enough years have passed that it deserves a second look. Perhaps she was truly forward-thinking.
You can’t keep (the price of) a good bag down. At last night’s Hunting Season trunk show at Edon Manor, designers Danielle Corona, a Valentino alum, and her partner Jason Salstein, a former VBH-er, proved just that. Hunting Season specializes in bags so instantly classic it seems churlish to interrogate the designers about prices. (The ones pictured here range from $1530 for the weekender to $1995 for the python fan clutch, if you’re being a stickler about such pedestrian matters.) After all, has any precious fashion heirloom ever come cheap? Nevertheless, as trunk show attendees including Charlotte Ronson, Victoria Traina, Bonnie Morrison, Ferebee Bishop Taube, and budding stylist Sean Avery browsed Hunting Season’s Spring 2009 wares, Corona and Salstein took a cheerful swat at the (inevitable) recession questions. “We are getting more requests from stores for leather, as opposed to alligator or python,” admitted Salstein. “But on the other hand, the alligator and the other special skins are what they like to show off, and it sells. I mean, I guess that customer is still there.” Salstein pointed out that the Hunting Season bags are multitaskers. “That compact got pulled for a celebrity recently,” he said, “and she—I won’t say who—was saying it would make for a pretty good weapon, too.” Hunting season, indeed.
You may not know the name Rafael de Cárdenas, but if you’ve visited Miami lately, chances are you’ve seen his handiwork. (Or if you’re model-obsessed and pored over the gorgeous spreads of Jessica Stam’s apartment in the October issue of Elle Decor.) De Cárdenas is the architect behind new exhibition space O.H.W.O.W. (short for Our House West of Wynwood). Conceived by Aaron Bondaroff and Miami collector Al Moran, O.H.W.O.W. put itself on the Miami Art Basel flock’s map of must-sees when it played host to It Ain’t Fair, a group show staged by Bondaroff in conjunction with Deitch Projects’ Kathy Grayson and Nicola Vassell, Javier Peres, Terence Koh, and a handful of other art world nabobs. But even Miami locals who wouldn’t know a Dearraindrop from a Dash Snow have taken note of O.H.W.O.W., thanks to the Op Art-inspired design de Cárdenas dreamed up for the venue (interior pictured here). “Cabbies have started calling it ‘The Black and White Building,’ ” de Cárdenas remarks. “It’s funny that they’ve already come up with a nickname.” Instant landmark aside, de Cárdenas made his reputation on intimate spaces—his firm, Architecture at Large, was responsible for the interior of Charlotte Ronson’s Nolita boutique and Waverly-esque West Village restaurant Charles, for example, and helmed the renovations of Jessica Stam’s Manhattan and East Hampton abodes. Here, de Cárdenas talks to Style.com about model homes (pun intended), Our House West of Wynwood, and why style is overrated when it comes to design.
How did you get involved with O.H.W.O.W.?
I grew up in New York, and Aaron Bondaroff and I have been friends for a long time. We’ve collaborated quite a bit. I designed his Wreck Center pop-up last year, for instance, so it was kind of natural that I work on O.H.W.O.W., too.
On the one hand, that seems like kind of a dream project—a huge space, an open-minded client, and a building that was, in essence, a blank slate. But on the other hand, it must be hard to know where to start on a project with so few built-in constraints. Was that a challenge?
When you’ve been designing for a while, you come to each new project with a bag of tricks. There are ideas you like, that you know tend to work for you. O.H.W.O.W. was kind of like a playground. I got to take my favorite ideas out for a run—like, the whole black and white motif, for example. I love that contrast. But in a way, my approach to design operates as its own control. I’m very invested in the way spaces are experienced. So that leads to things like the pattern on the O.H.W.O.W. floors suggesting pathways through the galleries.