Sunday Supply Co.

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

 

 

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

 

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply CompanyIn/Out: Sunday Supply Company

In/Out: Sunday Supply Company

In/Out: Sunday Supply CompanyIn/Out: Sunday Supply CompanyVintage flowers, animal prints and classic stripes, soft cotton tassels and lightly varnished beachwood handles, a very generous canopy and custom hardwares; these beach umbrellas by Sunday Supply Co. – which mark the Australian brand’s debut collection – are truly beautiful and wonderfully practical.

The five unique prints – playfully named Natural Instinct, Black Sands, Jungle Canopy, Animal Kingdom and Summer Deck – are all perfectly suited to the beach, blending in and reflecting the summery atmosphere they’ll sit in. Whether it’s the vintage floral or the tropical jungle, the stripes or loose spots, each design is done in a warm, gentle colour palette and the pattern kept simple. And while there is a definite vintage tone giving the umbrellas that lovely lived-in look, they’re also equally fresh.

The actual working of the umbrellas’ design is of course the other factor we’re drawn to. Not only pretty, these umbrellas are made to last – obviously the design of true-beach goers who know the strength of the Australian sun and that the accessories will be used and used again. Sunday Supply Co. has opted for only premium quality fabric (UPF30+) and custom designed hinge mechanisms and hardware. The pole is simple and collapsible, designed to cover all angles and be manoeuvred with ease, and each umbrella has its own carry bag for convenience. Yes, these boutique umbrellas tick both boxes; Sunday Supply Co. certainly know how to do summer.

Credits: Sunday Supply Co.

M2Malletier & ‘La Fabrica’

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

In/Out: M2Malletier's Studio

M2Malletier bags are strong. They’re characterised by geometric shapes and definite lines, bold blocks of colour and, perhaps most significantly, distinctive barlike hardware designed by Melissa Losada Bofill and Marcelea Valez. The space – and only space – in which the signature handbags are designed is even more so. M2Malletier’s studio is housed in ‘La Fabrica’, a postmodern masterpiece – a statement in futuristic design and incredible engineering crafted by Ricardo Bofill (father of Losada’s husband, Pablo), widely considered one of Europe’s seminal postmodernists.

Known as perhaps his signature architectural achievement, La Fabrica was originally a concrete factory and was renovated by Bofill in the 1970s to house his family and his international architectural practice, ‘Taller de Arquitectura’. In line with his other public works, such the Barcelona Airport’s Terminal 1 and various hotels of stunning magnitude including the Costes K in Paris, La Fabrica’s 32,000-square-foot space is dramatic, brutal and romantic, quite arresting on the whole.

As a start, it’s the copious amounts of concrete that grab your attention – an industrial material that is strong in every sense of the word. Then there are thee ceilings, reaching 30 feet in some places and creating the most generous of spaces to wander through, almost overpowering if one were to be alone in them. There are also windows inspired by ancient roman arches dotted everywhere, allowing light to stream into the rooms and land on the walls, and from the exterior punctuate the raw concrete façade. Around the building are giant spouts which once poured concrete, giving the structure its extraterrestrial feel, ivy now sprouting from the cracks that add to the surrealist tone.

The space isn’t all hard brutalist lines though. Inside, and in the corner in which M2Malletier have their studio, the building brutalist concrete lines are softened by luxurious fabrics, accessories and furniture – a white lounge sits on dusty blue carpet, there are plants and books, paintings and warm wood. The most dreamy addition though has to be the curtains, billowing ivory floor-to-ceiling sheets of fabric that give the space a mystical kind of charm against the strength of the architecture.

As a setting for the handbag studio it’s perfect too – the combination of architectural and historic references and minimalist design fitting well with the pair behind M2Malletier, Melissa Losada Bofill and Marcelea Valez, whose design aesthetic is structured and simple, calling on the past as well as looking to the future. “We were inspired for our hardware by strong, basic things as well — industrial shapes, medical instruments and medieval tools,” says Losada Bofill, “and we are also very serious about engineering and balance.” But not only is working amid Brutalist grandeur on such scale “inspiring and a bit extraterrestrial” for the pair now, but it helped inform the entire brand. ‘‘Every bag I have ever designed has been sketched at La Fabrica,’’ says Losada Bofill. ‘‘Even before we had a formal company, wandering around this place made me want to create.’’

In the end, it’s a beautiful story that goes full circle, where history and architecture, family and fashion merge, and the magical La Fabrica is the glue that holds it together.

Credits: The New York Times Style Magazine
Photography: Danilo Scarpati

Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016
In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

In/Out: Erdem Pre-Fall 2016

Welcome to Erdem Pre-Fall 2016! Midnight blues and deep greens, whimsical florals and berry reds, elegant cuts and bold ones, ruffles and velvet, it’s a collection that brings to mind fantastical worlds where flower gardens bathed in moonlight always exist.

What’s particularly fantastic about Erdem Moralioglu’s collection is that at the same time it is pretty it is also powerful. Among the dresses, skirts, jackets and tops (the Canadian designer choosing not to create trousers), there are both very structured pieces and gentle flowing ones, bold block colours as well as delicate prints, strong necklines and some with much more dainty details. And there’s often a fine merging of the two aesthetics in one piece. A full, structured skirt, for example, arresting in it’s A-line cut, is fitted at the waist and the material is dotted in pretty blue flowers and metallic sheen; or a dress made entirely of lace – the most romantic of materials – is given punch with the addition of a strong neckline punctuated by black velvet. Where there are high necks there are gentle ruffles, where there are wide arms there are beautiful layers, with dark colours come details.

In essence, it’s a feminine collection with guts, a celebration of classic beauty that appeals to the modern woman at the same time. Of course, Moralioglu turned for this collection to American painter John Singer Sergeant for inspiration, so we’d expect nothing less than a collection of clothing in which women are made stars – the striking look book making that absolutely clear.

Credits: Erdem via Vogue

Barber & Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

In/Out: Edward Barber and Jay Osgerby

Edward Barber and Jay Osgerby’s, of Barber & Osgerby work is definitively English in the way that all of Europe is gathered in London – you can see German clarity, an Italian flourish, and Danish purity in their pieces. It’s no surprise then that these talented gents met while studying at the Royal Academy of Arts, a worldly melting pot of artistic genius.

Their forms tend to be sensual and understated, begging to be touched they are invitingly ergonomic. Warm materiality with neutral colour palettes that are punctuated with rich hues in blue and red, their objects make for very compatible relationships allowing for furnishing flexibility. Take the ‘Tobi-Ishi’ table for example; perfect as a minimalist showstopper or just at home heavy with objet in a maximalist’s abode.

Although their furniture and objects read like an A-list of accomplishments they also find the time to support their other interests through ‘Map’ – industrial design and ‘Universal Design Studio’ – interior design and architecture. Humble and humorous to the core they have been noted as saying that their ‘Tab’ lamp for Flos is one of their favourite pieces due to it’s affordability, and therefore availability to the everyday people.

Credits: Barber & Osgerby

ALEX HOTEL BY ARENT&PYKE

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

IN/OUT: Alex Hotel by Arent&Pyke

Located within the cosmopolitan and developing cultural landscape of Northbridge in Perth is the Alex Hotel; a joyous collaboration between Perth-based architects Spaceagency, interior designers Arent&Pyke, and the hotel’s passionate founders.

Conceptualised as ‘Hotel as Home’, Alex Hotel is a place to find freedom, solace, intimacy and connectedness that is tailored to the individual; celebrating the stories they bring with them to the hotel. Always present is a longstanding understanding of the familiarity of ‘Alex’; a treasured old friend with a house full of wonderment who guides the guest through the hotel, welcoming them into their home. The interior design, furnishing and styling imagines the richness of that personality, with a sense of frivolity and the layering of a story.

The public spaces are bright, casual and lively, a reflection of the ethos of the Alex Hotel, representing a commitment to the daily rituals of our lives to rest, feed and nourish, in the morning and evening as its surfaces and spaces transform throughout the day. They also celebrate the act of coming together, yet the layered experience of furniture and furnishings provides us with solace if we so seek it. Seats are individually enveloping or bountifully communal. Tables are single scale to nest daintily beside us or vastly generous. The casual nature of ‘perching’ at bar surfaces brings a sense of comfort to the majority of the hotel’s guests; single travellers, while the multiple communal tables nurtures opportunities for communal interactions, recalling a familiar domestic typology and an invitation to serve one’s self, drawing guests to its vast surfaces and bountiful offering.

Entering the hotel, the foyer is unstructured yet not unclear, it’s front desk uncharacteristically turned 180 degrees to allow guests and staff to mill beside one another around a communal desk. Beside it, a black mohair velvet Swedish vintage loveseat welcomes guests, above it a large scale commissioned weaving by LA based, WA born artist Ben Barretto.

The ground floor cafe is dominated by a very large custom made shared dining table accompanied by a large communal banquette with three small lounging tables, a small coffee cart and three small café tables. Responding to the bold, almost industrial language of the architecture and the scale of the hotel’s spaces, the cafe mediates the compressed rigour of the hotel rooms and the dramatic release to generous communal spaces.

Defined in two zones, one, the mezzanine bar is wrapped on three sides by a double-height void, conceived as a single communal bar surface accompanied by an outdoor terrace and small lounge. The other, the mezzanine lounge, is conceived as a sitting space with dining and lounging accompanied by smaller outdoor terrace, and a library. Functionally responding to the requirements for a breakfast space for guests, it also transforms into a bar and casual dining space in the evening with an honesty bar system for an afternoon aperitif.

The Alex Hotel bedrooms are richly painted from floor to ceiling for an immersive experience of colour, a little room of respite; serene, yet invigorating. One single colour is rolled out across all rooms of each of the five levels of accommodation – from dusty pink, to mustard, deep navy, sage green and dirty lilac, each with a contrasting hallway colour. Rigorously planned by Spaceagency, Arent&Pyke have furnished the rooms with a bespoke plywood and quilted bedhead upholstered in Dior maestro Raf Simons’ collection of fabrics for Kvadrat. Each is modestly accompanied by a custom made black steel hanging rail, hanging mirror, a linen and leather utility bag and a plywood storage seat lovingly manufactured  by New Zealand based father/daughter duo Douglas & Bec.

The roof terrace invites guests to enjoy the sunsets over the CBD from the comforts of custom daybeds and loungers while the conference/function room offers a relaxed atmosphere, its billowing linen curtains floating softly in the breeze revealing the beauty of the sun-drenched Perth skyline.

Comprised of a layered palette of bespoke joinery pieces in birch plywood, bold marble and terrazzo responds to the rigours of the architecture, with an honest, utilitarian sense of surface. Softened by bespoke upholstery, textural and layered tonal fabrics, iconic furniture pieces and ambient lighting, with a sophisticated collection artworks from Artbank, the Alex Hotel invites all in to experience its joys.

Credits:
Interior Design: Arent&Pyke

Architecture: Spaceagency
Photography: Anson Smart

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