My approach to 'adorning myself' generally involves wearing a pair of standard pearl studs I've had for ages along with my narrow, white gold wedding band. Sometimes I even throw in a mannish stainless steel watch in lieu of a bracelet for good measure, but that's about it for me.
These days, however, I've been wanting to add something extra to my slim cache of jewelry pieces, and I think I've found the perfect addition in Repossi's BERBÈRE rings.
I usually go for silver, platinum or the aforementioned white gold when it comes to precious metals, but these rose and black-toned pieces carry a distinctive flair without being too showy. And the bendable feature that allows it to be worn along the entire finger like a miniature cuff is pretty neat, too.
There's even a limited edition piece, set with turquoise stones that could work well for the summer as an unexpected accent to a clean and muted ensemble.
I'm thinking one ring for the right index finger should work just fine...
NB Images Courtesy Repossi
Call me a hypocrite, but although I love a good leather bag as much as the next person, I just can't do the exotic skins.
Something about the 'exotic' bit seems to get under my own layers; an argument of sorts can be made for the fair use of leather taken from humanely raised, grass fed cows used for organic beef.
But since the average person doesn't go around pickling snakes, ostriches and stingrays for lunch, I'm hard pressed for a way to justify using their skins for luxury purses, if you get my drift.
At any rate, labels like the Stockholm-based Little Liffner makes this whole conundrum a non-issue by using stamped skins in lieu of the exotic bits, as with these Italian-made 'power pouches' crafted in a highly polished, crocodile embossed leather.
The fact that the black pouch is already sold out should indicate just how desirable these pieces are. As for the cognac version? I can see those easily standing next to any croc piece on the shelves without looking like sad substitute.
Besides, where else can you get a luxe 'crocodile' pouch for around $450.00 USD these days?
NB Images Courtesy Little Liffner
To me, riding a motorcycle is essentially akin to straddling a moving, souped-up engine with a handlebar and hoping not to die.
Simply put - they scare me stupid.
Whenever I'm on the interstate and I drive pass a leather clad motorcyclist gunning it alongside those delivery trucks, I feel the need to stop and say a quick chaplet for the rider's safety.
Semi-irrational fears aside, even I can't help but admit to the classic perfection of a considered motorbike.
My dreams of a thoroughly understated & effortless life would be complete with a Vespa to ride (perfect for the very casual motorists like myself.) But if I were to step it up to something more road gang-ready, I'd go for the 1980s BMW R80G/S, top image, as featured today on Mr. Porter's Journal. It's got that slightly rough, dirt-bike finish that will surely gain approving nods from any motorbike aficionado you happen to cruise by, but it's nowhere as intimidating as a Ducati.
Of course, the motoring look must be completed with a proper ensemble comprised of a durable pair of Frye boots, grey-black skinny jeans, and a beaten-up, camel coloured leather jacket for protection from the elements.
And to finish it off?
The hardiest, safest helmet that money can buy. Because you never know if you'll need it.
NB Image Courtesy Mr Porter.
Let me make this clear: I'm not really a champion of Hedi Slimane's rebranding of the beloved YSL label. Nor am I a fan of the dishevelled underground-grunge look that's now associated with the storied Parisian house; perhaps I'm not cool enough to get the new vibe...
But one must give Jack his jacket. For all Slimane's posturing and blatant attempts to assert his directionally opposite reign at what is now known as Saint Laurent, when it comes to creating accessories he has ironically stayed true to the Master's dark, sleek approach.
Which is a good thing, considering that a YSL accessory from seasons gone by offered a covetable, edgy finish that was always city-ready. So with all the changes, it's nice to know that Slimane's take has indeed retained some sliver of the label's original aesthetic.
This realization comes at a perfect time, now that I've been looking for a proper tote to get in lieu of the ubiquitous, but still beloved Celine Cabas. I've been searching for something with the same understated finish and angular shape as the Cabas, but without the easily identifiable finish, and this reversible Saint Laurent tote will more than do the job.
Don't you agree?
NB Image Courtesy Barneys
Recently I watched Eames: The Architect and The Painter, which featured a bit on the production challenges faced by Eero Saarinen and Charles Eames in the creation of their first all-plywood, single-piece lounge chair.
Apparently the duo approached the project with aesthetics first and function last, which lead to problems with the chair being difficult, if not impossible to manufacture. Apparently the sheet of plywood cracked in the most conspicuous places when bent during production.
Knowing how commonplace molded plywood and single-sheet chairs a la the Eames RAR style were to become post the 1950s, I found it quite interesting to learn how the duo struggled with the manipulation of a design that seemed so simple and easy to create from a layman's perspective.
Which led me to think about the Swan, another example of a landmark molded chair that has been replicated extensively since its creation in 1958. Perhaps Arne Jacobsen learnt a thing or two from Eames' design failures; he chose to craft his shell with a resilient steel frame instead.
And now, looking at Lars Tornøe's iteration of the Jacobsen chair in their Bone Series, I get the same feeling. That, no matter how basic the swanlike design may seem, some measure of manufacturing trickery and manipulation was probably employed to create that seamless, elegant shell.
Designed by Steinar Hindenes, Atle Tveit and Lars Tornøe, it's the kind of piece that does homage to the classics without being yet another blatant appropriation...
NB Images courtesy Lars Tornøe