Last Saturday we helped the NYPL Cubs Program celebrate Valentines with a Kid Made Modern workshop.
See more here!
Monday, February 15, 2010
CUB MADE MODERN!
Last Saturday we helped the NYPL Cubs Program celebrate Valentines with a Kid Made Modern workshop.
See more here!
Thursday, December 10, 2009
OLD NAVY BLUES
I am often asked what is going on with my former position at Old Navy. Writer Susan Berfield from Business Week spent over 3 months researching the whole unfortunate affair, speaking to dozens of Old Navy employees and market analysts. I think this very well researched and most accurate Business Week article shows what is going on very clearly and can explain it more easily than I can. —Todd
November 25, 2009, 5:00PM EST
Old Navy May Still Be at Sea
Inside Old Navy's foray into fashion, its bruising strategy switch, and its very public breakup with designer Todd Oldham
By Susan Berfield
Two years ago, Old Navy decided to try to recreate itself with a strategy that has become almost routine in modern retailing: hire a celebrity designer to confer new prominence on an uninspired brand. In September 2007, the giant apparel chain announced that Todd Oldham, who had already worked with Target, would be Old Navy's design creative director and develop a collection under his own name.
At first Oldham seemed like just the kind of designer to give Old Navy an edge. He's quirky and fun, he likes bold, bright colors, and he has an all-American sensibility. Which is how most people would have described Old Navy at its most successful. But before Oldham was halfway through his three-year contract, the partnership came apart at the seams, as it were, and eventually he was fired. (He and the company have countersued one another over the breach, and a federal judge in Manhattan may soon decide if the case will go to trial.)
What happened? Gap, which owns Old Navy, won't talk about it. But people who were there at the time say internal disagreements, management turmoil, and tanking sales prompted the company to ditch its designer strategy for a back-to-basics one that was easier to execute in hard times.
The question now is whether Old Navy did the right thing. It is true that in recent months store sales have improved. On Nov. 19 the company announced that autumn sales had increased by 10% from the previous year, the first time the business has grown since the spring of 2004. But some industry watchers are dubious the back-to-basics strategy will work as well once the economy revives. "Old Navy lacks an identity now," says Robert Burke, founder of his own retail consultancy. "A retailer needs buzz. Saying you're basic puts people to sleep. Even if a retailer says it's affordable, it has to be interesting."
NO DESIGN HERE, THANKS
Since its founding in 1994 as a cheaper, more exuberant version of the Gap, Old Navy has been essentially a volume business. The retailer has some 1,000 stores that encompass almost 20 million square feet. Last year sales were $5.7 billion.
In a business like this, creativity is always tempered by pragmatism. Original design is not encouraged. Quite the contrary. Old Navy's designers practiced what they called competitive shopping: buying pieces from stores such as Neiman Marcus or Abercrombie & Fitch to show the season's trends. The company's all-powerful merchants—the more market-oriented executives—would look at the merchandise and decide what to adapt for Old Navy.
For a while, the strategy worked amazingly well. Old Navy made shopping on a budget fun for the first time: Its clothes were easy to wear without being utilitarian; its stores looked like old industrial lofts and sometimes featured DJs; its ads were campy. Five years after the first store opened, Old Navy's sales exceeded a billion dollars. But by the early part of this decade, other retailers developed their own approaches to cheap chic. The Swedish company H&M introduced its edgy clothes to America. Target brought in a new design aesthetic. Old Navy didn't change. Its clothes started to seem uninspired, its stores outdated. That could only last so long.
In late 2006 Dawn Robertson, an ambitious and forthright executive who had come up through the ranks at Federated Department Stores, joined Old Navy as president. She modernized the company, speeding up the time it took for clothes to go from drawing board to rack. The retailer was finally going to join the world of fast fashion. Robertson also decided to abandon Old Navy's focus on price-conscious moms, a group every other mass retailer was chasing. Instead, Old Navy would make clothes for young, fashion-conscious women.
To make that work, Old Navy needed to shake up its designers. Many other companies had already been there, collaborating with big names in fashion. Sometimes such tie-ups turned out to be nothing more than a lark. (Did you see Madonna's collection for H&M?) But others, such as Target's arrangement with Isaac Mizrahi, worked wonderfully. Robertson put out the word that she was looking to appeal to a younger, hipper crowd, and in the summer of 2007, Oldham visited the San Francisco headquarters to discuss a possible partnership.
Over the course of his career, Oldham, now 48, had moved from designing women's couture to creating dorm-room accessories for Target, designing furniture for La-Z-Boy, and hosting a show on Bravo. He was eager to try fast fashion and was reassured by how serious Gap was about bringing a new sensibility to Old Navy. "I was asked to join a company whose focus was to clothe 25-year-olds in smart, chic, fashionable ideas for a great price," Oldham says.
Although harnessing the power of a celebrity designer was by then common, few retailers had tried it the way Old Navy set out to. Usually designers put together a line of their own or create a one-time collection to get people talking. Either way, they are fairly isolated from the everyday workings of the company. Oldham, however, who traveled back and forth between New York and San Francisco, was supposed to inspire and motivate the designers in any way he saw fit. The idea of a well-known fashion figure hovering over the entire creative process at a retailer the size of Old Navy was an altogether different undertaking, one that would require finesse and tenacity.
Changing Old Navy's attitude toward design was going to be a challenge, especially for someone working part-time and without any direct authority or reliable means of persuasion. To spark designers' imaginations, Oldham created a library of fashion monographs, old magazines, and catalogs that reflected his aesthetic: bold, colorful, retro. He showed a marching band uniform, a varsity sweater; he combined a Fifties prom skirt with a ski sweater from the Seventies. "My ideas weren't supposed to go into the stores," Oldham says. "What inspires a designer might horrify a merchant. My goal was to inspire the designers to create something appropriate for the merchants."
But it quickly became clear that some of Old Navy's more literal-minded merchants were skeptical that the designers could interpret Oldham's ideas. "Right from the beginning, I sensed that Todd wasn't the right fit," says David Fox, who returned to Old Navy in November 2007 after a three-year absence specifically to work with Oldham. "As much as the company may want to be creatively driven, it hasn't ever been. It wasn't then. It isn't now. In order to be successful there, you have to understand that."
As 2008 began, the recession was taking hold, and Old Navy's sales during the holiday season had been discouraging. By then Gap had a new CEO, Glenn K. Murphy, who had previously run Canada's largest chain of drugstores. Insiders say the more aspirational strategy Murphy had inherited went against his instincts and that he felt the necessary cultural shift would be too hard to pull off. Murphy decided to make some changes.
In February, after 16 months as Old Navy president, Robertson announced her departure. Many were shocked. "[The leadership] bought into Dawn's premise from Day One," says Sheryl Clark, who has since left as the merchandising chief. "I sat in the board meetings. We looked them in the eyes and told them who we were going after. Someone else might have made adjustments. We didn't evolve it, we tossed it. It was a fast death."
Robertson was replaced by Tom Wyatt, genial and soft-spoken, who in his two years at Gap had been president of GapBody and the outlet division. He took the position at Old Navy on an interim basis with orders to rethink who the customer should be. It turned out to be "Jenny," a 25- to 35-year-old recession-weary mom who shops for her family first, then herself. Most people quickly readjusted. In March 2008 sales had plunged a shocking 27% from the previous year. The disaster seemed to justify a change in strategy.
Old Navy's experiment with fast fashion was over, and Oldham found himself without a powerful advocate at a time of great flux. Some key executives began to openly dismiss his ideas as too retro, or too expensive, or too eccentric. One detractor, say several who were there, was Michael Ingram Jones, a self-assured and well-regarded executive who led the women's design team. "Todd never lost his passion, but he became less relevant," says Fox, who also is no longer with the company. "There were two visionaries in conflict." (Ingram Jones declined to comment.)
That spring, as Bear Stearns collapsed, anxiety grew, and Old Navy's sales remained dismal, Oldham began to press Wyatt about the launch of his own line. His contract required Old Navy to come to terms about a licensing agreement by October 2008. That didn't happen, and on Feb. 18, Oldham sued Old Navy for not keeping its promise. The retailer fired Oldham two days later by e-mail. The two sides remain at legal loggerheads, though a settlement is not impossible.
In October, Wyatt, by then officially Old Navy's president, told analysts that identifying Jenny "helped us calm and really focus the team." The question is how long the strategy can sustain the retailer. Old Navy may have returned to where it is most comfortable, but that's exactly where it got into trouble before. When the economy improves, the company may find that all it has to talk about is price. Christine Chen, a retail analyst at Needham, says she generally supports the company's direction. But she adds: "Old Navy could have given the [Oldham] collaboration a little more time. A major overhaul like that takes time for customers to figure out." Old Navy may still come to regret its midcourse correction.
Berfield is an associate editor at BusinessWeek
See reader's comments, or make your own at BusinessWeek.com
November 25, 2009, 5:00PM ESTOld Navy May Still Be at Sea
Inside Old Navy's foray into fashion, its bruising strategy switch, and its very public breakup with designer Todd Oldham
By Susan Berfield
Two years ago, Old Navy decided to try to recreate itself with a strategy that has become almost routine in modern retailing: hire a celebrity designer to confer new prominence on an uninspired brand. In September 2007, the giant apparel chain announced that Todd Oldham, who had already worked with Target, would be Old Navy's design creative director and develop a collection under his own name.
At first Oldham seemed like just the kind of designer to give Old Navy an edge. He's quirky and fun, he likes bold, bright colors, and he has an all-American sensibility. Which is how most people would have described Old Navy at its most successful. But before Oldham was halfway through his three-year contract, the partnership came apart at the seams, as it were, and eventually he was fired. (He and the company have countersued one another over the breach, and a federal judge in Manhattan may soon decide if the case will go to trial.)
What happened? Gap, which owns Old Navy, won't talk about it. But people who were there at the time say internal disagreements, management turmoil, and tanking sales prompted the company to ditch its designer strategy for a back-to-basics one that was easier to execute in hard times.
The question now is whether Old Navy did the right thing. It is true that in recent months store sales have improved. On Nov. 19 the company announced that autumn sales had increased by 10% from the previous year, the first time the business has grown since the spring of 2004. But some industry watchers are dubious the back-to-basics strategy will work as well once the economy revives. "Old Navy lacks an identity now," says Robert Burke, founder of his own retail consultancy. "A retailer needs buzz. Saying you're basic puts people to sleep. Even if a retailer says it's affordable, it has to be interesting."
NO DESIGN HERE, THANKS
Since its founding in 1994 as a cheaper, more exuberant version of the Gap, Old Navy has been essentially a volume business. The retailer has some 1,000 stores that encompass almost 20 million square feet. Last year sales were $5.7 billion.
In a business like this, creativity is always tempered by pragmatism. Original design is not encouraged. Quite the contrary. Old Navy's designers practiced what they called competitive shopping: buying pieces from stores such as Neiman Marcus or Abercrombie & Fitch to show the season's trends. The company's all-powerful merchants—the more market-oriented executives—would look at the merchandise and decide what to adapt for Old Navy.
For a while, the strategy worked amazingly well. Old Navy made shopping on a budget fun for the first time: Its clothes were easy to wear without being utilitarian; its stores looked like old industrial lofts and sometimes featured DJs; its ads were campy. Five years after the first store opened, Old Navy's sales exceeded a billion dollars. But by the early part of this decade, other retailers developed their own approaches to cheap chic. The Swedish company H&M introduced its edgy clothes to America. Target brought in a new design aesthetic. Old Navy didn't change. Its clothes started to seem uninspired, its stores outdated. That could only last so long.
In late 2006 Dawn Robertson, an ambitious and forthright executive who had come up through the ranks at Federated Department Stores, joined Old Navy as president. She modernized the company, speeding up the time it took for clothes to go from drawing board to rack. The retailer was finally going to join the world of fast fashion. Robertson also decided to abandon Old Navy's focus on price-conscious moms, a group every other mass retailer was chasing. Instead, Old Navy would make clothes for young, fashion-conscious women.
To make that work, Old Navy needed to shake up its designers. Many other companies had already been there, collaborating with big names in fashion. Sometimes such tie-ups turned out to be nothing more than a lark. (Did you see Madonna's collection for H&M?) But others, such as Target's arrangement with Isaac Mizrahi, worked wonderfully. Robertson put out the word that she was looking to appeal to a younger, hipper crowd, and in the summer of 2007, Oldham visited the San Francisco headquarters to discuss a possible partnership.
Over the course of his career, Oldham, now 48, had moved from designing women's couture to creating dorm-room accessories for Target, designing furniture for La-Z-Boy, and hosting a show on Bravo. He was eager to try fast fashion and was reassured by how serious Gap was about bringing a new sensibility to Old Navy. "I was asked to join a company whose focus was to clothe 25-year-olds in smart, chic, fashionable ideas for a great price," Oldham says.
Although harnessing the power of a celebrity designer was by then common, few retailers had tried it the way Old Navy set out to. Usually designers put together a line of their own or create a one-time collection to get people talking. Either way, they are fairly isolated from the everyday workings of the company. Oldham, however, who traveled back and forth between New York and San Francisco, was supposed to inspire and motivate the designers in any way he saw fit. The idea of a well-known fashion figure hovering over the entire creative process at a retailer the size of Old Navy was an altogether different undertaking, one that would require finesse and tenacity.
Changing Old Navy's attitude toward design was going to be a challenge, especially for someone working part-time and without any direct authority or reliable means of persuasion. To spark designers' imaginations, Oldham created a library of fashion monographs, old magazines, and catalogs that reflected his aesthetic: bold, colorful, retro. He showed a marching band uniform, a varsity sweater; he combined a Fifties prom skirt with a ski sweater from the Seventies. "My ideas weren't supposed to go into the stores," Oldham says. "What inspires a designer might horrify a merchant. My goal was to inspire the designers to create something appropriate for the merchants."
But it quickly became clear that some of Old Navy's more literal-minded merchants were skeptical that the designers could interpret Oldham's ideas. "Right from the beginning, I sensed that Todd wasn't the right fit," says David Fox, who returned to Old Navy in November 2007 after a three-year absence specifically to work with Oldham. "As much as the company may want to be creatively driven, it hasn't ever been. It wasn't then. It isn't now. In order to be successful there, you have to understand that."
As 2008 began, the recession was taking hold, and Old Navy's sales during the holiday season had been discouraging. By then Gap had a new CEO, Glenn K. Murphy, who had previously run Canada's largest chain of drugstores. Insiders say the more aspirational strategy Murphy had inherited went against his instincts and that he felt the necessary cultural shift would be too hard to pull off. Murphy decided to make some changes.
In February, after 16 months as Old Navy president, Robertson announced her departure. Many were shocked. "[The leadership] bought into Dawn's premise from Day One," says Sheryl Clark, who has since left as the merchandising chief. "I sat in the board meetings. We looked them in the eyes and told them who we were going after. Someone else might have made adjustments. We didn't evolve it, we tossed it. It was a fast death."
Robertson was replaced by Tom Wyatt, genial and soft-spoken, who in his two years at Gap had been president of GapBody and the outlet division. He took the position at Old Navy on an interim basis with orders to rethink who the customer should be. It turned out to be "Jenny," a 25- to 35-year-old recession-weary mom who shops for her family first, then herself. Most people quickly readjusted. In March 2008 sales had plunged a shocking 27% from the previous year. The disaster seemed to justify a change in strategy.
Old Navy's experiment with fast fashion was over, and Oldham found himself without a powerful advocate at a time of great flux. Some key executives began to openly dismiss his ideas as too retro, or too expensive, or too eccentric. One detractor, say several who were there, was Michael Ingram Jones, a self-assured and well-regarded executive who led the women's design team. "Todd never lost his passion, but he became less relevant," says Fox, who also is no longer with the company. "There were two visionaries in conflict." (Ingram Jones declined to comment.)
That spring, as Bear Stearns collapsed, anxiety grew, and Old Navy's sales remained dismal, Oldham began to press Wyatt about the launch of his own line. His contract required Old Navy to come to terms about a licensing agreement by October 2008. That didn't happen, and on Feb. 18, Oldham sued Old Navy for not keeping its promise. The retailer fired Oldham two days later by e-mail. The two sides remain at legal loggerheads, though a settlement is not impossible.
In October, Wyatt, by then officially Old Navy's president, told analysts that identifying Jenny "helped us calm and really focus the team." The question is how long the strategy can sustain the retailer. Old Navy may have returned to where it is most comfortable, but that's exactly where it got into trouble before. When the economy improves, the company may find that all it has to talk about is price. Christine Chen, a retail analyst at Needham, says she generally supports the company's direction. But she adds: "Old Navy could have given the [Oldham] collaboration a little more time. A major overhaul like that takes time for customers to figure out." Old Navy may still come to regret its midcourse correction.
Berfield is an associate editor at BusinessWeek
See reader's comments, or make your own at BusinessWeek.com
ART BASEL 2009
I had the great pleasure of being asked this year to curate the program for the Wolfsonian Museum in South Beach during the mind bending art-apalooza that is Art Basel. Every December collectors, artists, curators and galleries descend on Miami Beach for 5 days of art, exploration and excess. This year attendance seemed a little lower, but with the current economic hiccups this is no surprise. There are many separate art fairs that pop up ranging from the extravagant museum sale vibe of the main Art Basel fair held in the Miami convention center, to the charming, challenging and peculiar presentations at fairs like NADA, SCOPE and PULSE. There is no quicker way to get an overview of the world of new ideas in art than a visit to Art Basel Miami Beach.
I have been a long time fan of the Wolfsonian. They are a very unique presence in the museum world. The Wolfsonian’s main focus are acquisitions of extraordinary objects and paintings mostly from the 1800s to 1945 with occasional spectacular exceptions. I spent several days reviewing the archives and storage vaults of the Wolfsonian early in the summer to ultimately choose the objects to be included in my curatorial efforts highlighting the permanent collection. To describe this as a feast of riches so understates the experience and I will never forget seeing so many design marvels at one place. At the same time I was pulling together my edit I wanted to include alternative points of view on the collection. I asked artists Brock Shorno, Wayne White, and Megan Whitmarsh to join the celebration with the task of commenting on the collection in whatever way was interesting to them.
Wayne White—a remarkable painter, sculptor and wordsmith—created 11 banners and flags that clad the exterior of the 1930s building. Using the 4 existing flag poles that flank the front doors, Wayne’s observations were clear. Starting on pole 1—ONCE AN OBJECT, on 2—SHUNNED BY SCHOLARS, on pole 3—NOW IT’S WORTH, on pole 4—A LOTTA DOLLARS. The largest of the banners, clocking in at over 90 feet long and probably visible from airplanes, displayed the challenging thought, BEAUTY IS EMBARRASING, a sentiment that caused debate in its Florida viewers.Brock Shorno traveled to the Wolfsonian earlier in the year to shoot a series of 8 short films reacting and interaction with objects from the museum. I love Brock’s video works, his point of view is crazy smart, clever and reverent. The collection of films called NEW MEN AND UNUSUALS was made specifically for the museum and is now in its permanent collection. THE KNIFE featured a ticklish recreation of a very scary German army knife with dozens of blades and contraptions using everyday objects like forks pliers, sharpies and lots of scotch tape. THE COACH, one of the most overtly funny pieces, sees Brock referring a sporting event that is taking place on a Victorian rolling scroll children’s theater. The piece cuts between coach Brock in his trademark “T-SHORTS,” a t-shirt worn as pants, the shirts hem knotted at the waist, blowing his whistle and calling all sorts of penalties on the ruckus athletes as they rolled by. The elegant black cutouts of the athletes at play made me recall Kara Walker’s haunting black paper forms.
Megan Whitmarsh, a wildly unique hot house flower, paid homage to the museum by replicating certain pieces of the beloved permanent collection that have been on display for years with her sweetly subversive soft sculptures highlighted with embroidery and drawing. All throughout the 5th floor permanent collection Megan’s works was inserted in most of the vitrines challenging the viewer to make new connections. The embroidered Starbucks cup nestled in the vitrine filled with remarkable coffee pots from the early 1900s looked strangely at home while the soft sculpture lipstick and powder compact, situated with a women’s 1930s handbag (featuring a special compartment for a gas mask) reads positively sinister once you realize what you are looking at. On the sidewalk, just to the right of the museums doors sits a spectacular art deco marvel called the Bridge Tender House that functioned as a toll booth in Pennsylvania in the 1930s. With its hexagonal walls and glass windows it always reminded me of the worlds fanciest trashcan set out on the curb for pick up. This made it a really perfect place to install Megan’s epic TRASH MOUNTAIN. The huge installation, that took 2 years to make, is an embroidered soft sculpture extravaganza of humbled appliances and painstakingly reproduced “trash” like bic pins, old records and panty liners. I spent so much time ogling this piece and I still feel I didn’t get to see it all. I watched many passer-bys on the sidewalk stop dead in their tracks and get sucked in as I did.
The Wolfsonian was so amazing to work with and I am grateful and frankly amazed that they allowed us to interface with the collection as we did. I want to thank Cathy Leff, and her spectacular team at the Wolfsonian for a wonderful experience throughout. To be in the presence of so many diverse people whose goal is to protect and share the world’s most exceptional objects is deeply inspirational. I also want to thank Brock Shorno, Wayne White and Megan Whitmarsh for the pleasure of having a front row seat to their shiny creativity and passion.
A special thanks goes out the brilliant LESLIE HALL AND THE LYS who performed opening night. No one that saw her will ever forget that performance. Check out Leslie’s genius music videos, her music on itunes and keep an eye out for her new record out in the spring. And if you find yourself in Miami Beach, Florida definitely make sure to visit the Wolfsonian!Cheers, Todd
PS — as a Fundraiser for the museum, Brock Shorno, Megan Whitmarsh, Wayne White and I designed welcome mats exclusively for the museum. They are limited editions of 50 each and all signed and numbered by the artist. $250.00 each at the Dynamo shop.
Tuesday, June 30, 2009
YAY! SITE SANTA FE
Todd had a blast as the Honorary Chairman for SITE Santa Fe's Summer Benefit & Auction this year. Jenny Holzer was the Artist Honoree and Marlene Nathan Meyerson was a truly honored guest. Above are a few pics taken by Annie Elliott whom helped Todd install and produce the design of the event. Check out the bossy color blog for more info!
Wednesday, June 3, 2009
ANIMAL SPIRIT
Todd has really been summonsing the animal spirits lately. First, he inspired OTIS Fashion Design students to create a rip-roaring show for their annual benefit; and soon after, we presented the new Todd Oldham Designs Durkan collection - Animal Attractions - at the HD Expo 2009. Get wild and check it out!
Thursday, May 28, 2009
JENNY HOLZER: PROTECT PROTECT
PROTECT PROTECT is the name of Jenny Holzer's most recent exhibition at The Whitney Museum of American Art. The show centers on Holzer's work since the 1990s and is the artist's most comprehensive exhibition in the United States in more than fifteen years.
Uh, and it's closing this weekend - don't miss it!!
Tuesday, May 26, 2009
WAYNE WEEK ! ! !
It's really exciting around here this week! The Wayne White book is here! Mister White has a solo show opening on Thursday at Mireille Mosler! And we want YOU to celebrate with us! Please come by the gallery or check out Todd and Wayne signing books at the Book Expo on Friday @ 1:30pm at the Javits Center!
Tuesday, May 12, 2009
AMY BROWNE @ THE CURIOSITY SHOPPE
Amy is a San Francisco-based artist who has been making amazing collages for the past 15 years. Her work is near impossible to find on the interwebs and too exquisite to be missed, so please head over to The Curiosity Shoppe gallery on Friday May 29th, from 6-8pm if you're in the area!
Tuesday, March 31, 2009
WALLPAPER PROJECTS
Our extraordinary friends Lauren + Derek over at the Curiosity Shoppe have done it again, folks! This time they've stitched together a gorgeously styled, easy-to-follow, and endlessly inventive book on more than 50 ways to roll out design's comeback kid - wallpaper. "Wallpaper Projects" shows us how the bold medium can be seamlessly integrated into our homes, while still making a cause for applause. Be it gift tags, accordion window shades, or faux headboards, wallpaper is officially a must-have.
Available April 8. Pre-order here!
PS - If you're in north Brooklyn over the next few weeks, please keep your eyes peeled for wallpaper art installed on the streets of Greenpoint & Williamsburg by artist Dan Funderburgh. By affecting this unnatural environment, Dan aims to restore a sense of ownership and habitat over the neglected flat surfaces of the place he calls 'home.'
Monday, March 30, 2009
QUEENS RULES
Queens International 4
January 24 – April 26, 2009
Queens International 4 is an incredible show currently on view at the Queens Museum of Art featuring the artistic achievements of the NYC borough of Queens. The exhibition includes contemporary works from 42 artists, collaborations and collectives from 18 countries working in a broad range of traditional and unorthodox media. Among the stellar list of Queens artists is our friend Ryan Humphrey, whom pulled off an ambitious project fully utilizing the huge space that is the QMA galleries with an installation of BMX ramps, paintings, sculpture and a 10' x 120' custom carpet backdrop provided by Durkan. On opening night Ryan honored one of his longtime heros, Dizz Hicks, of BMX freestyling fame ! ! ! More here.
We are huge fans of Ryan, QMA and Durkan for making this happen. Check it out if you can!
Monday, March 16, 2009
WASTE NOT, WE STILL WANT
Todd brought this beautiful book into the studio by photographer Jake Chessum . The book is called Rubbish and is just that - photos of trash from all over the world. In NYC its difficult NOT to notice the garbage, so seeing it anew is more than welcomed. Thanks for the tip Michele!
See what I mean? Here's some rubbish we could not POSSIBLY ignore in our old hood. Photos by Tony Longoria.
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