Five Central Saint Martins fashion design graduates to watch from London Fashion Week

With London Fashion Week well under way, Dezeen’s design reporter Alice Morby reflects on some of the best talents at last week’s Central Saint Martins MA Fashion show.

This year, 16 students were chosen by course leader Fabio Piras – Louise Wilson’s successor – to present their collections to an audience at the British Fashion Council show space.

Before the show, a minute’s silence was held for fashion designer – and Central Saint Martins alumni – Richard Nicoll, who died suddenly last year aged 39.

The prestigious Professionnel Creative Award, awarded each year by show sponsor L’Oréal, was shared between two students, Gabriele Skucas and Stefan Cooke.

Read on for our picks of the best collections from the show.


Stefan Cooke

Print student Stefan Cooke stole the show with his striking menswear collection, which was made up of woven pieces of digitally printed elastic.

“Whilst making this collection my focus was to find something contemporary in the almost monotonous pieces of the wardrobe,” he told Dezeen. “I wanted to focus on technique, material and application by taking each piece out of its context. I wanted the collection to be new but very familiar.”


Gabriele Skulka

Skulka, a knitwear student, presented the most pared-back collection at the show.

Models wore demure ensembles made up of pleated mid-length skirts, cream blouses and black cardigans.


Joshua Walters

Leicester-born menswear designer Joshua Walters, whose label 3Mån is already stocked at London’s Dover Street Market, presented a collection of genderless garments. Each look was composed of a single colour or fabric, with detailing including enlarged zips, buttons and pockets.

“The collection seeks to subvert modern ideals of beauty by proposing a new relaxed, purposeful and gender-neutral silhouette,” Walters told Dezeen. “The collection attempts to become a new clothing archetype.”


Robert Sanders

Sanders also questioned ideas surrounding gender for his menswear collection, which he made from recycled fabric layered up to create tunics, shorts and skirts.

Bleached-out denim was paired with heavy canvases, beige-coloured cotton and string vests. Models wore simple brown Chelsea boots and baseball caps with ruffled peaks.


Markus Wernitznig

Austria-born Wernitznig designed one of the show’s most colourful collections, basing his womenswear garments on the 1964 film L’Enfer by Henri-Georges Clouzot – which was never completed.

He mused on Clouzot’s experimental filmmaking methods throughout the collection, combining colourful plastic garments with chiffon and shearling showpieces.

The post Five Central Saint Martins fashion design graduates to watch from London Fashion Week appeared first on Dezeen.

David Adjaye’s African American Museum photographed by Brad Feinknopf

These new images by photographer Brad Feinknopf offer a tour through David Adjaye‘s Smithsonian National Museum of African American History and Culture, which opened last fall in Washington DC.

The museum – often referred to as NMAAHC – was designed by British architect David Adjaye in collaboration with US firms The Freelon Group, Davis Brody Bond and SmithGroupJJR, while exhibitions were designed by Ralph Applebaum Associates.

Encompassing 313,000 square feet (29,000 square metres), the building was constructed on the last remaining parcel on the National Mall, which contains a number of significant museums and memorials.

The building features a three-tiered exterior inspired by the Yoruban caryatid, a traditional West African carved figure with a crown. An example is on view within the museum.

Glazed facades are covered with latticework comprising 3,600 cast-aluminium panels. The screen’s patterning references the historical patterns created by African-American ironworkers in the South.

The brise-soleil’s colour changes throughout the day, appearing copper-hued in sunlight and considerably darker in the evening.

At the base of the building, the architects left the glass exposed. The upper portion is also left unobstructed, enabling views of the city.

The main entrance is located beneath a canopy that gestures toward the nearby Washington Monument.

Inside, the building contains galleries, an education centre and an auditorium, along with a cafeteria, store and offices. More than half of the museum is situated below ground.

Galleries features high ceilings and concrete columns, lending an industrial feel to the space.

Exhibits focused on slavery and freedom are situated in below-grade spaces, where visitors are meant to begin their tour. Presented on upper floors is material related to pop culture, music, sports and the visual arts.

The Contemplative Court comprises an oculus and cylindrical waterfall, which flows down into a reflection pond that is lined on two sides with stone benches.

In a 350-seat theatre, the team lined walls with wood panelling and perforated plates that mimic the exterior cladding. Outside the theatre, a sinuous staircase floats in a triple-height space, leading upstairs.

An eating area features a ceiling installation composed of multi-coloured panels placed at varying angles.

The building is meant to honour the social, economic and cultural contributions of African Americans. Artifacts on view include log cabins, cars, statues, clothing and film memorabilia.

Adjaye and the team of architects, known collectively as FAB, won the competition to design the museum in 2009. The project was captured by Instagram users in the run-up to its completion.

“There were so many attacks on our design that it felt like a bloodbath at times,” Adjaye said in an interview. “But we ended up with a building that’s got 90 per cent of what we wanted, which for architecture is pretty damn great.”

Adjaye’s other projects in the US include the Sugar Hill housing complex in New York’s Harlem neighbourhood, and a red-concrete art museum planned for San Antonio, Texas. He ranked at number 41 in the inaugural Dezeen Hot List.

Photography is by Brad Feinknopf.

The post David Adjaye’s African American Museum photographed by Brad Feinknopf appeared first on Dezeen.

University of Bergen students design furniture for prison inmates

An embracing chair designed to soothe anxiety and a lamp that anyone can be taught to manufacture are among items of furniture designed for prisons by students from Norway’s University of Bergen.

The third-year bachelor students from the university’s faculty of design (formerly the Bergen Academy of Art and Design) worked with Norwegian Correctional Services to develop the projects, which are intended for inmates of Bergen Prison.

Frid Smelvær Høgelid’s Nami daybed has an S-curved mattress to promote relaxation

The students, who showed their prototypes at this month’s Stockholm Furniture Fair, had to consider the particular needs and challenges of this group of users. They were given the option to tailor their projects to prison facilities, or focus on transitional or post-release housing.

Camilla Figueroa’s Siksak chair is designed to allow a range of seating positions

Alternatively, they could design objects based on simple manufacturing methods that could be taught to inmates in prison workshops.

Among the furniture prototypes is Amanda Ivarsøy Kovacs’ oiled solid oak Corners chair, created for a post-release environment. Bounded by high backrests on two sides, it is distinguished by its pastel upholstery and tube-like accompanying cushion.

Amanda Ivarsøy Kovacs is created for a post-release environment where anxiety can be high

The chair is designed to ease anxiety by offering the sitter a mix of control and protection.

“If an inmate leaves prison after many years, it can seem like the world has grown extremely fast and everything is quite new, and that can lead to stress and anxiety” Kovacs told Dezeen.

“I wanted to give the sitter full control, so when you sit in this chair you have a high backrest that protects you but you still can have a full view over the room you are in.”

It is designed to offer the sitter control and comfort, as they can have a full view of the room

“Then you have this soft tube to kind of have this hug,” she continued. “It’s like the chair embraces you and gives you comfort. You can switch it to the position you like the most.”

Kamilla Stokkevåg’s Swap seat can be customised to different sitting positions

Frid Smelvær Høgelid also focused on easing stress with her design, the Nami daybed, which has an S-curved mattress to promote relaxation, while Kamilla Stokkevåg focused on the the body’s need to constantly shift positions with her modular design.

Other students focused on objects that inmates could construct themselves, like Elisabeth Frafjord Solberg’s Light-Up standing lamp.

Elisabeth Frafjord Solberg’s Light-Up standing lamp is designed to be easy to make in a prison workshop

“The idea is that they can make something more beautiful in the workshops than what they make now, and it’s supposed to be easy construction so that they can produce there some of the parts, if not all of the parts,” Solberg told Dezeen.

“I wanted to give them something to make that they could be proud of.”

Lena Mari Skjoldal Kolås’ Gerrit shelving is made of simple solid oak elements

Solberg’s lamp fulfils the brief because its metal shade and frame are easy to bend into shape, and inmates can be easily managed across just a few construction stations.

Vilde Sæternes Johannesen’s Dypp lamp is also designed for prison workshops where inmates are trained to steam-bend the solid oak frame. Simple solid oak elements are the basis, too, of Tora Schei Rørvik’s Imillo daybed and Lena Mari Skjoldal Kolås’ Gerrit shelving, both furnishings designed to suit contemporary homes.

Vilde Sæternes Johannesen’s Dypp lamp has inmates work with steam-bent wood

A number of student classes showed their work at the Stockholm Furniture and Lighting Fair, which ran from 7 to 11 February 2017 and featured a “Greenhouse” dedicated to young designers.

Joining the Bergen students was Helsinki’s Aalto University, which presented a range of chairs made using only three thicknesses of galvanised steel rods.

The post University of Bergen students design furniture for prison inmates appeared first on Dezeen.

The Story of Mar-a-Lago, the "Winter White House"

Marjorie Merriweather Post was once the wealthiest woman in the United States. The daughter of breakfast cereal magnate C.W. Post, she inherited the Postum Cereals Company after his death in 1914, when she was just 27; she subsequently attained a net worth of $250 million, about $5 billion in today’s dollars.

In 1924 she built a lavish estate called Mar-a-Lago on Palm Beach Island, Florida. The massive structure held 128 rooms spread over 110,000 square feet. It had 58 bedrooms, 33 bathrooms and the dining room was serviced by some 35 footmen.

In her will, Post donated the estate to the American government, hoping it would serve as a winter retreat for U.S. Presidents; but following her death in 1973, no President ever used it, preferring other properties. Thus the government, finding it too expensive to maintain, donated it back to the Post Foundation in 1981.

Post’s three daughters allowed Mar-a-Lago to fall into disrepair and put it on the market. In 1985, Donald Trump made an offer to buy it for $28 million. The Post daughters said no, holding out for more money. Trump then told them that he had purchased the plot of land in front of it–which wasn’t true at the time–and promised to build an enormously ugly house that would block Mar-a-Lago’s view and ruin its value.

The Post daughters gave in, and Trump bought the property for just $5 million. He paid another $3 million for the antiques and furnishings within.

Fascinatingly, Trump subsequently transformed Mar-a-Lago into a members-only social club that broke a dirty, unspoken rule of white-dominated Palm Beach society: Mar-a-Lago readily accepted Jews and blacks. Trump heavily courted celebrities, and anyone who could pony up the $50,000 initiation fee (or was comped) could join. Trump supporters will say he did this out of a desire for equality; Trump opposers will say he did this because it was fabulously profitable. Whichever side you’re on, I highly recommend you read the full story on it in both Vanity Fair and The Washington Post. Truth is stranger than fiction.

Today Mar-a-Lago is still a social club, with a portion of the house carved out as a private Trump family residence. He’s renovated the estate and added a 20,000-square-foot ballroom. The membership initiation fee had increased to $100,000 in 2012 and remained steady until Trump won the election; now it’s $200,000, plus $14,000 in annual dues.

Ms. Post had hoped Mar-a-Lago would become a Presidential retreat. Now it is, and it’s even got a new nickname: “The Winter White House.”

Future First Aid

meddsy_1

Who said medical first aid kits had to look sober. Had to be designed a certain way? Well whoever did, didn’t tell the Robot Devil Company, who gave the first aid kit a rather incredible upgrade with the Meddsy. Meddsy isn’t as much a first aid kit as much as it’s an emergency aid kit. It contains dedicated units for everything from medical goods to any instruments one may need to treat themselves. However, the most highlighted unit is definitely the raised illuminating cross on the lid. When you lift the lid up, you notice that the cross is actually a torchlight that sits right at the center of the kit. Not only does it add drama to the design of the kit, it adds a rather essential piece of emergency equipment to the “emergency aid kit”. Loving it!

Designer: Robot Devil Company

meddsy_4

meddsy_3

meddsy_2

meddsy_5

meddsy_6

meddsy_7

meddsy_8

meddsy_9

meddsy_10

Georg Jensen's "Manhattan" Collection: Bar and wine designs that blend minimalism, sophistication and function


Inspired by Art Deco design from 1920s New York City, iconic brand Georg Jensen’s new Manhattan Collection is made up of decadent yet sophisticated pieces for cocktail and wine enthusiasts. From a champagne bowl to a cocktail shaker and bottle……

Continue Reading…

Tax Season Is Here: Tips For Self-Employed Creatives

This article originally appeared on Coroflot, Core77’s Design Job & Portfolio site. Visit their new blog for more insight on working, and recruiting, in the creative professions.

This month marks the beginning of a time most of us in the creative freelance world dread: tax season. 

Back in my first year as a bona fide freelancer just out of school, I simply totaled up my invoices for the year and lumped them onto line 21 of my form 1040 (“other income”). It took two years for the IRS write me a sternly worded letter about this not quite cutting it, but when it finally arrived, the accountant I hired to help me sort things out took a look at the documents and uttered the sort of sigh usually reserved for 6-year-olds who try and bake a cake from scratch. I’m sure it was all he could do to refrain from going “Tsk, tsk” as well.

The problem isn’t that there’s a lack of information about filing taxes in the U.S. —on the contrary, a quick online search will turn up more tips, pointers and official instructional documents than any of us could consume in a lifetime – but since pretty much everyone in the country has to file, sorting the useful information from the completely unrelated is daunting to say the least. Freelancers new to their Self-Employed status have a lot of concerns and responsibilities that typical salaried workers don’t.

So as a favor to you, and to all the accountants fighting the urge to groan at your mistakes, I’ve compiled a few basic pointers for the (unincorporated) self-employed, that I wish I’d had back then. It goes without saying that I’m not a certified accountant, nor do I work for the IRS, so if this is your only reference when doing your taxes, you’re…hmm…foolish. If you’re worried or confused about how you’re going to accurately and successfully complete your taxes, these tips may serve as a good starting point:

W-2 vs. 1099 – This is the most fundamental difference between the typical freelancer and the typical staffer – at the end of the year, you get a stack of 1099 forms from your clients, rather than a W-2 from your boss. Since no taxes were removed at the time of payment, you have to pay up everything you owe when you file, and it can be quite a lot. Above a certain amount, you can also be penalized for waiting until tax time to pay (the government likes their money sooner rather than later), which is why Quarterly Estimated Tax was invented. If you make a significant fraction of your income from freelancing, and estimate you’ll owe more than $1,000 at the end of the year, you need to set up quarterly payments; the forms are here.

Schedule C and Schedule SE – Assuming you’re working as a sole proprietor (not a partnership or corporation), and you make most of your money as a freelance designer or other creative professional, these are the two main documents you’ll need to complete in addition to your 1040. Schedule C is where you report the income from those 1099s, as well as your business expenses, resulting in a net income (or loss…but this is unusual for designers, who typically have a fairly low overhead). You then take the results of this form and use them to calculate your Self-Employment Tax on Schedule SE. When you’re done with that, your net business income and Self-Employment Tax go on lines 12 and 57 of your form 1040, respectively. Got all that?

If you decide that freelancing is something you’re going to stick with for the long haul, it’s worth examining options other than basic self-employment. Bryan Engel, a New Jersey-based accountant with a sizeable roster of freelancer clients, suggests that “forming a corporate entity such as an S-Corporation [can] minimize your total tax liability by not having to pay self-employment tax.”

Business Expenses – This is one area where you can really save some money. Filling out everything correctly can potentially save you a ton of money. Sites like Quickbooks offer helpful tips for freelancers and it’s definitely worth your time to do some more research, but to get you started here are five deductions that are absolutely essential for the self-employed:

Deduction #1: Mileage expenses

Do you realize that every mile you drive for your business can result in approximately a 55 cent deduction? This is especially big if you work from home, because having a home office basically means your “commuting” mileage is non-existent and any use of your car for business, whether it’s to meet clients or attend a conference, is deductible.

Many freelancers don’t make full use of this deduction because of the burden that comes along with keeping records. The IRS requires that you provide documentation for each trip – your destination, the purpose of your trip, and the number of miles driven. Historically, tracking mileage meant keeping a log of odometer readings. However, with modern mapping software like Google Maps , you can simply enter your starting and ending address and have the driving distance calculated for you. So go back through your appointment book or calendar and find those business trips you neglected to log and get that 55 cent per mile deduction.

Deduction #2: Meals

If you schedule a lot of lunch and dinner meetings with clients, make sure you keep those receipts. So long as you’re discussing business (and that you pick up the tab), half of those expenses are deductible. Why only half? Because the IRS knows you need to eat anyway, so they won’t give you the full write-off.

Note – you need only discuss business before, during or after the event, so don’t feel the need to talk with your mouth full.

Deduction #3: Reimbursable expenses

Reimbursable expenses are costs you incur on behalf of a client that you then bill back to them. Normally, these expenses are not deductible since you end up getting paid back, rather they are a deduction for your client.

However, you should look out for this interesting case. At the end of the year, your client should send you a 1099MISC form, showing how much they paid you. Make sure to compare the amount on that form with the actual invoices you sent to the client. Sometimes, clients will just add up the total for all invoices paid, even if those totals include reimbursable expenses. If that happens, they are basically reporting those payments as income for you, in which case you need to make sure to include those reimbursable expenses as deductions for your business.

Deduction #4: Depreciate your equipment unless you make a lot of money

Unless you buy a lot (as in more than $128,000 worth) of equipment, you can write off the full purchase price for that equipment in the year in which it’s first used. However, if you aren’t making a lot of money, you might be better off saving part of this deduction for future years, when business is better and you are in a higher tax bracket. You can do this by “depreciating” the item, which means writing off the cost over multiple years.

Most freelance equipment gets depreciated over 5 years (computers, copiers, fax machines, etc.) Office furniture gets depreciated over 7 years. So, see how your overall profit and loss is looking for the year before deciding which way to go—it can make a difference down the road when you might be earning more.

Deduction #5: Bad debt (as in, clients who don’t pay)

Ok, you probably won’t like this, but this won’t be a deduction for most freelancers (I know I’m breaking from the theme, but it’s important.) Why isn’t this one a deduction? Because most freelancers pay taxes based on money they actually receive and deduct money they actually pay. This is called the “cash” method of accounting.

In the case where a deadbeat client simply doesn’t pay, you never really got the money to begin with, and have nothing to report as income from them. Therefore, no deduction.

You could choose to use the “accrual” method of accounting, in which case you could write off deadbeat clients—but then you’d have to pay taxes on money anyone owes you, even if they haven’t yet paid. As you can imagine, most freelancers don’t choose this option.

There are of course thousands of other deductions to be had, and every freelancer’s situation is different, which is why doing some research is both necessary and tedious. A few others to keep an eye out for include: a fraction of your utilities and rent or mortgage payments if you work primarily from home; travel expenses to conferences, vendor visits, or research trips; stock photos and artwork; the cost of hiring out work to other freelancers. Note that if your total business expenses come to less than US$5,000 you can use form C-EZ instead, which doesn’t require you to itemize them (though you do need to keep documentation on hand should the IRS come knocking) – any more than that and you’ll be using the long form, which requires you to list out deductible expenses by category. And that is lots of fun.

Back on the main 1040, there are a few other lines worth extra attention from freelancers. Line 27 is where you get to deduct half of your Self-Employment Tax from your overall income, line 29 provides a deduction for those of you who pay for your own health insurance, and line 33 lets you deduct interest on student loans—together these can make a sizeable dent in your taxable income, so be sure to read up on them.

Other resources

If examining the list above has you thinking it’s all too much, you’re not alone. For many freelance designers, hiring an accountant or engaging some other form of tax assistance is as integral a step in setting up shop as buying the latest Adobe Creative Suite. When I mentioned on Twitter a few days back that I was researching this article, Kenneth Wong, a San Francisco-based CAD and technology writer responded: “Tax tips from a freelancer: Find an affordable accountant.”

Note: This article was originally written by Carl Alviani.

Looking for a new career? Check out Coroflot’s Job Board! Looking to post a job? CLICK HERE!

ListenUp: Steve Lacy: Dark Red

Steve Lacy: Dark Red


The Internet member Steve Lacy has just released the track “Dark Red” from his debut solo project Steve Lacy’s Demo. The song is a groovy, alt-rock work with plenty of soulful tinges. The tune simmers away almost effortlessly and bodes very well for……

Continue Reading…

More Than Just a Bulletproof Limo: How the President Travels, and Why It Costs $2,614 per Minute

Did you know that the Presidential limousine travels with two pints of the POTUS’s blood type?

Over the years, the Secret Service has had to do the grim math of what procedures to have in place should there be an attack on the Presidential motorcade. This has led to a fascinating array of offensive capabilities, defensive countermeasures and tactical plans. The crazy logistics–which can get the President from the door of the White House to the UN building in New York City in just one hour–are staggering. First off, check out the features of the “more tank than car” Presidential limousine–and its 11 decoys:

The second video is even more interesting, and I’m a little disturbed that this information is public knowledge. This is the breakdown of the motorcade, detailing all of the specialty vehicles and their offensive/defensive roles, then goes into the Presidential aircraft:

Link About It: Joynout's X-Shaped Daydreaming Seat

Joynout's X-Shaped Daydreaming Seat


Inspired by the infinity symbol, Daydream is an x-shaped seat designed by Tel Aviv- and Milan-based Joynout and produced in Italy. Employing minimalism, bright colors and sculptural sensibilities, the seat has been imagined to allow for one or two……

Continue Reading…