12 Inspirational and Exclusive Interviews on Yanko Design – Dr. Prof. Peter Zec (Part I)

I had the good fortune to spend a good hour with Dr. Prof. Peter Zec at the red dot design museum in Essen. Over a good cup of coffee and exceptional pastries, we spoke about how designers today are dealing with the increasing global awareness of Product Design. For those who don’t know Peter Zec is a former Icsid president and today holds the rank of Icsid senator. He is also the president of the red dot GmbH & Co. KG.

Before I head into the words of wisdom, let me tell you that to do full justice to Dr. Zec’s interview I am splitting it into two parts. After you have read the two editions you will know exactly why! For now, just read on.

It’s all about passion!

Designing is all about passion. Apparently Dr. Zec had been approached by Chinese officials to help create 100 or 1000 Steve Jobs. They wanted him to set up a school or conduct seminars that will help achieve this dream. However what the Chinese don’t realise is that to create a Steve Jobs, you need to go though the cycle of life that he went through.

“He did a lot of crazy and radical things that they don’t teach in China.”

You will be surprised to learn that Dr. Zec was 100% Communist who believed in the communist ideologies.

“I read all the Karl Marx books and I absorbed all his teachings. I too wanted to change the world because I felt that the world was not being fair to all. I had a very strange understanding of business. My perception thought that a business took away from the poor and gave to the rich. And I had the imagination that the rich do not work, they make other people work and pocket the profits. To me this was what the entrepreneur did. And I never had the idea of what real business was and this was my perception till I reached the age of 28.”

Life has strange ways of teaching lessons. At the age of 28, a very staunch communist Dr. Zec found that he had turned into an entrepreneur himself!

“I have studied media science, psychology and arts science and it was a study for 100% unemployment, so I tried to invent my own job. At that time the were only 3 broadcasting stations that were state owned and there was sure to be no job for me. I was looking for a safe job and I went to the cultural department of the city that I was living in and proposed to them that they set up a public holographic laboratory. I thought holography would be the new medium. The next big thing after photography! I went to the head of the department and asked if they could set it up. The head in turn told me that this could be a way for me to start my own business. I told him how was this was not possible since I had no money and skills or experience to do my own business. They sent me to a bank and helped with consultancy and this is how I began my career as a businessman. In my mind I was still a communist though.”

Slowly he transformed into a businessperson and a very successful German optician commissioned him to do some work for them. The owner invited him to become the creator of holography for one of their exhibitions in Hamburg.

“I was the chief creator and I earned a good amount of money for it. At that time I observed this person (his sponsor) and I said to myself that hey, this person works very hard and at sometime he doesn’t sleep. So he doesn’t take money from somebody else or deprives the poor. He is responsible for his own job. So that changed my views on business.”

I was a fascist!

His Communist attitude is not the only thing Dr. Zec had to change; he had to let go of his fascist perception of art.

“I was very idealistic about art. People can be fascist about art. I had a very clear understanding about what is good art and was always defending my perception of good art. I was fighting against others for their views on art.

The time that I realized I was following the wrong values was when I was asked to create holography of naked women by my sponsor. He had booked the Hamburg museum at that time, and the director of the museum was an authority on good art. I did not agree with the concept of showcasing naked women, but I had to do the job since I was on a payroll too. My only chance at stopping this exhibition was to speak to the museum director and convince him that the show must be not put up. But do you know what the director told me? He said that ‘Who cares if it is naked women as long as they are done beautifully and depicts art.’ That is the turning point for me, when I realized that I needed to give up on my outdated ideologies and adopt one that is more conducive and open-minded. I had the wrong values.”

The worst thing for a student is to have an ideology in their mind and fighting against others. You should always fight for yourself rather than fighting with others, it is waste of energy.

“If you use this same energy on yourself then it is following your passion and achieving your goals.”

Dr. Zec advices not to waste the time in criticizing other people’ designs and to focus on your own thing.

“Designers are some times are too narrow minded and focused on a single object. But the object is most often placed in a larger environment. As designers, it should be good to have the broader vision kept into perspective and this is unfortunately not taught in schools. Designers think design is always about making the shape and form of a product. This is from old school, today design starts from a totally new form of understanding and what it means in the modern world.

We have to think from dependences and relationships towards other environments and factors. Design has to do with cultural development and social changes in society. These things play a lot of role and this is why designers should read from other disciplines and even be political. They should try to understand the world and with this kind of understanding you will end up designing totally different products.”

Hence a man like Steve Jobs had a clear understanding of the world, and he was fighting for his ideas. He probably did not like Microsoft so much or Bill Gates but he did not fight them.

You don’t need to love everybody. You must simply accept them.

And fight for your own ideas! Steve had his own idea of the internet and this brings us to the question why did why Sony not invent things Steve did ?

“Sony had all the rights and the music. But Apple has iTunes and the iPods, think about it. Steve Jobs looked at this from a broader angle while Sony only focused on the narrow angle of how can we make money from the music we have and not try to lose too much. It is important for designers to change their viewpoint and think form another direction or a new angle.”

To sum it up, Dr. Zec is trying to tell us that it is never too late to let go of old and redundant ideologies. We must focus on our strengths and not worry about others. It is imperative for us to keep a broader perspective in life and not be to narrow about design. Look at the whole picture and not just the speck.

Stay tuned for the next edition; you simply have to hear about the Panama Story!

And one more thing…Dr. Zec thank you for wearing those red shoes!


Yanko Design
Timeless Designs – Explore wonderful concepts from around the world!
Yanko Design Store – We are about more than just concepts. See what’s hot at the YD Store!
(12 Inspirational and Exclusive Interviews on Yanko Design – Dr. Prof. Peter Zec (Part I) was originally posted on Yanko Design)

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Up Close With The Ziiiro Master – Robert Dabi

Robert Dabi is very familiar name on Yanko Design and it comes as no surprise that the Ziiiro Master has arrived with a bang, retailing in places like TouchOfModern!

Yes, everyone wants a Ziiiro Watch, but do you know what makes it tick? To know more about Dabi and where to get the mighty Ziiiro, hit the jump.

Hi Robert…how do we know you?

Hello Yanko Design. You first got in touch with me after I submitted a concept drawing of my first watch back in March 2010. It was the design of what we call ZIIIRO Gravity now, and it looked slightly different back then. To me, it was just a fun project and I wasn’t well versed with watches or any product design in general. It was just an idea that came into my mind, so I tried to visualize it.

By the wide audience of your site, and other tech & gadget sites like Engadget also writing about it, I got to know Derick back then, who helped me getting it into production. About one year later, we had several models and colors ready to sell, and I submitted 2 other new concepts to Yanko Design.

So basically I could say: there was no ZIIIRO today without Yanko Design! I’m very happy and thankful about how everything went.

What is the best thing about your watch Ziiiro?

The best thing to me is that our watches don’t follow any guidelines of how a watch should look like. I don’t like to do things because others do it in a certain way; I always think things through from scratch and see what’s necessary and what not.

For example, I noticed that I never needed to tell the time to the second. I think nowadays the wrist watch has changed from an accurate time keeper to something that not only tells time, but also expresses your individuality. Our watches are just like that.

How much has changed from the 2010 Zero Watch to the 2012 Ziiiro?

One of the most important things that changed is that I gained a good friend in Hong Kong ;) Other than that actually not much changed since 2010, I still constantly work on new ideas and I do a lot of R&D with Derick and his partner, trying to get the ideas to work. It’s still as much fun as in the beginning.

Apart from that, I have to say that I am happily surprised about how much positive and how little negative feedback we got from customers ever since. Oh boy, had we been nervous when we opened our webshop for the first time! What would people say when they get the watches in their hands? It was so exciting. Luckily it turned out that the nervousness wasn’t necessary, because people loved the watches.

So you designed an amazing watch, what are the challenges you faced and how did you overcome them?

Having a graphic design / illustration background, as I said I wasn’t versed with watches and product design before, so there had been lots of challenges. With just having conceptual ideas and not knowing anything about the technical aspects, I had to grow into it, and learn about different things. Basically I learned by trial and error, you know, trying to avoid them next time, and trying to research for what can be done and what not. When I think back to day one, I think I already learned a lot, but there still is much to learn. And especially by making unconventional approaches, there always are new challenges you have to face. Some of them can be overcome, and some don’t.

Do you follow a set style or do you like to explore new forms?

I always like to explore new forms. They just have to match the initial idea behind everything. For example with ZIIIRO, we won’t do vintage watches with big knobs on them. So I explore new forms within the boundaries of staying minimal, cool & futuristic. I have a lot of freedom with ZIIIRO, and the designs represent what I like (to wear) myself. This isn’t just luck for myself because I can design my own watches, but also the way good design should work. If you design things for other people that are meaningless to yourself, you always will just poke in the dark with a stick. So I just follow my personal style, create things that I like myself, and hope that other people will like as well.

Besides the looks, the other important factor in a watch is the timekeeping element…what advice would you like to give to accessories designers when they source manufacturers for the watch machine component?

I think Derick would be the man to answer this question, because he’s the one approaching manufacturers and dealing with production. If you have an idea and want to start a watch brand, you would have to produce a limited quantity of about 2.000 − 3.000 pieces. Most of the clockworks come from Japanese or Swiss manufacturers and have to be bought from them directly, unless you want to make a custom designed clockwork which may cost a fortune.

What is your take on eco design and what steps do you take to imbibe them?

I think that eco design is very important. I support products that are eco friendly and I hope that many other people will do so as well. For example, I never bought a car for myself, and if I happen to need one by all means, I’d get one that is as small and economical as possible. From the view of a product creator this is all new to me, and I still have to get used to it and learn about what can be done and what not in terms of materials for example. Personally I care much about ecological issues, that’s why I started a personal project a while ago. It’s an illustrated book about fishes, oceans, water & the environment. It should teach about all that in a fun way, and shall serve as an appetizer to bring young and old people to educate themselves about this subject.

After Ziiiro, what next?

More ZIIIRO !
…and we have some ideas and plans for something other than watches, we will start with that as soon as possible. Though I can’t tell much about it right now since it’s at an early stage. In addition to that, I’ll start studying design soon. That’s something I haven’t done when I had the chance, but been thinking about for some time… so even if it’s quite late for me meanwhile, I’ll give it a try. You only live once, right?

What is your favorite color?

Can’t decide between green & blue, basically the colors you can see in the ocean.

What has been the biggest highlight for you so far, both personal and as a designer?

As a designer it’s ZIIIRO, and personal it’s my wedding 6 weeks ago.

ZIIIRO Watches are currently available at TouchOfModern, get one NOW!


Yanko Design
Timeless Designs – Explore wonderful concepts from around the world!
Yanko Design Store – We are about more than just concepts. See what’s hot at the YD Store!
(Up Close With The Ziiiro Master – Robert Dabi was originally posted on Yanko Design)

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Commissioning Work: Micklish Part 3

After what worked out to be a little over a month, the Belomo sideboard was ready for delivery. Last time I saw it was a week prior when all the components were made and legs welded. Waiting those nail biting 7 days was nerve racking. I have the nails to prove it. What if I don’t like it? What if it doesn’t look right in my space? Why the hell am I so pessimistic? Curtis has given me no indication that he was anything less than stellar throughout this entire process. My phone rang… delivery. Hit the jump!

Pardon my language but it’s fucking gorgeous! I love it. It fits perfectly into my space, right under the window and my Belomo has a sidekick – a custom fabricated box to hide my ugly box a/c unit. It’s all raw looking but so smooth to the touch. The top surface is finished in a white wash along with the white legs, helping to frame the linear lines now so familiar with the Micklish design aesthetic.

Honestly as my first custom piece made for moi, I couldn’t be happier. You guys don’t realize it but I can be quite critical. My writing staff is pretty well aware of it so when something amazing comes along, I better love it, especially if it’s going to live with me. Speaking of which, Belomo and I have been happily living together for months. Now I understand handmade quality in furniture. It’s as solid and study as the day it was delivered and has held up to everything from constant sunlight beating down on it to a dog name Miko who has figured out he can open the doors if he presses his nose against them hard enough. I love the little cubby holes Curtis made to display my Playsam toys. I love that there’s no exposed hardware on the doors.

Thank you Curtis, thank you Micklish. Read parts one and two.

Designer: Micklish


Yanko Design
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(Commissioning Work: Micklish Part 3 was originally posted on Yanko Design)

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Fubiz TV 11 – Tyrsa

Nous sommes fiers de vous présenter aujourd’hui l’Issue 11 du programme hebdomadaire de Fubiz TV avec Orange après sa trêve estivale. Au sommaire cette semaine, nous avons sélectionné le meilleur de l’actualité créative et nous avons rencontrer le directeur artistique freelance Tyrsa pour une interview exclusive.

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Jeff Carvalho

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Jeff Carvalho

Sponsored content: Jeff Carvalho has been at the forefront of new media since the Internet’s golden age of staking out the digital frontier. Drawing on a DIY ethos rooted in indie zine culture, Carvalho has combined deft tech skills with a spot-on curatorial sensibility that has placed him above…

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Commissioning Work: Micklish Part 2

Catch up on part one if you missed it. In part two, I went back to see Curtis at the Micklish workshop and watched him make quick work of the metal legs. Most of the sideboard is complete. Each leg will consist of 3 metal rods welded to a plate that’ll be attached to the sideboard at delivery.

I had never seen welding work in person so it was a treat to see how deceptively easy it looked. There wasn’t much noise, just an intense light I was instructed not to look directly at, though I couldn’t help snap a few shots with my camera.

The really interesting bit were the tools he used to cut and position the rods at the correct angles. I expected some kind of complex ruler with precise measurement ticks. Instead, he used a scrap wood block as a guide and a clamp to hold the rods down during the welding process. No doubt a skill that comes natural to him since he’s been doing this as a kid.

Curtis ended up making two sets of legs. The one you see in these photos are thinner. We ended up going with the thicker rods for enhanced stability. Come back next week to see the completed sideboard and its sidekick – the matching box air conditioning cover!

Designer: Micklish, Facebook


Yanko Design
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(Commissioning Work: Micklish Part 2 was originally posted on Yanko Design)

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Commissioning Work: Micklish Part 1

Over the past 5 years editing YD, I’ve noticed a clear divergence between two kinds of furniture designers – the ones who are pure creatives that rely on manufacturing partners and the “old school” kind – the ones who were craftsman long before they ever thought of themselves as designers. Last year, I embarked on a scary, yet exciting project to create several custom pieces for my home. I met a guy name Curtis Micklish – young, talented, gifted even if he didn’t know it.

He comes from the old school, built my hand and methodically perfected to suite the needs of each customer. I want to share my experience working with Curtis over the course of several months, from what started as a simple sketch of a sideboard, to a complete piece inspired by and named after the retro 35 mm Belomo – it was incredible to witness the entire chain of design executed from the hands of one person.

The early stages of design was exciting. I didn’t give Curtis much direction. I believe in letting a designer play whenever possible. My only restrictions were height and width to ensure the new sideboard would fit. He also quickly picked up on my minimalist aesthetic and a few weeks after our initial conversation he came to my office and showed me a sketch. It was long, streamline and stark in appearance. Made entirely of poplar wood with a light white wash, the yet unnamed sideboard became less austere. Complete with a set of tripod legs that gave it personality and a cubby hole for show & tell opportunities.

The construction begins. Out of his restored mid-century home (which he did himself), there’s a garage filled with dangerous looking machinery of which he obviously mastered. I watched him route the doors of the sideboard and listened to him tell me about his childhood. He comes from a family of craftsmen. He and his father are contractors but his eye for design eventually led him away from construction into doing his own thing. I could sense that infant creative spark surrounded by uncertainty and a bit of self doubt. Bigger than that was his passion. He knew exactly what he wanted to do. It’s just a matter of taking it day by day to get there.

By the end of the day, the frame was finished. The steel shelves were in and the doors routed.  Me? – completely excited! Come back tomorrow for part two.

Designer: Micklish


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(Commissioning Work: Micklish Part 1 was originally posted on Yanko Design)

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12 Inspirational and Exclusive Interviews on Yanko Design – Hideshi Hamaguchi

So far we have had four awesome designers share their wealth of experiences in this Inspirational and Exclusive Interviews series. Robert Brunner spoke about the core DNA of a designer/entrepreneur; Scott Wilson showed us how to rise from the ashes like a phoenix; Karim Rashid taught us his roadmap to success and Yves Béhar spoke about forging partnerships. My recent visit to the red dot award ceremony for product design at Essen, brought me face to face with the charismatic Hideshi Hamaguchi, the inventor of the USB Stick. Yes, the very same stick you use to store data, transfer files etc.

I could not let this opportunity pass up as I knew Hideshi’s perspective on innovation and design would be priceless and moreover his methodology and approach is so unconventional and inspirational, that it has to be shared.

To give you a background, Hideshi Hamaguchi is a chemical engineer and a math’s champion in Japan. He started his career in Panasonic as a researcher and after three years of working with the company he found something critically missing in the work environment and corporate setup. He realized that the company made no provisions to breed creativity. There was a lack of a logical approach to expanding the team’s resourcefulness.

Creativity for Hideshi is very intuitive based, however there were no concrete steps by the company to explore this aspect. He sought to formulate an approach that would expand his and his group’s creativity. And thus transitioned from a researcher to an analyst and then went to become a creative strategist.

I cannot draw!

Despite the fact that Hideshi has more than 120 innovations to his credit, it comes as a big surprise to me that he cannot draw! I had 2 Nikon cameras and an iPhone with me, and Hideshi, without naming them (confidentiality clause) told me that I was using 5 of his innovations at that very moment! According to him, if you don’t have the talent for drawing but are good at strategic thinking, then you can still become a great product designer. All you have to do is connect the design to the strategy and then turn into a language the company management people and the consumer can understand.

To sum up Hideshi, he is a creative thinker, a strategist, and an innovator who follows a process, which has a practical approach. His process theory is teachable and learnable, which is why he lectures around the world and conducts workshops.

How can people be creative without drawing beautiful pictures? What is Creativity?

You have to train yourself to draw diagrams and doodle.

Creativity is all about people’s mindset. Creativity doesn’t exist in the air. It’s in your mind, and even when we are collaborating, I am stimulating you and your outcome is stimulating me. To understand creativity we need to understand the brain.

Hideshi explains that the brain has two extremes: the structured thinking, which is very logical thinking versus the very intuitive and chaotic thinking. One side is focused while the other is all about exploration. The ideal balance between structured and chaos thinking is peaked at the sweet spot of Structured Chaos Mode, right on top. But this position is like a volatile ball that rolls in either direction, depending upon the individual’s inherent nature. To keep it balanced at the peak, you need to do something radical. From Hideshi’s experience the profile of moving from chaos to logical thinking to strike the structured/chaos balance, is wrong.

If the highest form of creativity is at the structured chaos mode, how can we manage it?

Technically there are two ways to manage it, first way: go back and forth between logical and chaos thinking, till you achieve the peak. Example, say I ask you to innovate a pen and present it to the red dot jury in one hour’s time. And after you do that, now I ask you again innovate the pen, but his time, I give you a day for it. The first day is to draw inspiration; the second day is to create some structures and ideas etc, till finally you give me the design. So stimulating the brain between the chaos and logic thinking, will peak your creativity to the structured – chaos mode.

The second way is to use a formula or some data analysis, example market size or market tastes for pens as a reference, and then combine it by drawing some beautiful lines that ultimately lead you draw some innovative features for the pen. So you make your brain use the logical and the intuitive side, at the same time. And thus you can hit the sweet spot. But in reality, you need to do diagram and you need to doodle to hit the sweet spot. Diagrams are something simple, something logical, and something visual. Draw the diagram and your brain goes to the logical side without being too intuitive, now to balance this you need to doodle. And this stimulates the creative brain.

So intentionally use diagram and doodling to keep creativity on the top. If you really want to have the highest level of creativity especially for a new idea or concept you don’t have to have the skill for drawing beautiful pictures, someone else can draw it for you. And the good thing is you don’t have to learn too many logical things either.

Since Hideshi is an innovator, I had to ask him…what is innovation?

Formula for Innovation : !? – ? = !

What – Oh this is the reason = Aha!

This is what Yanko Design is!

Innovation is all about creating new behaviors and new values for people. For example the USB Dongle. It created a new value of keeping your data on a small stick that was portable and new behavior, as in attachment to your data, sharing it with people and friends. In 1999 Hideshi came up with the idea for a client, of adding a tangible feeling for your data (he called it the sneak-kernet), we had that feeling for the floppy disk or the CD but it was time to move on to something different but no one agreed with him. At that time everyone thought that everything was going to be on the Internet and wireless so a cloud storage medium would have more value than this.

Even Intranet faced this issue. Hideshi and his friend are responsible for creating the first intranet in Japan. And probably the first in the world, it was done in 1993. He did it for Panasonic, where the board members were not so very computer savvy. If you see it this ways, intranet changed the behavior in people and the value for information.

Innovation is something that is something new; something that is doable and it should create controversy. It should create some tension in the conversation. One advice that Hideshi gives is that when you are brainstorming for creating an innovation; never focus on the idea itself, because that usually never helps. His focus is to analyze and see how people think. If you can analyze their thinking you can break the paradigm and go against their bias and thinking. You break the bias and push yourself towards the controversy thinking; this is how you break the paradigm. But if you cannot visualize the bias or the thinking of people, then you will not be able to innovate. You have to break the abstract things; you have to understand the way of thinking and visualize the pattern. If you visualize it, you can be a wonderful innovator. So basically you need to make a shift and break a bias, and this is the biggest barrier that innovators face.

Earlier in the 90’s the shift was focused only on technology innovations for computers, faster CPU, better inputs etc. but in comes Dell and they created a new shift with their business model. They revolutionized their supply chain, the customer experience and online customization of the PC. This was breaking the paradigm.

Engineer-designer conflict!

How to create a balance when you have to present a design or an idea so that appeals to the technologist and the corporation managers; in short how to address the engineer-designer conflict?

When we chart the Structured chaos diagram in a real life situation, unfortunately most of the population lies with the intersection of two structured-chaos loops. Majority of them don’t think super-structured or the other extreme of super-intuitive thinking. The problem is that we don’t have many people who can handle the structured chaos mode. Corporate mangers and engineers are more inclined towards structured thinking and designers and artists are more inclined towards intuitive thinking. They are two different animals!

And as he explained earlier, the engineers and corporate heads tend to use numbers and the designers use images; hence the dialogue cannot be bridged. They are disconnected and there is a lack of communication. But if we lay some ground rules, a common language can be spoken, for example the corporate manager should refrain from asking the designer about numbers and cost calculations, where as the designer should go deeper and relate a story rather than just talking about intuitive design.

Logical and intuitive people both can train themselves to move towards the balance sweet spot of structured chaos by pushing their boundaries and moving towards the other side of the graph.

The reason why Hideshi is ahead of his game is that while each person who he works with, specializes in their one field with total focus on it, and Hideshi has the ability logically connect the dots between innovation, marketing, strategy, tactics, uncertainty, technology and business model.

Special Thanks to red dot design, Germany and Dr. Professor Peter Zec.


Yanko Design
Timeless Designs – Explore wonderful concepts from around the world!
Yanko Design Store – We are about more than just concepts. See what’s hot at the YD Store!
(12 Inspirational and Exclusive Interviews on Yanko Design – Hideshi Hamaguchi was originally posted on Yanko Design)

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The NoMad Hotel

Our interview with the designers of New York’s new boutique hotel
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You know a neighborhood has made it in New York when it receives its own abbreviated nickname. The latest addition to the map is NoMad—short for North of Madison Square Park—which is also fittingly the name of Andrew Zobler‘s newest lifestyle hotel. Zobler, who is also responsible for the Ace Hotel across the street, was initially drawn to the distinct architecture along that section of Broadway. While the Ace set the neighborhood in a thrilling new direction, Zobler set his sights on the preserved facade of the NoMad to create something entirely new. “The challenge from an overall perspective was that we didn’t want to do anything that was duplicative of The Ace—we wanted to compliment it,” he says. “That was the impetus for going with something that felt more luxury, more European and more romantic.” Using the Beaux-Arts style facade of the newly opened NoMad Hotel as inspiration for the interior, Zobler tapped French architect Jacques Garcia to complete his vision.

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“What we really wanted was to explore Jacques at his roots, so we found a photograph of an apartment that he lived in when he was in his 20s in Paris, and you can see in the image the very early stages of the Garcia style—but much more bohemian and eclectic,” explains Zobler. “It was that image that we wanted to achieve—his very early work.” Garcia, who is behind Paris’ sleek Hotel Costes, sourced many of the NoMad furnishings directly from France, including a 200-year-old-fireplace.

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Also brought over from France is Parisian boutique Kitsuné, now located within the NoMad thanks to Zobler’s young business partner Tanner Campbell. Says Zobler, “He identified the Kitsuné folks as having this sort of style that fit the hotel. We wanted to find people who were really talented but were also idiosyncratic.”

From the inside out, the hotel boasts a distinctive feeling that mixes European hospitality with downtown NYC details. We checked in with Garcia to learn a little more about his design process for the NoMad, from the opulently dark hotel bar to the bright, spacious bedrooms.

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What drew you to tackle the NoMad Hotel project?

The fact that a lot of Americans (especially New Yorkers) are fascinated by the Hotel Costes in Paris encouraged me in a way to accept the challenge. With this Parisian success, from my experience, most New Yorkers who visited Paris visited the Hotel Costes property at least once—either for dinner or to say overnight. I wanted to find the same craze in New York for the NoMad Hotel—which, in my opinion, has both a French and American spirit.

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What about the original space did you find inspiring?

The building is extraordinary. The fact that it was a historical building was a blessing for me. I was also very impressed by the views of the city from the rooms. Also, the volume of the ground floor enabled us to build the central veranda, which recalls the Hotel Costes courtyard.

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What was your main goal when defining the interior aesthetic of the NoMad Hotel? What do you want every guest to experience with their stay?

My goal for public spaces in a general way is often the same. I had to go through the 1980s during which the public spaces were all white or grey and the lights were so white and cruel that the women looked like they were 20 years older. This didn’t please men, and therefore, men wouldn’t be interested in seducing women under such conditions. With the NoMad Hotel, I tried to do the exact opposite. This philosophy will be the case for all my future creations because these public spaces are made for encounters—and not to be satisfied from a specific aesthetic.

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You’ve defined luxury as knowledge. So, what defines the luxury component of The NoMad?

The luxury component of the NoMad is the simplicity in the sophistication with a feeling of eternity.


Diesel Only the Brave Tattoo

Translating the tattoo experience into fragrance form
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Exploring another form of signature for the body, the new Diesel fragrance, Only the Brave Tattoo, treats the skin as a true, basic and raw material to express one’s identity. Only the Brave finds inspiration in the deeply rooted tradition of marking the body with an everlasting imprint, seeking to inaugurate a new man with the traditional masculine traits of toughness and courage.

The fragrance marks yet another component to the lifestyle Diesel aims to create amidst a universe characterized by the rebel attitude of street art and LA’s inked community. The sculptural bottle comprises a clenched black fist designed by the famous Mr Cartoon tattoo artist. The scent blends base notes of tobacco, benzoin, patchouli and amber, with sexy overtones of pepper and sage and refreshing green qualities that keep the inherently male scent from being too heavy.

We talked to Diesel founder Renzo Rosso to learn more.

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Is it a requirement for a fashion brand to make its own fragrance?

Since it completes the lifestyle, it is very important. It is easy to create clothing, but how to transfer a lifestyle into a fragrance—this is the difficulty. Creating a fragrance is a risky challenge by itself, considering the fact that about 300 new perfumes are launched on the market every year and that about 90% of those don’t meet any success. We were lucky to meet our partner, L’Oréal, who made it all easier for us and granted us a dedicated team that tirelessly visited our stores all over the world and met our clients and really went deep into our mentality to transfer it into the bottle. This fragrance is a part of the Diesel attitude. Each time we do something, it is because it is meaningful. We keep telling a story.

Can you tell us more about the new Diesel man that goes along with this new fragrance?

This is really connected with who we are. With the two fragrances, Only the Brave and Only the Brave Tattoo, we have these two men with two different attitudes that we have tried to show on the visuals of the campaign. It seems they are about to fight, but at the end the important thing is the communication between them. While one is more classic, brave and strong, the tattooed man is more mysterious, more rough and sexy, and at the end, more rock ‘n’ roll. Rock attitude is something very important to our lines now.

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Does it represent a shift in Diesel strategy?

There is definitely a repositioning of the brand. We are trying diversify by creating a real lifestyle focused on our own identity and DNA. We aim to improve the quality of our products by making more in Italy, for example. I think what you can see in our stores is becoming more beautiful. We aim to be more exclusive.

This new man is not only more rock ‘n’ roll, he also seems more mature.

Yes, we have this new line Diesel Black Gold. The preview of the first men’s collection was shown last week in Milan, and it marks a higher positioning for us. We are enlarging the scope of our audience, enabling people to find a style according to what they are and what they can afford. There is a lifestyle for everyone.

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Since a tattoo is an imprint, a mark, a signature on the skin, how do you transfer that into a perfume?

I’m going to tell you the story. It all started with the bottle. It was my 55th birthday, which is a special anniversary for I was born in 1955. Fifty-five is my magic number. I wanted to give my friends a gift, so I had my hand sculpted into a bottle that was all black and customized with Only the Brave. It was such a success and everybody liked it so much that we decided this bottle should be distributed worldwide. I have these tattoos on my hand as well. So I thought I could do something out of this. Then I met Mr Cartoon who I found to be very much like me—he has a sense of honor and creativity, and he’s crazy. He designed the bottle and the logotype. After that, I asked L’Oréal to make a new perfume and translate my new rock ‘n’ roll attitude, my mentality, my passion, my positive energy into a perfume. This perfume completes the first Only the Brave fragrance, which was somehow fresher, younger and casual, and pushes it further—this one is more aggressive.

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The bottle and packaging is all black and white.

It is more than black and white, it is very strong. I wish it could have been black only! Black and white makes it very chic.

What about the connection with LA? Do you find inspiration in LA’s culture and street art?

I am a fan of the Rose Bowl flea market in LA. I spend hours there with my sons. I always come back with so many ideas. I like art in general, modern art, like at the Art Basel exhibition in Miami. If you take the bottle Only the Brave, the clenched fist is something the artist Cesar has made in his sculptures. We try to find inspiration in the streets where there’s life.

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What is inspiring you in music and culture?

Anything can be inspiring. Last time I went to Tokyo, I was so impressed by everything I saw in the fruit shops especially the packagings. I can be inspired by people in the street, by what they wear, or by places like Reykjavik, Covent garden and, above all, flea markets. I also enjoy speaking with young artists and trying to know more about why they create. This opens your brain.

Is there any advice you have for young artists or entrepreneurs?

I dislike art being too provocative. Art must open your body and make people be happy. I like to see happy endings!