Quote of Note | Miuccia Prada

look36“Ugly is attractive, ugly is exciting. Maybe because it is newer. The investigation of ugliness is, to me, more interesting than the bourgeois idea of beauty. And why? Because ugly is human. It touches the bad and the dirty side of people. You know, this might have been a scandal in fashion but in other fields of art it is common: in painting and in movies, it was so common to see ugliness. But, yet, it was not used in fashion and I was very much criticized for inventing the trashy and the ugly.”

-Designer Miuccia Prada, in an interview with Andrew O’Hagan for T: The New York Times Style Magazine

Pictured: A look from the spring 2014 Prada collection

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Quote of Note | Will Cotton

cotton laduree“Macarons are the quintessential confectionery delight. In the macaron, the color, texture, and flavor become so much more than the sum of their parts. And since the flavors aren’t dictated by the cookies’ form, each one becomes a vessel of endless possibility for the most fantastic flavor imaginable.”

Will Cotton, discussing his collaboration with Ladurée. The artist’s macaron flavor (think ginger-infused whipped cream) and box debuts this week in Miami at Art Basel Miami Beach.

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Quote of Note | Ellen von Unwerth

(Ellen von Unwerth)
Ellen von Unwerth’s “Kissing Booth” (2002)

“Shooting film is a little bit more exciting. It’s more precious, and it’s more technical. You take it out and even the assistant is proud. Everything seems to be more electric. With digital you shoot and shoot, and it doesn’t cost anything. The moment is not as precious.”

Ellen von Unwerth in an interview with the Los Angeles Times. An exhibition of her photographs, “Made in America,” is on view through January 4 at L.A.’s Fahey/Klein Gallery.

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Quote of Note | Octave Uzanne

theendofbooks
An illustration by A. Robida that accompanied Octave Uzanne’s 1894 essay.

“Reading, as we practice it today, soon brings on great weariness; for not only does it require of the brain a sustained attention which consumes a large proportion of the cerebral phosphates, but it also forces our bodies into various fatiguing attitudes.”

-French bibliophile and writer Octave Uzanne (1851-1931) in “The End of Books,” an essay that appeared in a 1894 issue of Scribner’s Magazine

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Quote of Note | Hiroshi Sugimoto

(Hiroshi Sugimoto)
Hiroshi Sugimoto, “Sea of Japan, Rebun Island” 1996

“Humans have changed the landscape so much, but images of the sea could be shared with primordial people. I just project my imagination on to the viewer, even the first human being. I think first and then imagine some scenes. Then I go out and look for them. Or I re-create these images with my camera. I love photography because photography is the most believable medium. Painting can lie, but photography never lies: that is what people used to believe.”

Hiroshi Sugimoto in an interview that appears in Art Studio America: Contemporary Artist Spaces, out later this month from Thames & Hudson

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Quote of Note | William Boyd

rOtring Tikky Graphic

“I have a bit of an obsession with stationery. I am almost fanatical about choice of paper, notebook, writing implements. It’s getting out of hand. You’re always searching for the perfect writing implement and I think I’ve finally found it. It’s the rOtring Tikky Graphic, a German pen. I buy these by the dozen because I am afraid they might stop making them. It’s for me the perfect writing implement.”

-Author William Boyd, whose first James Bond novel will be published on October 8 by HarperCollins, in an interview with the Wall Street Journal

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Quote of Note | Peter Buchanan-Smith

sam mcgee axes
Best Made’s “Sam McGee” American felling axe.

“I took an axe that was made by someone else, and I just painted the handle. The hard part was selling it and developing a catalogue and world around that one painted, simple axe. It was done overnight in a way. I had no business plan when I started. I literally painted 12 axes, photographed them, and two or three weeks later, I built an e-commerce site, and they were up for sale online.

It has been very slow to develop and craft some of the products that I want out there. That’s what’s been hard; it takes time and money, and that doesn’t come quickly unless you’re willing to sell half of your company or something, even if that were possible. But, I’ve learned a lot from my manufacturers. We work with a 140-year-old axe company that is still run by the same family. It is really inspiring to go down there, to watch them run machinery that was built 80 to 100 years ago, and see that they’re not anxious about growing really quickly. To them, it is about long, sustained growth. No one is thinking, ‘Let’s get rich quick.’”

Best Made Company founder Peter Buchanan-Smith in Kern and Burn: Conversations With Design Entrepreneurs, a new book by Tim Hoover and Jessica Karle Heltzel

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Quote of Note | Narciso Rodriguez


Looks from the Narciso Rodriguez resort 2014 collection.

“I was raised in a very rococo, gold-leaf, crushed-velvet, red environment….And my bedroom was the bone of contention in this Mediterranean, French-villa dream. It was white. It had a very brilliant royal-blue rug and black-and-white furniture. One wall had a very graphic black-and-white op-art thing going on. And it was strange for a kid to live in an environment like that….I was always fascinated by graphic art and typography and architecture. And so I was constantly cutting things and making blocks and making buildings out of shoeboxes.

I came from a lower-middle-class situation in Newark. It was humble. But I think from those humble beginnings, I was able to create my own world. And I really loved things that were black and white. It wasn’t until recently that I made a connection through the early years, through different points in my career, where everything is about blocking a sihouette or an environment or a situation….I realize that I live in the same environment I did as a kid, but with less junk and better art.”

Narciso Rodriguez interviewed by artist Rachel Feinstein for Interview. He’ll show his spring 2014 collection this evening at SIR Stage37 in New York.

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Quote of Note | Carine Roitfeld

“I’m very worried about how the movie is received. Of course I want it to do well. I hope that people won’t be disappointed watching me in my daily life, taking dancing lessons. They might feel that I’ve fallen off my pedestal. I don’t know. People think I’m some kind of fashion icon, always perfect; but that’s not always the case. What I would like is for the audience to say ‘Fashion is cool!’ at the end of the movie. Because how I live my life—with lightness and without pretension.”

Carine Roitfeld on Mademoiselle C, the documentary by Fabien Constant that opens Wednesday in New York, Los Angeles, Chicago, Miami, and Dallas

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Quote of Note | Cathy Kaufman

“The Wrights preached practicality over the ‘total absurdity of the Old Dream,’ and no place was riper for implementing their vision than ‘The Vanishing Dining Room.’ Conceding that, to ‘a reader accustomed to a room devoted only to dining, with fixed and formal furniture, we may seem to have done frightening and unstabilizing things,’ the Wrights’ iconoclastic solutions included placing the dining table on lockable casters, so that it could be rolled next to the sink for clearing after the meal; using disposable paper plates and cups to eliminate part of the dishwashing chores, upholstering chairs in plasticized materials, and streamlining meals to limit the number of dishes and utensils needed—no more soup to open dinner, followed by salad, a garnished roast, and dessert; the one-dish, freezer-to-oven-to-table-casserole was king. Some of these suggestions have stood the test of time. Others have been dropped or modified to marry convenience with convention and aesthetics, although the rolling dining table, however intelligent, will always evoke images of Marx Brothers mishaps.”

-Culinary historian Cathy Kaufman on Russel and Mary Wright‘s 1950 Guide to Easier Living in “The Vanishing Dining Room,” an article that appears in the latest issue of Vintage Magazine

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