Kate Miss is a graphic designer, jewelry designer, and photographer. She was raised in the Seattle area, shaped in New York City, and now lives in Los Angeles. While she owns and runs her own business now, she has years of experience under her belt as a designer for DwellStudio and the Creative Artists Agency’s Intelligence Group. She is a creative jack of all trades and would love to help you with branding, web design, Big Cartel shop design, photo shoots, and a plethora of other fun stuff. She takes on a small number of wedding photo jobs each year for smaller and unique events.
*More of Kate’s work here.
Brian Vu is a photographer living and working in New York. To see more of his work visit his site.
Eva Vermeiren lives and works in Belgium. To see more of her work visit her site.
Yanina Shevchenko is a Russian born photographer. She has worked in New York, Moscow and Buenos Aires and has recently graduated from Goldsmiths University of London, MA in Photography and Urban Cultures. Her interests in photography are human identity, personal stories, urban and rural landscape.
*More about her work here.
**Yanina’s work, ‘Crossing Over’, was published by The Velvet Cell and can be found on our shop.
Sadamasa Motonaga (1922-2011) was a Japanese abstract artist. See more of his work here.
I don’t normally post personal stuff, but I wanted to share that I will be getting married this Saturday! After the wedding we will be heading north of here (San Francisco) and spending time in our beautiful state of California. I took this photo 2 years ago in Northern California on my first trip with my fiance and it has always reminded me of how special everything is in the world and the infinite possibilities. I am truly lucky to have found my partner and excited to share my life with him! With that said I will gone till the 20th so see you then!
New York based designer Ilana Kohn’s clothes balance wild, original prints with clean, super simple lines. Diverse patterns range from Edwardian primness to dreamy ’70s abstraction, with sharp, smart color stamping it as Kohn’s own line.
To view and buy the limited edition print: Go Here!
MH: Your clothes balance very clean construction and shape with really intricate images and patterns. How did your interest in patterns develop?
IK: I’m actually trained as an illustrator and did that for close to a decade before I arrived in the world of fashion. That being the case, the in a sense, the prints really came long before the clothes!
MH: How did you make the leap from working in 2D as an illustrator to working in fashion and textiles, which, because they’re worn and move, seems like a bigger leap than just to three dimensions.
IK: Truthfully it was not easy at first! It took me a little while to get comfortable with creating prints on fabric; there are a completely different set of logistical hurdles when designing for fabric (and each type of fabric is different) than creating images to be printed on paper. There’s also the element of, ‘well I like this but would I actually wear it?!’..
As for making the leap to actually creating clothing, that was luckily something that felt very natural. That was honestly an easier transition than moving my illustrations to fabric!
MH: I enjoy how you mix bold bright colors and muted colors within the same season, and manage to make a collection “work” without relying on one color scheme to unify it. Who and what are your color inspirations?
IK: I’m glad you like that! Each collection always begins with the textiles and I’m always trying to think of them as a united composition. I was weaned on a lot of Milton Avery back in art school and have always loved his unexpected use of color and that’s something I always strive for. Sometimes at the end of the day though, not every print works out as expected and I have to move things around and make the best with what I have.
MH: What’s it like running a business in New York? What’s your relationship with other makers there, and with the “big” fashion industry?
IK: I’d say being a clothing designer in NYC really entails a lot of schlepping – bolts of fabric, samples, patterns, you name it – so I’d say running a business like mine in NYC right now is really, really sweaty. I love it so incredibly much though! Even feeling gross and sweaty. I wouldn’t trade it for anything.
In a more general sense though, it’s really pretty amazing having all of these resources in the Garment District at my fingertips every day. I’m still pretty new to it all, but it truly seems that the Garment District is on the upswing after a long period of decline and is positioned to bring back made in NYC manufacturing full force.
Which leads me to the other makers. Of all the amazing resources we have here in NYC, access to each other has got to be on of the best! I’ve met so many wonderful and incredibly helpful people that have helped me to learn. I don’t know about big “fashion”, but the small niche I work in, people are amazing 99% of the time and more than willing to share information or just grab a coffee and chat with you.
MH: And what are your graphic inspirations? Some of your patterns remind me of Bauhaus artists like Gunta Stolzl, and others are more reminiscent of craft projects, like marbling, that my mom might have taught me…
IK: It varies so much! I definitely love the Bauhaus but for the Autumn/Winter 2013 collection I looked at a lot of Gees Bend quilts and indigenous textiles. I have a background in historic (architectural) preservation, so a lot of historical influence tends to pop in there as well. I’m a sucker for pretty much anything from the late 19th century through the 1970s. A lot of the time though, inspiration is much more random than that…It could be something I spotted on the subway that triggered an idea or an old sketch.
The work of Caitlin Lonegan.
**All images are from acmelosangeles.com
Designer and artist Eric Trine is serious about play. It’s not just a way to enjoy an object, it’s a way to know it, to uncover new uses for materials and solve problems. His work invites use, touch and interaction and offers the joy of discovery.
To view Eric’s collection of LPP exclusive prints: GO here.
MH: Can you tell us about your project for LPP and how it fits in with your other work?
ET: The project for LPP circles around the part of my practice that I don’t really know how to define exactly. I do a lot of different things, and big portion of what I do is functional design. That kind of work has a very specific set of criteria and objectives, whereas with this stuff I’m not really sure what my objective is. It’s more of a playful meandering visual exploration kind of vibe, versus an explicit “art project.”
The objects themselves are based on simple geometric structures and they’re just fun to stack and arrange in different little situations. I’m going to set them up in the window at LPP, but I imagine that it won’t be long before they get re-stacked and re-arranged in a different formation.
MH: Can you talk about how sculpture influences your functional design work and vice versa?
ET: One of the major influences is my love of materials – but the big difference between art and design is that you get to touch design. I’ve always disliked the hands-off experience of traditional sculpture so all of my projects have tried to subvert the “eyes only” experience. I think that’s why I fell into furniture, because everyone knows it’s okay to sit in a chair, or use a vase, or put their feet up on a coffee table. When I make a chair and put it in a retail store people just sit in it – no one says, “Don’t touch that, it might be art.” I had a solo art show a few months back and it was really frustrating to watch all the viewers just view my pieces. If I could do it all over again, I think I would put signs that said it was okay to touch things. I think that’s what I’m trying to get with these objects for LPP.
MH: I really like how your furniture work mixes natural colors with really zippy, electrical applied color. What are your color inspirations, and how do you make color decisions when designing?
ET: Most of my projects begin as a response to materials – so I usually start a piece with a material already at hand. I pick colors in the same way, based on what’s available. I go to the powder coaters and look at the colors they have and pick a few that I think go well together. It’s kind of like picking out paint chips at a hardware store; I just pick out one that I like and try and match the others to it. It’s kind of arbitrary. I recently found out that my powder coaters could apply glitter, so I decided to a get a few pieces with glitter in them because why not?
MH: What were some of the big influences in your craft, design and art education? I see you worked at the Lab/the Camp and that they shaped your practice a bit.
ET: For me it’s always been this marriage of theory and practice, and an overall insatiable level of curiosity that always keeps me moving. I like to switch between a lot of types of projects and discover ways that these different disciplines talk to each other. The biggest influence was watching the lives of professors, mentors, and employers who had been doing creative work for twenty to thirty years and they still had a ton of energy, if not more energy than when they started. That’s what it was like working at The Lab and The Camp, just a nonstop stream of creative output. I come from a family of extremely hardworking people, but it was my formal education at school that really taught me how to channel that energy so I’m not just spinning my wheels.
MH: What big risk or challenges have you faced recently in the studio, or are you about to tackle?
ET: I’m moving from Portland, Oregon, back down to Long Beach, California, at the end of the year, so my studio space is kind of in a holding pattern right now. The big challenge for me, like every independent artist and designer, is figuring out how to generate sustainable income. For me, it’s scaling up my furniture production and really making a go of it with the branch of my practice. On personal level, my wife and I are having our first kid in a month – so that’s going be crazy! I know that will change my perspective on life in general, but I’m really interested to see how that affects and influences my work. I think I’ll start making a lot of toys!
MH: I love that part of your interest in furniture if from the fact that everyone knows it’s OK to touch. And that you mentioned making toys. (Are you serious? I hope you are!) How does touching, interacting with materials and playing help you design? I see from your Instagram feed that you spend a lot of time rearranging objects, handling them.
ET: Almost all my projects – like 99% of them – start with materials first. I’ve never thought about a chair design and then figured out what kind of materials would suit it best. I usually come across a material and then think about what I could use it for. I call this the “dinglehopper principle” based on that scene from the Little Mermaid where Scuttle claims that a dinner fork is called a dinglehopper and shows Ariel that it’s used for combing hair. Kind of an obscure reference – but the idea is that there’s a lot of functional potential in materials that we often overlook because we already know its “name.”
MH: Who are some designers and design projects that get you excited, or have been big inspirations in the past?
ET: Charles and Ray Eames are so ubiquitously known, and I feel like I should cite someone more obscure, but I find their work so inspiring. And it’s not even the objects they made, but really the ethos behind their work that I love.
I love the work of Russel Wright – another mid-century designer. I became familiar with his work through some folding chairs I found at a flea market a few years back. He wrote a book with his wife in 1954 called A Guide to Easier Living, and it was all about the positive impact of a well-designed home. I think that when we think of a well-designed home today we think in terms of Pinterest boards, and editorial spreads, rather than how it actually benefits the lives of the people who live there. That’s something I find attractive about a lot of the mid-century designers, that their design ethos was about benefitting the lives of others.
MH: What artworks would you touch and play with if you could? Or design objects?
ET: Brâncuși’s sculptures for sure – I just want to see how they feel in my hands, feel the weightiness. Noguchi designed a few public playgrounds back in the day, I don’t think they are around anymore – but I would love to climb all over them.
Beautiful work of Tomoe Murakami. To know more details in both English or Japanese, go here.