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      Residence for Two Collectors is an art-filled Chicago penthouse

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      An extensive art collection is complemented by industrial detailing, a walnut floor and earthy, muted colours in this Chicago penthouse flat that local studio Wheeler Kearns Architects designed for two art collectors.Working together with Sharlene Young of Symbiotic Living, Wheeler Kearns Architects created the interior of Residence for Two Collectors for a couple who wanted a home that would have space for their family, art and furniture.

      The foyer features wooden accessories and earthy colours
      Located in a Chicago high-rise, the penthouse flat measures 6,350 square feet (590 square metres) and was gutted to a shell condition ahead of Wheeler Kearns Architects’ refurbishment.
      Designed for a couple and their dog, the residence is intended to be a welcoming space for family and friends. The owners, who are actively engaged in the community, also wanted room to host philanthropic events for up to 75 people.

      In the living room, floor-to-ceiling windows overlook the Chicago skyline

      “As such it is a bit of a transformer, with a series of perforated metal partitions that open and close to adjust to the needs of the day,” Wheeler Kearns Architects principal Dan Wheeler told Dezeen.
      “Acoustics and lighting systems were carefully integrated into the shell to attend to the technical demands.”

      The guest room has sliding doors for privacy
      The apartment has a master bedroom and a kids’ room as well as a guest room, family room, living room, dining room, a sitting room and two offices.
      A kitchen and a laundry room complete the residence, which also features a terrace and has its own service entrance in addition to the main foyer.

      The dining room is located between the living room and kitchen
      As all rooms are on one floor and many are open-plan, the walnut flooring and muted wall colour are intended to keep the design consistent throughout.
      One of the owner’s father was a machinist, which informed a steel and wood material palette that runs through the apartment.

      Pieces from the owners’ art collection decorate the walls
      “This led to a use of metals, patinated plate and perforated sheet steel,” Wheeler explained. “[The owner’s] focus was down to the selection of the profile of a screw head, something that we could all love.”

      The large, custom-made bookshelf with a dedicated spiral staircase
      “She was drawn to the end-grain walnut block flooring inspired by factory flooring, but here softer, warmer, each milled squared, laid in a grid to purposely bely directionality in the residence,” he added.
      “Those two elements, steel and walnut, drove the project home.”

      Chainmail curtains let light into the living room
      To design the interior the studio worked together with Young, who is the founder of Symbiotic Living, an interior architecture and design firm.

      Vladimir Radutny overhauls industrial Michigan Loft apartment in Chicago

      The owners’ extensive art collection played a big part in her choices for the interior design with key pieces including a George Nakashima bench, Harry Bertoia sculptures and furniture by Paul Evans.

      A green custom-cast glass table adds warmth
      Even the bathrooms, of which there are two as well as an additional powder room, are filled with art. The master bathroom features a lighter colour scheme with pale blue-grey walls and a marble floor.
      Other details include a custom-made loft and bookshelf with a spiral staircase that takes up one side of the living room, which opens up into the dining room; and drapery that resembles chainmail.

      Sculptures decorate the master bathroom
      “Chainmail, a material used historically in both Eastern and Western cultures, conveys strength and endurance, yet it also bears the surprising qualities of visual softness and ability to diffuse sunlight,” she explained.
      Also in Chicago, Vladimir Radutny overhauled an industrial loft on the city’s Michigan Avenue inside a century-old structure that was built for automotive assembly and display.
      Photography is by Tom Rossiter Photography.
      Project credits:
      WKA Team:​​ Dan Wheeler, FAIA, Principal, ​​​Janette Scott, AIA, Project ArchitectConsultants ​General Contractor: JDL Development CorporationOwners Construction Advisor/Manager: Peter SeigelStructural Engineer: Halvorson and PartnersMillwork: Glazebrook WoodworkingAcoustical Consultant: Threshold AcousticsLighting Design: Mitchell Cohn LightingMEP: BES Engineering SystemsInteriors: Sharlene Young with Wheeler Kearns Architects (founder of Symbiotic Living)

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      Sara Ruffin Costello fashions quirky interiors for The Chloe hotel in New Orleans

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      Inky blue walls, alligator-print carpet and grand four-poster beds appear inside The Chloe hotel in New Orleans, which has been designed by decorator Sara Ruffin Costello.The Chloe hotel comes as the latest venture from restaurateur Robert LeBlanc and is situated amongst the picturesque streets of New Orleans’s Uptown neighbourhood.
      It occupies a family mansion that was originally designed by American architect Thomas Sully in the 1860s.

      Top image: The Chloe’s entrance lobby. Above: an alligator-print carpet runner features on the stairs

      Sara Ruffin Costello, who is a native of New Orleans, was tasked with devising the interiors of the hotel.
      “Sully’s architecture is grand Southern Victorian – exceptionally tall ceilings, incredible tile work and plaster mouldings and a Byzantine layout,” Costello told Dezeen.
      “I ran with the romance of that era and played around with the notion of New Orleans being a port city, kind of that ‘what news do you bring from the outside?’,” she added.
      “To translate that into a vibe, The Chloe is moody with dark, antique furniture, with an emphasis on Orientalism but updated and made culturally relevant through a very special art collection.”

      Plush furniture decorates the reception lounge
      Guests enter The Chloe via a lobby that features inky-blue walls and dark wood floors. The building’s original ornate staircase is left in place but updated with a quirky, deep-red carpet runner that depicts an alligator creeping down the steps.
      “Last time I went for a kayak in the Bayou, not five minutes into my paddle two giant alligators got into a splash fight right in front of my boat – alligators are a real part of life here!” added Costello.

      Inky blue walls appear throughout the hotel
      Adjacent to this is = a reception room arranged around a large fireplace. Just in front are a couple of plush, claw-footed sofas perched on a blue floral rug, while an oversized cream lamp has been suspended overhead.
      A doorway in the corner of the room looks through to a cosy blush-pink seating nook with trellis-style walls.

      A bird-print mural is the focal point of the hotel’s salon
      The hotel’s restaurant serves signature New Orleans’ dishes with a contemporary twist. Drinks can be enjoyed in the bar and salon, where one wall has been painted to feature Egret birds fluttering amongst spindly tree boughs.
      A burnt-orange leather sofa runs along the lower half of the wall, accompanied by a handful of fringed seating poufs and tiny lamps that dimly illuminate the room.

      Guests can also enjoy dinner and drinks out on the patio
      Guests can alternatively sit with cocktails on the hotel’s porch – the floor here is clad with the tiles that date back to the 1860s.

      Maison De La Luz hotel in New Orleans is “madcap and fun” says Pamela Shamshiri

      Outdoors there’s also a swimming pool shaded by palmetto trees, a herb garden and an alfresco bar.

      Bedrooms come complete with four-poster beds
      A more pared-back design approach is taken in the bedrooms, where walls have been painted eggshell-white.
      Touches of drama are added by the four-poster beds and freestanding soaking tubs that take centre stage in the bathrooms.
      “Since The Chloe is actually a house, it feels like you are getting invited over to a local’s – which is all I ever want to do when I travel,” concluded Costello.

      The en-suite bathrooms also include freestanding tubs
      The Chloe joins a number of charming spots to stay in New Orleans, where tourists continue to flock to experience its rich history, vibrant live music scene and revered Mardi Gras parade.
      Others include The Eliza Jane, which takes over seven historic warehouses, and Maison de la Luz, which is designed as if it’s the home of a well-travelled woman that’s come to acquire several worldly souvenirs.
      Photography is by Paul Costello.

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      Trahan Architects creates curving wooden balconies for Atlanta theatre

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      US firm Trahan Architects has renovated the Coca-Cola Stage at the Alliance Theater in Atlanta, Georgia, using steam-bent timber to form an undulating auditorium.Constructed in 1968, the 650-seat Alliance Theater is part of the Woodruff Arts Center campus in the state capital of Georgia.

      The 1960s theatre was gutted and refurbished
      For the renovation, Trahan Architects stripped the interiors of the lobby, theatre and backstage areas back to the original concrete walls.
      New York-based, steam-bent furniture designer Matthias Pliessnig collaborated on the design of the wooden elements, which were made by fabrication specialists CW Keller Associates.

      Steam-bent timber curves around the seating. Photo by Trahan Architecture

      Pliessnig created a 1:1 scale mock-up of the Coca-Cola Stage at the Alliance Theater and shared his expertise in steam bending wood, a process that involves heating wood to make it pliable and bending it by hand.

      Revolving auditorium is showpiece of Boulevard theatre by SODA

      “The result is a series of beautiful steam-bent millwork guardrails and balconies that merge handcraft with mass production,” said Trahan Architects.
      “The synthesis of acoustic performance, hand-driven artistry, and sophisticated laser positioning are all carefully choreographed to execute the complex steam-bent millwork without the need for wasteful CNC moulds.”

      All of the seating zones are connected in the theatre
      The seating is now 10 feet (three metres) closer to the stage than before, and the seating of the stalls abuts the orchestra pit.
      Seating stacked around and above the stalls in the balconies are defined by curving wooden elements but are not separated.
      The architects said this design decision was a symbolic one to draw on Atlanta’s history. The city was America’s most racially segregated after 1865 when slaved were freed in the US, right up until the 1960s.
      During this period, black people were barred from eating at certain restaurants or attending certain cinemas reserved for white patrons or were forced to sit in separate seating.

      Trahan Architects worked with a sculptor on the wooden design
      “The design team felt a responsibility to remove the separation between balcony and orchestra – challenging historic notions of segregation and discrimination,” said Trahan Architects.
      “All seating zones can be accessed from every entrance within the chamber.”

      Steam-bending timber created less waste than CNC cutting the wood
      Based in New Orleans and New York, Trahan Architects was founded in 1992 by Trey Trahan. Previous work by the practice includes a visitor centre for an 18th-century plantation in Louisiana.
      The Coca-Cola Stage at the Alliance Theater is shortlisted for Dezeen Awards 2020 in the civic and cultural interior category, along with a museum in Pittsburgh built in a ligtening-struck library and a museum of architecture models in China.
      Photography is by Leonid Furmansky unless otherwise stated.
      Project credits:
      Architect: Trahan ArchitectsDesign team: Trey Trahan, Leigh Breslau, Brad McWhirter, Robbie Eleazer, James Babin, Scott Melançon, Conway Pedron, Ayesha Husain, Sarah Hussaini, Wenyun Qian, Andrew FuArtist collaboration: Matthias PliessnigMillwork fabrication: CW Keller AssociatesTheatre consultants: Theatre Projects ConsultantsAcoustics: Talaske GroupStructural engineer: Uzun + CaseMEP: DLB Associates Consulting EngineersLighting designer: Fisher Marantz StoneGraphic design: ThirstLife safety: Jensen HughesProject and cost management: Cost+ Plus VerticalTransportation: Lerch Bates

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      David Adjaye and Aston Martin design five residences in New York skyscraper 130 William

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      David Adjaye has partnered with luxury carmaker Aston Martin to design homes and limited edition SUVs for five residents who will live in the British-Ghanaian architect’s first New York skyscraper.Five Aston Martin Residences will be located on the 59th and 60th floors of 130 William – Adjaye’s 244-metre-tall residential tower under construction in Manhattan. Each resident will also receive a limited-edition, Adjaye-designed Aston Martin DBX.

      Above image: crosshatched bronze, an emblem of Aston Martin, will cover Adjaye-design wallpaper. Top image: residences will have outdoor loggias
      “The 130 William Aston Martin homes have been touched in a very particular way that merges our design sensibilities,” said Adjaye.
      “Together with the limited edition SUVs that come with these units, we’ve created a truly unique signature that blends our two disciplines.”
      Differing from the other homes in the 242-unit tower, these five will be decorated with materials, textiles and furniture sourced from the Aston Martin Home Collection by the Italian manufacturer Formitalia, with additional touches by Adjaye.

      The living and dining room will feature items from Aston Martin’s home collection

      The entry hallway will be covered with a bronze cross-hatch, a signature of the Aston Martin brand, that will cover over dark Adjaye-designed wallpaper. A large arched smoked-glass mirror by Aston Martin’s design team will hang on the wall, as a reference to the arched windows of the skyscraper.
      Renderings show these windows will flood daylight into the lounge and dining room, whose furnishings will include leather, metal and fabric chairs that are intended to draw on the aesthetic of Astin Martin car interiors.

      Residents can customise a bedroom into a study
      An open-plan kitchen adjoining the living room will have rich materials like blackened-oak Italian cabinetry, marble countertops from Italy’s Apuan Alps and a cantilevered Nero Marquina marble top.
      In the main bathroom, meanwhile, dark Italian Salvtori will be carved into a bathtub and double vanity sinks. Design details in the main bedroom will include Formitalia furniture and a custom cashmere headboard.

      The spare room can also be turned into a racing simulator
      Residents will also be able to turn one of the rooms in the two- or three-bedroom homes into a racing simulator, an office and library space or a bedroom. The racing simulator will be made in partnership with British technology company Curv Racing Simulators.
      Each residence will also have an expansive outdoor space with bespoke slatted screens to divide up lounging areas.

      The main bathrooms with have a bathtub carved from marble
      The Adjaye-designed Aston Martin DBX that will accompany the purchase of each residence will feature rich materials to mirror the homes – including marble, walnut wood and hand-stitched leather with green trim.
      The five Aston Martin Residences include two penthouses for sale at $11,500,000 and $10,500,000, and three loggia residences priced from $3,985,000, $5,985,000 and $10,000,000.

      130 William skyscraper for New York will be “great for drones” says David Adjaye

      First unveiled in 2017, 130 William is a 66-storey skyscraper in Downtown Manhattan that Adjaye has designed with local firm Hill West Architects for developer Lightstone.
      It will have a textural hand-cast concrete exterior to complement the materiality of the surrounding historic, brick commercial buildings, which Adjaye has previously said will make it ideal for close-up drone photography.

      Each resident of the five homes will get an Adjaye-designed Aston Martin DBX luxury car
      The partnership with Aston Martin is not the first time the car marker has turned its hand to architecture and design.
      “This is a fascinating project for the Aston Martin design team to work on and a great opportunity to collaborate with David,” Aston Martin CCO Marek Reichman said.

      Rich materials inside the SUV are intended to reference the homes
      “It is our first real estate project in New York City but our second collaboration in real estate design after the Aston Martin Residences in Miami,” he added. “We can apply what we have learnt in Miami and also bring our unique automotive design skills to these beautiful luxury homes.’
      Last year, the brand also launched an architectural design service called Automotive Galleries and Lairs to design homes around the resident’s cars. It has since teamed up with US studio S3 Architecture to create Sylvan Rock, an angular black-cedar home in Hudson Valley, New York.
      Renderings are courtesy of Aston Martin.

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      Recycled drink cans decorate exterior of Daily Paper's first US store

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      Over 13,000 flattened aluminium cans decorate the facade of Dutch fashion label Daily Paper’s inaugural shop in the US, which has opened in Manhattan, New York. The two-storey Daily Paper store spans 1,140 square feet (106 square metres) and occupies a prominent corner building in Manhattan’s Lower Eastside. Up until now, the brand has exclusively
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      About Time: Fashion and Duration exhibition at The Met celebrates 150 years of fashion

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      Set designer Es Devlin has created two clock-like gallery spaces for the latest fashion exhibition at New York’s Metropolitan Museum of Art, which compares design over 150 years.The Met’s Costume Institute opens About Time: Fashion and Duration at the museum’s Fifth Avenue location on 29 October –  the original planned opening in May 2020 was postponed due to the coronavirus pandemic.
      Featured fashion dates back 150 years to 1870 to coincide with The Met’s 150th anniversary. Rather than presenting designs chronologically, the exhibition mixes up the timeline in order to compare the cyclical nature of fashion across the years.

      Above image: the all-bacl Clock One gallery space. Top image: the mirrored Clock Two gallery space

      “About Time: Fashion and Duration considers the ephemeral nature of fashion, employing flashbacks and fast-forwards to reveal how it can be both linear and cyclical,” said The Met director Max Hollein.
      “The result is a show that presents a nuanced continuum of fashion over the museum’s 150-year history.”
      Devlin, who has created stage sets for musicians The Weekend and Katy Perry, worked with The Met’s Design Department to create a time-travelling-themed exhibition.

      White markings or light divide galleries into 60 “minutes”
      It is located in two galleries in the museum’s Iris and B Gerald Cantor Exhibition Hall that are in a circular formation like a clock. Called Clock One and Clock Two, they have different material finishes. The former is nearly all black, and the latter is covered in mirrors.
      White markings on the floor or thin white lights punctuate both spaces, resembling the marks on a clock face.
      These marks split the galleries into 60 segments or “minutes”. Each minute showcases two garments – one that follows time chronologically and another from a different time period to showcase similarities or differences in form.

      One of the spaces is covered in mirrors
      Examples include an 1870s black silk faille princess-line dress paired with a 1990s Alexander McQueen skirt and a mid-1890s silk satin dress with puffed sleeves contrasted by 2004 Comme des Garçons ensemble.
      “Fashion is indelibly connected to time,” said Andrew Bolton, the Wendy Yu curator in charge of The Costume Institute.
      “It not only reflects and represents the spirit of the times, but it also changes and develops with the times, serving as an especially sensitive and accurate timepiece.”

      It is located in two galleries in the museum’s Iris and B Gerald Cantor Exhibition Hall
      There are 125 fashions in the exhibition with a number sourced from The Costume Insitute’s collection. It includes work from well-known contemporary and historic designers and brands like Virgil Abloh, Azzedine Alaïa, Jonathan Anderson, Iris van Herpen, Karl Lagerfeld and Vivienne Westwood.
      First announced last year, The Met’s About Time exhibition is based on French 20th-century philosopher Henri Bergson’s idea of time as la durée, or duration – something which can be measured through images but never perceived as a whole.

      The Met celebrates “resurgence of camp” in new exhibition Camp: Notes on Fashion

      The Met closed its main building on Fifth Avenue, as well as its Met Breuer and Met Cloisters locations, in early March in response to the emergence of outbreaks of coronavirus in New York City.
      In lieu of the spring opening, the museum created a virtual version of About Time: Fashion and Duration on Youtube.

      Garments include this spring/summer 2020 haute couture by Viktor + Rolf
      The annual Costume Institute Benefit, also known as the Met Gala, was due to take place in May 2020 to coincide with the original opening of the exhibition. It was also cancelled due to the pandemic.
      The Met’s Costume Institute organises a spring exhibition every year. Last year’s exhibition Camp: Notes on Fashion celebrated the “resurgence of camp”, while the 2018 showcase Heavenly Bodies was themed on religion.
      Others have included a retrospective of Comme des Garcons founder Rei Kawakubo, a study of handcraft and machine production and an exploration of China.

      About Time will run from 29 October 2020 to 7 February 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Rammed-earth counter anchors Flamingo Estate pop-up in Los Angeles

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      Vibrant green walls surround a chunky rammed-earth counter in this garden-themed pop-up shop in LA that creatives Alex Reed and Dutra Brown have designed for lifestyle brand Flamingo Estate.Flamingo Estate’s Harvest Shop pop-up takes over a retail unit in Platform, a high-end shopping centre in LA’s Culver City area.
      The shop offers an array of the brand’s holistic products for the body and home, along with its range of pantry foods, which includes items such as extra-virgin olive oil, honey and dark chocolate.
      Many products are made with ingredients grown on the grounds of Flamingo Estate, which is tucked away in the hills of the nearby Eagle Rock neighbourhood. Its sprawling garden is host to 150 different species of flowering plants and shrubs, as well as a fruit orchard, vegetable beds and a hive of bees.

      A rammed-earth counter sits at the centre of Harvest Shop

      This lush landscape became a key point of reference for the pop-up’s designers, locally-based creatives Alex Reed and Dutra Brown.
      Together they sought to fashion a space that resembled “a small, secret corner of the estate itself…as if it was lifted from the earth and brought to the store”.

      An abstract sculpture perches on one end of the counter
      At the centre of the shop is a monolithic counter crafted from rammed earth. The bottom of the counter is inset with different-coloured fragments of stone, while the top features a cluster of white-tile blocks and platforms on which products are presented.
      To ensure the tiles could be used again post pop-up, a simple mixture of mud and earth was used as grout.
      A corner of the counter is dominated by an amorphous sculpture that Reed and Brown created using scagliola – a type of plaster typically made from gypsum, glue and pigments.

      A mural depicting trees and rolling hills acts as a backdrop to the counter
      “For Flamingo Estate’s first physical location, we looked to the company’s ‘hands-in-the dirt’ ideals of what is luxurious and covetable today,” the pair said.
      “We’ve utilized our respective expertise to design and build a project centred around materiality – this collage of organic material and sculptural form, together with provenance and fantasy, celebrates what we love about Flamingo Estate.”

      Frida Escobedo segments Aesop Park Slope with rammed-earth brickwork

      The garden theme continues onto Harvest Shop’s walls, where LA-based artist Abel Macias has painted a rich, green mural.
      “Richard [Christiansen, owner of Flamingo Estate] and I talked about a concept based around Snow White, the enchanted little forest that she lives in that’s sort of dark but very magical and green in a way,” explained Macias.
      “We came up with this landscape that’s rolling hills and swirly trees, keeping everything in the tonal green world so that it feels verdant and very lush [in the store].”
      Emerald-coloured paint covers a wall on the opposite side of the shop, which is mounted with rows of glass jars filled with various natural ingredients.

      Another wall is mounted with rows of glass jars
      Flamingo Estate is overseen by creative director Richard Christiansen. Beyond the estate’s garden lies a Spanish colonial-style house that, since the beginning of 2020, has operated as a chic retreat for creative people in Los Angeles.
      Its Harvest Shop pop-up isn’t the only retail project to have made use of rammed earth. Last year, Mexican architect Frida Escobedo applied rammed-earth bricks to the walls of an Aesop store in Brooklyn, New York, to emulate the facade of the brownstone townhouses seen around the area.
      Photography is by Adrian Gaut.

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      Fashion meets art inside Dries Van Noten's inaugural US store

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      Luxury fashion label Dries Van Noten has opened its first US store in Los Angeles, which boasts interiors filled with artworks from creatives across the globe.Dries Van Noten’s LA store takes over two buildings that sit on a huge parking lot along La Cienega Boulevard. The first building is a two-floor property that has been dubbed Big House, the second, called Little House, is a 1950s-era bungalow completely shrouded by ivy.
      Together the buildings measure 8,500 square feet (790 square meters), making this the Belgian fashion brand’s largest retail space to date.

      Dries Van Noten’s LA store is split into Big House and Little House

      Clothing collections are presented inside Big House, with womenswear on the ground floor and menswear up on the first floor.
      The brand’s in-house design team took charge of the interiors – founder Dries van Noten, who was stuck outside the US due to coronavirus travel restrictions, would “visit” the space every evening via FaceTime calls with staff members.
      Simple white-painted walls and concrete flooring appears throughout. A few elements in the store, like the accessory display plinths and chesterfield-style sofas, are a sunny shade of yellow – a colour deemed synonymous with Dries Van Noten’s brand identity.

      Big House displays the brand’s fashion collections
      Decor is provided by striking artworks from a roster of local and international creatives. Some pieces, such as the mixed-media collages by LA-based artist Jan Gatewood, have been executed directly on the store’s walls as murals.
      “I didn’t want to have that gallery feeling where everything is mercantile…it’s more like graffiti,” Van Noten explained.

      Artwork and musical instruments have been dotted throughout
      “While showcasing the Dries Van Noten collections this place will be a haven for creative encounters and gathering experiences that embraces the creative pulse of Los Angeles and its creative and fashion community” added the brand explained in a statement.
      “These experiences can be as light-hearted as they can be profound, yet they will always be welcoming to all and informal.”
      Sculptural furnishings by Rotterdam-based designer Johan Viladrich are also on display, as well as busts of tattooed human heads by Czech artist Richard Stipl.

      Big House includes an archive room that presents pieces from old Dries Van Noten collections. Photo by Jeff Forney
      Big House additionally includes archive rooms which are haphazardly plastered with old catwalk and campaign imagery of Dries Van Noten designs.
      Here customers are able to purchase pieces from past collections – some of which date back to the 1990s – and once health and safety restrictions have been lifted post-pandemic, re-sell garments from the brand that they no longer want.
      “It’s not only about sustainability reasons, but it’s the whole idea that a beautiful garment stays beautiful even if other people have been wearing it – and I like the idea that you have new clothes and old clothes all together in the same store,” added Van Noten.

      Foliage-filled plant beds line the outside of the store. Photo by Gareth Kantner
      To access Little House, shoppers must walk past a series of plant beds overspilling with tropical foliage, which were included in homage to Van Noten’s passion for gardening and the brand’s frequent use of botanical prints.
      The bungalow acts as an exhibition space which, going forward, will showcase different furniture, textiles, ceramics and photography from both established and emerging creatives.
      Currently on display is a collection of porcelain tableware created by Van Noten’s longtime friend, fashion designer Ann Demeulemeester, and Belgian brand Serax.

      Dries Van Noten pays homage to Verner Panton with colourful SS19 collection

      The brand also hopes that, in time, the parking lot can host large-scale events, and has plans to transform it into everything from a drive-in cinema to a food-tasting space.

      Little House will serve as an exhibition space. Photo by Jeff Forney
      Dries Van Noten’s Los Angeles store joins branches in Tokyo, Osaka, Singapore, Paris and a flagship in Antwerp – but the brand’s founder already has his sights set on opening the doors to a store over on the east coast of the US.
      “Of course the space is very important, it really has to be the right building – the moment we find that, we’ll be in New York.”
      Photography is by Jim Mangan unless stated otherwise.

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