#deconstructed-style

#deconstructed-style

Aesthetic inspiration is social and collective, but aesthetic results are deeply personal. What works for one face, skin type, or bone structure won't always work for another.

Fractal 9 began not as a formal design project but as a response to a simple, everyday need, aiming to create something meaningful in an empty corner.

Brittany Antoinette Wilson's dad has been a collector for over 30 years, starting with comics and expanding to baseball caps and sneakers. His sneaker collection, now around 500 pairs, reflects his passion for fashion and appearance.

Viewpoints are structures designed for observing the landscape from elevated positions. They act as devices that organize the gaze and establish a direct relationship between the body and the territory.

Casa Kahlo offers an unprecedented look into the famed Mexican painter's family home, Casa Roja, which stands just blocks away from Casa Azul in Mexico City. Kahlo would retreat to Casa Roja when Casa Azul got crazy.

Emily Porter found a woven sweater labeled 'Maria Rodriguez Chicago' at a resale shop, highlighting the significance of local designers in Chicago's fashion history.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

In Braque's paintings, collages, and prints, the polymath set out to distill bucolic landscapes and rural village scenes as broken up and then re-assembled geometric compositions; decidedly abstract yet still slightly recognizable representations. Through this revolutionary approach, he examined how objects could be depicted from multiple perspectives-multiple sources of light-as if superimposed portrayals of the same setting rendered at different times of day.

The style is characterized by raw, exposed concrete and bold geometric forms. You've certainly seen it before in many cultural and civic buildings built between the 1950s and '70s. With countless examples spanning countries and continents, the look has both historical significance and remains popular-particularly in residential design-today.

Like the chambered nautilus, its shell was a logarithmic spiral. A wall of rough sandstone and aquamarine glass cullet twisted up fifty feet to an oil-drill-stem mast from which a floating roof was hung by the stainless-steel struts of World War II biplanes. You slid in with the humid air from the ravine outside to stroll a terraced garden of pools and plants, over which suspended and carpeted pods for living and sleeping drifted like clouds.

There was an outsider's embrace of French fashion standards in this show, like an open-top omnibus tour at breakneck, gendarme-enraging speed of tailored hooded boleros with sweet bows perched on the noggin like something by Marc Bohan or a young Hubert de Givenchy. There were zip-scarred bodycon dresses that I refuse to accept as anything other than homage to Azzedine Alaïa's seminal 1986 originals.

Postmodernism began as a critique of modernism's exhausted promises. By the late 1960s and early 1970s, many designers no longer treated modernism as radical or socially redemptive. Urban renewal projects accelerated the demolition of historic neighborhoods, and landmark preservation battles raised urgent questions about what the United States valued and, ultimately, protected. The loss of major civic icons, including New York's Penn Station, sharpened public awareness that progress often arrives through erasure.

How did a material conceived for bridges, factories, and large-scale structures make its way to the living room bench, the apartment bookshelf, the café table? For centuries, metal was associated with labor, machinery, and monumentality-from the exposed structures of 19th-century World's Fairs to the productive logic of modern industry. Its presence in domestic interiors is not self-evident but rather a cultural achievement: the transformation of an industrial material into an element of everyday, intimate use, in close proximity to the body.

It captures seven different femininities during an all-day pool party, enjoying themselves while revealing their distinctive styles. Creative Direction, Production & Styling by Maria Gkin. Photography by Eliza Poultidou. The models are Vanessa Otilia, Cyka, Alvina Chamberland and Angelica Komninak. The concept examines the thin line between what is seen as acceptable and what has been labelled ugly or immoral, explored through each woman's personal story. Textures, colours, makeup and styling come together, breaking down stereotypes and highlighting fashion as a means of freedom

When was the last time you saw an ashtray filled with stubbed-out Marlboros at a friend's apartment? At a restaurant? For some of us, the answer may very well be "never." Maybe that's the charm of the International Museum of Dinnerware Design's new exhibition on ashtrays - invoking an era before health codes and Mayor Bloomberg. Or reaching back even further, when you might see a Similac-branded ashtray in the office of your OB/GYN.

Alg Eventual is an Ohiobased audio/visual new media artist creating glitch art, digital collages and abstract mixed media works with a reference to the roots of the early 2000s. His works feature scanner experiments, layered textures and titles like Exterior, Interwind, Articulation, Overthinking and Everything leads back to you, blending digital manipulation with tactile, fragmented aesthetics. More: Instagram