EST. 2009

March 17, 2016

That Room to Grow













JIN AHN WORKED IN GRAPHIC AND FASHION DESIGN FOR TEN YEARS before deciding to study horticulture. Seeing a potential in green things, she went on to open Conservatory Archives along east London's Hackney Road. Originally intended by Jin and her partner Giacomo to be part-plant-shop, part-antique-shop, they saw the leafy side of business too quickly outgrow its counterpart since opening in December of 2015.

There's still a sprinkling of furniture and accessories, albeit overtaken by the forest of foliage. Ferns hang overhead, birds of paradise dwarf a door frame, succulents sit like trophies on tabletops, and all sorts of potted greens fill shelves and boxes on the floor. Possessing both volume and variety, the plants are well selected, purchased by Jin herself from different sellers and private collectors. She tells me that the large cacti go fast. Showing one that stood over five feet, priced at £300, she gives me an idea of just how big a recently-sold £500 cactus might have been.

The perfect hostess for a snug yet buzzing shop, Jin managed to chat with me between attending to visitors. It was a Wednesday, the shop's quietest day, and in my two-hour visit, there wasn't a period of more than ten minutes in which there wasn't at least one customer browsing. Jin says that on weekends, it gets so busy, people line up to pay.

The Telegraph's Debora Robertson calls it a renaissance. "Like so many trend evolutions, this hip green renaissance is spreading from the style hothouse that is east London. Where once they came with their cocktails, food trucks and pop-up restaurants, now they’re here with their succulents and ferns, air plants and ivies, following a nurturing continuum from pop-ups to potting up."

In existence since the early Greeks and Romans, houseplants gained popularity in colder climates by the 17th century. Benefits of keeping them have also been made known, particularly by a 1988 NASA paper determining their ability to remove trace levels of toxic chemicals from indoor spaces. The study revealed such figures as 2,592 micrograms of formaldehyde dropping to 259 micrograms after 24 hours of exposure to aloe vera. Benzene levels dropped from 18,500 to 9,000 when bamboo palm was introduced into the enclosed space.

Today, houseplants appear to be celebrated for their ornamental qualities, as unlikely style symbols. #monstera and #fiddleleaffig appear in quintuple digits on Instagram, posted by tastemakers and coolhunters alike. #cactus now appears over two million times and that doesn't even count #cactuslover, #cactusclub or #cacti.

Conservatory Archives is one such hashtag-worthy destination, in a hashtag-worthy pocket of the city no less. You might be one to sneer at trends but it's hard to vilify houseplants, which thrive on care, and inanimately care back. To take it from a a blossoming plant professional, perhaps there is indeed a potential in green things. Any trend that makes life a little less toxic must be worth cultivating.

Conservatory Archives, 493-495 Hackney Road, London. facebook.com/conservatoryarchives Photos by Lady San Pedro and Mónica García Koewandhono.

February 23, 2016

This Girl with a Pearl Penchant


GIRL WITH A PEWTER EARRING sounds far less poetic but far more accurate if observations made about Vermeer's painting are true. In December 2014, astronomer Vincent Icke claimed that the jewel adorning the Dutch girl's ear could not have been a real pearl. His doubt arises from the way the bead in the painting gleams on the top left corner while reflecting the girl's collar on the bottom. An actual pearl, he explains, would scatter light of different wavelengths and produce a soft, pearly sheen.

The Mauritshuis, current home of the painting, share Icke's conclusion. Curators Quentin Buvelot and Ariane van Suchtelen posit that the "unrealistic size" of the pearl make it likely that it was a cheaper glass bead from Venice, which were common in the 17th century. "Whereas most pearls nowadays come from farms, in the seventeenth century, they were natural ones. Pearls were formed in oyster-like sea mussels. Large pearls were rare and ended up in the hands of the richest people on the planet."

Fortunately for us today, pearl earrings are much more accessible than in Vermeer's time. Still, imitation pearls persist. My current favorites, Dior's Tribale and Chloé's Darcey earrings feature pearls made of resin and Swarovski simulations, respectively. I do own a respectably authentic pair from my native Philippines but it's the trendy pairs I wear daily that have become precious to me, out of habit, and in spite of how "un-precious" their materials may be.

Vermeer's girl could in fact be dangling a pewter, glass or silver bead from her earlobe but there's no tarnishing the painting's current title. Also known in the past as Girl with the Turban and Girl's Face, the name Girl with a Pearl Earring has become immortalized in present-day consciousness thanks to Tracy Chevalier's 1999 novel of the same name. It's also the novel that inspired that delectable film with Scarlett Johansson and Colin Firth.

I am so attached to my pearls that I rarely leave home without them. By pearls, I mean the simulated ones by Dior and Chloé. "Girl with a Resin Earring" sounds accurately lame. Perhaps not all contexts call for accuracy.

What's your favorite accessory?

Girl with a Pearl Earring by Johannes Vermeer, mauritshuis.nl

January 27, 2016

That Diary of Decoration

















"IT'S BASICALLY THE NEW BARCELONA - minus the Brit stag and hen parties." was how the Evening Standard recently described Lisbon, the hilly coastal city that enjoys an average of 2,800 sunshine hours per year. The westernmost capital city of Continental Europe, Lisbon is also one of the most affordable, offering a standard 500 ml serving of beer at 2 Euros or less. Numbeo.com unfortunately doesn't list an official average price for a glass of house wine but I can at least say from experience that you don't need to overspend for a decent red or white.

Having lived three and a half years in Barcelona, and visiting thrice before doing so, I did find many similarities between the Catalan city and the Portuguese capital; Lisbon's Marquês de Pombal particularly reminded me of Barcelona's Zona Alta, which is still sometimes home in my night-time dreams. But it was precisely the similarities that made the differences more apparent. Lisbon is distinct from Barcelona, and any other city I've visited, in its use of decoration. Whether embellishing surfaces or configuring the city's actual topography, adornment seems inherent to the Lisboeta, lending pattern, color or texture to every step, glance or panorama.

The hand-lain calçada portuguesa pavement decorates sidewalks and squares with patterns in black and white stone. Ceramic tiles or azulejos, in colorful geometries or religious and historical depictions, cover both building façades and interiors. Sumptuous Manueline ornamentation, incorporating oceanic, maritime, botanical and Christian motifs, texturize churches, castles, convents and the fortified Belém Tower. Even the buildings cascading down Lisbon's hillsides appear like ornaments on the slopes.

While too much embellishment can be tacky, what Lisbon seems to have mastered is harmony. In "Art: Perception and Appreciation", the authors assert that harmony may be achieved through repetition, and indeed Lisbon's colors, patterns and details are so regularly repeated that they manifest as texture rather than independent elements.

Considering that eighty-five percent of Lisbon's buildings were destroyed in the great earthquake of 1755, with a subsequent fire burning down surviving churches, palaces, hospitals and the opera house, most of what can be seen in Lisbon today are no more than 250 years old. Home to two World Heritage Sites and a plethora of hand-worked embellishments, the city is undoubtedly committed to its aesthetic aspects, with relative devotion to its crafts.

But is it in fact "the new Barcelona?" To most visitors, perhaps. Adornment after all is also one characteristic of Barcelona's Modernisme. Personally though, I have a much too superficial experience of Lisbon to compare it to a city that is still subconsciously home to me. But for imparting the familiarity I secretly long for, and for delighting me with a new perspective on decoration, I couldn't have been happier to be there.

Alfama, Chiado, Rossio Square, Praça do Comércio, Miradouro de São Pedro de Alcântara and Torre de Belém, Lisbon. Photos by Lady San Pedro and Jaime Sese.

January 12, 2016

That Golden Recovery




CLOSING THE GAP BETWEEN FUNCTION AND ORNAMENTATION, Kintsugi is the Japanese art of repairing broken pottery with gold-infused lacquer. The practice adheres to the philosophy of treating breakage and repair as natural parts of an object's history, rather than incidents whose evidence is to be concealed.

While essentially functional, Kintsugi is appreciated for imparting new aesthetic qualities onto objects. The Washington Post even suggests that in its origin days, Japanese collectors "developed such a taste for kintsugi that some were accused of deliberately breaking prized ceramics, just to have them mended in gold." Such acts would be contrary to both Kintsugi's philosophy and origins, but perhaps deliberate breakage is just another kind of event in an object's lifespan.

Contemporary artist TJ Volonis conducts studies on Kintsugi, applying the joinery techniques to sculpture and reclaimed tiles. Mixing lacquer with pure silver or 24-karat gold, the resulting pieces seem devoid entirely of function, while also leaving ambiguous whether the breakage was deliberate or incidental. Gold-mended marble or slate look more like objets d'art than building material, and the ceramic heart labelled "Not For Sale - Collection of the Artist" sounds precious and prized.

In a culture where disposable items, fast fashion and quick technological turnovers are the norm, a good repair is ever so rare. Breakage is inevitable with objects, as with anyone or anything. Hearts not exempt.

Mend the cracks. Join pieces back into a whole. Just think of Kintsugi should you ever feel embarrassment, guilt or shame over a recovery. A good history is golden, however flawed.

Repaired Heart, Kintsugi Study #4) and Kintsugi Study #2 by TJ Volonis, tjvolonis.com

December 28, 2015

Those Interlocking Influences










INTERLOCKING THE INFLUENCES OF COCO CHANEL AND KARL LAGERFELD, Mademoiselle Privé was described by The Guardian as "less a retrospective of a long-dead designer than an exhibition about how Karl Lagerfeld invented the character Coco Chanel as we think of her today." Indeed, the exhibit combined history and imagination in presenting the origins and manifestations of Chanel's codes.

There were rooms dedicated to fragrance, fabric, film and ephemera, as well as workshops for embroidery with Lesage, feather and flower making with Lemarié, and olfactive enlightenment through the legendary Chanel N°5. My favorite of the rooms was the jardin à la française, which featured interlocking C-shaped pathways curving through real hedges.

With only a few pieces remaining from the original Bijoux de Diamants collection designed by Coco Chanel herself, the entire jewelry line was recreated for the exhibit and worn in portraits by celebrities including Julianne Moore, Vanessa Paradis, Kristen Stewart and Lily-Rose Depp. Also replicated was the famed mirrored staircase from which Coco Chanel secretly watched her fashion show audiences. The rest of her Rue Cambon apartment could be visited virtually through the Mademoiselle Privé app.

To most of the world, Chanel is a sphere one could only peer into through pictures and videos. The exhibit at Saatchi Gallery was a delightfully accessible way to "C the World" built in turns by Coco Chanel and Karl Lagerfeld. Although taking its title from the "Mademoiselle Privé" sign Coco hung on the door of her atelier to work undisturbed, the exhibit was anything but unwelcoming. Chanel CEO Bruno Pavlovsky affirmed: "We felt it was a good time for the brand to give away some secrets."

Mademoiselle Privé at the Saatchi Gallery, October 13 - November 1, 2015. mademoiselleprive.chanel.com Photos by Lady San Pedro and Jaime Sese.




MADEMOISELLE PRIVÉ IS CHAPTER THREE OF CHRISTMAS TRIO:
A THREE-PART STORY FEATURING SOME OF LONDON'S BIGGEST AUTUMN EXHIBITIONS.

VIEW ALL STORIES


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