Desert Choreography (by Marsel van Oosten)
We were heading back to the lodge when I suddenly saw this small herd of oryx running right in front of us on a giant sand dunes.
For years, the signs in the New York City subway system were a bewildering hodge-podge of lettering styles, sizes, shapes, materials, colors, and messages. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. Efforts to untangle this visual mess began in the mid-1960s, when the city transit authority hired the design firm Unimark International to create a clear and consistent sign system. We can see the results today in the white-on-black signs throughout the subway system, displaying station names, directions, and instructions in crisp Helvetica. This book tells the story of how typographic order triumphed over chaos. The process didn’t go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren’t there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn’t happen that way—that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn’t until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images—photographs, sketches, type samples, and documents). He places this signage evolution in the context of the history of the New York City subway system, of 1960s transportation signage, of Unimark International, and of Helvetica itself.
Okay, I know we had the Carol Tam on here previously, but I met up with her in the Meatpacking recently and immediately whipped out my camera.
"Carol, I need to shoot this outfit."
She labeled it her Michael Jackson tribute outfit… she’s been obsessed with the late artist since she was an embryo, and still continues to relish his music and fashion.
Carol’s a close friend to the blog… maybe the closest. Every meet up with her is a result of inspiration for style and poise, and she constantly surrounds herself with people, places, and things that are “chic”.
"Chic." A word that you’ll hear at minimum once every two sentences when you’re with the girl.
She’s one of those rare people that just got the eye for swag. When we’re stuck on an outfit, we know who to dial- this ghostbuster for fashion sense. Gawd, that was lame. Apologies.
Anyways, peep the outfit. Check the steeze. Eat some cereal. Bake some potatoes. Duke that seriously.
(Alice and Olivia skirt// YSL pumps// Rolex watch// Theory clutch// photos Henry)
my girl, carol tam, killin it
We cleaned up nice today, spread collared white against black on black on black.
With people rocking navy, gray, tan suits alot this past summer, rocking a black two piece can actually stick out… ironically. It’s the perfect attire for a wedding.
The key is in the deets. Make sure you have the minimal, minimal accents, starting with the pocket square, to the tie clip, subtle patterned tie, clean watch, wingtip shoes… and keeping your cuffs flashing.
On a similar vein, does it feel like everyone’s getting married these days? If not married, at least jumping into some serious relationships? Yeez….
Y’all stay away from me, I ain’t growin up!
(Ben Sherman suit// Club Monaco tie// Tiebar clip// Aldo shoes// photos Jinu)
Awesome coming home to a new issue of GQ. #menswear #mensfashion #fashion #gq