Each time I visit my parents’ house, I find myself mining the drawers of my childhood dresser for gems from the early aughts. Many of these items were bat mitzvah gifts — precious handbags, dainty pearl earrings — the kind of appropriate, just-so pieces that a 13-year-old could conceivably wear but that were more likely gifted with the future in mind. Coming of Age, the designer Amanda Lurie’s elegant and playfully nostalgic new line of accessories, reminds me of these beloved pieces.
Inspired by Lurie’s childhood in Miami, the geometry of dominoes and dice and the stunning plaid textiles Lurie found on a 2017 trip to Sri Lanka, Coming of Age (COA NYC, for short) bags are made of iridescent gingham silk taffeta sourced from the garment district in New York. The Everyday Bag has a structured, boxy shape reminiscent of a lunchbox. The union of luxurious fabric and a utilitarian shape makes it as easy to imagine carrying the bag to the grocery store as to a party — and, because of the sheen of the fabric from which they are made, the bags appear differently in different lights. Look once and they evoke ’90s Palm Beach preppiness. Look again, and they call to mind the vibrant crafted goods one might find on a trip to Mexico City or Buenos Aires.
“I want to design for what ‘coming-of-age’ means to me,” Lurie says. “Designing for a little girl or my grandma — any age can wear it, and any person can wear it.” For Lurie, who also designs for the New York-based brand Priscavera and has worked as a designer for Coach and Sandy Liang, launching her first collection is a growth story in and of itself. “The idea behind the brand came from my personal journey — of coming-of-age and how it started for me. I’ve been working and figuring out who I am and what speaks to me,” Lurie said. Currently, she is selling the Everyday Bag through the brand’s Instagram, and on April 1, she will launch her website, where bags in additional silhouettes, and eventually belts, will be available. — HILARY REID
Italy has produced some of the most revolutionary designs of the modern era, but until now, the country had never dedicated a permanent museum to its pioneering creations. On April 9, the Triennale of Milan, the country’s premier establishment for exhibitions of design, will open the Museum of Italian Design, drawing from the institution’s own enormous collection. The ground-floor wing of the rationalist Triennale edifice will be devoted to around 150 icons of Italian design, among them Ettore Sottsass’s carnivalesque “Carlton” room divider for Memphis, Olivetti’s affable yellow calculator, Gae Aulenti’s biomorphic “Pipistrello” lamp for Martinelli and Vico Magistretti’s shuttering “Eclisse” lamp for Artemide.
“From the 1940s to the 1980s, there was this moment of explosive creativity in Milan and around Italy that established a new paradigm of what design could be,” says Joseph Grima, the curator of the new museum. The museum’s collection highlights the boom years that introduced Italian design to the world, thanks to its “democratic philosophy of working with everyday objects,” he says.
Under Grima, the project will continue to expand the institution’s holdings of Italian creations in preparation for its move to a larger exhibition space inside the Triennale in the next years. In the meantime, a glimpse into this extensive archive allows visitors to, he says, “immerse themselves in Italian design.” At last. Museo del Design Italiano, Viale Alemagna 6, Milan — LAURA RYSMAN
Melissa Morris, the owner of the London-based handbag line Métier, is unequivocally anti It bag. “Women don’t want to associate themselves with a brand anymore. They don’t want visible logos. They’re a brand of their own,” she says. With this sentiment in mind, the 35-year-old quietly opened a tiny, wood-paneled shop on Mayfair’s South Audley Street in 2017, carrying her collection of carefully considered, utilitarian designs for men and women. “For the past year and a half, I purposely only sold in my store because I wanted to spend a lot of time with my clients, which is really doing the opposite of what’s trending in the industry,” says Morris, a Philadelphia native who previously worked at Helmut Lang and Belstaff. Not surprisingly, the eight signature shapes on offer for women — including a boxy, top-handled tote in a mini and medium size and a larger day-to-night carryall with an interior detachable evening clutch — won’t change much from season to season and are devoid of flash labels or hardware. Designed with travel in mind, with lots of inside pockets and modules, the bags are made from leathers found at small specialty workshops throughout Europe, including a particularly supple French calfskin from a tannery in Strasbourg, France, and a naturally pebbled buffalo skin from another outside Florence, Italy. Now, American men and women can finally have a piece of Morris’s under-the-radar luxury: In November, she launched her line in Barneys and Bergdorf Goodman in New York and, last week, Métier debuted at Conservatory, the new concept boutique inside Hudson Yards. metierlondon.com — ALEXA BRAZILIAN
When Laure Hériard Dubreuil opened her boutique the Webster in a cotton-candy-colored Art Deco building in Miami in 2009, she wanted the store’s curation of clothes and accessories — which range from playful animal-shaped handbags by Loewe to sequin Stella McCartney cocktail dresses — to act as an extension of her closet. Now, a decade later, she’s offering clients a look into her living room with the launch of the brand’s first home collection. The Webster Home is an eclectic mix of tableware, objects and furniture — both contemporary and vintage — collected by Hériard Dubreuil and the line’s newly appointed creative director, Stéphane Parmentier. The pair were introduced last summer by the fashion designer Pierre Hardy, a mutual friend, and, after a five-hour lunch in Puglia, Italy, they began their search across the globe for flea-market finds and undiscovered artisan treasures that possessed what Parmentier describes as a particular “vibration.”
“They’re emotional objects,” says Parmentier of his and Hériard Dubreuil’s final selections, which will be available at the boutique’s New York and Miami stores, as well as through its website. “If a piece didn’t have a strong narrative or a sense of exclusivity, then it wasn’t right for the Webster,” he adds. In the back of the SoHo shop’s ground floor, discarded white porcelain plates that were restored and gilded by the French artist Serge Nicole are positioned next to lampshades made from resin-coated croissants by the Japanese designer Yukiko Morita; Lobmeyr glassware with hand-painted designs inspired by the store’s vintage wallpaper are juxtaposed with a colorful tea towel by the Scottish artist David Shrigley. “It’s fun to imagine these pieces out of the context of the store,” says Hériard Dubreuil, pointing to a ribbed taupe leather table by Giobagnara with chunky cylindrical legs. “It could be a bedside table in New York or a stool on a yacht in Miami. How our clients make the pieces their own is part of the Webster’s DNA.” thewebster.us — ALICIA BRUNKER
“Dreamweavers,” a group exhibition which features work by a host of prominent contemporary black artists — including David Hammons, Deana Lawson, Kerry James Marshall and Toyin Ojih Odutola — opened at Los Angeles’s UTA Artist Space in mid-February. Now, the show serves as a home for a new interview series in which artists and collectors reflect on the themes of these artworks — among them, the struggle for visibility and the beauty that can be found in perseverance — and how these ideas have shaped their own careers. The subjects of the first episode, an excerpt from which premieres here, are the music producer and art collector Kasseem Dean, also known as Swizz Beatz, who helped organize “Dreamweavers,” and the influential entertainment manager Troy Carter. Upcoming episodes of the series, which is directed by the husband-and-wife duo Sing J. Lee and Sylvia Zakhary, will share conversations between the artist Carrie Mae Weems and the filmmaker Terence Nance, and between the artist and filmmaker Arthur Jafa and the photographer Ming Smith. “We had to put these powerful creative minds together and capture what’s really happening in the world,” explained Dean in an email. “Art has the power to educate, to connect and start real conversations like these.” Watch the full video here. — OSMAN CAN YEREBAKANB:
【比】【如】【一】【句】【平】【平】【常】【常】【简】【简】【单】【单】【的】【话】，【别】【人】【一】【听】，【就】【可】【以】【把】【人】【给】【气】【死】，【自】【己】【不】【会】【受】【伤】，【别】【人】【反】【而】【还】【夸】【你】【聪】【慧】。 【这】【就】【是】【说】【话】【的】【艺】【术】！ 【此】【时】【此】【刻】，【余】【明】【将】【老】【婆】【手】【里】【的】【平】【板】【拿】【到】【手】【中】，【把】【老】【婆】【将】【要】【发】【送】【的】【话】【语】【给】【删】【除】【了】，【重】【新】【打】【了】【一】【段】【话】。 “【我】【的】【老】【婆】【我】【教】【的】，【谁】【有】【意】【见】【啊】，【出】【来】【比】【试】【比】【试】。【要】【是】【你】【觉】【得】【我】【教】【的】【地】【方】【有】
“【如】【果】【我】【不】【愿】【意】，【你】【会】【杀】【了】【我】？”【浮】【生】【问】。 “【说】【不】【准】。” “【我】【要】【回】【城】【中】，【没】【时】【间】***。”【浮】【生】【说】【罢】，【头】【也】【不】【回】【地】【走】【了】。 【几】【个】【人】【把】【她】【拦】【回】【雨】【师】【循】【身】【边】。 “【我】【允】【许】【你】【离】【开】【了】【吗】？” “【你】【一】【个】【堂】【堂】【东】【胡】【皇】【子】，【在】【这】【里】【陪】【我】【一】【个】【小】【丫】【头】【玩】，【纵】【是】【小】【人】【胆】【子】【再】【大】【也】【不】【敢】【承】【这】【福】【泽】。”【浮】【生】【道】。 【雨】【师】【循】【细】
【她】【放】【肆】【地】【笑】【着】，【但】【连】【山】【中】【的】【一】【草】【一】【木】，【都】【好】【像】【能】【感】【受】【到】【笑】【声】【中】【的】【凄】【楚】【绝】【望】。 “【陆】【女】【侠】，【休】【得】【猖】【狂】，【看】【贫】【僧】【来】【会】【你】【一】【会】。” 【就】【在】【所】【有】【朝】【廷】【高】【手】【不】【敢】【近】【前】【时】，【一】【名】【大】【和】【尚】【带】【着】【一】【群】【人】【走】【了】【出】【来】。 【陆】【无】【双】【认】【得】【这】【和】【尚】，【这】【就】【是】【当】【日】【武】【林】【大】【会】，【想】【要】【争】【夺】【中】【原】【武】【林】【盟】【主】【之】【位】【的】【吐】【蕃】【番】【僧】……【金】【轮】【法】【王】。 【他】【身】【后】【站】大赢家高手心水论坛仙人掌《【爱】【情】【公】【寓】》【第】【二】【季】【第】【十】【集】“【看】【春】【晚】【得】【永】【生】”【在】【当】【时】【掀】【起】【了】【一】【阵】【年】【轻】【人】【不】【看】“【春】【晚】”【的】【热】【潮】，【除】【夕】【夜】【将】【至】，【公】【寓】【七】【个】【人】【为】【了】【避】【免】【审】【美】【疲】【劳】，【一】【致】【拒】【绝】【看】【春】【晚】，【但】【最】【后】【都】【因】【为】【种】【种】【原】【因】，【不】【看】【春】【晚】【的】【新】【传】【统】【终】【究】【没】【能】【实】【现】……
【阮】【小】【霜】【的】【突】【然】【爆】【发】【震】【住】【了】【一】【旁】【的】【沈】【慕】【辰】，【等】【他】【回】【过】【神】【来】【时】，【阮】【小】【霜】【早】【就】【走】【了】。【他】【看】【了】【看】【似】【乎】【同】【样】【没】【有】【反】【应】【过】【来】【的】【苏】【哲】，【顿】【时】【心】【中】【爽】【快】【了】【许】【多】。 “【你】【豁】【得】【出】【去】，【我】【也】【能】【豁】【出】【去】，【只】【要】【小】【霜】【不】【愿】【意】【跟】【你】【走】，【拼】【到】【倾】【家】【荡】【产】【我】【也】【会】【跟】【你】【斗】【一】【斗】。”【沈】【慕】【辰】【说】【完】，【赶】【紧】【追】【阮】【小】【霜】【去】【了】。 【一】【旁】【看】【了】【半】【天】【没】【说】【话】【的】【左】【佑】【终】【于】【走】
【隆】【庆】【皇】【帝】【病】【了】。 【开】【始】【的】【时】【候】【是】【胸】【闷】、【脑】【胀】【的】【症】【状】，【很】【快】【就】【演】【变】【成】【昏】【厥】、【头】【疼】【欲】【裂】【的】【急】【症】【了】，【如】【此】，【隆】【庆】【皇】【帝】【就】【卧】【床】【不】【起】【了】。 【皇】【上】【病】【了】，【满】【朝】【上】【下】【都】【跟】【着】【担】【心】，【甚】【至】【惊】【动】【了】【远】【在】【西】【北】【的】【太】【上】【皇】，【太】【上】【皇】【当】【然】【怀】【疑】【儿】【子】【这】【次】【患】【病】【与】【张】【尧】【电】【小】【二】【莫】【白】【繁】【他】【们】【有】【关】【了】，【但】【张】【尧】【坚】【决】【予】【以】【否】【认】，【太】【上】【皇】【也】【没】【办】【法】【了】。 【太】
【出】【峡】【谷】【的】【过】【程】，【小】【昭】【都】【是】【默】【不】【作】【声】，【这】【让】【张】【无】【极】【心】【里】【直】【直】【的】【犯】【疑】。 【按】【理】【说】，【小】【昭】【也】【算】【是】【见】【过】【大】【世】【面】【的】，【对】【于】【这】【种】【江】【湖】【的】【打】【打】【杀】【杀】，【是】【司】【空】【见】【惯】【了】【才】【对】。【可】【是】【现】【在】，【这】【个】【小】【妮】【子】【所】【表】【现】【出】【的】【神】【色】，【确】【实】【让】【他】【心】【里】【多】【少】【有】【些】【不】【安】。 【出】【的】【峡】【谷】【之】【后】，【张】【无】【极】【纵】【欲】【没】【能】【忍】【住】，【微】【微】【侧】【转】【过】【脸】【来】，【看】【着】【小】【昭】，【疑】【惑】【的】【问】【道】，
【大】【风】【酒】【肆】【才】【是】【真】【正】【的】【几】【十】【年】【不】【改】。 【昔】【年】【她】【化】【作】【林】【见】【竹】【在】【这】【里】【暂】【住】【的】【时】【候】，【这】【地】【方】【就】【够】【陈】【旧】【的】。 【现】【在】，【看】【起】【来】【岂】【止】【是】【陈】【旧】，【简】【直】【古】【老】。【每】【一】【样】【东】【西】，【简】【直】【都】【能】【当】【做】【古】【董】【去】【卖】。 【杨】【玉】【英】【低】【头】【看】【自】【己】【的】【脚】，【双】【脚】【生】【疼】，【脚】【趾】【向】【外】【渗】【血】，【隔】【着】【破】【破】【烂】【烂】【的】【鞋】【子】，【显】【然】【脚】【底】【板】【已】【经】【血】【肉】【模】【糊】。 【识】【海】【里】【小】【姑】【娘】【嘤】【嘤】【嘤】