“A man who confidently strolled into class or an office in well-scuffed bucks didn’t have to worry he’d be held back by some bourgeois triviality. He knew where he stood. So did everyone else.” J. Crew chronicler Maggie Bullock, New Yorker
A fascinating explainer on J. Crew and the history of prep. New Yorker writer Hua Hsu reviews Bullock’s new book, deep-diving into the status signifiers of Brooks Bros, J Press and the rest, and their significance on society at large. (more…)
“There’s definitely a formula for getting views. It’s something extreme, something eye-catching. I used to play into that a lot more, and that started to feel inorganic. The formula for growing at an exponential rate — it’s kind of always remained the same. It’s click-baity.”
“Of course it gets addictive. You feel like anything wrong with your face can be corrected. And then all you see are imperfections, and you’re like, well, I’ll just get it done — it’s the pursuit of ultraperfection.” (more…)
“In a manner, the bench is the apotheosis of urban life, the city’s most democratic place and a forum from which to watch life happen. In a commercialised public arena in which we have become recognised as consumers and customers rather than citizens, the bench remains an unalloyed public good.” Edwin Heathcote, FT
This excellent essay by FT architecture critic, Edwin Heathcote looks at the role of street furniture – public seating, streetlights, newsstands and post boxes – in a fast-changing urban landscape. Populating the city’s liminal spaces like familiar friends, I always loved the newspaper dispensers in New York (do they still exist?) and the green metal chairs in Paris’s Jardin des Tuileries.
Like silent supporting actors in oh-so-many classic movies, they’re not just essential street kit for locals, they also serve as perfect photo props for tourists. Here’s a favourite photo of James Lee Byars’ The Golden Sphere surrounded by the essential green chairs (top) (more…)
