Category: Interviews

Meet Rachid Khimoune

Rachid Khimoune
 Photo credit High End Weekly™
Q& A
with French artist Rachid Khimoune

HEW: Why Strange Fruit?
RK: After creating the Mask and Totem series, I felt the need to create a bigger piece. Thus I was inspired by Billie Holiday’s song “Strange Fruit”. This song came to life in 1939 New York City. For me, it is invariably related to this city and the sultry  singer.

HEW: What fascinates you about African Art? 
RK: My work is more primitive art than tribal art. The message behind each piece relates to my life. The pieces are more Art Primal. The selection I’ve chosen are all recycled materials – from trees to pieces of metal. It is similar to Marcel Duchamp’s concept when he worked. The style is contemporary, the techniques are exclusively my own.

HEW: And so the message behind it is?
RK: Emotion. The reference is about life. The symbolic elements I used are water, energy, humanity.

Strange Fruit,  iron and bronze, (9 feet), 2012
Photo credit: Benjamin Didier
HEW: What’s the best part about living in Paris?
RK: Whether I’m in Paris, or Beijing, I view myself as an artist of the world. The main idea is to make a continuous connection between my work and the rest of the world. The more people I touch the better. The international language behind what you see is ’emotion’ and the capsule is art.

Rachid Khimoune’s “Gaulois” Totem, 2007, wood, iron and bronze. Right: Grand Masque, 2007,
mixed media on canvas, H: 85″ x W: 47″
Photo credit High End Weekly™

HEW: Conveying emotion through one’s work does make a strong conviction, yes. Your family came to support you at the Friedman & Vallois Gallery in New York during your opening. Tell me, what was the most exciting feeling you shared with your wife, whom I was told is an emblematic figure in the Opera world in France?
RK: My children and close friends did attend the opening, and it was very important for me to have them with me. My “compagne” for over 20 years now was there as well. Ève produces festivals, and is responsible for launching the career of French soprano, Natalie Dessay here in New York. Ève Ruggiéri stresses emotions with the ears, and I with the eyes. We complete/fulfill each other with both of our own realm of creativity.

Nigel Barker’s West Village Apartment

Former host of America’s Top Model, and famed fashion photographer Nigel Barker, sat down with The New York Post last Thursday to talk about life after the show, his beloved family, and his eclectic collection of art, artifacts, photos and family mementos. High End Weekly™ was fortunate enough to obtain  permission to republish the interview, and naturally, we’re excited to share it with you on this glorious Monday morning in New York City.

Pictured: Photo by Michael Edwards




New York Post: On his treasure-filled home: 
Nigel Barker: “It’s colorful, and it’s real. It has a heartbeat. Everything means something.” 
Wife Crissy, who describes their apartment as a “souk” adds: “It’s like those little outdoor market places in Morocco, with knickknacks and collections.” 
NYP: On a treasured portrait of his mother:
NB: “This…is my mama. Crissy said whenever she’s in the kitchen she feels like my mom’s staring at her.” The painting used to hang in the bedroom. “But she got put in the hall, which is far more appropriate,” says Crissy.


NYP: On being axed by Tyra Banks:
NB: “I know it was tough on [Tyra] as well. It’s never easy to fire someone, least of all, of course, a friend. At the same time, this is business, and things change. She’s a good girl, a strong woman, and she’s done a lot with her life. I take my hat off to her, to be honest with you.” 
NYP: On his relationships with former fellow judges André Leon Talley,Twiggy, Miss J and Mr. Jay, and Paulina Porizkova: 
NB: “We became good friends. André came to one of my[documentary] screenings the other day in shorts and a T-shirt. That’s the real André.”

NYP: On his new gig, host of Oxygen’s new model reality competition project The Face: 
NB: “It’s a whole new take on the genre. Some people have been comparing it to The Voice in that there will be teams. I’m very excited. It’s going to be a great show.” 
Nigel Barker, former judge on America’s Next Top Model
Photos courtesy NYP/Michael Edwards
Check out the entire interview with Nigel Barker and exclusive photos of his home and family today at http://www.nypost.com/pagesixmag.
Interview conducted by Page Six Magazine writer Alison Prato.

Meet Juan Montoya


It’s hard to catch a man like Juan Montoya. The prolific interior designer keeps an active schedule. Today he’s designing new pieces of furniture and accessories for Century Furniture, tomorrow he’s heading to the city of lights for the inaugural celebrations at one of his latest projects, Galerie Agnès Monplaisir, located at 8 bis rue Jacques Callot. I had the good fortune of catching up with him late last month at his upper east side office.
High End Weekly™: Galerie Agnès Monplaisir boasts some of the most impressive contemporary works of art from Olga de Amaral, Igor Mitoraj, to name a few. It must have been exciting to design this famous gallery located in one of Paris most prestigious arrondissement.
Juan Montoya: I’ve known Agnès for the past 10 years. She is a spirited individual, with a gallery that specializes mainly in fine prints, as well as art deco, and contemporary art.

The gallery was originally designed by Jean Michel Wilmotte for Jean-Gabriel Mitterand. Agnès didn’t want a cold and calculating space, so I’ve designed a space that is warm and inviting. All the flooring is wood instead of cement. I’ve chosen a series of mobile panels that would divide the spaces, and offer a complete flexibility to any of her future exhibitions. The gallery is comprised of 3 floors. The basement is designed with a view to entertain. For examples: diners and special events. The 1st floor has the capacity to hold several major exhibitions. And finally, the 2nd floor will be used as a media room/office.
Soul 1 Chair
W: 40″ x D: 37.5″ x H: 32″
HEW: How splendid! Looking at your work over the years, it’s obvious that you have a passion for art. When you design for your clients, how does art plays into it?
JM: Some of my clients already have accumulated pieces which were inherited from their families. Others have no art, but wants to invest. The question is what is a good investment? My answer is: Collect What You Love – first. That is my best answer to anyone who wants to acquire art. Do not buy art because it’s trendy, or it’s from a blue chip artist. The important thing, in terms of looking at art versus design, is the essence of how restful and at peace you are when your eyes are drawn to it. Art is not wallpaper. It definitely plays a larger role in the design process. Having said that, there’s another theory which suggests that art belongs in museums. That is the theory behind Giorgio Armani’s designs. His thinking is: art should be in a museum, it should not have a presence within his homes. I do not necessarily agree,  nor do I disagree with that. It is possible to have an amazing textured walls with so much character that it substitute for art. At the same time, a genuine and powerful drawing can create some deep emotions, and that is what I love. I’m all about textures, a beautiful sense of color, and the creative process that various types of materials can bring.
Correa Bed
Queen – W: 66″ x D: 90.5″ x H: 48″. King – W: 82″ x D: 90.5″ x H: 48″. California King – W: 78″ x D: 94.5″ x H: 48
HEW: You’re also about designing some top-rated furniture. Please tell me about your Century Icons Furniture line located at The New York Design Center.
JM: There’s three icons as you know. Oscar de la Renta was the first. Then I was ask to come along in the Spring of 2011, and now Charlotte Moss has joined our ranks. The Icons of Design Collection is made up of 33 pieces, and it’s growing fast. Every six month, we add another piece to the collection which is a combination of chairs, tables, beds, ottomans, etc. Century currently owns 12 showrooms, and 20 subsidiaries around the country. The entire collection is available to the trade and the public.
Antelope Arm Chair
W: 22.5″ x D: 24.75″ x H: 36.5″
HEW: Where did the inspiration for this particular collection come from?
JM: The collection started with the idea that when you buy a space, say an apartment for example, you can never find the right proportional furniture to live with. The space may be too big, too small, or the scale is wrong. As an interior designer, everything I design is functional. Thus the pieces that I created for Century are right on scale, they’re quite durable, unique, and non trendy. My clients sometimes have specific needs, and my job as a designer is to create for them bespoke interiors.
Vilmos Ottoman
W: 31″ x D: 31″ x H: 18″
HEW: A few years back, you designed an ubber chic room for The Kips Show House. I loved it! When you’re starting to work on a show house, where exactly does the inspiration comes from?
JM: There’s many reasons behind me designing a show house. A: The year. B: The house itself C: Designing it for a specific purpose. It’s not every year that you found me designing a show house. I do it when the moment is right. I make it happen, and it feels great.
Branch Table
W: 48″ x D: 48″ x H: 29″
HEW: You are a tireless traveler. How have your experiences overseas influence your design aesthetics?
JM: Traveling is the best way to learn for a visual person such as myself. Foreign lands bring a nourishing, and visual energy to my work. When I see people going about their everyday business of life, working, horseback riding, socializing in the streets with their friends… I utilize the relationship between the clothes, the surroundings, essentially the background, all these elements inspire me. You know, it’s the little things that you sometimes gained from a great deal. Finding all these elements make life more interesting, and when I combine all these visual effects along with my expertise, my designs happen naturally, and beautifully.
Cornet Lounge Chair
W: 22.75″ x D: 40″ x H: 41.5
HEW: Brilliant. What is next for Juan Montoya?
JM: I would like to be able to find the time to draw, and paint. When I was 5 years old, I began painting, and in fact held an exhibition at Edgartown in Martha’s Vineyard when I was a young adult. I’d love to be able to travel more, and bring more to the table for my clients. I’d like to inspire and be inspired by exceptional design. I’m not interested in creating a formula and be stagnant. I want to be known because of my work. For me, this is not only work, it’s my lifestyle, it’s my way of being.

NOTE: More photos of Juan Montoya’s furniture line can be found at www.facebook.com/highendweekly.

Meet Michael Aram

June is molten month at Michael Aram worldwide. A few days ago, I caught up with the designer and we talked about his unique designs for the latest Molten Collection, how he continuously introduces a real sense of whimsicality in all of his pieces, his fondness for India, and more.

High End Weekly™: A lot of the pieces from the Molten Collection have a story behind them…
Michael Aram: The story behind the entire Molten Collection is one of craftsmanship. It’s a story I’ve been celebrating in my work for over 23 years now. The Molten collection was first introduced in 2001. We’ve just updated it and added fresh functionalities. Even though the result feels like an absolutely new and surprising collection to people, we still use the same exact technique in making it.

Michael Aram. Photo credit: Janette Pellegrini/Getty Images North America

To achieve the beaded edges, our master craftsmen melt a long rod of stainless steel with an argon welder to create individual welds which are placed around the rim, one by one, drop by drop. The result is that no two pieces are ever exactly alike. If you look closely from one object to the next, you can see the slightly unique style that each welder has. They have what I like to call the “maker’s mark”, where each piece reflects the art of the craftsman that created it.

HEW: A few years back, I remembered reading somewhere that you spend most of your time in India. Is that still the case today?
MA: I spend a great amount of my time in India. I consider India as much my home as I do New York. I still divide my time between the two homes. I’m there about 4 to 6 times a year, though the trips are a little shorter these days thanks to my baby twins that aren’t ready for a 16 hour flight just yet! No matter where I am in the world, India is a daily and inherent part of my life. It influences everything I do. It’s not just where I work or manufacture. It’s a culture that has been infused into how I look at the world. I have friends and a full life over there. I’ve even learned to speak Hindi…spotty and improper maybe, but I do it.
HEW: Tell me about who or what inspires you the most when it comes to your latest collection?
MA: In New Molten, it is definitely the craft that drives my passion for the design. I’ve always been fascinated with the idea of transforming the “industrial” into something beautiful. New Molten is exactly that. These body shapes are simple and clean, timeless yet ancient. The thing is, they’re made by classic hand forging…metal shears, hammer, anvil. The beads along the edge are just simple welds. The difference is that they aren’t being placed there to fuse two pieces of metal together for some functional reason…they’re being placed there as a celebration of the weld itself, the idea that one of the hardest metals in the world can be coaxed into a fluid form and turned into a delicate and beautiful detail. That process is magical to me and inspires everything we do. It’s not expressed anywhere as purely as it is in the Molten Collection.

HEW: What is your personal taste in design, and how does it influence your own work?

MA: I like to collect objects from all over the world, especially objects that really mean something to me. To me, that object, whether it’s an antique clock, or a tribal sculpture, becomes my world. When I bring these pieces into my home, it’s important to me that they have their own space that’s clean and minimal so it can be appreciated and celebrated. When I’m designing my pieces, I follow that same practice. Even though the motifs are expressed as collections, I design the pieces one at a time, where the object becomes my sole focus and for that moment, nothing else exists outside of it.
HEW: What has been one of the most memorable experiences of your career?
MA: I would say travelling to India in 1989 and really discovering what would become my calling. Additionally, my Personal Appearances are always memorable to me, each for a different reason. I really enjoy sitting down and meeting with the people who collect my work. There’s something so joyful about having that one on one and learning of their lives, stories, and special occasions.
HEW: Your flagship store in the Chelsea is so beautiful, and I love shopping there. What was the concept behind the design? (The store location is considered Chelsea.)
MA: Since it’s a 19th century carriage house, the building already had so much character to it. We worked with architect, James Harb, to honor that history and original design while trying to capture some of the spirit behind my style and inspiration. Many of the elements you see are original…the rafters, the loading stage, the floor planks. On top of that we infused a scheme that had the slightly dark and brooding undercurrent in a lot of my work…slightly gothic, in a childlike way. That space actually gave rise to our entire brand image. 
HEW: My husband and I received your cat and mouse serving bowl from a friend, when we were getting married a few years ago. We both loved the whimsical and humorous side of the object. Do you believe that most of your work reflects the whimsical side of things? 
MA: What a blast from the past! I purposely designed the bowl so that the cat was perched on the top, while the mice sneakily hid underneath so that the cat wouldn’t find them. I do try to use whimsicality in all of my pieces. In some collections, it is a little more apparent than others, but even in my ‘organic’ collections, I try to highlight the unexpected and often overlooked details.
HEW: What is trendy in tableware and metal objects right now?
MA: Entertaining has become a space for self expression. People aren’t really willing to be told what is formal and what is casual. Tableware is more freeform than ever before. It’s become about the formalization of casual and the casualization of formal. It’s a mix of materials, mix of styles, mix of activities, mix of environments. Whether it’s indoors or out, people want it to be fiercely stylish and show a sense of individuality. Whether it’s metal, porcelain, crystal, wood or even paper, the objects need to make a statement.

OF NOTE:

Michael Aram is running a promotion for the entire month of June. During Molten Month, all Michael Aram purchases of $150 or more in the month of June will receive a free gift with purchase: the New Molten Mini Frame. The gift with purchase promotion is available online at michaelaram.com, as well as in-store, (participating stores will be listed on his website). To further celebrate the New Molten collection they are launching a “My Perfect Dinner Party’ contest on the newly activated Michael Aram Pinterest channel, beginning today, June 4th.

Annika Connor Revisited

Annika Connor
Photo courtesy Devon Banks

On an early spring afternoon, I visited rising star Annika Connor* at her light and spacious studio located next to The London Hotel in New York City. I was taken by her joyful and charming personality, as she served up traditional English tea, while sharing her passion for the good life: fine gourmet food, fashion, entertainment, and her thought provoking, yet romantic watercolors.
“I love food, and think it relates to painting. That is also one of the many reasons why I enjoy cooking. I think about cooking the same way that I think about color, the complimentary flavors, the unusual combinations… Red and Green are complimentary colors, So if I make pasta salad, it will be with chili and mints for an added surprise…” Annika Connor 

High End Weekly™: Your watercolors look like actual oil on canvas. Did you start out painting with oil?
Annika Connor: I started painting with watercolor in 2003 when I was living in London but away from the studio for an extended period of time. Originally my watercolors were to be studies for larger oil paintings , however they eventually became so rich and worked I slowly recognized them as paintings in their own right. Because I never studied watercolor in college, I started painting them like oils which made for a very nontraditional approach to the medium. I approached it the same way that I did with my oil paintings: I built up layers and glazes and payed close attention to the details. From the very beginning, I’ve spent a lot of time working on all my paintings. I wanted give the viewers a haze of magic and leave them with a sense of rhythm and significant pattern.
Annika Connor, Blue Room
HEW: Your work has this real romantic feeling to it. Was that purposeful or did that just happen spontaneously?
AC: It’s a combination of the two. I made a conscious decision to not overly conceptualize my work, and let my true voice speak for itself. I am naturally a day dreamer, a romantic, highly imaginative, and a very girly girl. I love dancing, art, great books, good food, and I adore fashion; this comes through in my paintings. In my art I embrace my romantic sensibilities. I push this so my paintings will spark my viewer’s imaginations. I want to encourage the world to day dream more, to seek beauty, and to feel the poetry in the day to day.

Annika Connor, Fan Coral
HEW: Speaking of inspiration, I can see through your paintings that you are an admirer of great architecture. Did you ever think of going into design or architecture?
AC: Sometimes I can be jealous of architecture because it is an art form where you can literally exist in it. You cannot ignore it, architecture has such a strong impact. When I visit spaces that are beautifully designed, whether they are from the Rococo era, or modern interiors, I feel so moved and inspired by them. I would love to collaborate with an architect one day on a space. For now I am just starting to dip my toes in the design world. I recently had the opportunity to designing some wallpapers and textiles. I was approached by Cavern, who worked with me to develop a line of wallpaper and upholstery fabrics.

For one of the Chandy wallpaper pattern we developed a design which comes in two color variations and which is inspired by my chandelier paintings. To create this, we literally took the chandeliers out of
my paintings, reduced them down to four colors, silk screened them, and created a cascading pattern of chandeliers. Go here to see. This was a really exciting project for me as it gave me the chance to bring my art into a space in a new way. In the past my paintings have been inspired by the patterns and spaces i see, now my paintings are decorating new spaces by making patterns for them. I loved the symmetry in this.

“Lottie” available in a light beige linen background in gold and silver colorways

Fabric, wallpaper and pillow, designed by Annika Connor for Cavern Home

HEW: All of the interior designers that I’ve shown your work prior to this interview absolutely loved it. The interiors that you paint lend themselves to art collectors as well. Now that I see your textile designs, I’m wondering if this is something you’d like to do regularly. Do you want to start licensing your own work to various textile companies? 
AC: Sure! Why not? I love the idea of one idea inspiring another. One day I would like to collaborate and do greeting cards, create patterns for fashion textiles, or design more home decor. I’m on the fashion committee of the National Art Club, and see a huge connection between my art and my love of fashion. The arts often divide themselves into separate categories: design, fashion, fine arts, dance, etc but I see them as very inter-connected. If licensing my work could help me link to other forms of art I would jump at that. I really admire the way Gustav Klimt made that connection with his paintings, decor, clothing, etc and would be happy to follow in his footsteps and do the same.
In my dream world, I could definitely see a painting like my King Angel Fish working as a gorgeous print for a Diane von Fusternberg dress, and I would gladly welcome the chance to collaborate more in this way. As a painter I am interested in visual communication. If opening the door to licensing my art in new ways, gives people a chance to be exposed to painting in a manner they can relate to then great! Honestly, one of the things that I don’t like about the art world is how exceedingly elitist it is. The gallery can seem so inaccessible to many people. Often times even affluent highly educated individuals can be intimidated by the art world if they are not well versed in art history and art theory. This is a shame. One should be able to look at art and on some level feel a connection regardless if you have studied art. I really want to make art which makes these connections, the goal is to one day make art that will move the audience to feel something wonderful. I want to make paintings which spark the imagination, which reach beyond the white walls to speak to a wider world.

Annika Connor, The Love Joy Approach
HEW: Are you still working on oil paintings? And is there a gallery in NYC who is currently showing your artwork?
AC: I occasionally still do an oil painting when I want to work large, but i am primarily interested in watercolor these days. You can see my work at http://www.fordproject.com/artists/annika-connor.
HEW: How do you view your overall work?
AC: Collectively, my work is all about beauty, the feminine aesthetic, the celebration of the imagination, memories, and daydreams.

HEW: Do you get inspired living in New York City?
AC: Of course! How could one not be! I love this city and all it offers! My work is shaped so much by living in the city. It is like Ella Fitzgerald and Louis Armstrong sing in Autumn in New York.My studio is in the heart of Midtown and I am surrounded by offices, hotels, and these canyons of steel. New Yorkers are such hard workers. The drive and ambition in this city is an inspiration and helps to keep me motivated. However, I also love how this hard working city is when it relaxes and plays. New York is a city of celebration and champagne. When this town kicks back it does it in style, with a ball gown and a tuxedo. I love it! I think New Yorker’s love of glamour is wonderful. A night at the opera, the ballet, out dancing, or simply enjoy great art happens at least once a week for almost all young Manhattanites. New York City is so generous and supportive of the art and institutions they admire. It is the generosity of spirit that makes this city so special. More then any grants or government programs it is the citizens of this city who create and cultivate the culture. Perhaps it was Le Corbusier who summed it up best when he said “Vehement silhouettes of Manhattan-that vertical city with unimaginable diamonds”.
* In addition to being a painter, Annika Connor is the Owner/President of Active Ideas Productions (AIP) which was launched in 2008. Active Ideas Productions is an innovative organization committed to the education, distribution, and development of emerging artists and the art community. AI Productions explores the intersection of art as a business and discovers innovative ways in which artists can collaborate to manufacture their creative endeavors while giving them a platform for artistic excellence.

For more information on Annika Connor please visit www.annikaconnor.com, her Facebook Fan Page at www.facebook.com/AnnikaConnorArtist. Twitter: www.twitter.com/AnnikaConnor, and Active Ideas Productions: www.aiproductions.org. Active Ideas Productions is also on Facebook and Twitter at: https://www.facebook.com/ActiveIdeasProductions, www.twitter.com/ActiveIdea.

Annika Connor, Lagoon
Images courtesy Annika Connor
All rights reserved

Meet Nicholas Lowry

Nicholas D. Lowry is the third generation owner, and president of Swann Auction Galleries. The auction house is currently celebrating its 70th Anniversary as a family-owned business. Nicholas was born into a family of antiquarian book dealers in New York City, where he was raised and educated. When I met him last week, I was struck by his mere appearance, his gallant personality, fashion sense (he was wearing his signature plaid suit), and friendliness. Not only is he the principal auctioneer and director of the Poster Department, he is also an avid poster collector himself.







High End Weekly™: Talk to us a little bit about the upcoming sale of the Complete Poster Works of Robert Broders at Swann Galleries this coming Thursday, at 10AM?
Nicholas Lowry: The entire collection came from the archives of a single collector. Roger Broders was best remembered for the advertising work he did between 1920 and 1933 for the French Railroad company. One of the things that is uncommonly known about him is that after 1935, he completely stopped working, and no one knows why. This particular auction presents all of his travel posters, including variants, some which are known and several that are unknown. Most of the Art Deco posters are in superb conditions. While working on this project, many of our staff commented on the fact that they looked like they’ve just been printed. The colors are so vivid, and the look is so modern.
HEW: Just what did it mean to you to be entrusted with this unique, unparalleled sale?
NL: It certainly was a great honor, but the honor was eclipsed by the opportunity. We’ve worked on this project for the past three to four months, and realized that the chronological order of the dates, and his artistic talent progressed throughout the years. Between the year 1927 – 1929, he polished his immaculate ability to create some of the most memorable Art Deco posters. Roger’s work displayed an energy at constructing incredible depth of field. He skillfully used layers after layers of bold, and colorful images which were beautifully conceived.
HEW: In your opinion, what is the most note-worthy piece from the Robert Broders Collection?
NL: Lot Number 87 (Monte Carlo Country Club) comes to mind because visually, it is simply stunning. It is immaculate, and the image is one of pure confidence. It is expected to fetch somewhere between $15,000 – $20,000. Dunkerque, lot number 59, is one of his oeuvre de triomphe. The image projects a sophisticated couple arriving the busy port of Dunkirk on their yacht. The poster creates a refined mood of elegance and ease.
HEW: How big of a factor to your auction business are vintage posters?
NL: Posters are so visual, and they carry allot of weight. That produces a huge impact to our buyers. 
HEW: What are some of the strongest areas of the market for Art Deco and why are they in such high demmand these days?
NL: Art Deco is king. Everything in art has a cycle. Right now, Art Deco is Up, and Art Nouveau is Down. As the younger generation gets older, their interests go towards design. Good design, that is.
HEW: I read somewhere that you yourself is an Art Deco collector. When did this start for you, and what was it with?
NL: Not only do I collect Art Deco posters, I also have a huge collection of Czech posters, and books. It began with a Gustav Klimt poster I brought in Austria when I was a young adult, but it really started way before that.
HEW: On a personal collecting level, what is the one item you have parted with over the past that you wished you still had?
NL: Very little. I tend to keep all of my collections.
HEW: What are three things that you consider the strenghts of the auction industry today?
NL: Exceptional variety. Auction houses have a greater, more powerful reach to the general public. More powerful than dealers, and they’re armed with a huge mailing lists. It carries thousands and thousands of items for sale, each year. The variety that auction houses offer the public is simply unparalleled. A good auction house should also be able to offer phenomenal pieces to their buyers, and serious collectors. Basic transparency in prices should be at play. When an item is presented as rare, it’s a great mental challenge to perceive value.
HEW: Lastly: Complete this sentence/thought. If I was just starting to collect Art Deco, I would recommend…
NL: Besides visiting auction houses, start attending shows, galleries. Expose yourself to the art world. Get out there, and experience it with your eyes, and hands. Read art-related books and articles. It’s a mistake to buy the first thing that you see. Look around a bit more, do the research. And last but not least, buy at reputable places.

Meet Orianne Collins

OC Concept Store is celebrating their one year anniversary, this month.  New York City’s first concept store was designed by Christophe Pillet, and it offers a champagne and caviar bar and personalized service.  Two further stores, both situated in exclusive resorts, were opened in St Tropez and Courchevel. The flagship store have enjoyed a groundbreaking surge of avant garde artists, and century old businesses who have collaborated with the store’s owner, Orianne Collins, in order to bring her clients some of the world finest goods and services.  From art, home decor, jewelery, time pieces, accessories, exclusive travel destination services, in a 300 square meter store – all beautifully curated.








When you enter the OC Concept Store, what you’ll find is an array of some of the most heart stopping, and innovating pieces that you’ve ever laid eyes on.  From Swarovski crystal iPod covers, vintage marquetry music box, to Orianne Collins’ own jewelry collection, which draws from many different traditions, and is a blend of mystical and fashionable elegance, for men, women and children.
A few weeks ago, I sat down with the woman behind this successful store, located right across the street from the iconic Barneys New York.  Orianne talked to us about her passion for travel, her heart warming charity, as well as what truly inspires her work. Her Tale Jewelry Collection can be described as “a work of art” “historical” “soulful” as well as “dreamy”.  But it is so much more than that. It is an artist’s dream story told against a multi continental jet set soundtrack. Observant and reactive, Orianne draws on her dreams and experiences to nourish her passion, finding inspiration at all times – with her family, on the phone, and during her travels.
High End Weekly™:  Please tell us a about your charity – The Little Dreams Foundation.
Orianne Collins:  The foundation was founded in 2003 in Switzerland with my then husband Phil Collins.  It is primarily for orphans and handicapped children from Zimbabwe, and around Europe. These children have shown excellence in areas such as music, and sports.  It’s quite rewarding seeing these children grow up and having some of them participate in the US Open finals for handicapped tennis players.

HEW:  When you wanted to expand your flagship store, you could have chosen a number of noteworthy cities like Paris, London, Milan.  Yet you chose NYC. Why is that?
OC:  New York City is a very challenging place to do business, and I’ve always loved a challenge.  Plus it is also a destination place, the same way that OC is becoming a designation place for New Yorkers. Three years before we’ve opened our store, there was an awful lot of thoughts and planning that went into creating it. When we first opened, our objective was to make the OC Concept Store a Dream Destination store. And we’ve achieved that.
HEW:  What’s your definition of luxury in three words?
OC:  Untouchable, Priceless, Dreamy.
HEW:  What was your work background like, and what type of materials do you use for your jewelry?
OC: I was born in Nyon, Switzerland, and I have Thai and Swiss origins.  My childhood and young adulthood consist of growing up in Switzerland and studying there as well. I was first attracted by a career in design, but finally chose International Management studies and obtained my degree at the age of 19. After occupying different positions in communications and marketing, I set up my first events and communications agency, O-COM, in the 1990s.  My first jewelry designs were centered around the theme of the Little Dreams Foundation. In collaboration with Van Cleef and Arpels, I created a “charms” bracelet which represented eleven of the Foundation’s areas of interest.
As with my work with Van Cleef and Arpels, my own jewelry collection consists of the best quality of precious and semi-precious stones, elegant modern designs and jewellery to suit every occasion.  I use diamonds, sometimes black diamonds to embellish these creations.
Tales Earrings
White Arabesques Earrings:  White Gold, White Diamonds:  $134,680
Black Arabesques Earrings:  Blackened Gold, Black Diamonds:  $84,800
Romance Collection
Bangle Heart (Bracelet)  – White Gold, Pink Mother Of Pearl $5,680
Heart Ring – Pink Gold, Pink Quartz:  $5,720
During the month of October, 10% of the sale price of these or any other pink merchandise purchased will be go to The Breast Cancer Research Foundation.
HEW:  Was there a piece from your recent collection that you’re most proud of?  And why does it matter to you?
OC:  From the Tales Collection, my love for travel and orchards came shining through. For example, the Tales earrings came from my love of architecture and a particular design from Morocco. In The Symbol Collection I use Buddhist, Tibetan and Chinese symbols as they represent love and good luck.
HEW:  Who inspires you?
OC:  My grandmother. She was an extraordinary woman. Beautiful – inside and out.
Luxury Redefined
Skull Bracelet by Michael Kanners of Kanners Jewelers
(price on request)
HEW:  What can we expect from you in the future?
OC:  We have about 20 lines of new merchandises coming up – from phones, wine control panels, continued collaborations with companies like KIS. And starting this fall, we are having Happy Hours at our champagne and caviar bar from 5:00 to 7:00 PM every Thursday. It is true that we bring our clients the best of the best, but our products are also exuberant, thought-provoking, filled with beautiful history, and knowledge.

OC Concept Store

655 Madison Avenue
(at 60th Street)
New York, NY 10065
T:  212-759-9220
info@occonceptstore.com
www.occonceptstore.com

Meet Véronique Dalla Favera

High End Weekly™ welcomes Véronique Dalla Favera as one of the first artist to take part in our interview series! Ms. Favera’s fine art paintings and sculptures are often described as avant-garde, her paintings go from light to dark forms, and are both harmonious and purified in style. HEW sat down with the French artist last month, and discovered that because she has a deep fondness for New York, she decided to move here – part-time.
Below: Véronique Dalla Favera

 

 

 

 

HEW:  Describe your style, like a good friend of yours would describe it.

VDF:  Through my techniques, I use my art as a vessel for sobriety, simplicity, and honesty. That universe suits me just fine.
HEW:  How and when did you first become interested in art?
VDF:  Honestly, it all began when I was about 11 years old, but I didn’t start out painting, and creating sculptures, writing was my muse, and I began writing different novels about  crime, detective stories and the like.  Sadly enough, my environment wasn’t open to that universe.
So little by little, I started to transform my desire to write into painting instead.  Through art, I started to become more expressive about my wish to write.  So twenty years later, I began working on a sculpture and then another one, and another, and before you know it, my need to continue to do so became insatiable, and it became an obsession.  Since then, I’ve never stop creating, imagining. This all became part of my fantasies, which eventually came alive through my work. Today, I cannot imagine my life without creating art, it simply has become who I am.
HEW:  Where do you work on your designs and projects?
VDF:  My studio is in France, a little village in Bourgone with about 60 inhabitants.  Lately, I’ve been contemplating moving to another studio in Dijon, which is larger than my current one, since my work is expanding.
“My art is inspired by harmony, logic, the perfect equilibrium, but it is also about a meeting of profound individuality which allows for a marvelous, and sincere overture.” Véronique Dalla Favera
HEW:  What is the best moment of the day?
VDF:  The moment is right here, now. Anytime that I am at my studio, creating art – without any hesitation.
HEW:  Do you discuss your work with other designers and artists?
VDF:  All the time. Whether I’m exhibiting in France (Dijon, Beaune, Pommard, Chassagne, Montrachet, Paris, Lyon, Monaco), I’m in constant contact with my artist friends.  I had an exhibition in Italy, and for the last nine months, I’ve been in and out of the US, and it’s been great conversing with fellow artists, as our talks are always constructive, and immensely interesting.
HEW:  Is there any artist or artists from the past you appreciate?
VDF:  I am fascinated by artists whose works are specific and have a strong identity.  There’s a number of them which I admire profoundly:  Arcimboldo, Magritte, Mondrian, Giacometti, Kandinsky, as well as Niki de St Palle.
HEW:  And those still working?
VDF:  Juane Genoves, Soulage, Dean Byington, Yan Pei Ming, Andy Goldsworthy…. I’m constantly discovering fascinating artists, everyday.
HEW: What is your favorite city, and why?
VDF:  Without a doubt, New York City. Twenty five years ago, when I first visited the big apple, I promised to come back, but as time passes, we tend to forget the impressions that a moment can make. But in March 2010, I was chosen to exhibit my work at MAISON FRANCE, and was beyond thrilled to come back to the city that I fell in love with, all those years ago.
HEW:  What projects are you working on now and how do you expect your work to develope in the future?
VDF:  There’s a number of things going on now, and some of them have to do with the projects I’m involved with here in the United States. The LivenLu collection is going towards a new dimension, and we are now preparing to sell them on-line. In May, I will be exhibiting in Los Angeles and San Fancisco. I am staying focus on my current projects as well, and plan to continue participating at various noteworthy venues in the US and France.
HEW:  What project has given you the most satisfaction?
VDF:  Every project is a source of satisfaction in the sense that they are an added step into my research. It is true that the LivenLulu collection is very close to my heart. They are pieces devoid of any distinctive exterior, and that allows me to express an enormous amount of emotions.  I have a lot of ideas for LivenLulu, and currently I’m working on extending that collection.

HEW: What is the most important lesson that life, so far, has taught you?
VDF: Life is a daily education, yet, what we learn one day doesn’t necessarily apply for tomorrow. What I keep is not to forget the past and at the same time, continue to progress, continue to look forward. I love life, and even though it can be quite capricious, we can always take the good out of it. With life, one must be open.