Anthology Magazine Issue No. 8 Preview

Issue № 8 SUMMER 2012 $12.00 U.S.

IT’S A

Living

EXPLORING THE CREATIVE CONNECTION BETWEEN WORK AND HOME

Contents Summer 2012

FEATURES

LIVED-IN GRANDEUR

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A fashion designer and a musician herald the timeworn in their family’s Berkeley home.

ISLAND EXCURSION

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An illustrator, a photographer, and a design blogger offer three perspectives on Singapore.

SOUTHERN CHARM

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Art and textiles by friends and family take center stage in a home in Mississippi.

IN EVERY ISSUE

HOME | WORK

EDITOR’S LETTER

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In Seattle, a creative couple happily blurs the line between the personal and professional.

A STYLIST’S DESIGN SOLUTIONS 109 Ingenuity leads to a rental that’s packed with personality and DIYs galore.

THE GREAT ENTERTAINERS 116 A food styling and photography duo hosts a casual celebration with an Asian-inspired menu.

CONTRIBUTORS MAKERS’ PICKS MARKET REPORT

PURE & SIMPLE

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LET’S DO LUNCH

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A little planning can yield a week’s worth of delicious and healthy midday meals.

NEST IN PEACE

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BOOT CAMP

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8 10

CONVERSATION Lisa Neimeth

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SCREEN PLAY 20 RESOURCES

127 129

PRIZED POSSESSION Lloyd Boston

DIVERSIONS

A seamless home and work life are essential to a Los Angeles photographer.

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MAKING THE MAGAZINE

BY THE BOOK HOMEWARD

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132

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In Texas, a young couple still does things the old-fashioned way, handcrafting every pair of boots.

IN GOOD COMPANY

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A trio of small businesses share their startup stories in a series of Q&As.

In a New York photographer’s apartment, a delineation of work and relaxation areas is key.

HOME COOKING

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In Amsterdam, a self-taught cook and entrepreneur turns her living room into a restaurant.

Cover Photograph by

KELLY ISHIKAWA

KELLY ISHIKAWA

Contributors

A closer look at the talent that helped fill our pages

CAREN ALPERT

“I like to visualize qualities of life—whether that be food, interiors, still lifes—any image that renders how a person lives,” says Caren, a San Francisco photographer and avid cook. For her first shoot with Anthology, she captured a ceramicist’s home and studio for the “Conversation” feature (page 12). Her favorite thing about the place? “The treehouse!” she enthuses. “I want to move in there!” Caren, who studied photography and graphic design at the University of Arizona in Tucson—home to the Center for Creative Photography—has previously been published in magazines such as Luxe , San Francisco, and Wired. She has also photographed cookbooks for Ten Speed Press and Chronicle Books. Earlier this year, she spoke at a TEDx Conference about her fine art project, terra cibus , a food photography series created with a scanning electron microscope.

AYA BRACKETT

When it comes to entertaining shoots, Aya believes that “the best part is meeting all the people, experiencing the energy of a party, and eating some of the food! The challenges include trying to get everyone to look good in the shot and avoiding the mid-eating portrait and random elbows in my frame.” The Oakland-based photographer shot this issue’s entertaining story (“The Great Entertainers,” page 116).

Her images have appeared in a plethora of magazines, including The New York Times Magazine , Travel + Leisure , Bon Appétit, Martha Stewart Living, O Magazine , World of Interiors , and Gastronomica. She also spent four years as the photo editor at Dwell, and has done book projects and shown her work in several galleries. Aya studied visual arts and East Asian studies at Brown University, as well as photography at the Rhode Island School of Design and California College of the Arts.

JESS CHAMBERLAIN “When I was growing up, my dad was a residential contractor—my earliest memory is ‘helping’ to lay tile at age two, so my passion for interiors was fostered early,” jokes Jess. She went on to study psychology and creative non-fiction at Whitman College; both subjects appear to come in handy in her writing career. “I am fascinated by human nature—what inspires us, how we use space and choose possessions, how personality and interests translate to our surroundings at home. I love the personal stories as much as I love the secret sources for vintage furniture.” You can read Jess’ observations of a Seattle home and its inhabitants in “Home | Work” (page 100).

“I’m particularly obsessed with the pantry box shelf in the kitchen,” she says of the residence. In addition to freelancing for various publications and websites, Jess is a contributing editor for Sunset.

SUSIE CUSHNER After graduating from the Massachusetts College of Art and Design with a fine arts degree—specifically, as a printmaking major and a glassblowing minor—Susie was hired as a photographer for a small boutique ad agency. “Behind closed doors with a view camera and a bevy of lights, I began the process of learning my craft and falling head over heels with light,” she recalls. “Photography has never stopped offering opportunities to discover exciting insights.” Susie’s talent is on view in “Nest in Peace” (page 54), which features the apartment of a fellow New York City photographer. “I love that the very nature of an interior space intimately reflects the uniqueness of the personalities that reside in it,” she says. Her photographs have also graced the pages of Real Simple , Martha Stewart Living, Metropolitan Home , Departures , and Brides . She was most recently published in Chronicle Books’ James Beard: Best of the Best.

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Text by ANH-MINH LE Photographs by KELLY ISHIKAWA Styling by ROD HIPSKIND

Grandeur

LIVED-IN

I N BERK EL EY, A FASHIO N DESI GNER MA K ES HER HO ME AS NAT URA L LY LUX URIO US AS HER READY-TO -WEAR C O L L ECTIO N

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Timeworn walls, a vintage daybed, a side table made from old tires, and mismatched patterned rugs lend an easeful quality to the sitting room.

Opposite: Erica Tanov lives,

works, and plays in the Berkeley home she shares with husband Steven Emerson, their two kids (Hugo and Isabelle), and two canines.

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“It’s risky to buy a sofa on eBay, I know, but we lucked out!” Erica says of the living room piece—which has been paired with a “Jetsonstyle” chair, a leather-andwood chair, and a Moroccan Beni Ourain rug.

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Erica Tanov has long had a thing for fashion. “When I was about 12, I took a sewing class and began sewing a lot of my clothes,” she says. “I remember repeatedly ripping out the seams of a dress I was making until I got the plaid to match perfectly.”

A native of the San Francisco Bay Area, she eventually made her way to New York—where she studied fashion at Parsons and worked as a design assistant for fashion designer Rebecca Moses. In 1990, Erica spent her days overseeing the business of a hat designer who was traveling in Africa. And in the evenings, in her apartment, she began designing and sewing lingerie in Irish handkerchief linen; she based the pieces on some of her favorite vintage flea market finds. “It was just for fun, not with the intention of actually launching a company. I was combining elements that were important to me: fine craftsmanship, subtle Old World details, and timeless styles,” she recalls. Soon enough, she had a “sweet and simple” assortment of loungewear: a slip, chemise, bra, tap pants, boxer shorts, and pajamas.

Erica recognized that she might be on to something; perhaps there were shops out there that would be interested in her small collection. So she took it to some of her favorite stores, starting in SoHo and later scheduling appointments with buyers at Henri Bendel and Barneys. “This led to orders,

Left to right: Erica inher-

ited the square grand piano, which dates back to the 1850s, from her great-aunt; Hugo plays the piano, and Isabelle created the art pieces displayed on top of it.

When it’s sunny and warm, Earl—a brindle pit/Great Dane mix— enjoys hanging out in the sunroom.

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and suddenly I realized I had a business.

This is what I was going to do,” she says of the genesis of her eponymous line (ericatanov.com).

“Initially I did everything—from making the patterns, sewing every piece, and pricing the collection to selling, shipping, and invoicing my wares.” As the orders got larger, she brought in people to help stitch her designs, as well as an intern to assist with charting orders.

Next, she found a showroom to represent her and handle the sales.

In 1994, after nine years in New York, Erica was ready to return to the Bay Area.

Around this time, a commercial building in Berkeley that has been in her family for years became available. She signed a lease with her grandfather, Victor, and settled into the 2,500-square-foot structure that once housed his business, Victor Laundry. There are still a few remnants of the service in her work studio: a box of pencils with the slogan “To the Victor

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Clockwise from top left:

In the entry, stitched quilts from India—which are available at Erica’s stores—are stacked on a chair that she describes as “rickety, but so sweet.” In her home studio, the glass vials contain samples of a special Erica Tanov fragrance in progress. The sitting room has been dubbed “Lucy’s room” because it is her regular spot.

Opposite: In the stairwell,

several paintings await placement. In addition to flea markets and auctions, Erica acquires many pieces via trade from artists who exhibit at her stores.

BOOT CAMP In West Texas, a young couple cuts, hammers, and stitches bespoke boots of their own design that blend old and new Text by JENNIFER DUARDO Photographs by JEN SISKA

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Opposite: Colt Miller

and Logan Caldbeck, co-owners of Cobra Rock Boot Company, craft their wares in Marfa, Texas, using equipment that dates back to the 1930s through 1950s.

NOT EVERYTHING IS BIGGER IN TEXAS. In a time when technology changes as quickly as the weather and mass production is rampant, the ideals of a small boot company in Marfa prove that it’s the little businesses that still have the most heart.

For Colt Miller, who grew up in the small ranching community of Post, his introduction to the centuries-old trade happened accidentally about eight years ago. “A boot maker moved to my town and made a pair of boots for my granddad,” he recalls. “I thought it was interesting and I ended up apprenticing with him for seven months.”

His love of the craft inspired him to take out a loan and hunt down some of the older machinery used by retired boot makers so he could begin working on his own.

While Colt was honing his skills in West Texas, Logan Caldbeck was studying art history and photography in Montreal. In the summer of 2006, during a trip to Lubbock to visit with family, she and Colt met during one of his band’s shows. (He was the guitar player for Thrift Store Cowboys.) Despite the 2,000 miles between them, they quickly became a couple. While Logan finished school, Colt alternated between living in Montreal and Texas. In 2008, they moved to his parents’ ranch, about an hour south of Lubbock, where she began helping him make boots for local cowboys out of the airplane hangar on the property.

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At the Miller homestead, they came across a clay sculpture that Colt made as a child.

Since it depicted several cobras, he had dubbed it Cobra Rock. Just like that, they had a name for their new venture: Cobra Rock Boot Company (cobrarock.com).

In 2010, Colt and Logan relocated to Marfa, where she had lined up an internship with the Chinati Foundation. The town’s affordability and thriving artist community proved the perfect place to live and launch their business. “So many people come to Marfa from all over—Austin, New York, overseas—because of the Chinati Foundation and the arts,” says Logan. “We couldn’t do this any place else; we couldn’t rent this kind of space in another city. Marfa has been incredibly supportive.”

Last November, they opened a hybrid shop, work studio, and art gallery. Their handcrafted boots are on display alongside Logan’s photographs of the Miller family’s ranch and surrounding landscape. Upon entering the space on South Dean Street, visitors are likely to find Colt and Logan at work, cutting leather or sewing on one of the antique machines. “It’s just the two of us making the boots and we didn’t want to hide that,” she says. Rooted in Texas culture and inspired by Colt’s ranching background and a love of vintage boots, they’re hoping to bring a fresh perspective to traditional designs. Logan explains: “We’re looking

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Home Cooking A former fashion designer lives out her culinary dreams, transforming her Amsterdam apartment into a restaurant three nights a week Text by ANH-MINH LE Photographs by MARJON HOOGERVORST

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Opposite and below: Marit

Beemster’s residence, which she shares with Tilly, a poodle, doubles as an eatery that specializes in vegetarian Mediterranean fare with Dutch influences.

A S A CHILD GROW ING UP in the tiny Dutch village of Obdam, Marit Beemster was obsessed with two things: food and fashion. The latter led her to Cordwainers College in London, where she trained as a shoe designer, and to the Amsterdam School of the Arts, where she studied textile design. She went on to work in the fashion industry, most recently as a designer for Tommy Hilfiger. But last year, she decided to pursue a new profession—an entirely self-taught one that indulged her other longstanding passion.

In the fall of 2011, Marit launched a restaurant in her home (maritshuiskamerrestaurant.nl). On Thursdays, Fridays, and Saturdays, she—along with a staff of one or two others—serves up to 24 dinner guests in the space that is otherwise her living room. “Each week, I cook a different combination of recipes,” says Marit, who had no previous professional experience cooking for large groups. “My specialty is vegetarian Mediterranean, but since I buy my groceries locally and seasonally, there is some Dutch influence, too.”

Her menus highlight fresh ingredients that are organic and fair trade. She frequents Erik’s Delicatessen for cheeses (“My favorite is fresh Dutch buffalo ricotta and a delicious Dutch blue cheese called Ladies Blue”), Van Velze’s for chocolates with spices such as cardamom and fennel, Holy Ravioli for fresh pastas, and Brouwerij ’t IJ for beer. “There is a sheep farm just outside of Amsterdam where the sheep are fed with the brewery’s leftovers [from processing wheat and grain], and they make a lovely camembert on the farm,” says

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Marit. “These are the types of businesses that I love and want to support.

But of course only if the taste is good. In the end that is what it is all about: tasty food made with love and respect for the planet.”

As in her cooking, sustainability is an important factor in the decor of her 750-square-foot split-level. “They are all secondhand,” Marit says of her furnishings, which reflect her fondness for flea markets, charity shops, auction houses, and antique stores. To unify the chairs and tables, she painted all of the legs off-white; the same color (Ivoorwit 1011 by Flexa) was applied to the woodwork. “I decorated the apartment in the way that I like to live, but knowing it was going to be used for a restaurant. It is very homey, giving the restaurant an intimate atmosphere.” Toward the front of the space, a tall barrister bookcase purchased at the Albert Cuyp market stores dishes and glassware. At the top of the stairs that lead to her sleeping quarters is a framed piece of Aboriginal art made out of bark; a gift from her father, it can

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Clockwise from top left: Marit hopes to

eventually offer outdoor seating. Dinner guests often comment on the kitchen’s Moroccan tile, which came with the apartment. Marit incorporates local and seasonal produce in her ever-changing menu.

The sleek kitchen design is by Tulp Keukens.

Marit prefers secondhand furnishings for their lived-in aesthetic and the quality of the craftsmanship.

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In the Mississippi rental that artist Kate Roebuck shares with her husband, Cody, a spare bedroom was turned into a home studio.

Opposite: “Cody’s

brother, Jed, made the table for Cody to use as a desk,” says Kate, “but it’s been commandeered for the dining table.”

Southern Charm

A textile designer and artist draws on her own talents—as well as those of family and friends— to imbue a ho-hum rental with color and character Text by ANH-MINH LE Photographs by THAYER ALLYSON GOWDY Styling by KAREN SCHAUPETER

In the living room, the coffee table is an antique chicken crate that Kate gave a good washing, painted, added casters to, and topped with a sheet of glass.

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F

or three weeks out of every month, Kate Roebuck’s commute is about as easy as it gets. She works from her Oxford, Mississippi, home either in the spare bedroom that she’s converted into a studio or, weather permitting, at a table she sets up in the yard near the sheds that store her multitude of screen-printing supplies.

The other week is a different story. A designer with Hable Construction (hable construction.com), Kate makes the six-hour drive, each way, to Athens, Georgia, once a month. There, she stays with Susan Hable Smith, one half of the 13-yearold textile company that is known for its colorful and graphic hand-printed motifs; the other half is her sister, Katharine Hable Sweeney, who is based in New York.

Kate started as an intern with Hable in 2007, back when it was strictly a New York operation. At the time, she was studying textile design at the University of Georgia in Athens. “I just loved their aesthetic,” says Kate. “Once I interviewed with Hable, I knew I would do anything to get back there. They were so friendly, inspiring, and upbeat. I felt instantly at home.”

Coincidentally, for years, Hable had shot its catalogs in Athens, where photographer Rinne Allen lives. So Susan became well acquainted with the southern city; in 2009, she decided to relocate there with her family. Around the same time, Kate graduated, got married, and

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An office still life includes a sketch of the Perimeter Tray during development; wooden beads for Bloc necklaces; and a vintage knot-tying book, which will come in handy for new products.

Opposite: The home of

Jean Lee and Dylan Davis of Ladies & Gentlemen Studio is filled with odds and ends that serve as inspiration.

| A couple’s personal and professional lives seamlessly coexist in their charming 800-square-foot Seattle duplex Text by JESS CHAMBERLAIN Photographs by KELLY ISHIKAWA Styling by ROD HIPSKIND

When asking designers about their own homes, it’s not uncommon to get a response that goes something like this: “Oh no, no, no, no, not my house. I have no time for it. Like the cobbler’s shoeless children, this furniture designer has no furniture.” And if you add a home office to the mix—a scenario where the business is actually run out of the same space—you get wide-eyed, elevated claims: “Oh dear god. No way. I’m so embarrassed. You’d be so disappointed.”

Or just: “It’s a total mess. No story there.”

But every now and then, you get what you had anticipated: a designer’s home—and workspace!—that looks like a real-life interpretation of their products; a place where design prototypes mingle with everyday life.

Such is the case with Jean Lee and Dylan Davis, the lady and the gentleman behind Ladies & Gentlemen Studio (ladiesandgentlemenstudio.com) in Seattle. Early iterations of their products adorn their living room shelves, just-launched necklaces hang from kitchen hooks, and swatches of new materials being considered for future designs are in almoststyled vignettes at every turn. One of the two bedrooms is a designated office and the garage is a workshop, but there’s no true boundary between home and work.

“This is our life,” smiles Jean, when asked if they try to keep business hours to distinguish the two. “We use our physical space as a way to experiment with concepts, and many of the things we have around the house are prototypes 102

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David first spotted the The materials in sofa Jeanat the modular leather Lee Dylan Museum Davis’ of San and Francisco interior—for example, Modern Art, where it was wood and on loan forbrass—often an event. inspire their creations.

Opposite: Pudding

perches on the living room sofa, surrounded by secondhand furnishings and Ladies & Gentlemen designs.