Excerpt: Aesop by Rizzoli International Publications

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A Dsciplined Approach

B Triple C Facial Balancing Gel

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‘It is rough road that leads to the heights of the greatness.’ Seneca

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Five Enduring Friendships

Rodney Eggleston, March Studios

‘Character makes its own destiny.’ Rosa Caroline Praed

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Working With Neighbours

Chelsea, New York

An appetite for literature in its all its genres and forms has always been strong at Aesop. Strolling along Manhattan’s 27th Street, Dennis and the then Editor of The Paris Review came up with the idea of a Review-themed Aesop store. Founded in the French capital in 1953 by a group of American expatriates, the journal has been devoted to discovering what is new and best in literature. Before these writers became famous, it published texts by, among others, Samuel Beckett, Jack Kerouac, Philip Roth, and Jeffrey Eugenides. Its ‘Writers at Work’ series of in-depth interviews has garnered it almost as much praise as its astute selection of contributors. Because editorial excellence needs to be recognized and supported in every way possible, and although this is no typical skincare offering, the latest issue of the review is available for purchase in many Aesop stores. We also sponsor the journal’s annual Spring Revel, and celebrate the release of every new issue over pizza and wine at their offices. Given that the journal had migrated in 1973 from its eponymous home to New York City, it was deemed that Manhattan would be the ideal location for the sort of architectural homage that would make the association palpable. Once a locale had been secured just a few blocks from the journal’s offices on the West Side, the notion became realistic of collaborating on the design of the interior. The central idea was that the store should be turned into a tribute to the significance of the written word, as well as to the mutual respect and intellectual friendship that join the two enterprises. To make the idea manifest it was decided to integrate the Review very literally into the design: back-issues would be suspended from the ceiling to form a colourful, levitating sea overhead, while the walls would be papered with pages containing black-and-white ephemera—photographs, handwritten letters, advertising campaigns, artworks, and so on. The project manager and design coordinator for this store had trained as a sculptor: devising and constructing the three-dimensional installation would require her to draw on her training and her understanding of volume and perspective. She called on her brother, a talented woodworker, to create the shelving from scratch and refurbish an old cabinet into a serviceable counter. Creation of the floating sea aloft, from 1,000 copies of the Review, proved a challenge as well, an exercise as it became in the tedium of meticulousness. To provide rigidity and prevent sagging, a thin yet rigid sheet of board had to be tailored to every copy’s dimensions and then inserted between two pages—rather like an immovable bookmark in an abandoned paperback. Each issue was then treated with all the care and respect that can be bestowed by a power drill: after the copy’s centre of gravity had been determined, the thinnest of drill bits was driven from the front through to

‘Whatever satisfies the soul is truth.’ Walt Whitman

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