Notes on The Modecast

   The Modecast between myself and my dear friend Danielle Meder of Final Fashion last night was a great success in that it was actually watched by humans. The greatest reward was in how much we enjoyed ourselves... and how decadent my overconsumption of a 19 year old whisky proved to be, for my behaviour, for my faculties, for my ability to hail transport later on in the night

   We did indeed record the results. Danielle has been faster at disseminating it than I have, as is her right as the true mastermind behind our collaboration (her cliff notes for the show are also required reading). So, please proceed to watch it below:

Watch live streaming video from modecast at livestream.com

   I'd be remiss if I did not credit the 20-odd friends of ours who tuned in (and some of them are in monogamous relationships, which suggests that we may have approached 30 at our peak); I'm especially impressed by the Britishers who brought themselves to relegate the BBC's showing of Birdsong to iPlayer in order to watch us live instead. I can only hope that they noticed the difference -  I have only slightly bigger lips than ol' Ed Redmayne, although Danielle does have prettier hair than the gorgeous Clémence Poésy

   Rewatching it, it becomes increasingly apparent that I should note more often the speed at which I knock back single malt drinks. I am currently holding the remaining 50ml in reserve; there's always the threat of nuclear attack somewhere

   Judging from the general response to my record reviews here, I suspect that Danielle should continue to select the music for future editions. I'm not hurt, of course

   I love Dupioni silk and I never apologise

  This is where one can find the Pan African Arts Scotland organisation that was mentioned: http://www.panafricanartsscotland.org.uk/

   Joe Orton and Kenneth Halliwell's defaced library book covers are now dear to the collective heart of the Islington Local History Centre collection

   Jamie, whom semi-regular readers may recall from a private view and a portrait shoot or two, returned to the office after the show specifically for another finger or five of whisky. It was good to share Scotch with a genuine Scotsman

   I should compliment Danielle more often. Offline, anyway

   Finally, I am going to put quite a lot of effort into bourbon research for the sequel. Where does one start with these things?

Final Fashion x Mode Parade = Modecast

   Tonight, Danielle Meder and I go live in less than 90 minutes (9pm GMT/4pm EST) time to gab about the state of the blogosphere, toe shapes, your mother's cooking and the polio victim-esque poses thrown on street style websites. Incidentally, we will be drinking:

http://finalfashion.ca/introducing-modecast/

www.livestream.com/modecast

   It's late notice on a Sunday, I realise, but it's been that sort of weekend. I hope that one or two of you may tune in

   And just to be clear, I will endeavour to offend everyone other than polio victims

   BON

"Lose Your Way and Find Yourself"

   There are some occasions that inform me that the Parade is appreciated by more than four humans at a time, every once in a while. Thus, I was most touched that talented artist Nina Meledandri, daughter of the late haberdasher and arbiter elegantiarum Roland, wrote in after stumbling across my prolix piece on him, "Homme Couture"

   I was so touched that I requested to reprint Nina's e-mail, to which she kindly consented. But then again, she provided 70% of that article's material. This is as much to thank her as it is to be thanked. And please remember to visit her interweb space, as linked above:

Hi Barima,

One of the most wonderful things about the internet is that sometimes you lose your way and find yourself

I just came across the post you made about my dad and it was really wonderful to find

I am glad that my reminiscences had an impact and of course it is a comfort that my father's legacy lives on

Thank you for posting that piece,

Nina

Neo-Edwardiana, African Style/Negritude ala Senghor

A seasonal inspiration that I could not post to the Tumblr alone. Merry New Year, Paraders

The Peculiar Parade of Mr. Fish (1969)

The Peacock King of Clifford Street, Michael Fish, is seen here presenting his then-latest collection in 1969 via a report from London Aktuell, narrated by Eddi Arent with original music. It's one engaging hell of a carnival; a veritable fiesta of pastels, kipper ties, myriad materials and caftans that proudly exemplifies Fish's particular feeling for fabrics


Dead days of dandyism don't come much livelier

John Gayner: Lost & Found

Some of you may have noted that I am more focused on bringing my Tumblr up to speed than on the column at present. This shall pass in time. But in the spirit of that reblogging mentality, I am promoting yet another artistic endeavour by one of my friends, which takes the form of a West London-set photographic exhibition this week at my old haunt, The Crate Gallery. The arts season is truly upon us again; I spent Saturday in some delightful company at Art London and will also attend Frieze later this week

It's a good time to take in the sights

And it's Goodbye from Steve Jobs

I'm afraid I've not the articulation to bid a passable farewell to Steve Jobs, without whom I might never have Broken iPod Blues, Apple Lust Objects and other digital addictions/afflictions. Fortunately, amongst his other talents was an orator's feeling for the right words in the right circumstances. To whit, the below:

 

Mode Parade had a Tumblr

Having collected around 4000 images of preserved cultural ephemera, I began to consider that I may really need a Tumblr to indulge my appreciation. I finally launched this morning and am already having a little bit of fun with it

In the interests of simplicity, the URL is as simple as this column's - barimavox.tumblr.com - as is its title, On The Mode Parade. Perhaps I shall see some of you there

All best,

BON

N.B. The Tumblr was suddenly murdered exactly a year after it began. It may not be missed

Design Lust Object No.6 - George Nelson's Pretzel Chair

George Nelson, born 1908 in Hartford, Connecticut, studied architecture at Yale University. A fellowship enabled him to study at the American Academy in Rome from 1932-34. In Europe he became acquainted with the protagonists and major architectural works of modernism.

He joined the editorial staff of Architectural Forum in 1935, where he was employed until 1944. A programmatic article on residential building and furniture design, published in Architectural Forum by Nelson in 1944, attracted the attention of D.J. DePree, head of the furniture company Herman Miller.

 

Shortly after this, George Nelson assumed the position of design director at Herman Miller. Remaining there until 1972, he became a key figure of American design, also convincing the likes of Charles and Ray Eames, Isamu Noguchi and Alexander Girard to work for Herman Miller.

In the 1950s, George Nelson and his New York office developed an individual and expressive range of seating pieces, several of which have long since achieved classic status. In 1952, even before the famous Coconut Chair or the Marshmallow Sofa, Nelson designed a chair made out of bent wood that was initially referred to, simply, as the Laminated Chair. The bold yet elegant curve of the single wooden piece forming the back and armrests soon inspired the nickname Pretzel Chair. Bent laminated wood is used not only for the backrest and its twin supports, but also for the four legs that cross underneath the seat. The downward taper of the legs contributes to the chair's slender appearance. Due to insufficient manufacturing techniques, the Pretzel Chair was removed from the market after only a few years, which makes it highly valued among collectors today.

His collaboration with Vitra began in 1957. From 1946 onwards Nelson also ran his own design office, creating numerous products that are now regarded as icons of mid-century modernism.

Nelson's office also produced important architectural works and exhibition designs. George Nelson died in New York in 1986. His archive belongs to the holdings of the Vitra Design Museum.

From Vitra