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We’re basically doing Baby Yoda Hug United States Marine Corps shirt . portraits of the people who’ve inspired me. or who have worked with me, with my furniture. I started in the fashion world, and so many of the pieces [in the collection] were inspired by that work. The images pay tribute to that, and to them. It’s about their style, and my style, and how they interact. It seemed more relevant than just photographing it in a beautiful interior.I’ve had my own interior company for 11 years now, and when I look back
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I realize I’ve been designing furniture all that time Baby Yoda Hug United States Marine Corps shirt . The collection came out of developing pieces for designers and brands, making things for their stores, and then starting to consider how they could work in people’s homes.The first three prototypes [of the collection] came from commissions from clients. There’s a sofa, which came from the idea of a classic Knoll sofa, and the sofa in the Halston townhouse, the one with the bolster back pillows—people love sectionals, but it can be hard to make one look sexy and cool. One piece is a chair from when I was working with Alex [Wang] at Balenciaga; we developed it with black marble arms, then kept revising it, and now it has been made more friendly for someone’s home. And the Aquazurra store in New York—we call it the Blush Palace!—inspired the blush lounge chair, which has become one of the collection’s key pieces. I look back and see 11 years of my life—it all looks right and works together.I like comfort, and I like something monumental. I have two sides: one is romantic, and one is super brutalist. I like luxury, but I also like things to be usable.When I was working on the collection, we’d get someone short, or someone tall, to try [the pieces] out. When I go into a furniture store and I see a sign asking you not to sit down, I always think about: ‘How am I going to know if it’s comfortable or not?!’ A lot of my pieces are much lower than usual; people often say, ‘Wow, this furniture is so low!’ I do like it to be super low and sexy and curvy. I like classical shapes, I like French 1920s…I am not trying to reinvent the wheel here. That takes expression in the comfort level and the form. I have been in New York for so long, that things are smaller and more suited to the kind of homes we have here. You’ll find all the seats are really deep but you won’t find what I call waste of spaces—chunky arms, chunky backs. I’m always trying to keep the body of everything light.
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