Karmen Michael

Fashion + Architecture

Fashion is architecture,’ as Coco Chanel memorably proclaimed, and a new exhibition at the Istanbul Museum of Modern Art explores the synergy of the two disciplines. Turkish fashion brand Dice Kayek has taken aspects of Istanbul - including some of its most iconic buildings - and translated them into sartorial form.

The exhibition’s 12 themes include ‘Istanbul by night’, ‘Bosphorus’ and ‘Dome’ - with certain designs channelling specific architectural icons. The metallic embroidery of Dice Kayek’s ‘Galata’ dress, for example, echoes the cast-iron latticework of the Galata Bridge; the intricate embroidery of the ‘Aya Sofya’ gown was inspired by the mosaics of the Haghia Sophia museum; and the geometric shapes of the five ‘Istanbul Modern’ designs evoke Istanbul’s contemporary architecture.

Established in 1991, Dice Kayek is one of Turkey’s most acclaimed fashion labels. Now based in Paris.

The Park Hotel- India

The Park Hotel Hyderabad is the result of a riotous infusion of influences, from classical Indian architecture to high-end, big-style 1960s kitsch, all carefully balanced by renowned US architects Skidmore Owings & Merrill. Perched on the edge of the Hussain Sagar, The Park Hyderabad is raised up on a podium, its rhomboid structure clad in ribbons of finely jewel-patterned metal mesh - evoking traditional jali screens - and reflected in the 125ft infinity pool.

Logo a-go-go

So are the photographs in Luis Gispert’s “Decepción,” a show at the Mary Boone Gallery spotlighting a subculture devoted to making both cars and clothes into personal showrooms for designer-logo fabrics. It’s not that members of this street-art underground are shilling for brands like Gucci, Fendi and Coach. The fabrics are counterfeit. But the designs are real bombs declaring a war on status.

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HAPPY BIRTHDAY… to me!

I wouldn’t trade nothing for my journey! I count it a blessing to be able to see another year. I feel like I am more of my Self and realize that Life, is but a dream. :)

Ahead Of It’s Time

In 1972, Massimo Vignelli designed a diagrammatic map for the New York City subway. It was a radical departure. He replaced the serpentine maze of geographically accurate train routes with simple, bold bands of color that turned at 45- and 90-degree angles. Each route was color-coded, its stops indicated by black dots. Its abstract representation of the routes was elegant but flawed. To make the map function effectively, a few geographic liberties were taken, something that didn’t sit well with New Yorkers.

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