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STANDARD an honest-to-goodness design affair


couture fall 2012 1



every issue 108

The Letter 10 Newsreel Trend-Predictor 15 attention politicos!

On The Boards 20 harlequin patterns, retired tires and deco revival

A Design Affair 130 George Carr takes the cowboy global

Darling & Daring 132


our parting shot


23 22

Industrial Couture, fall 2012


columns Wear the Room 126 Moscow industrial collides with high fashion

Thinking Outside the Xbox 128 128

boy-meets-fashion week


features Upstairs Downtown 30 Designer Leslie Fossler and the visionaries at Swift’s Attic craft a feast for the senses

Totally RAD 44 inside the home and studio of industrial designers Ryan and Katherine Anderson

Pitching In: an urban barn-raising story 62 welcome to our new HQ!

Haute Bite 78 the boys from Modern Bite invite us over for treats

Just Before Reality 92 artists Lee and Suzanne Pratt create a world all their own

Standard Visits: Agi Miagi 112 behind the scenes with designer Agustina Rodriguez and her comrades







64 9

the letter


t’s birthday time again, and at two years old we have much to celebrate!

We recently set up shop in our new digs­—a mini-barn-turned-office that sits behind my home in south Austin. We’re excited to share it with you­­in this issue, and to give a shout-out to the many people and companies who contributed to making it a truly beautiful place to work.

I’m thrilled to welcome aboard our new publisher Kelly Truesdell, who comes to the table with tons of knowledge and talent—all so very different from my own, that I find myself constantly in awe of her. I can’t wait to see all of the ways in which she helps Standard to grow!

and peppered heavily with fashion from some of our favorite designers and vinCongratulations are also in order for tage shops. a number of staff members who were promoted this summer, and to our new interns who join us for the fall semester. Our growing staff now extends all the way up to Minnesota, where Jenny Kelly LaPlante Gumbert (formerly our Markets Editor, Editorial Director & Founder now our Corresponding Editor) recently relocated.

We hope you enjoy this issue, filled with some most excellent industrial design,

(Above, trying out an unbelievable bentwood corset by Supplii, with a vintage skirt and necklace­—fun!)

never miss an issue click to subscribe

(it’s free)


STANDARD Editorial Director & Founder: Kelly LaPlante kelly@standardmag.com

Publisher: Kelly Truesdell truesdell@standardmag.com Features Editor & Senior Staff Writer: Mallory Hamel mallory@standardmag.com Markets Editor: Minh Dang minh@standardmag.com Corresponding Editor: Jenny Gumbert jenny@standardmag.com West Coast Features Editor: Kelly Thompson thompson@standardmag.com Affiliates Manager & Design Associate: Joanne Kim Milnes joanne@standardmag.com Staff Writer: Patrick Jones Staff Photographer: Spencer Selvidge Content Manager: Dan Reade Editorial Interns: Megan Horton, Madeleine McCaleb, Alex Lopez Publishing Intern: Sophia Mossberg


Our innovative system of carpet squares comes in an inspiring palette of colors, patterns and textures that can be assembled to create custom rugs, runners or wall-to-wall designs of any shape or size. FLOR is simply smart design, squared. VISIT FLOR.COM TO REQUEST A COMPLIMENTARY CATALOG. 13



fall 2012

Whether you’re a politico or not, you’re sure to be experiencing election overload. Never fear, we’ve got you covered. With the presidential race heating up, we present two noteworthy political issues that are sure to aid in your search for new treasures.


newsreel trend-predictor

minh dang and kelly laplante


a nation of immigrants


Many forget that the U.S. is a nation built by immigrants, with fresh faces entering the country every day. According to 2011 U.S. immigration stats, Mexico topped the list of newcomers arriving in the U.S. with nearly 24 percent, and the list of illegal immigrants coming into the U.S. with 57 percent. With the American economy at a crawl, passions abound on both sides of the immigration reform debate.

Dylan and Amy Engler on UnCommonGoods

Gwen Samuels

Lola Dupre

( ) we predict...

Margaret Dorfman on UncommonGoods

‌an emergence of modern design influenced by Mexican culture. Mexican icons like Frida Kahlo make for interesting portraits. From the vibrant colors in Mexican folk art to the intricate skulls of Dia de los Muertos (Day of the Dead), you’ll no doubt find some of these elements in your home.


BRC Designs


bang bang


The American debate on stricter gun control regulation dates as far back as anyone can remember. Reopening this hot button issue are the brutal and senseless shootings this past summer at a movie theater in Colorado and at a Sikh temple in Wisconsin. Advocates on both sides make strong cases, as the future of gun control regulation is forever yet to be determined.

Ellwood T. Risk


we predict...


...weapons will take aim at your living space. Furniture riddled with bullet pocks creates a unique and explosive pattern that will surely be the most interesting topic at your next dinner party. (Be sure to check out artist Ellwood T. Risk, who足has been ahead of this trend for years.)


on the boards

joanne kim milnes





{harlequin romance} This Page: 1. Oblique Shelf by BUILTIN studio, price upon request; 2. Rhomblet 2 Earrings by molly m designs, $56; 3. Crystal Configuration Stamp by extase, $14; 4. Triangle Candle by UncommonGoods, $23; Opposite Page: 5. Botanic Collection by Bolon, price upon request; 6. Simple Geometry Rug from Land of Nod, starting at $249; 7. Tri Angles by Sonya Winner, price upon request



7 21

2 1



{rubber to the road} This Page: 1. Messenger Bag by UncommonGoods, $35; 2. TransNeomatic by Fernando and Humberto Campana from GENERATE Design, $89; 3. Doormat from hipcycle, $25; 4. Tabletop Storage Cups by Flat Tire Decor from Amazon, $35; Opposite Page: 5. Woven Basket from Relique, $59; 6. Newport Basket by Flat Tire Decor, $26.99; 7. Bracelet by The Recycled Bicycle, $20; 8. Belt from Ecoist, $42; 9. Rubber Stool by Jaime Salm from MIO Culture, $210












{oh great gatsby!} This Page: 1. Art Deco Bench by Joel Liebman, $3200; 2. Kohl Gold Pendant by Polli, $41.22; 3. Earrings by Pamela Love, $276; 4. Gold Sconce by Global Views from Layla Grayce, $623; 5. Kelly Green Pillow by DwellStudio from Layla Grayce, $79; Oppoisite Page: 6. “Chateau” by Jeremy Kohm from 20x200, starting at $60; 7. Keystone Bed by Joel Liebman, queen size, $6800






Portrait | Commercial | Editorial



photograph by Spencer Selvidge

ecostainingandresurfacing.com 512.705.8131 29





Sous chef Zack Northcutt breezes past customdesigned tables by LFI that add a perfect pop of color to the central seating area.


igh up above the streets of Congress Avenue lies a secret. Hidden for decades among its modern neighbors, a unique space was lying in wait for the right touch and occupants to soar into the stratosphere. A hundred years ago, it was called Swift’s Premium Foods. Ten years ago it was called Kyoto Sushi. Now, it’s called Swift’s Attic, and it’s finally hitting every height it strives for—decor, food and atmosphere. We were introduced to the creative team responsible for the place in its current incarnation: CK Chin (owner and general manager), Stuart Thomajan (co-owner), Mat Clouser (executive chef), and Leslie Fossler, the designer consulted for the interiors. Chin, a beaming, mountainous man (“Everyone used to know me at A&M because I was the only 6-foot-5 Chinese guy.”) acted as our guide.


LFI-designed, hunter green booths offer cozy seating at small tables, flanked by quaint, vintage stools from New York. Computer generated images by Gary Dorsey of Pixel Peach Studio were blown up, and put on canvas in vintage frames to provide an old masters’ feel.

Where to begin on the interiors of Swift’s Attic? “Steampunk speakeasy” might be the easiest two word descriptor. Located in a turn-of-the-century railroad stop and general store, the original walls and their decoration have been exposed and slightly repolished

after decades out of the limelight in the old Kyoto Sushi spot. Designer Leslie Fossler had a field day renovating the old and creating a new, subtly playful interior.

Avian themes abound in the decor of Swift’s Attic and provide something of a designer’s Easter egg hunt to see who can find the most birds or related objects. The space is full of whim and humor that only experience can afford, and Fossler’s contributions to Austin and San Antonio restaurant design

speak to her long-standing excellence. “CK grew up with swifts [the bird], and we decided to play with that since it’s in the old Swift’s Premium Food building,” Fossler said. Her sense of fun shines throughout the place—a birdcage-encased chandelier gives an ultimate nod to the theme. 35

“They kinda look like metal testicles...� Quippy Ms. Fossler jokes with us as she peeks through the custom LFI curtain of vintage doorknobs at the top of the stairs. Fossler wears a Victorian silk blouse, faux fur vest, and conch belt from Laced With Romance.


Stock photography of birds in flight was enlarged and placed to, “provide a surreal, floating element to the attic.�

But besides the more obvious and playful decor choices, the subtleties of custom-made communal tables and strategically placed coat hangers add class and beauty to a space that deserves just that. A partially restored wall (a remnant of the Swift’s Premium Food days) appears almost like graffiti—heavy with text and the wear of almost a century. “We like to think of the restaurant like that clothing company FUBU: For Us By Us,” Chin said. “Let’s not overthink this. Let’s be true to the food that Mat likes and cooks, and to the vibe that I like to be in. Let’s go from that.” Chin related a story of the day Adam “MCA” Yauch of the Beastie Boys passed away after a long battle with cancer. The restaurant decided to play exclusively Beastie Boys songs that night and sell Brass Monkeys (a mix of 40 oz. malt liquor and orange juice), the band’s signature imbibement. Some of the older, “fine dining” audience didn’t get it; the younger crowd went wild, taking the opportunity to respect Yauch’s passing in a way that he would have enjoyed. “Somebody wrote—and it was one of the best compliments I’ve gotten about us—that Swift’s is like your friend’s cool loft apartment that happens to have all of this awesome stuff in it. We like that atmosphere, where you can hang out and have fun,” Chin said.


These people stick to their guns. And where the combination of speakeasy, cutting edge New American cuisine, slick aestheticism, and unabashed party jams (we heard exclusively reggae and hip-hop) might sit uneasily together in, say, New York, Los Angeles, or San Francisco, there hardly seems a more Austin combination. The city is booming with places sort of like Swift’s, though usually missing one of those qualities that makes it such a unique place. Certainly we’re blessed with unbelievably good food, a quietly booming design community, and the desire to indulge. Swift’s Attic deftly combines the three so perfectly that it should be preserved in a huge time capsule as the most symbolically Austin restaurant of the early 2010s.

tural, abounded in the soft scallops and crunchy cucumbers, the spicy aji and cooling sorbet. The plating certainly made it easy on the eyes, as expected of an expertly arranged setting and chefs of this caliber. Judging from the S’maybe and previous desserts like foie gras PB&J, the final course at Swift’s gives in entirely to excess. “We have a dish called the Swiftine, and it’s our take on poutine. Somebody ate it and said ‘I don’t understand this dish.’ I asked, ‘Did you like it?’ and they said they did. I asked if they don’t like tater tots [in place of the traditional french fries], and they liked it but they said they didn’t get it. I was like, ‘There’s nothing to get!’ We’re not trying to solve world problems here. We want you to enjoy us,” Chin explained.

Clouser, formerly of Uchi and Kenichi, more than lives up to his pedigree; no small feat, considering many of Austin’s rising food wizards spent years under Tyson Cole at the former. Clouser, sous chef Zack Northcutt, and pastry chef Callie Speer might be one of the fiercest trios in the city, and merely perusing their online menu can leave one an undulating, passionate mess that e-mails all of their friends, ‘Hey, we need to get over there after work. And we need to do that every damn night.’ The highlight dish of our visit was the raw Maine diver scallop with cucumber, aji amarillo, red salt, and sorbet. Contrast, especially tex-

Swift’s Attic, more than any other restaurant-cum-bar opened within the past year, epitomizes the highs of Austin at this moment in time: elegantly accessible decor, relatively inexpensive ($14 for the raw Maine scallop dish feels like a damn steal), and very progressive. It’s multi-purpose, either marking the beginning or end of a wild time downtown, but also a lunch, dinner, or cocktail venture worthy in itself. . swiftsattic.com lfiaustin.com leagueofrebels.com lacedwithromance.com

Creepy-glam spider lighting fixtures were designed by LFI and made locally. Another interesting set of LFI originals can be seen in the antique electrical insulator caps which hang in an uneven pattern throughout one area of the restaurant in the form of pendant lights.


This birdcage chandelier from Restoration Hardware provides an old-timey, rustic feel amongst the lightly patterned wall treatments in this space.


totally rad



Katherine heads out with Charlotte, wearing an ensemble by Pretty Birdie, and sunglasses from Laced With Romance.


ucked back from busySouth Congress Avenue, in the Travis Heights neighborhood of Austin, Texas, is the modern, industrial mid-rise 04 Lofts. This mixed-use building is home to many creative types, one such couple being Ryan and Katherine Anderson and their sweet Black Lab-mix Charlotte. Hailing from opposite coasts (Ryan is from San Diego, Katherine is from Connecticut), the pair met during their first semester of graduate school in the University of Texas at Austin’s architecture program. They relate, “We both had privately sworn to ourselves when starting architecture school that we wouldn’t get

involved with another architecture person, for fear of losing sanity and balance. Then fate stepped in and changed our minds for us.” Now, six years later, the duo owns and occupies their ground-level loft, situated in one of the city’s most energetic areas, and collaborates daily on many projects outside of their domestic realm. Katherine is the Visual Communications Manager for Austin-based home improvement store TreeHouse (and is the sweet voice you hear on their radio ads), as well as the Creative Director of RAD Furniture, of which Ryan is the founder and fabricator. This mutual background and ongoing interest in design not only brought the pair together,


but is responsible for much of the har- signing, visual and verbal communicamony that exists in their home. tion and presentation skills.” According to them, “A training in architecture forces you to learn about yourself: how you work, what you’re good at, what you’re bad at, how to deal with failure and criticism, how to work really hard, and how to take ownership of your decisions and subsequent work. Meanwhile, you develop your design process and learn valuable skills—drawing, de-

This learned understanding is evident in every corner of the Andersons’ home and interior scheme. A private patio serves as the connection from the street to the front entryway of the loft, and a second back entrance leads in from a lush communal courtyard.

Most of the pieces found inside were either handed down by friends and family, given as gifts, or made by RAD Furniture. Ryan elaborates, “Our arrangement is determined by what we have access to at that point in time, whether it’s samples of RAD stuff or our friends’ artwork that we’ve slowly been collecting.”

leather armchairs that had previously belonged to Ryan’s architect father. This comfortable grouping is centered around a RAD Classic Coffee Table made of white steel with a cherry wood inlay. Atop this table sits a vibrant collection of Fireclay Tile coasters and a painted tequila box that the Andersons’ silverware had previously arrived in, now remaining as a decoraIn the living area, a sofa from Gus* tive addition. Modern (the only piece purchased for the space) sits adjacent to two 70s

RAD selections live out their functional and aesthetic purposes in the Andersons’ loft. Artwork by Randy Muniz of Industry Print Shop adds a touch of humor to this colorful vignette. 49


A custom-made RAD bar sits below a black and white movie poster from “Butch Cassidy and the Sundance Kid.” A few items that were gifted to the Andersons grace the top of this gorgeous piece, such as matching candlesticks from Arte Italica, and a Mason jar full of Moonshine. In the dining area, an impressive table shows off local abilities. Ryan made the steel frame and commissioned Austinite graffiti artist Jason Ice to create the top­ —a semi-nude, highheeled babe laying against a colorful backdrop. A pair of throwback schoolhouse chairs offer seating at the table

(as do a matching pair of the same chairs on the front patio), and were acquired from the Austin Police Department several years ago when Ryan competed in the U.S. Department of Energy’s 2007 Solar Decathlon. From the kitchen, a long hallway lined with art work of many mediums leads to the bedroom and second entry, and succeeds in offering a more private feel to the back half of the loft. Once outside, the communal garden area is pleasant and refreshing. Austin life can be seen, heard, and smelled (by way of the many fabulous restaurants nearby) with one step outside of the Andersons’ abode.

A pistol planter by The Plaid Pigeon supports a prickly friend and sits on top of a piece created in collaboration between Ryan and Hatch Workshop. The drawers were rescued from a UT Austin library.

Another unique item formerly belonging to the elder Anderson is the 1970s Le Corbusier chaise lounge covered in pony hide that occupies one corner of the living room.


Multicolored Howard Stools by RAD mesh perfectly in the dining area with the vibrant (and slightly naughty) tabletop by Jason Ice.


The frame of a now-retired GT Performer that Ryan received as a birthday gift in 1988, rests above the kitchen cabinets. According to Ryan, the bike has been stolen twice, and found its way home both times. Ryan painted it and laid it to rest where it will be safe and sound.

High ceilings with exposed steel beams and vents combine with the floor-to-ceiling windows to create a feeling of total openness. Tons of natural light floods the main gathering space creating a calming retreat within the popular SoCo district.


Ryan working hard (or hardly working?) in his Eastside warehouse space.

Ryan founded RAD Furniture formally at a full time level in 2010. He reflects, “It was a response to the job market conditions at the time (it wasn’t even worth looking for a job in design) and my lack of certainty regarding my desire to pursue a traditional career in architecture. Furniture allowed a design-build format at a scale that I could comprehend. The

creativity required to found and operate a small business during such changing times was very alluring to me.” The RAD workshop is located in an old Tillery Street warehouse on Austin’s Eastside. Ryan shares the space with other companies, including Hatch Workshop and Michael Yates Design.

“We’re a tight-knit group of like-minded creative professionals. We’re not in competition with each other, quite the opposite. Not only are we able to share expenses, affording us a much larger space than if we were on our own, but we are able to share knowledge, clients, vehicles, tools, and stress— we act as therapists to each other all of the time, keeping our individual stresses down and our productivity up.”

On that note, it’s safe to say that RAD, and the Andersons in general, are easygoing, enlightened creators, right at home in a community in which those qualities thrive. The duo, their home, their work and their lifestyle is, well, totally rad. .

radfurniture.com lacedwithromance.com stephanieteague.etsy.com catherineabston.com


Ryan in his Tillery Street workshop, the home of RAD, wearing a vintage leather jacket from Laced With Romance.


pitching in

an urban barn-raising story




tandard magazine was born two years ago this month in a beautiful Hollywood loft along a busy street. After making a courageous leap into the arms of Texas, Standard spent some time happily growing in a super chic office space in the heart of Austin, right off of South Congress Avenue. But like many modern-day offices, Standard has needs that your average nine-tofive structure just can’t meet. While working in the SoCo district was an interesting, fun-filled experience, at the end of the day, our little magazine needed its own place to take root, away from the interior hustle and bustle of the city. So we moved a few miles south, into a tree-filled neighborhood, right behind Founder and Editorial Director Kelly LaPlante’s home. After three months of serious ass-busting, we are proud and happy to welcome you to La Grange on Mimosa...


While Michael was manhandling the raw interiors, we turned our focus to the barn’s immediate outdoor surroundings. Since our new office would be sharing a yard with Kelly’s home, there had to be a fair degree of separation. Austin-based landscape architecture firm Land Interactive stepped in to help us with that. Principal Sara Partridge was the brains behind the living designs. With help from Far South Nursery in Austin, and planting supplier Woolly Pockets, we were able to create our own microcosm of life, separated from Kelly’s homespace The first crucial steps were all very by a fence built of fresh scrap matebehind-the-scenes. In addition to cur- rials and several rows of bright green ating the board of highly skilled con- Weaver’s Bamboo. tributors who would soon have their ways with our shed, we had to have all proper permits in place before we could even electrify the building. Once we were legal and powered, the next big thing was to gut the interior completely, making room for the changes to come. Kelly’s uber-skilled husband Michael Rader (who also works as a logistical guru at home improvement store TreeHouse) was responsible for the majority of any technically laborious tasks, such as ripping out walls, installing reclaimed windows, and insulating every inch of space (just to name a few tasks). When Kelly purchased a cream-colored Tuff Shed off of Craigslist in May of this year, and told us gleefully that it would soon be our office, we knew we were in for a wild ride transforming the (formerly) less-than-glamourous structure into the one contained within our fearless leader’s vision. But with hardworking talent and loads of help from our partners-in-design, we brought the idea of a backyard barn office to life, and were all a bit awestruck by just how fabulous the end result turned out to be.

A bright red Neon Skimmer Dragonfly pays us a visit while resting upon some Weaver’s Bamboo.

Land Interactive designers Brian Beadle (wearing a vintage shirt from New Brohemia and cuff by Chase and Scout) and Sara Partridge (wearing the Varley Pleat Dress by Stewart+Brown, and accessories by Chase and Scout) relax in our barnyard. Below: Sara nurtures the succulents in one of the door-mounted Woolly Pockets.


Woolly Pockets hold a variety of succulents and perennials including fragrant Rosemary and the lightly dangling Silver Ponyfoot. A Flokati rug graces the deck for wiping dirty feet and paws.

After trenching, planting, and covering the new foliage with manure (thanks Vaage and friends!) and mulch, we kicked off what is now a daily regimen of watering and singing songs of support to our leafy pals.

The outdoor ambiance was made complete by adding a vintage patio set amongst planters full of Bamboo Muhly, and hanging solar LED lanterns by Alsop from a looming Live Oak that provides shade to the front facade of the workspace. Once all living things were in place, we turned our attention back to the structure—it was time to paint. And we just couldn’t resist the opportunity to make our little barn red! With paint by Dunn Edwards (purchased from TreeHouse), we did just that. Using colors Red Ink for the base and Old Mill for the trim, we covered the former drabness with color. Then it was time to move back inside and call in the troops. Austin-based company, ECO Staining and Resurfacing offered to Deco-Poz our floors in a gorgeous caramel color. Once the mix was set, dry and ready to be walked upon, the floor was immediately covered up completely, so that the messy jobs of coating our walls and ceiling could begin. With help from Jesse Arter and Mike Kaiser (the TreeHouse masters of paints and coatings), our walls were covered in American Clay plaster in pigment color Wild Horse Smoke. The contrast provided between the flooring and the interior surfaces creates a cool, calm, and grounded effect within the space.


Then came the task of filling the interiors with the infrastructure and materials that make our magazine happen. Kelly, along with Ryan Anderson of RAD Furniture, custom-designed and built a long, central worktable with a multi-hued, foot-level wooden inlay shelf. RAD also provided steel brackets for two long countertop desks, made from a slab of birch split in half, and finished with a clear coat from Vermont Naturals. We moved into our loft to create a cozy upstairs nook. With carpet tiles from FLOR in the styles of Mod Cow (in cream/black), and Rake Me Over (in cobalt), we infused a textured chicness within this high point.

Our talented friend Stephanie Moore of Cush Cush Design made large, plush floor cushions and pillows from remnant fabrics to complete the look and feel of this soft pow wow spot. Perhaps the star of the scene, hanging from a central apex directly above the main workspace, is a Zia Priven Infinity chandelier. The shower of chains through which the light plays can easily be cut on a bias or in staggered lengths, but new publisher Kelly Truesdell made the great point that the fixture’s current blunt cut, “looks like Cher’s hair in the 60s.” Now, who can argue with that?

Stephanie Moore of Cush Cush Design (wearing a skirt by Pretty Birdie, vintage top, and accessories by Chase and Scout) lounges amongst her custom textile applications in the stylish loft.


Clean white linens are enlivened by the rich wood of three guitar bodies hanging above the bed in this masculine loft at The Union in San Diego.

Want more? Issue 3, “Urban Mantuary�

Mod Cow and Cobalt tiles from FLOR carpet the loft, which looks down onto the rest of the revamped space. A central RAD table serves as a communal worksurface, and is dotted with inspirational texts, and beautiful fresh flowers sent from a dear friend of Standard’s.


Filling the interior with our office goods was the final step. Many items curated by Kelly over the years were put into place (such as her beloved green Eames rocker, and the simple black rotary telephone—which Standard still uses) with a few newbies to create a fresh and efficient environment. Needless to say, we fit right in. It was a big job that took a lot of heart, soul, time and talent—but Standard now feels more at home than ever before. It is simply a fact that as this magazine and its gifted staff grows, a productive place from which to flourish is absolutely necessary. Now, with our barn in the ‘burbs, the possibilities are endless. . Outside: land-interactive.com dunnedwards.com farsouthnursery.com Inside: ziapriven.com ecostainingandresurfacing.com cushcushdesign.com treehouseonline.com flor.com On our models: stewartbrown.com vautecouture.com stephanieteague.etsy.com austinmodern.etsy.com


A few of the brave souls who took a chance on this ambitious project, to great success, from left to right: Rechelle Parent of TreeHouse (wearing a vintage coat and hat); Michael Rader of TreeHouse (wearing a vintage coat from New Brohemia); Sarah Kelly of SLK Design Studio (wearing a velvet coat from Vaute Couture); Dean Blanchard of ECO Staining and Resurfacing (wearing a vintage coat from New Brohemia); and Mike Kaiser of TreeHouse (wearing a coat from Vaute Couture). Not pictured: the fabulous Jesse Arter.




Vegan oatmeal raisin cookies­—a recipe that the fellas created specifically for the amazing Ellen DeGeneres—sit up high, surrounded by several designer cakes from the 2012 collection.


f the old adage is to be given any credit here, it appears as though the key to a man’s heart truly is his stomach. If not, that connection certainly seems to be part of the delicious glue holding together designer/baker couple, Gregory Roth and Daniel Shapiro (we’re told that the former roped in the latter with his amazing rice cereal treats). The pair owns and operates Modern Bite, a Los Angeles-based bake shop specializing in decorative cakes, cookies and other couture confections. Visiting them at their LA home provided a glimpse into a world where lifelong passions and talents have merged to create a delectable environment of gorgeously curated ideas.

Both come from backgrounds of creation. Roth contains an immense wealth of knowledge and experience in the architectural and graphic design industries. His multiple alma maters include the very prestigious academic institutions of Brown University, Rhode Island School of Design, and the Southern California Institute of Architecture. Fresh out of grad school, Roth co-founded a multi-disciplinary company (HEDGE Design Collective) before taking a break from the world of design to focus on AIDS outreach and awareness in California. When he returned to the scene, his attention was tuned to interiors. Roth founded Gregory Roth Design in 2001 and has since completed numerous projects, both residential and commercial (within the realm of restaurants specifically). He has stated that his main objective in all tasks design-related is to, “...find elegant solutions to design challenges that combine lighthearted whimsy with casual sophistication.”


A beautiful assortment of Modern Bite’s designer Tile Cookies from their 2012 collection are every bit as artistically valuable as they are irresistibly delicious.


An oak table designed by Roth, surrounded by vintage chairs collected throughout the years, displays a selection of Modern Bite goodies. A large poster purchased from a dealer in Santa Barbara, California, adds a light and playful influence to the scene.

It only makes sense then, that Roth’s passion for, and experience with, design would eventually run head-first into those of another like-minded individual, creating a business and romantic partnership that anyone would envy. Enter Daniel Shapiro, Chief Baker of Modern Bite, and Roth’s partner in life. The pair was originally set up on a blind date via the foresight of Shapiro’s brother and Roth’s friend Julie. Shapiro has also journeyed through a creatively driven life. Originally from Montreal, he began baking at a very young age and even took his talents to the streets, selling baked goods to local restaurants at the tender age of 14, before making his foray into other industries. Having received his MBA from The Wharton School in the 1990s, Shapiro went on to work with many notable (and notably creative) companies, such as Disney (where he was integral in developing artistically educational software), and Twentieth Century Fox, where he had a big hand in the departments of design, home goods, and animation art. After many years spent honing in on his advertising and marketing skills, Shapiro finally left the corporate world behind for another—one where he could combine his skills, passions and the unknown, all under his own roof. Top: Roth’s Japanese chopstick collection Bottom: Atop a powder blue cabinet, gorgeous lanterns (a gift from Shapiro’s grandmother) sit with cobalt glassware (mostly inherited from Roth’s grandmother). 85

Modern Bite operates on a small scale, but outputs on a nationally recognized, in-demand, mega-scale. From single cakes for special occasions, to orders of thousands of their expertly printed cookies, Modern Bite has developed a business that can provide a one-of-akind experience to its consumers. By marrying art and design with culinary science, Modern Bite produces some exquisitely unique goodies. Using programs such as Photoshop and Adobe Illustrator, the guys are able to translate their confectionary visions into edible designs, creating literal pieces of art through the application of colored fondant and years of skill.

two children, seven-year-old Noah (“who’s very funny and loves Legos”), and nine-year-old Lilly (“a voracious reader”). The interiors of Roth's and Shapiro's home are collected and colorful, with a fun and energetic vibe that still conveys an organized, well-edited lifestyle. An example of the clever sophistication which runs rampant in their home, is the delightful chopstick collection of Roth’s.

“I spent a semester during architecture school in Japan, and collected the chopsticks from various restaurants, udon shops and artisans throughout the country. I made the display case myself.” Another collected grouping This mutual eye for design can be fol- that is particularly pleasing to the eyes lowed from the desserts to the interiors is that of vintage mirrors, hung togethof the home that they share with their er along one wall in a perfect union.

Vintage mirrors (found mostly on eBay) hang out in a delightful arrangement. 87

The subtle, relaxing flow continues into the master bedroom, punctuated by pops of color and items of interest. Pillow shams and skirt by Nancy Koltes enliven the custom-made bedspread. A vintage dental cabinet that Roth stripped, finished and updated (he added orange plexi and honed Carrara marble) exists as a stylish bedside table. Above the bed, artwork of many kinds can be admired, including an ink on napkin sketch made by the late architect (and Roth’s former SCI-Arc professor) George Yu, and an orginal watercolor made many moons ago by a four-year-old Shapiro. This vivacious couple surely knows how to bring ideas together in an incredibly pleasing way, whether it be the aesthetics within their home, or the mouth-watering beauties available through their company. Leading a sincerely inspired life and gifted with talents and know-how, Shapiro and Roth continue to make the world a more beautiful (and delicious) place for us all to be. . modernbite.com


Bright orange blooms spring forth from collected Cobalt glassware in the Los Angeles home of Daniel Shapiro and Gregory Roth.


just before reality



This page: An untitled work by Lee Pratt, made from fiberglass and aluminum, is a welcoming piece just inside of the main entry. Opposite page: “double orange deLuxe� by Suzanne Pratt, made of polymer and pigment on cast acrylic.


he home of Lee and Suzanne Pratt is a literal oasis amongst the scrub oaks and cacti common to this part of Texas. Their little nook amongst the rolling hills and green countryside is known for its beautiful simplicity and the conveniences of city life. Much like the rest of the bustling metropolis in which they live, the Pratts’ community is a haven for artists of all kinds. When the pair first met, they were both living in Los Angeles, and were secretly set up by some friends, Suzanne elaborates, “We all met at a car show and went out to dinner afterwards. The restaurant was so busy we all had

to wait in the bar for two hours before we could be seated. So, during that time Lee and I started talking…mostly about art. It took us a few months to actually go out on a date, but I knew after talking with him that night that he would play some kind of big part in my life. I wasn’t exactly sure what it would be, but I just knew he would.” Now, many years later, the duo shares a gorgeous, low-lying modern home with their two Snowshoe Siamese cats, Sophie and Otis. Original art works by the Pratts are positioned throughout their abode. Although both work with mixed media, Suzanne’s focus is more dimensionally defined whereas Lee’s sculptures play out-


side of prescribed bounds (Lee is also It took a couple of years, but in the renowned for years of building highly fall of 2008 we saw this place again on the Internet.” And a compound of coveted custom cars). sorts it is. The home is laid out with However unique their individual styles separate work areas for Suzanne and may be, the art cohabitates perfectly Lee (her studio and his garage) at opamongst the polished concrete floors, posite ends, brought together by the and pristine furnishings scattered central gathering spaces. Items curatabout. When asked about finding the ed by the two over the years, as well property (which was built in 2008) and as many pieces that have been in one moving in, Suzanne relates, “We used or the other’s families flow together efto live at the Brewery in downtown fortlessly. In the main seating area, inLA, however we just simply ran out wall shelving holds countless books, of space and were looking for some- records, and memories. thing to buy. We looked all around LA and the surrounding areas…even At the opposite end of the kitchen, a Palm Springs and up north, but the white sofa from Ikea sits below one of prices for what we needed (basically Lee’s most intriguing pieces—a sculpa compound) were out of our range. ture made of fiberglass, Lucite and

In the living room, a “well-earned gift” sits in the form of a 19th century ornate cabinet. Old books, family photos, and two horns (which came with the piece) are arranged on top, directly below another one of Lee’s sculptures “Loop-de-Loop” made of fiberglass, Lucite, and stainless steel wire. Opposite: A combination sofa and table from the Des Moines, Iowa, home where Lee grew up still faithfully serves its purpose.


Polished concrete flooring, soothing earth tones, and unrefined materials lend a smooth consistency throughout the single-level home.


Rescue kitty Sophie gazes through the back windows into the Hill Country.

aluminum—and in front of a vintage coffee table from a shop on La Brea in Los Angeles. Large, floor-to-ceiling windows run the length of the backside of the house, connecting all separate spaces through a glass facade,

which looks out onto a spacious, rolling backyard. This interim area between the Eames-influenced kitchen and Lee’s library offers a cozy place to relax while gazing at the beautiful natural surroundings outside.

“14th Echo” by Lee Pratt, made of fiberglass, Lucite and aluminum, 2000.


“Allonge” by Lee Pratt, made of fiberglass, aluminum and Lucite, is (seemingly) effortlessly suspended on one wall of the home’s main seating area.


Suzanne emanates a positive vibe while standing in her bedroom, wearing a vintage black dress and shoes, accessorized with a bentwood belt and handbag by Supplii, and layered necklaces (in three different styles: Sabine, Durango, and Inyo) by Son of a Sailor. Directly behind her hangs another one of her works, “Beyond� made of polymer and pigment on cast acrylic.


In the sparsely furnished bedroom, the ambiance is that of serenity and peaceful communication. A low bed by Case Study, purchased at Modernica in Los Angeles, is flanked by an end table with hairpin legs from Hip Haven in Austin, Texas. A Heywood-Wakefield dresser that the couple found and purchased in Lee’s hometown of Des Moines, Iowa, is positioned below one of Suzanne’s colorful pieces titled “Beyond” made of polymer and pigment on cast acrylic. Branching off from the bedroom is Suzanne’s bright and airy studio. Filled with raw materials and works-in-progress, the studio is representative of her layered style. At the moment, she is focusing on using vellum as a transparent medium, and several pieces exhibiting this occupy various parts of the room. When asked about her place as an artist, Suzanne offers, “A lot of my family are artists, or are artis-

tically inclined, so I grew up with it. My mother and grandmother were both exceptional at drawing and painting... The work I’m currently doing is my reflection on marrying work that doesn’t come naturally to me—office work—to work that does—art work. I use basic materials found in an office such as paper, pencil and glue, and make something creative out of them that highlights the sometimes insane attention to detail and repetition that is required in that type of work.” When asked how she would personally describe her art, Suzanne states, “Take nature and then make a left just before reality.” It’s easy to see this sentiment as it translates to her creations, through her use of organic patterns that are bizarrely arranged. Her style is also very reflective of the environment in which she works and lives. The Pratts’ home exists as a modern anomoly amongst its ancient, native surroundings.

Top: Suzanne’s sunny studio displays a standstill scene of her process. Bottom: A close-up of one of Suzanne’s more recent works highlights her unique applications of vellum, “Suspended Reverie, No. 2”


At the opposite end of the house, Lee can often be found surrounded by shelves-upon-shelves of automobile magazines (dating back to the 1940s and 50s), specifically those that highlight custom work. Lee is quite modest but will admit to having had his custom car work shown in several of these publications throughout the years. “I started modifying model cars at around 12 years old, then graduated to real cars at 14 and have continued through out my life. I’ve been fortunate in meeting—and sometimes working with—several pioneers of the custom car world over the years, and have had the honor of many feature articles in books and magazines dealing with automobile customizing.”

in the world of creating than Suzanne. To elaborate, Lee offers, “When I was 10 years old I saw an exhibit of the inventions of Leonardo da Vinci that has stayed with me ever since. It gave me the insight as to the connection between what most people think of as art and mechanics.” This is evident in his work, and he states “Currently my interest is in tension, transparency, and space.” However the two ended up where they are now, it is clear that they make an excellent creative as well as domestic team. The ambiance of the home is tranquil and inviting, yet incredibly unique and all-encompassing. A true turn before the reality that lies outside of the property. .

Lee has followed a less-traditional path sonofasailorjewelry.com supplii.com


One of Lee’s gorgeous automobiles, a pristine 1949 Ford Club Coupe painted in a bronze pearl coat that Lee designed himself.


standard visits AGi Miagi


n a sweet little Eastside studio in Austin, Texas, Agustina Rodriguez works diligently as a creator and conspiritor. Between running her lighting company Agi Miagi, working with teammates of BBIITT and THOUGHTBARN, and being incredibly charming and adorable, she’s quite a busy lady. Standard sits in on an Agi Miagi workshop and Mallory Hamel picks Agustina’s brain a bit about the design industry and her experiences journeying through it.

Agustina Rodriguez, wearing a T-shirt and jewelry by Raven + Lily, glows in the light of her east Austin studio.


MALLORY: Tell me about your back- AGUSTINA: I develop my design deground in design. How did you get tails from sketches and I explore form into lighting design? with 3d modeling software. Once I have an idea about the construction, it AGUSTINA: I developed an interest in all gets translated into vector files that lighting design during graduate archi- get sent to “print” on the laser-cutter. tecture school. Just after my last se- I do lots and lots of mock-ups and mester I attended my first lighting con- scale models to see what works and ference. I am drawn to the fact that it’s what doesn’t. an industry that is rapidly evolving, and that new developments in the field hit MALLORY: You use a lot of less-thanthe market very quickly. That, to me, conventional materials in your designs, is very exciting. I would say I have a what are your favorites to work with? general interest in light as a medium in design, and so far, it has translated to AGUSTINA: Light, cardboard and colighting product design. My goal is to roplast, as of late. translate that into architecture as well. MALLORY: Seems like you’re conMALLORY: What about laser-cutting? stantly on the go and always evolving toward what’s next. What is most chalAGUSTINA: It’s a tool we regularly lenging to you about the processes of used during architecture school for being a designer? model building. AGUSTINA: Juggling a product line, MALLORY: Tell me about the machine an architecture job, and the digital fabthat you use­—is it super complicated? rication business. How does it work? MALLORY: Your work is so unique and AGUSTINA: It basically works just like unprecedented—what are your overall a printer. When you send stuff to “print” inspirations? you are sending information from the computer to the laser-cutter. AGUSTINA: I think in general I am drawn to elements or aspects of our MALLORY: Explain your basic process built environment that are oftentimes from conception to production. overlooked—the white noise of our everyday experience, if you will.


A great-looking bunch in their Eastside studio, from left to right: Andrei Klypin, Agustina Rodriguez, Lucy Begg, John Hart Asher, and Robert Gay, sporting scarves and jewelry from Raven + Lily.


Agustina explains her process through example as the ladies create their own custom light fixtures


MALLORY: Sounds like you spend a MALLORY: What brought on the idea lot of time with your studiomates; who of having a workshop? Does all of the are they, and how does the mutual fun mean you’ll be hosting more? creativity affect your methods? AGUSTINA: Women.Design.Build. apAGUSTINA: THOUGHTBARN is a de- proached me about it when one of the sign studio that works in all scales, from founders, Christina Mirando who also buildings to furniture. It was founded partners with TreeHouse (#1 retailer of by Robert Gay and Lucy Begg. Lately, my lights!) saw my lamps there. We they have been awarded several really had such a blast during the first workcool public art commissions all over shop that we are now planning anoththe country. Their projects bridge art er one. and architecture, which is a constant source of inspiration. They are not only MALLORY: Where do you see Agi Miaexcellent designers, but they are able gi in 10 years—Strictly lighting? Or do to execute their ideas very skillfully. you plan to move in other directions? BBIITT is the other company I founded with two partners, Robert Gay of AGUSTINA: Hopefully in 10 years I will THOUGHTBARN, and John Hart Ash- have developed more of a mastery er, who is a landscape architect at the of this enigmatic material that is light. Lady Bird Johnson Wildflower Center. And I hope that it will transcend prodWe provide digital fabrication services uct design and be articulated through to all kinds of creative folks from archi- projects of a larger scale—incorporattects to graphic designers, and also ing the latest in lighting technology. . produce housewares and other lasercut goods which we sell on our e- agimiagi.com store. BBIITT, TOUGHTBARN and Agi bbiitt.com thoughtbarn.us. Miagi are all housed under one roof. ravenandlily.com



A brighter future.

Every day, Habitat for Humanity volunteers, donors and partner families are building houses, hope and so much more in countries around the world. So, what will you build? 800-HABITAT habitat.org

Barn Wood Bar Stool


wear the room

image courtesy of peter kostelov

megan horton and minh dang Architect Peter Kostelov transformed a studio apartment in Moscow into a home with definable spaces, using industrial materials to achieve a stark and minimalist design aesthetic. Metal is used throughout the interior, including the walls, the cabinets and the light fixtures. Kostelov says he deliberately wanted the space to be devoid of any decorative items so that the functional design, along with the unities of all the elements of the space,

take center stage. Taking a page out of Kostelov’s book, pair a vintage Pierre Cardin black wool dress with skyhigh heels from Olsenhaus. Playing on the metal detail of Cardin’s dress, add metal bangles and a purse made from pop tabs as arm candy. A vintage Paco Rabanne’s metal vest is an optional, showstopping piece that can go over jeans and a cami for a totally different, yet similarly inspired, look.

the transformation to wearable style Vintage Metal Vest by Paco Rabanne from Resurrection Vintage Black Dress by Pierre Cardin from Resurrection Pop Tab Purse by Diane K Designs Galazy Heels by Olsen Haus Hammered Bangle, set of five, by Kyler by Joy O


thinking outside the Xbox patrick jones

At my first fashion event ever, a runway show during Austin Fashion Week, I decided to play my style safe. The first question I asked myself, “What am I going to wear?� Jeans and a T-shirt, my go-to outfit? Too casual. A full suit, complete with blazer? Maybe too formal, and during summer? No way. So I compromised: a light blue oxford shirt, grey tapered pants, and black leather loafers. Nice, but nothing too groundbreaking. During the show, I was moved by the pure confidence of the models and audience. When I arrived home afterward, I was inspired to do away with my attitude of playing it too safe, so I came up with a better fashion week appropriate outfit.

1. Ryan Zip Cardigan by Nudie Jeans I’m moving my wardrobe away from band T-shirts common in the punk scene, and towards a more diversified and stylish collection. Now, l’m more attracted to little pops of color and strong contrasts. This cardigan fits very well with my newfound aesthetic, though I think it may not contrast as much as I’d like with the pair of jeans I chose. 2. Twilight Watch by Daniel WillHarris from UnCommonGoods I like this watch for its entirely circular designs and its rhythmic transitions from darkness to light, reminding the wearer (and company) of the passage of time. It’s a great combination of fashion and art, proving how deeply related the two are. Also, it just looks cool. 3. Son of Britches Raw Denim by Betabrand Raw denim is all the rage right now. I like these because, frankly, I feel more comfortable in jeans than in dress pants of any kind. Raw denim is classy, but casual enough to wear on a daily basis.


a design affair GEORGE CARR

tells us all the steamy details

Zack Carr (left) and George Carr (right)

George Carr is an accomplished writer, producer and director, and with this fall season he cinches another title under his belt—director of designer line CARR. CARR embodies George’s family heritage from central Texas, and the spirit and legacy of his late brother Zack, who was best known for having served as Calvin Klein’s Creative Director and right-hand-man for nearly three decades. A true Texan at heart, George takes the iconic cowboy global. carrnyc.com

what did you want to be when you grew up?

I wanted to be a singer and an actor. As a child, I was always performing in front of my pet dog and cat, but my secret desire was to be a trapeze artist. what are the inspirations for the carr fall 2012 line?

We took inspiration from James Dean, Steve McQueen, Gary Cooper, Paul Newman, and Robert Redford, and created a lean, linear, understated and humbly handsome line. how would you describe the carr man and woman?

A modern hero—male or female—who has a personal journey with highs and lows, but the important thing is, they keep going onward (a key word for the CARR brand). They also have an appreciation for design aesthetic. The CARR cowboy is global and likes to go to Studio 54. how did your late brother zack influence the carr clothing designs?

Zack would constantly draw in his Hermès croqui books. Each season I pick one book and with the help of the CARR team, we bring some of Zack’s sketches to reality. There weren’t any sketches for the menswear line from Zack, but some of his sketches for women could be easily translated to the menswear line.


darling & daring

Features Editor, Senior Staff Writer and Horse Wrangler Mallory Hamel leads Vaage through the neighborhood.

Profile for Standard Magazine

Standard Magazine, Issue 13: Industrial Couture, Fall 2012  

Celebrating our second birthday with a mash-up of industrial interiors and fab fashion!

Standard Magazine, Issue 13: Industrial Couture, Fall 2012  

Celebrating our second birthday with a mash-up of industrial interiors and fab fashion!