Bamboo is rhizomatic, meaning that unlike a single-trunked tree, it sends roots and shoots in all directions and can regrow when chopped down. It’s a concept that resonates with the sculptor Jiro Yonezawa, who lives on Japan’s mountainous Kyushu island. There, he weaves bamboo into intricate orbs and swooping formations, using techniques rooted in traditional Japanese basketry. “I like that I can cut a piece of bamboo and make whatever I want, and then go back a couple years later and there’s another piece to use,” says Yonezawa. “It has unlimited potential.”
His work recently captured the attention of Loewe, the Spanish fashion house that, for this year’s Salone del Mobile design fair in Milan next month, commissioned Yonezawa and other artists who employ weaving techniques to produce new versions of their creations using locally sourced leather from Spain. Loewe’s creative director, Jonathan Anderson, has privileged material and craft throughout his six-year tenure at the brand, collaborating with artisans around the world. In Japan, Anderson notes, “there is a wonderful tradition of passing certain skills from generation to generation,” adding, “and there is honor within it.”
But reverence for the past does not preclude innovation. The design principle of shin, gyo, so, which translates to “formal, semiformal, informal” and is applied across Japanese arts to differentiate levels of adherence to tradition, suggests that rules should not only be mastered but also stretched, bent and even broken. That outlook prompted Anderson to trade one age-old material for another. “It’s about pushing things forward in a new way,” he says.
Leather is more delicate than bamboo, and so for one of Yonezawa’s three pieces for the project — a 44-inch obelisk of woven red-brown leather strips titled “Jizo,” after the bodhisattva statues said to protect travelers — he had to use an internal armature and take special care not to scratch the surface. That piece will stand alongside works by Shizu Okino and Karen Okino Butzbach, a mother-daughter team based in Berkeley, Calif., whose fanciful interpretation of basketry involves wrapping and tying found stones (Butzbach describes her mother as a “rock hound”) with elaborate rattan, and now leather, knots. With names like Destiny, Cascade and Twisted Butterfly, the knots transform the stones into elegant talismans. “People can feel their energy,” says Butzbach. Additionally, the pair has adapted an open-weave Japanese flower basket.
Loewe also invited Hafu Matsumoto — a disciple of Iizuka Shokansai, who was last in the line of Japan’s most celebrated bamboo craft dynasty — to reimagine his work in leather. In his studio amid the bamboo groves of Japan’s Boso Peninsula, Matsumoto makes ethereal sculptures from large, flattened pieces of bamboo: sheets curved to form a cylindrical basin, a wide rectangle molded into a seamless pouch, glossy strips loosely woven into an airy oblong vessel. For him, working with a new material was a welcome challenge. “Tradition is not just about preservation,” he says. “It’s about inheriting a spirit.”
Indeed, he and the other artists, all of whom treat craft as a living, breathing thing, are a testament to creativity itself. Fittingly, Loewe will launch a collection alongside the sculptures that includes a deconstructed leather basket and a braided-leather purse with bamboo handles, inspired by time-honored forms of weaving. It’s a reminder that the past, much like bamboo itself, can be a renewable fount of ideas. — MEARA SHARMA
At Marni’s spring 2019 show, spectators sat not on benches but on beds. The set design was meant to nod to intimacy, but it was also a witty reversal of a scene that had played out a season prior, at Thom Browne: While one group of models walked in knit suits, a second rested. Wearing eye masks and suit/sleeping-bag hybrids that called to mind the iconic sleeping-bag coat that Norma Kamali debuted in the mid-70s, these men lay upon cots placed in the middle of the runway, oblivious to the jealous, bleary-eyed gaze of so many fashion editors. Whether or not he’d intended to, Browne had tapped into the allure of the nap, and he’s not the only one. Designated sleep spaces such as the Dreamery in New York and Recharj in D.C. have sprung up to offer logistical solutions: At the former, for , one gets pajamas, white noise and a bed for 45 minutes. Wellness-obsessed Americans may have taken to fetishizing napping — but do we know how to do it?
Traditionally, the nap has been considered a European phenomenon (see our fantasy of the siesta as a lengthy stupor following a multicourse lunch). Surely this is more the purview of people with villas or jobs less important than ours, we tell ourselves (while scrolling, zombielike, through social media). And yet, we know that a nap can boost brainpower — just ask Google employees with access to in-office sleep pods or any resident of Tokyo, where blithely napping in public is completely socially acceptable. A recent study at the University of California, Berkeley, provides further support, as does history: Winston Churchill retreated to his bed every afternoon for at least an hour, even during the war years. Presidents Kennedy, Johnson and Reagan, too — all nappers. No one would call these men lazy, even if they had supportive wives who stayed awake.
But it is perhaps the image of Napoleon, who, when necessary, managed to nap on the battlefield, that is most compelling. Naps aren’t just about refueling — they also allow us to disengage from all kinds of unpleasantness, even that of our own making (e.g., the internet). And really, why power down your computer when you could put yourself to sleep instead? As Washington Irving proved with “Rip Van Winkle,” his tale of a colonial-era man who finds a nice spot in the Catskills and sleeps for 20 years, the world, such as it is, can wait. — MARISA MELTZER
Bulgari’s headquarters sit on the eastern bank of Rome’s Tiber River and less than two miles from the Colosseum, whose fluid geometry inspired the brand’s now iconic B.zero1 collection. When it launched in 1999, the collection’s signature ring — composed of a stacked, spiraling ribbon of unadorned gold — was unlike almost anything else on the market. It was also innovative technically: Instead of soldering the metal, the makers wound interlocking tubogas (a flexible tubular chain that resembles a 1920s gas carrier pipe) around a cylindrical base. “You can feel the boldness,” says the Bulgari creative director Lucia Silvestri, who’s overseen various tweaks to the ring over the years. In 2010, the brand did a version with a smooth ceramic core; five years later, the Iraqi-born British architect Zaha Hadid began working on a model that did away with the core altogether and crisscrossed the continuous lines of the original so that they resembled her buildings’ trademark futuristic waves and folds. Now, to celebrate the collection’s 20th anniversary, B.zero1 is morphing yet again: Along with reissues of past iterations in white and yellow gold (plus one in rose gold and one with pavé diamonds), Bulgari has taken the late Hadid’s design and reinstated the base, which is now rendered in glossy white or black ceramic. Though a ring, like a building, is ultimately a static thing, Silvestri believes it must have a sense of movement — both on the wearer’s finger and across time. — SEAN CALEY NEWCOTT
After a barn fire on her three-acre property in Water Mill, in Southampton, N.Y., the lawyer-turned-entrepreneur Amy Cherry-Abitbol recalled a haiku by the 17th-century Japanese poet Mizuta Masahide: “Barn’s burnt down — / now / I can see the moon.” It also inspired the design for her new venture — Shou Sugi Ban House, a wellness center with 13 guest rooms that will open on the property in May. The center’s name references the Japanese technique of charring cedar to protect it from fire and pests, which was used throughout some of the property’s eight buildings, whose interiors marry Japanese and Scandinavian aesthetics. There are custom-made wooden Kobe-style beds, organic linens and Morihata towels and a clean palette of stone and biscuit that’s illuminated by floor-to-ceiling glass walls. The grounds, meanwhile, are punctuated with Japanese cypress trees. “I tried to treat the land like a living sculpture,” says the landscape designer Lily Kwong, who created a subtly undulating topography and planted it with rosa rugosa, climbing jasmine and a cherry orchard. Guests can call the picturesque property home for three-, four- or seven-day stays, spending evenings with sound baths and mornings with communal tea ceremonies. During the day, there are walks along the dunes, plant-rich meals designed by the Noma co-founder Mads Refslund and movement classes in the open-air pavilion. There’s also a hydrotherapy-focused spa with an outdoor watsu pool for water massages. Cherry-Abitbol is allowing for all-out transformations: “It has to come from within,” she says. “We just supply the environment.” — NELL MCSHANE WULFHART
Thirty years ago, while browsing London’s Portobello Road market, the American jewelry designer Elizabeth Locke spotted a 1.5-square-inch image of the ancient Roman Temple of Vesta rendered in infinitesimal bits of fused glass. It was a micromosaic, an example of the souvenirs Italian artisans began selling in shops around Rome’s Spanish Steps in the late 18th century. Locke purchased it and made it into a 19-karat gold brooch. After years of scouring auctions and antique shops, she now owns over 100 pieces: One (above), consisting of at least 1,400 glass tiles crammed into a frame smaller than a doorknob, depicts the Roman Forum; another, a housefly. Nearly all of her pieces will go on view next month at the Virginia Museum of Fine Arts in Richmond, to which Locke plans to donate the exhibited pieces, even if her search is ongoing. “When you’re obsessed, you’re obsessed,” she says. “I’m always looking for them out of the corner of my eye.” — JUDITH H. DOBRZYNSKI
Adorned with studs, spikes and grommets, punk-inspired pieces for dressing up, not down.
Top row, from left: Saint Laurent by Anthony Vaccarello, ,995, ysl.com. Gucci, ,980, gucci.com. Casadei, ,375, casadei.com. Miu Miu, ,200, miumiu.com. Loewe, ,550, loewe.com.
Bottom row, from left: Alexander McQueen, ,790, (212) 645-1797. A.P.C., 5, apc-us.com. Stuart Weitzman, 5, stuartweitzman.com. Versace, ,295, versace.com. Balenciaga, ,950, (310) 854-0557.
Gaia Repossi was just 21 in 2007, when she became the creative force behind the Paris-based jewelry company her grandfather founded in Turin, Italy, in the 1920s. As an only child taking over for her father, Alberto, it might have been daunting had she not already developed her own set of inspirations, which departed markedly from the line’s original gem-encrusted maximalism. With a master’s degree in archaeology, her references, coupled with a taste for the pared down, tend to stretch far and deep: from the embellished Berber culture of North Africa to the minimalist aesthetic of Japan’s most remote islands. This asymmetrical one-of-a-kind ring, a spiral of pink gold with a 3.25-carat cushion-cut diamond that seems to float off to the side, is a modernist take on the stacked bangles worn by the Kayan people in Myanmar and by the Ndebele in South Africa, a succinct yet worldly marriage of tradition and innovation. Price on request, repossi.com. — NANCY HASS
Four years ago, soon after the 35-year-old Los Angeles-born-and-raised designer Ini Archibong finished design school in Lausanne, Switzerland, Philippe Delhotal, the creative director of Hermès Horloger, the Paris-based company’s watch division, saw the young designer’s furniture and lighting portfolio and asked if he wanted to try something new. It was a good fit for the 182-year-old firm’s sleek equestrian roots: Archibong, who practices in Neuchâtel, Switzerland, has recently gained recognition for his sophisticated aesthetic, including a collection last year for the London furniture maker Sé featuring graceful blown-glass light fixtures, sculptural upholstered chairs and round-based tables. Now, he has created Galop d’Hermès, a range of women’s timepieces. Inspired by Archibong’s visit to the company’s private archive outside Paris, their arched cases suggest a stirrup, with numerals that grow and shrink as they circle the dial. Some versions have an edge embedded with tiny diamond baguettes — though even embellished, this watch remains as streamlined as a thoroughbred. ,500, hermes.com. — N.H.B:
东方心经2018第063期【又】【到】【立】flag【的】【时】【候】【了】，【这】【两】【个】【月】【要】【专】【心】【备】【考】，【两】【个】【月】【后】（12.24），【每】【天】8000+【把】【这】【两】【个】【月】【断】【的】【更】【补】【起】【来】。 【嗯】，【最】【后】【再】【次】【致】【歉】。 ————【薪】【煮】【麦】【芽】【糖】 ————10.21
【可】【金】【元】【宝】【银】【元】【宝】【这】【些】【却】【不】【打】【紧】。【有】【多】【少】【都】【带】【多】【少】【回】【去】。 “【福】【晋】，【您】【还】【是】【低】【调】【些】，【若】【是】【被】【五】【爷】【知】【道】【您】【贴】【补】【娘】【家】，【定】【会】【不】【高】【兴】。” “【不】【打】【紧】！” 【反】【正】【她】【怎】【么】【做】，【那】【男】【人】【都】【不】【会】【高】【兴】，【有】【什】【么】【区】【别】？ 【担】【心】【福】【嬷】【嬷】【不】【按】【照】【她】【的】【意】【思】【做】，【她】【索】【性】【将】【那】【几】【十】【个】【金】【银】【元】【宝】【装】【在】【包】【袱】【里】。 【丁】【零】【当】【啷】【的】【背】【着】，【可】【掀】【开】【马】
【哐】【嘡】！ 【老】【爷】【子】【击】【得】【桌】【子】【重】【重】【响】【起】，【沉】【沉】【的】【声】【音】，【在】【大】【厅】【响】【起】：“【深】【丫】【头】，【你】【坐】【下】！” “【你】【本】【来】【就】【是】【席】【家】【的】【人】，【这】【个】【位】【子】，【你】【比】【谁】【都】【合】【适】！” 【秦】【深】【深】【在】【那】【一】【刻】，【不】【说】【感】【动】，【肯】【定】【是】【假】【的】。 【左】【手】【忽】【然】【一】【暖】，【一】【道】【电】【流】【传】【过】，【秦】【深】【深】【垂】【眼】【瞧】【了】【瞧】，【是】【席】【闵】【司】【正】【握】【着】【她】【的】【手】。 【他】【撑】【开】【秦】【深】【深】【的】【手】【掌】，【用】【手】【指】
【吕】【老】【太】【太】【对】【于】【顾】【爸】【爸】【两】【口】【子】【的】【到】【来】【挺】【高】【兴】【的】。 【一】【大】【早】【的】【知】【道】【顾】【海】【琼】【一】【会】【要】【去】***【接】【人】，【便】【问】【她】，“【你】【爸】【喜】【欢】【吃】【什】【么】，【我】【一】【会】【儿】【让】【许】【爱】【去】【买】。” 【没】【一】【会】【儿】【又】【担】【心】，“【住】【的】【那】【地】【方】【收】【拾】【好】【了】【吗】，【怎】【么】【样】，【要】【不】【还】【是】【住】【家】【里】【头】【方】【便】？” 【看】【着】【她】【忙】【来】【忙】【去】【的】【操】【心】。 【顾】【海】【琼】【心】【里】【头】【挺】【高】【兴】【的】，【自】【己】【这】【个】【婆】【婆】【啊】，
（【造】【糖】【篇】） 【婚】【礼】。 【赵】【棋】【把】【婚】【礼】【场】【地】【最】【后】【定】【在】【了】【普】【罗】【旺】【斯】。【那】【里】【有】【着】【她】【最】【喜】【欢】【的】【薰】【衣】【草】。 【七】【月】，【薰】【衣】【草】【盛】【开】【的】【季】【节】，【他】【和】【她】【在】【亲】【友】【还】【有】【所】【有】【的】【花】【儿】【见】【证】【下】【完】【成】【了】【约】【定】【一】【生】【的】【誓】【言】，【他】【给】【她】【戴】【上】【的】【那】【枚】【婚】【戒】【上】【有】【着】【一】【颗】【用】【碎】【钻】【堆】【成】【的】【爱】【心】，【在】【阳】【光】【下】【折】【射】【出】【不】【一】【样】【的】【光】【芒】，【如】【若】【你】【仔】【细】【看】，【会】【发】【现】【上】【面】【有】【着】zt东方心经2018第063期【郑】【少】【见】【状】【也】【是】【满】【脸】【的】【不】【悦】，【阴】【沉】【的】【脸】【上】【也】【是】【有】【着】【凝】【重】【的】【神】【色】，“【压】【宝】【之】【后】【对】【于】【我】【们】【来】【说】【希】【望】【不】【大】【了】！” 【不】【仅】【仅】【是】【郑】【少】【心】【中】【如】【是】【想】【着】，【其】【他】【的】【不】【少】【人】【也】【是】【瞬】【间】【窥】【透】【了】【其】【中】【的】【道】【理】。 【可】【是】【这】【是】【没】【有】【办】【法】【的】【事】【情】，【一】【切】【的】【主】【动】【权】【都】【是】【在】【奇】【香】【阁】【的】【手】【里】。 “【接】【下】【来】，【咱】【们】【开】【始】【拍】【卖】【下】【一】【件】【宝】【贝】……” 【台】【上】【的】【拍】【卖】
【想】【到】【这】【里】，【莱】【茵】【哈】【特】【却】【突】【然】【停】【顿】【了】【下】【来】，【这】【是】……【莱】【茵】【哈】【特】【赫】【然】【一】【楞】，【不】【知】【不】【觉】【怎】【么】【走】【到】【了】【这】【里】。 【因】【为】【在】【不】【远】【处】，【出】【现】【了】【一】【座】【小】【酒】【吧】。 【夏】【琪】【的】【敲】【竹】【杠】BAR！ 【酒】【吧】【门】【口】【人】【流】【很】【稀】【少】，【而】【且】【这】【座】【酒】【吧】【也】【很】【偏】【僻】，【就】【算】【是】【有】【心】【寻】【找】【也】【要】【很】【久】【才】【能】【找】【到】。 【这】【里】【有】【一】【个】【传】【奇】【大】【海】【贼】【啊】，【呵】【呵】……【会】【不】【会】【在】【这】【里】【遇】
【在】【察】【觉】【鹿】【招】【摇】【和】【忆】【月】【兮】【找】【来】【的】【时】【候】，【纳】【德】【伯】【爵】【就】【已】【经】【有】【些】【担】【忧】【了】。 【以】【他】【现】【在】【的】【状】【态】，【与】【这】【两】【个】【人】【相】【遇】，【恐】【怕】【没】【有】【什】【么】【胜】【算】。 【可】【若】【是】【逃】……【又】【能】【逃】【到】【哪】【里】【去】？ 【这】【座】【大】【阵】【的】【厉】【害】，【纳】【德】【伯】【爵】【已】【经】【领】【教】【过】【了】。【现】【在】【满】【身】【的】【伤】，【就】【是】【拜】【这】【座】【大】【阵】【所】【赐】。 【仇】【家】【找】【上】【门】，【又】【不】【能】【逃】【走】，【纳】【德】【伯】【爵】【就】【只】【能】【强】【忍】【伤】【痛】，【装】
【戎】【迁】【的】【话】【像】【是】【带】【着】【魔】【力】，【小】【九】【仿】【佛】【已】【经】【看】【见】【了】【戎】【迁】【为】【她】【描】【绘】【出】【的】【闲】【散】【生】【活】，【他】【们】【从】【此】【不】【问】【世】【事】，【会】【像】【寻】【常】【的】【夫】【妻】【一】【样】【相】【濡】【以】【沫】，【共】【度】【余】【生】，【他】【们】【还】【会】【有】【可】【爱】【伶】【俐】【的】【孩】【子】，【再】【也】【不】【参】【与】【六】【界】【的】【任】【何】【争】【端】。 【就】【像】【是】【忘】【川】【河】【底】【的】【杳】【娘】【和】【十】【郎】，【再】【也】【没】【有】【什】【么】【能】【够】【把】【他】【们】【分】【开】。 【小】【九】【双】【眸】【泛】【着】【水】【光】，【眉】【心】【间】【的】【狐】【形】【花】【钿】【灼】