In early 2009 Karl Lagerfield (fashion designer and former king of bling) pronounced that “Bling is over. Red carpety covered with rhinestones is out. I call it ‘the new modesty.‘”
Pick your choice of buzz words – blingamilism, the new modesty, the new sobriety – the fact is, buying trends are different today than they were over the past decade. The reality of our times is changing not just our bank accounts, but how we see things as a whole – the importance of family, the need to feel connected, the desire to travel, build, entertain and live without damaging the planet – all resulting in a quest for a more simplistic, honest way of life.
Yes, we’re still buying, but our choices are more deliberate and considerate. We’re buying less, but buying better. No longer is it important to have the brand name or icon splashed all over the product, consumers are more interested in the value behind the brand. What it stands for. How is is made. How long it will last. So instead of putting so many diamonds on a watch that you can’t even tell the time, brands are getting back to what really matters – nice movement and design.
What does this mean to us in the design world? As Lagerfield proposed “This whole crisis is like a big spring house-cleaning – both moral and physical. There is no creative evolution if you don’t have dramatic moments like this.” Indeed, the design aesthetic is also changing to reflect the changing values of the consumer.
Consumers are seeking products that will endure – values of honesty and quality are superseding the search for the cheapest option. They want pieces and spaces that speak to them personally, that they can make an emotional connection with. They have a desire for luxury products that speak to heritage, muted aesthetics, craft, longevity, true rarity and a well thought out and considered product.
We’re seeing design revert to its original premise…the creation of useful things and designs that last from both a functional and aesthetic sense. The creation of classic, timeless, edited, seasonless pieces with enduring style and a greater focus on craftsmanship. We’re meeting consumer demand by asking more questions to find out what really matters, editing more, searching harder for the rare and unique, and at the end of the day, designing with an eye toward creating a design that is responsible, meaningful and highly personal.
If you missed last Thursday’s celebration at the Charles Luck Studio, then you missed quite a party! The theme for the soirée was one of the hottest trends in design; Whiteness. The scene was white hot with the studio decked out in crisp white linens, soft votives and gorgeous white lilies all set to some fabulously funky house music.
To learn more about the whiteness trend, please click here to visit 
At first glance it was easy to see the consistent theme of his work, the universal use of the color black dominated the exhibit. We meandered silently, taking in the extent of this mysterious artists work. What at first seemed to be elementary works of art, started to unfold as unique pieces different in size, texture, and format. Some canvases were hung by cables from the ceiling and painted on both sides. One work has consistent horizontal lines; another has soft diagonal lines that fold like fabric.
“Is this art? But it is so simple. I could do that!” Common thoughts shared by all first time viewers, including myself. But something about this exhibit lingered with me and two weeks later I am still thinking about the “painter of black.”
Step 1: Assemble a pile of rocks. They should be of different sizes, though they each should have some flat edges.
No two inuksuit are ever the same. Each one contains the imagination and message of its creator. How will your inukshuk be different? What will be the purpose of your inukshuk?
Click on these brief videos to learn more about the history of the 
Last week, Amanda King (Sterling Studio consultant extraordinaire) and I traveled to Paris, France for two non-stop days of couture and culture (check out the rest of this week’s blog for a recap of our adventures). So what in the world are natural stone people doing in Paris, home of avant-garde and haute couture fashion? We were there primarily to start our research for next year’s 
I’ve had the fortune to visit many of the world’s greatest cathedrals, but this was my first visit to Notre Dame de Paris, and like all the others, it is breathtaking, a source of awe and inspiration. It seems so inconceivable that a structure as grand and massive as Notre Dame could have been built in the 12th century, and take more than 300 years to complete. No electricity, no cell phones, no transportation to speak of. That generations of laborers and masons could be so visionary to work on a project they would never live to see completed. Notre Dame represents the lofty Gothic style – domineering windows of stained glass, ornately crafted spires, ogee archways, flying buttresses, and the Gargoyles, guardians of grand cathedrals. The craftsmanship in every corner of Notre Dame is a testament to man’s desire to glorify God and his humble ability to use his hands and simple tools to create the most fabulous display of creativity and passion.
