Mondragon: it’s not your typical crusty punk scene

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A FOLKSINGER STOPS In for a coffee while a radical filmmaker makes a pit-stop on his Vespa; a local bike cooperative founder emerges from her subterranean workshop for lunch; and a member of Copwatch walks over from her office across the street–this is a familiar scene on the front steps of a local leftist hangout on Winnipeg’s Albert St.

Located in a three-storey Edwardian building and swathed in a graffiti-style mural, Mondragon Bookstore and Coffeehouse rises like a beacon among the buildings of Winnipeg’s historic warehouse district.

Indoors, graffiti gives way to vaulted tin ceilings, neutral colors, and a homespun collection of wooden tables and chairs and frayed couches, often occupied by sprawled readers or crawling babies. On the far wall a banner declaring “Labour Is Entitled to All It Creates” watches over the former warehouse space from a height of twelve feet.


Founded as an anarchist collective in 1996, Mondragon welcomes radicals of various backgrounds, while providing vegan food, progressive books, and local organic groceries to the broader community.

“Our clientele has become so varied over the years, with students, suits, artists living in the area, radicals, environmentalists, punks, and couriers,” said Eton Harris, a member of the collective since 1998. “It’s not your typical crusty punk scene.”

But while catering to radicals and local residents, Mondragon still displays some of the punk edge that defined it in its infancy. David Camfield, a labour studies professor admits that some leftists feel mildly alienated by the anarchist style and subculture. Nonetheless, Mondragon’s value as an informal gathering space and political venue for the Left is undeniable because “in so many cities there is such a premium on space.”

Since its founding, the space has evolved from a large, fully-stocked bookstore and vegetarian cafe, to a full restaurant and info shop carrying a select number of titles. This spring the collective converted a portion of the space to an organic grocery store stocking produce, fair trade goods, and a variety of vegan staples. They call it Sacco and Vanzetti.

With the advent of the grocery store, and as the restaurant has increasingly become the focus of the business, food politics is now more central to its mission.

“Basically we provide food that’s grown as locally as possible with producers we’re dealing with face to face. If it’s not local then it’s definitely organic. If it’s from far away we’re going for fair trade,” says Harris.


“A lot of businesses may do that, but we’re trying to back it up with a nonhierarchical structure.” That structure has forgone not only bosses, but also managers. Members learn and perform all jobs in a rotated schedule. From one month to the next they prepare meals, balance the books, and serve customers. And this commitment to workplace democracy has paid off, as radicals and other locals alike continue to support the space.

“I do think of it in terms of being a worker cooperative and evidence that worker co-ops, anarchist co-ops, are not a Utopian concept, but a real place where people from various class backgrounds can choose to participate,” said Kendra Ballingall, a Cop-watch member who works in the neighborhood at an artist-run centre. “That’s really important to me.”


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LEAD: THIS is not the saga of a longtime neighborhood pub forced out of business. Four generations of a family had not worked at the bar and there was no problem meeting the rent. Chase Landing had recessed lighting and terra cotta floors, pate and steak au poivre. The restaurant was open for only five years, and its recent sale to a real estate company netted the owners more $1.5 million in profit, one of the owners said.

THIS is not the saga of a longtime neighborhood pub forced out of business. Four generations of a family had not worked at the bar and there was no problem meeting the rent. Chase Landing had recessed lighting and terra cotta floors, pate and steak au poivre. The restaurant was open for only five years, and its recent sale to a real estate company netted the owners more $1.5 million in profit, one of the owners said.

Yet in many ways, Chase Landing on Chase Road here was as intimate as home to its clientele; the place may have been sophisticated but its patrons loved it with a familial sort of loyalty.


Last weekend, on Saturday night, 130 of them came to dine one more time and to bid the place adieu. They scrutinized the familiar menu – at least one diner tucked it into a purse as a souvenir – and worked their way through the final appetizers, soups, entrees and desserts. They lingered over extra cups of coffee (the kitchen ran out of cream around 10:30 P.M. and a waitress was dispatched to the local 7-Eleven for a short-term, emergency supply). Just about everyone said they were taking the closing hard.

”It’s like a death,” said Ruth Elliott, who lives in the Edgemont section of Scarsdale and teaches at the William E. Cottle Elementary School in Tuckahoe.

”We were joking that we should wear black arm bands and hang a black wreath on the restaurant door,” added her husband, the Rev. Dr. John E. Elliott, pastor at the Greenville Community Reformed Church in Scarsdale.

”Seriously, I think this restaurant has been very important,” said John Adams of Scarsdale, who is vice president of a paper-manufacturing company and a friend of Mr. Elliott. ”It was the only one of its kind in the village. It’s brought a lot of different types of people together, people who previously went to their clubs to eat out. It alleviated a lot of anonymity, and it will be interesting to see what will happen to the community when it is gone.”

Chase Landing was opened by Nick D’Agostino, who previously owned Dag’s, a quiche and hamburger eatery in White Plains, and Max Boser, a former partner in Brasserie Suisse in Ossining and former captain at Hunter’s Lodge, a White Plains institution no longer in existence. When the two took over this site, it was a nouvelle cuisine establishment named Frog Prince Proper.

Before Frog Prince Proper’s 11-month run, the Tudor-style building had been the Kesbec Exxon filling station. Walter Rooney, the architect who oversaw the transformation, was among those having one last dinner at Chase Landing. He gazed nostalgically at the walls covered in beige linen, the bent-wood chairs and the pastel prints as he recalled the difficulty of getting rid of the stench of motor oil.

”My wife was the test,” he said, gesturing to Patricia Rooney. ”We steam-cleaned the place over and over and I’d bring her in to sniff. The mechanic’s pit became the wine cellar.”

Initially, Mr. D’Agostino and Mr. Buser leased the building with an option to buy. The cash outlay, Mr. D’Agostino recalled, was $7,000 rent and security. Business was booming from the first lunch and dinner, and later the partners bought the property for $400,000. Mr. D’Agostino’s affable personality and sharp memory for patrons’ preferences was joined with Mr. Buser’s graciousness; the innovative menu offered American dishes with Swiss accents.

There were those who grumbled when Mr. D’Agostino sold to Julia B. Fee Realtors, a well-established Scarsdale concern that is expanding its offices in the village. During the restaurant’s final hours, there were mixed notes of hope, concern and annoyance – hope because, although Mr. Buser is retiring, Mr. D’Agostino plans to open another restaurant soon with his Chase Landing chef, Jose Rodriguez; concern because, as one customer put it, ”who knows when those plans will actually materialize and where does one eat in Scarsdale in the meantime?” and annoyance at the general turn of events: ”Exactly what we need in Scarsdale,” Joe Riemer, a lawyer and loyal patron, said sarcastically. ”Another real estate office.”


The Elliotts’s 23-year-old daughter, Elizabeth, now the manager of a lingerie shop, worked at Chase Landing as a hostess for two years while attending Pace University. In addition to the young professionals the restaurant might be expected to draw, she said, a lot of older people came in regularly.

”There was this French lady and we had to call her Madame,” Ms. Elliott recalled. ”We had to give her a kiss hello or she’d yell. One day, we heard she’d had a stroke. I went to visit her in the hospital.

”A lot of the older people could walk from the nearby apartments,” she continued. ”Even during a snowstorm we were full. Sunday nights were family nights. Saturdays, you got a lot of different people. But the regular customers – they were always interested in what was going on in your life.”

Her father surely got to know someone well at Chase Landing: this fall, the minister will officiate at the wedding of Bill Petersen, bartender since the place opened. ”I used to pick up Elizabeth from work,” Dr. Elliott said, a twinkle in the eye. ”While I was waiting for her I’d go to the bar – for warm milk and cookies, of course.”

Kathryn Johnson called the closing a ”tragedy.” ”I don’t think Julia would have done this,” she said, referring to the late Julia B. Fee herself, and the sales transaction. Mrs. Johnson is 91, and has lived in Scarsdale since 1937. She was at the restaurant with her daughter and son-in-law, Jane and Warner Kent, who live in Pleasantville, and friends, Wallace and Marie McLean.

Mr. McLean, a retired electrical engineer, and Mr. Kent, a retired builder, spent their childhood in Scarsdale and now they reminisced about when the village was ”a rural little hamlet” and the Bronx River Parkway was intended for leisurely Sunday motoring. They recalled the time when the Scarsdale Inn still existed, offering rooms as well as food.

As the dinner crowd was peaking, Elizabeth Arey, photography editor for The Scarsdale Inquirer, and Linda Leavitt, the newspaper’s associate editor, showed up to document the goings on. ”Our office used to be across the street, in the Harwood Building,” Ms. Leavitt said. ”But they were renovating the top floor and we assumed the rents would be raised. Now we’re on Central Avenue, in Edgemont, with a Scarsdale address.”

The 60-seat restaurant stayed packed until midnight. People clogged the vestibule, saying goodbye to Mr. D’Agostino and Mr. Buser: ”Thank you for everything.” ”Please open another place soon.” ”We’ll see you at your new restaurant, right?”

At the tiny bar, patrons raised glasses in farewell toasts. Dr. George Ginsberg, a psychiatrist who lives in Scarsdale and practices in Manhattan, asked Mr. Petersen what he would do next. The bartender gave a half-smile and replied, ”I have to find another job next week.”

By 1 A.M., the only people left were the staff and Mr. D’Agostino’s wife, Pat, who sat with friends from Scarsdale, William J. Foster 4th and his wife, Diane. There was also one party of nine, singing sentimental old tunes. Over their voices, Mr. Buser explained that he and Mr. D’Agostino would do the final cleanup the next day, dividing between them what liquor was left and distributing the food to the staff and to a church program for the needy.

A quick tour of the kitchen showed its contents reduced to what one might find in any home: a few pieces of chicken, one uncooked lamb brochette, two cans of tuna fish, a hunk of cheddar cheese, a half-empty carton of orange sherbet. The restaurant’s equipment and furniture, Mr. Buser said, were to be donated by Julia B. Fee to Children’s Village, the youth rehabilitation institution in Dobbs Ferry.

At 2 A.M. Mr. D’Agostino flicked the lights on and off and the party of nine rose reluctantly. But before they left, they glanced one last time at the tablecloth: On it, Rita Sadowski, who lives in Scarsdale and owns a travel agency, had scribbled the real words to an old favorite, ”Auf Wiedersehen.” Near the other end of the table, her husband, Joe, who is in the housewares business, had scrawled the words to a new version, which the gang now sang in rousing unison: Auf wiedersehen, auf wiedersehen, dear Nick and Max, so long. You added cheer and wine and beer, we’ll miss you when you’re gone. Auf wiedersehen, auf wiedersehen, we’ll follow you along And stay true blue, and think of you. Auf wiedersehen, you two.


Photo of Nick D’Agostino, one of the owners of Chase Landing; Chase Landing; original gas station converted to restaurant (NYT/Alan Zale)

Neue Galerie brings bourgeois central Europe to Museum Mile: New York’s latest museum evokes the raw passion of German and Austrian art from the early 20th century

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NEW YORK — Life in Berlin in the early 20th century was a step beyond hedonism, a place where bohemians gathered for a wild ride on the cutting edge of music, art and morality. Black American enchantress Josephine Baker was seducing crowds with her “banana dance,” composer Kurt Weill and playwright Bertolt Brecht were mesmerizing theatre-goers with their innovative motifs, and Christopher Isherwood’s vivid account of the demimonde life inspired the dark musical Cabaret.

“Sex,” observed the world-weary American ingenue Louise Brooks, “was the business of the town.”

There was raw passion in the air and expressionism, dadaism, surrealism and the revolutionary architectural ideas of the Bauhaus were flourishing. The art was especially thrilling to a 13-year-old boy, Ronald Lauder, who used gift money from his bar mitzvah to buy a drawing by Egon Schiele in 1957. That sketch, Lauder’s enduring friendship with Viennese-American art dealer Serge Sabarsky, and his considerable resources as chairman of Estee Lauder International were the genesis for the most recent addition to New York’s Museum Mile, the Neue Galerie — a museum devoted to German and Austrian Art of the early 20th century.


The collection, which includes Schiele’s expressionist paintings, Gustav Klimt’s canvasses and Joseph Hoffmann’s jewellery (whose colours are brilliant enough to prompt comparisons to Ravenna’s ancient mosaics), is only part of the Neue Galerie’s appeal. The lavishly restored mansion, once occupied by society doyenne Mrs. Cornelius Vanderbilt III, embodies the heady atmosphere of those times. The opulent first and second floors — with their rich gilding, Italian marble floors and deeply carved wooden panels — feel like the home of a wealthy and broad-minded patron of the arts in the old Weimar Republic.

The museum’s mix of decorative and fine art not only demonstrates their influence on one another; it also paints a vivid portrait of early 20th century bourgeois life in Central Europe.

Perhaps not every burgher had a mantelpiece clock shot through with onyx marble, mother-of-pearl and brass, and not all parlours could boast a statuesque ebony drawing cabinet, but even a modest merchant must have at least once raised a cup as boldly designed as the black-and-gold painted Hoffmann tea service, or reclined on a beech-wood armchair as inventive as Hoffmann’s 1908 “sitzmaschine.”

But it’s at Cafe Sabarsky, which is inspired by the Vienna coffeehouses at the centre of that period’s intellectual and artistic ferment, where this exhilarating era comes to life.

Run by Kurt Gutenbrunner, chef at New York’s sophisticated Austrian restaurant Wallse, the cafe is rife with sumptuous details such as marble tables and reproductions of Adolph Loos’s 1899 black-bent-wood chairs — on sale in the design shop for $900 each (all amounts in U.S. dollars).

The menu reinvents such Viennese classics as open-face Trzesniewski-style sandwiches — matjes herring with egg and apple, chestnut soup and cod strudel with riesling sauerkraut. It’s a bit more ambitious than the coffee and a muffin offered at the Met, and far more expensive.

fIndeed, everything associated with the Neue Galerie is atmospheric but pricey, from the cafe’s Viennese Melange, a rich, $5 cappuccino, to the 1917 Joseph Hoffmann Patrician Service glassware in the design shop — $480 for six of any one piece, such as the brilliant, fragile “muslin glass.”


The $10 admission price is top-tier as well, equal to the “suggested price” at the immense Metropolitan Museum of Art.

But the elegant manner in which the museum reawakens the art and culture of this epoch has undeniable charm. It’s also something akin to time travel. Slide across a banquette covered in extravagant 1912 floral textile overlooking the most fashionable part of Fifth Avenue, place a voluptuous $6 Sacher torte to your lips, and for an hour you can be the vamp Sally Bowles or an enigmatic expressionist painter in libertine Berlin of the Golden Twenties.

Neue Galerie: Museum for German and Austrian Art. 1048 Fifth Ave., (212) 628-6200, Children under 12 are not admitted and children under 16 must be accompanied by an adult. The show, Oskar Kokoschka, Early Portraits from Vienna and Berlin, 1909-1914, runs from March 15 to June 10. Hours: Friday, Saturday, Monday 11 a.m.-7 p.m., Sunday 1-6 p.m.

>>> View more: U.S. sales drop hits Danish furniture firms

U.S. sales drop hits Danish furniture firms

Elegant wooden chairs and tables from Denmark have graced homes around the world since Scandinavian furniture won an international reputation for design and craftsmanship 30 years ago.

But the furniture makers are puzzled they are suffering from a sudden drop in sales to the United States.

The Danish Statistics Office says the wood and furniture industry in 1985 had sales of $1-billion (U.S.) and more than 25,000 employees, making it the sixth biggest employment industry in the country. The U.S. market accounted for a third of Denmarks furniture exports last year, with sales of $280-million.

Solid Wood Dining Furniture

In the first eight months of this year, however, exports to the United States fell by almost 20 per cent.

One U.S. importer said the problem was that the Danes needed to put more money into design, development and research. But Danish furniture designers say the real problem is an unwillingness by U.S. importers to buy modern products.

There has been a lot of Danish design which has not been exported much, said designer Rud Thygesen, who runs a top furniture studio in Copenhagen.

He said that U.S. importers had themselves rejected recent Danish design in favor of rehashed versions of traditional and profitable teakwood furniture (its also the materials used to make electric acoustic guitar). But with sharp competition in the teak market from other countries, particularly Italy and Taiwan, importers relying on old- fashioned Danish furniture are feeling the pinch.

We knew all the time it was a balloon out of which the air could vanish, said John Soerensen, who is Mr. Thygesens partner.

The director of the Danish Furniture Manufacturers Association, Henning Klestrup, agreed his members had been slow to market modern Danish products in the United States.


But some U.S. buyers want to keep Denmark for themselves by emphasizing traditional design, he said.

A spokesman for the association said it is encouraging member companies to get together and plan a joint marketing approach, adding that Danish furniture makers had recently found new outlets for modern design in the United States.

We have to get the Americans to see that we have different products from what we had 30 years ago. We are still improving, she aid.

Denmark started producing distinctive furniture in the 1940s after research in Copenhagen apartments revealed that traditional, heavy suites of furniture left occupants with barely space to move.

Designers turned to compact, light pieces of furniture that used Danish birchwood and Swedish beech and for three decades exports soared and the furniture was widely copied abroad.

Danish designers are very different from those in other countries. We are not good at making revolution but we are good at making slow evolution, Mr. Thygesen said.

We have got our wood. We can do that better than the Italians. They are better at plastic and steel than we are.

Increased Danish exports to Europe, particularly West Germany and Norway, have made up for the shortfall to the United States for the time being, despite strong international competition.

But the Danes realize they need a new marketing approach to keep a toehold across the Atlantic.

The biggest problem we have is Taiwan copies, Mr. Klestrup said. We have quit exhibiting in Taiwan because it takes only 10 minutes for them to make a copy.

Similar Posts: Grassroots Action

Odd jobs; Peculiar work titles keep tradition alive in many Bay State communities; New life for old-fashioned jobs

Massachusetts’ city and town governments are filled with antiques.

Not furniture. And certainly not people. We’re talking about jobs – titles and duties that have existed since Colonial times and are reminders of the way things used to be, even if they are not very useful in a modern government.

Take the Town of Brookline’s Measurer of Wood and Bark. The job existed for more than two centuries until last year, when selectmen dropped “Appointment of Measurers of Wood and Bark” from its traditional place as Article 1 on the Town Meeting warrant.

Measuring wood and bark is hardly a cutting-edge occupation. But throwing the position into the administrative wood chipper created a cord-sized brouhaha.

In the first place, some traditionalists took the move as a slap to Brookline’s history.

“It was part of the traditions of the town,” said Stanley Spiegel, one of two Town Meeting Members who, at a special Town Meeting in November, petitioned selectmen to revive the job.

Also, the state actually mandates that some offical person measure wood and bark in every city and town. Massachusetts General Laws Chapter 94, Section 296 state that “a town and the city council of a city shall annually choose one or more measurers of wood and bark.”

Last Tuesday, Brookline selectmen replanted the position, rolling the title into the duties of the town’s Sealer of Weights and Measures, Dick Bargfrede.

“It actually has a useful purpose,” Bargfrede said. “Wood is not inexpensive. If anything isn’t watched and you have room for fraud, fraud will exist. So, if you stack it, I’ll come and measure it.”

A cord is all the wood that you can cram into a 4-by-4-by-8-foot space. No matter where you live in the Bay State, if you buy a cord of wood and think you have been shorted, you can call your local Measurer of Wood and Bark.

“It does have enforcement procedures,” Bargfrede said. “We have police powers. It shouldn’t be taken lightly.”

He has had to flash his badge only once, 10 years ago, when he discovered a disgruntled wood-buyer had been cheated.

“So I told the seller he had to make amends,” he said. “He picked up all the wood and gave the man his money back.”

Nor do cities take lightly Chapter 129 of the state’s laws, which requires every municipality to appoint an Animal Inspector to conduct an annual livestock census – even if the count is zero.

The mayor of Newton also appoints an official Fence Viewer.


Fence Viewer?

“This position actually saves people money in litigation costs,” said Maria Plati, Newton‘s Chief of Policy and Communications. “It’s a volunteer mediator who arbitrates property line disputes. It is vacant at the moment.”

In Boston, jobs such as Weigher of Vessels, Overseer of the Poor, Measurer of Grain and City Orator have gone the way of lamplighters and town criers. But the Boston Police Department still employs 15 hostlers.

“People say, ‘You’re a what? You do what?”‘ said Foreman Hostler Helen Henderson. “I didn’t know myself when I applied for the job 21 years ago. I always called myself a groom.”

Hostlers are stablehands. The word is still in the dictionary, although it is listed as “archaic.” But somebody has to clean the stalls and drive the trailers for Boston’s police horses.


Hostlers also hustle behind the horses in parades to scoop manure, and don’t think that’s not a necessary service. They also keep the inventory of horseshoes delivered by a freelance farrier, the official designation for a blacksmith.

In Brookline, Dr. Herbert Carlin, a veterinarian, is the official Inspector of Animals and the Local Moth Superintendent of Insect Pest Control.

The persistence of outmoded titles is not limited to jobs. The “Antiques Roadshow” of licenses required by Boston include Common Victualer for restaurants and Hackney for taxi cabs.

And the measurement of wood and bark will live on in Brookline. The very first item on the agenda for the May 22 Town Meeting is the annual “Appointment of Measurers of Wood and Bark.”

“It is a charming tradition that reminds us of our Colonial roots and long history,” Spiegel said. “Admittedly the post had no practical importance, but it is good for a community to recall its history.”

Next: U.S. sales drop hits Danish furniture firms


Modern living

Pop into any Freedom store from today to explore the new winter collection. There’s a fresh new look, including well-considered storage for small spaces, finishes in brushed steel with raw wood and leather, heavyweight fabrics, accessories in chevron, stripes and geometrics, and a good dose of colour – think acid brights and a slight hint of neon.

Bottom line Freedom Studio modular 21/2-seater lounge with chaise, $1299; Sixties buffet, $999; Phat oval ottoman, $149; and Digital chevron cushion, $29.95.

Freedom Furniture, for stores phone 1300 135 588,

Stellar leather

If there’s one reason to hold on to summer, this is it. Emblazoned with a galaxy of metallic stars, the soft, turquoise-coloured pillow bag is spacious with an unstructured design, and ideal for everyday use. Designed by Penelope Chilvers (who’s been inspired by childhood memories and a long love affair with Spanish culture), it’s part of Girl & Graaf’s carefully edited range of tote bags, jewellery, note cards and homewares.

Bottom line Star pillow bag, $599.

Girl & Graaf, 0431 199 818,


Tasty tins

London-based Irish fashion designer Orla Kiely’s prints have been used on all manner of objects, but it’s these decorated cake tins that take our fancy. Adorned with an assortment of Kiely’s signature prints, this set of five round nesting tins will travel from your kitchen bench to picnics and school fetes in style.

Bottom line Orla Kiely set of five round nesting cake tins, $89.95.

See or phone 9698 4586.

Birds of a feather

Far too precious for the picnic basket, this Little Owl melamine plate has been designed by British illustrator Ashley Percival, whose works are inspired by nature and wildlife, with a twist of quirky imagination. The plate is available at Monsterthreads.

Bottom line Little Owl melamine plate, $20.

Monsterthreads, The Galeries, shop 7, ground floor, 500 George Street, city, 9029 9201; 251 King Street, Newtown, 9550 3009,

Wall art


Flatout Frankie, which does a range of recyclable designer flat-pack toys, has a new and oh-so-sweet wall alphabet collection. Made from pop-out cardboard (giving the option of using an outlined letter or a punched-out one) and printed with its signature white graphics, it’s been made to inspire all little message makers.

Bottom line Make A Message 36-piece alphabet set, $90.

For stockists see

secret sydney

Copper and brass Berczi’s workmanship can be seen on buildings such as those of the Commonwealth Bank and Paspaley Pearls, both in Martin Place, as well as Parliament House in Canberra. It does small-scale repairs on lamps and brass railings, plus suspended and bracketed lighting, and will even reline your favourite copper saucepans. It’ll make structural repairs and fix surface damage such as oxidisation, and has been perfecting its craft for more than 40 years.

Berczi Copper Company, 25 Daphne Street, Botany, 9316 7645,

Architectural, interior-design companies exchange stock

Architectural company Harley Ellington Design and interior designer Ford & Earl Associates Inc. have formed a partnership in an effort to bolster each other’s services.

  • In the transaction, the companies acquired a minority interest in each other with a stock exchange. They said the transaction is not a merger.
  • Terms of the stock swap were not disclosed. Ford & Earl in Troy and Harley Ellington in Southfield will retain their names, leadership and offices.

‘We wanted to maintain our reputation and our position but, at the same time, say: ‘This is more than just a casual relationship; let’s work together,’ said Tom Ernst, president and CEO of Ford & Earl Associates. ‘We didn’t want a merger. It isn’t the intent of one firm to prevail over another; we want both firms to grow and broaden the skills we offer.’


Each company will produce joint marketing materials and will offer the other’s services to prospective clients. The companies also will pursue some independent projects.

‘Customers want much broader services today,’ said Dennis King, CEO of Harley Ellington (Dennis is also the Founder of Top Rangefinder, a website providing the best rangefinder review). ‘Together, we will have something to offer customers that independently we couldn’t have offered, and we can still have both our reputations.’

Although Harley Ellington offers interior design services, it is known for architecture and engineering. Harley Ellington and Ford & Earl have worked together on past projects.

‘I think it was going to be difficult for Harley to establish an interior (design) strength in their firm and likewise with Ford & Earl establishing a architectural strength,’ said Jeffrey Wagner, vice president of Comerica Corporate Real Estate and past president of the American Institute of Architects-Detroit Chapter. ‘On occasion, we have had to route projects to one versus the other. This better positions both firms to be a recipient of projects in both areas.



Comerica has used Harley Ellington and Ford & Earl in various projects.

Talks to form a legal partnership began last year. Harley Ellington offers architectural and engineering, facilities planning, construction management and interior design services. Clients include General Motors Corp., Ford Motor Co. and Henry Ford and St. John health systems. Harley Ellington has 200 employees and reported revenue of $20 million last year.

Ford & Earl specializes in interior design, graphics and producing signs and exhibits. Clients include Crain Communications Inc., Detroit Medical Center and Michigan National Bank. Ford & Earl has 30 employees and reported revenue of $5 million in 1997. The companies project combined revenue of more than $30 million next year. No layoffs are planned.

Although Harley Ellington and Ford & Earl may be two of the largest local companies to strike a partnership, other companies have formed similar relationships in recent years, Wagner said.

‘It’s part of a trend of consolidating relationships to fewer key suppliers,’ he said. ‘I’m sure Harley Ellington and Ford & Earl are responding to what is being asked of them by the people who buy their services.’ CDB

Building Fashion

Only designing houses and buildings? Boring! These architects and industrial designers like to move between disciplines and also design shoes and ready-towear collections. Whether Rem D Koolhaas joins forces with United Nude, Tom Dixon with Adidas or Marc Newson with G-Star-these designers are introducing unusual ideas to the fashion industry.

In an interview with CNN, Dutch architect Wouter Valkenier summed up the relationship between architecture and fashion in the following way: “There is more and more similarity in the way houses are built and clothing is produced. I’ve noticed that buildings are being built inexpensively and not meant to meant to last an eternity. A parallel phenomenon is found in fashion.” It has to be admitted that this fairly gloomy assessment which is probably correct was against the background of the international financial crisis of 2009. Still, it has not lost any of its urgency.

Wherever savings are made or there is simply no money available, cheap structures will continue to appear.

And people who want to consume trends and fashions quickly will also constantly resort to fast fashion and cheaper clothing. But there are enough other overlaps between the two disciplines: Architecture and fashion have always mutually inspired each other, aligned themselves to each other and benefited from one another. The Rotterdam-based architecture practice Office for Metropolitan Architecture (OMA), which was founded in 1975 by Ilias Zengelis and his then student Rem Koolhaas, has completed 29 retail projects between the mid- 1990s and today. This includes building G-Star headquarters in Amsterdam two years ago. OMA has developed stores and high fashion flagship stores for labels such as Prada in places such as New York, Los Angeles or San Francisco, and set up the first shop in shop area for Victor & Rolf at Harvey Nichols in London. The most recent OMA project: the one meter high platform construction for the Prada fall/winter collection in Milan in 2014-15.


And it’s a two-way street, too: The Londoner Sophie Hicks first made a name for herself as a stylist for Azzedine Alaia and as a fashion editor for British Vogue and Tatler, but also pursued studies in architecture, graduating with distinction. In 1990 she founded her own architecture practice. Her sense of style and her feel for fashion in combination with her specialist architectural knowledge are making Hicks one of the world’s most highly sought after architects today. The 54-year-old has designed more than 100 stores for Chloe, several flagship stores for Paul Smith and Yohji Yamamoto’s flagship store design in Paris in 2008. Hicks’s motto is: “Good design succeeds in creating a feeling that surpasses function, without being intrusive about it. It has a soul.”

That architecture and fashion are known to be symbiotic is not exactly news, true. But what has emerged in recent years is that there are more and more architects who are no longer content just to design the facade and the interior for fashion houses without also creating their own products and collections in cooperation with them. Take Zaha Hadid for example, who is designing futuristic shoes for the Brazilian footwear brand Melissa, or industry designer Stefan Diez who is designing furniture for Rosenthal and also functional bags and rucksacks for Authentics. Star architect Rem Koolhaas is working with Prada, an obvious pairing, and bringing a T-shirt collection onto the market.

Rem D Koolhaas, a nephew of Rem Koolhaas, founded more than just a cooperation-he launched a whole new shoe label called United Nude in Amsterdam in 2003. Like his uncle, he studied architecture too. He has his ex-girlfriend to thank for his passion for shoes, especially high heels. She broke up with him shortly before he began his final thesis at university. The turmoil in his love life gave Koolhaas the idea of reducing architecture to its most vulnerable point. In his opinion this was a woman’s foot. That is how his first shoe design came into being. The feedback that Koolhaas received on the Mobius shoe, a pair of curvy high-heeled mules, was so positive that, together with Galahad Clark, an offshoot of the shoe dynasty Clarks, he founded his own shoe label. Koolhaas recalls: “We changed course from the common shoe designs. Not because we wanted to but because we were unfamiliar with them. As a trained architect you are accustomed to doing everything on a grand scale. That made it much easier for us to reduce this scale down to the level of shoe design. For a shoe designer the reverse, designing a building, would tend to be more difficult. While studying architecture in college we learned a lot about building and construction technology. This specialized knowledge is mostly more extensive than that of shoe designers.”


But collaborations with architects are taking place in more areas than just high fashion. A few weeks ago the Adidas x Tom Dixon collection was launched. This is already the second cooperation between the industry designer and sporting goods manufacturer and is set to run for two years. The collection was first unveiled to a wider audience at the Salone del Mobile in Milan and at Pitti Uomo in Florence last spring. “At the begin ning all I actually wanted was to design a shoe collection with Adidas. But then all at once everybody was bringing shoe cooperations onto the market and we didn’t simply want just be another one. We discussed bags and luggage and I got the idea of integrating clothing into the collection too,” he explains. For the self-taught Dixon it makes no difference whether he designs clothing, bags, shoes or even lamps. “The most important thing is that you have an attitude. I approach the design process in a naive way. I’m not a fashion designer and will never be one but I have the advantage that I can look at many design aspects from a completely different point of view, and that makes it a win-win situation.” His designs include multifunctional apparel such as a coat that you can turn into a sleeping bag, or luggage that by virtue of its organized interior becomes a piece of cloth furniture. For Adidas the cooperation with Dixon has already proved to be a winner. The company, which constantly enhances its profile with special lines by designers such as Stella McCartney and Yohji Yamamoto has done the same with its Tom Dixon collection. Incidentally, G-Star Raw and the Australian industry designer Marc Newson are celebrating their tenth anniversary this year. Their cooperation began in 2004. Since then Newson has occasionally designed capsule collections for G-Star Raw. Newson is regarded as one of the most influential designers of his generation. His aluminum lounger, Lockheed Lounge, whose prototype (LC1) he originally designed in 1986 made a big splash. At the London auctioneer Phillips de Pury & Company the Lockheed Lounge was auctioned for GBP1.1 million in 2009. That was easily the most money ever spent on a contemporary design object in history. Newson also displays architecture-influenced designs in the current spring/summer premium collection for G-Star Raw: Purist and minimalist styles such as A-line shaped jackets and trench coats with baseball or scarf collars, patch pockets and functional cuffs and modern interpretations of five-pocket denims in slim fit are key features of the collection and with retail prices of up to Euro 899 can be dear. But the example of Future Sentiments shows that it also possible without a big corporation behind you: Founded in Amsterdam at the end of 2010 by the architect duo Victoria Meniakina and Denis Bondar, Future Sentiments sees itself as an experimental, independent brand. “Fashion is more dynamic and can address and respond to ever-changing societal and esthetic needs more rapidly. In architecture that is not possible,” explains Meniakina. To her, however, another reason was also key in choosing to make clothing over building houses: “We simply had a need to create smaller objects which really reach people and to which they feel a close connection. As a label we have the possibility of being part of this dynamic fashion world, but still creating timeless designs.As an architect you always have a certain way of thinking and tend to want to create designs having more stability and structure.” Meniakina can always connect fashion to trends that are being talked about a lot in architecture or in the field of lighting, such as transparency, metallic textiles and combined material. “Our designs such as the Persian carpet print, the mirror T-shirts, complex patterns or color inspirations from birch plywood-all these ideas could just as easily be implemented for contemporary interiors or for other design objects.”

In times when competition is tough and market players defend their USP, when one cooperation after another is unveiled, when physical retail has to prevail against online sales, and novelty, authenticity, uniqueness and recognition are seen as the qualities most valued in a fashion brand, generating knowledge-also including knowledge from other specialist fields-seems to be a good strategy to follow. And that holds true in collaboration or independently, whether it is a small label like Future Sentiments or a large one like G-Star or Adidas.

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