The Architect Behind Superman's Hall of Justice (and Trump's Fed Gambit)
Special thanks to Feargus O'Sullivan for watching the shop while I was away. Don't miss his feature on Trump aesthetics and Rococo.
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Forbes
15 hours ago
- Forbes
Giorgio Armani Marks His Brand's 50th Year With Multiple Celebrations
Designer Giorgio Armani (Photo by Barbara White Sloan/WWD/Penske Media via Getty Images) It seems 1975 was a good year for design. Several brands, mainly Italian, are celebrating 50th anniversaries in 2025. To wit, Roberto Cavalli, Santoni, John Hardy, and the "King of Fashion" himself, Giorgio Armani, are all marking significant milestones this year. When the Northern Italian-born designer founded his namesake label at 41, he was already well-regarded in the industry, having established himself as a menswear designer at Cerrutti 1881, a freelance fashion designer for brands Allegri, Bagutta, Gibò, and Montedoro, among others, and his early career included roles in sales and as a window dresser at La Rinascente. With the support of friend Sergio Galeotti, he founded Giorgio Armani S.p.A. in Milan on July 24th, 1975. Now at 91, Mr. Armani is still at the helm of his namesake brand with plans to retire in the next year or so. To celebrate the anniversary, the brand has announced an exhibit and pop-up to mark the occasion. The Giorgio Armani Pop-up at the Sunset Beach Hotel in Shelter island. In Milan, the designer will launch the Armani/Archivio project on Saturday, August 30th, during the Venice Film Festival. Armani/Archivo is an interactive digital platform that showcases content curated from a comprehensive cataloging of the Giorgio Armani collections, aiming to preserve the brand's pioneering legacy while serving as a bridge between past and future. In the coming months, the platform will be housed in a physical site just outside of Milan. Additionally, the brand is planning celebrations during the upcoming Milan Fashion Week, also known as MFW, centered on the debut of its Spring 2026 women's collections. On Wednesday, September 24th, Giorgio Armani will open a curated showcase to the public at the Pinacoteca di Brera gallery. It's a first for the 'Brera Art Gallery, the main public gallery regarded as having one of the foremost collections of Italian paintings dating from the 13th to the 20th centuries. It is also the first time they have hosted an exhibition of fashion, featuring over 150 archival Giorgio Armani looks spanning the brand's five decades. Rounding out the week will be the closing show of MFW in the historic Courtyard of Honour at Palazzo Brera, featuring the Giorgio Armani Spring/Summer 2026 Women's Collection alongside select menswear looks from the collection presented in June. Actress Mamie Gummer attends the Giorgio Armani But the brand is busy with some other activations this summer on this side of the Atlantic before the big 50thfete. Coinciding with the same anniversary date, the brand unveiled its first Giorgio Armani Mare pop-up Stateside, featuring the 2025 collection. After launching several iterations in some of the world's most coveted summer destinations such as Porto Cervo, Capri, and Cannes, the coastal lifestyle collection—which includes swimwear, resort wear, linen tailoring, beachside ready accessories, towels, and more—will be the focus of a pop-up at Sunset Beach on Shelter Island. To toast the 10-day ephemeral boutique and the summer collection inspired by easy Amalfi Coast living, the brand hosted a sunset cocktail event that brought the Mediterranean lifestyle to the Hamptons. The popular hotel—located on the island affectionately referred to as the "Island of Peace" and situated between Long Island's North and South Forks—has transformed its façade, game room, and beachfront to evoke a beachfront vis-à-vis tropical palms in shades of grey and turquoise with contrasting warm wooden tones of flooring. Inside the Giorgio Armani pop up on Shelter Island. Guests included Linda Fargo, Mamie Gummer, André Balazs, Tracy Margulies, Kristina O'Neill, Leandra Medine Cohen, Mei Kwok, Pamela Tick, and Dora Fung of 10 Magazine US, who shared activities such as dog-friendly beach time, backgammon, al fresco dining, and dancing as part of the opening event celebrations on her Instagram feed.
Bloomberg
2 days ago
- Bloomberg
How YouTube and Tiktok Are Shaping a New Generation of Chefs
Just as athletes watch training videos to improve performance, chefs can now access a vast library on YouTube to hone their craft. After the Food Network premiered 30 years later, home cooks picked up countless tips from the likes of Emeril Lagasse and Bobby Flay. Today almost every social media platform has a wealth of instruction geared toward home cooks (especially if their goal is to get dinner on the table in five minutes using even fewer ingredients). YouTube has become an increasingly useful resource for professional chefs who know what to look for. In recent years, it's also helped skilled amateurs earn culinary reputations and even open their own restaurants. Bloomberg Pursuits Food Editor Kate Krader and Bloomberg Pursuits Editor Chris Rovzar join Bloomberg Businessweek Daily to discuss this and more. (Source: Bloomberg)
Forbes
4 days ago
- Forbes
Designer David Rockwell Has A Full Plate Of Restaurant Projects Ahead
The bar at the The View, the revolving restaurant in the Marriott Marquis Times Square Despite celebrating the 40th anniversary of his Rockwell Group design firm last year, star architect and designer David Rockwell seems unwilling to rest on his laurels. Although he's had a hand in crafting some of the world's most memorable spaces—particularly high-profile restaurants, hotels, and theater projects—he continues to seek out new challenges. The Interview, Part Two In part one of our interview, he reflected on his impressive career and talked about some of the considerations that go into building community around the table. In the second half of this discussion, he shines a spotlight on some of the Rockwell Group projects that are waiting in the wings. If it's there, I'm not sure I'm the one to see it because I'm so focused on what we're doing. (pauses) Maybe one signature is that they look better full than empty. That may be true about every restaurant, but I think we very much look at what a restaurant is like at the height of walking through it, and what it's like sitting down. If you spend money evenly on a project, you don't get highlights and lowlights. You have to have a strategy about where to put a disproportionate amount of the resources, and where you're going to create those landmarks. If the client is interested in artwork, you have to figure out how to embrace that. I had been going to the original Union Square Cafe for about 15 years before we did the second one, so I was really a student of it. We made a model of the new space and re-created every piece of artwork that [owner] Danny [Meyer] had collected to scale. With tweezers, we set them by each banquette [in the model]. We were creating an entirely new space that was channeling the DNA of the original. At The Corner Store, the owner really wanted to use New York photography, and we were very involved with where it goes, how it's mounted, and how to orchestrate it. I'm more interested in the things that have remained. The very first restaurant I did was all about movement and choreography. It was about materiality; I brought in a costume designer from Santa Fe to make a silk mural. What has stayed is my sense of curiosity, my appreciation. I'm a little less in a hurry. I really take in the moments—how profound it is to create places that people enjoy. We had done the original W Union Square, and now we got to redo it, so we had long thoughts there. My observation about Union Square now versus 22 years ago was that there are things that really relate to the grid of New York, and others that relate to the changeable explosion of color that happens in Union Square—for instance, the chalk art, which we translated to the carpet. Seahorse, the restaurant in the W Union Square We engaged Artemest, a group that connects you to Italian artisans. The light fixtures were made by different artisans, many of them from Milan, including a beautiful mosaic piece that gives the bathrooms a kind of sheen. They're high gloss and have an elevated sense of ritual. I think ritual is very important—dining is very much a set of rituals. One person's version of humor is another person's pain in the neck. I think we design places with beauty in mind, with flexibility. I think the unexpected relates to humor—juxtapositions create opportunities. Hairspray was my second Broadway show, and when I met with the director for the first presentation, I filled the conference room with lots and lots of sketches and designs. He looked at all of it, put his arm around me, and said, 'Why don't we take everything out of the room except for those things that make you fall in love with Tracy Turnblad?' It was a real lesson. The environment doesn't want to be in the foreground, and I think that's sort of true about humor. You want to create the setting and the context for it, but not solve the whole problem. I'd like to be involved with the Olympics—that would be great, having been to the Olympics in Paris, and being a fan of the Olympics. I think there's something about bringing people together to celebrate excellence. There are a million design problems—problems I've solved—about movement, choreography, and sense of place. I think it's to create experiences in places that make the world more connected. It's true, and even when we do offices, the parts that I talk about are those that [relate to] connection. I think that's what drove me to architecture—the idea of creating these temporal communities. We won't take a restaurant project if someone wants it to look like something we've done before. Each restaurant is a different adventure, a chance to dive into what that chef or operator wants. It's amazing to create places. During COVID, we made T-shirts and bags that said, 'Buildings are memory machines,' and I think that's really true.
