The ORIGINAL CUSHION Co





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When you think there isn’t any more room for yet another home decorating business in this saturated market, enters the Original Cushion Cº. This new, exciting venture will come as a relief and possibly a godsend to most decorators in search of a quick fix to an ongoing conundrum.



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The Original Cushion Cº is an online selling platform that offers a collection of fine, limited edition, designer cushions upholstered in exquisite fabrics by browsing one-off cushions by collection, size and material.

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Founder Erik Karlsen has a life-long passion for fabric and design. He first made his name in design as the founder of Jane Churchill Ltd, the fabric and wallpaper brand, now a part of Colefax and Fowler, and has established himself as a fine and refined decorator over the years. Some of you might remember his exquisite country home featured in July 2011 in House & Garden.



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Borne out of Erik’s frustration to be unable to find beautiful fine cushions to finish a room (or in A-Gent of Style‘s case being unable to order a small amount of fabric for one small cushion because the minimum order is greater than the quantity required or the shipping costs are higher than the actual fabric), it is no surprise that Erik, coupled with his extensive contacts in the textiles industry, started the Original Cushion. His cushions are beautiful, luxuriously padded cushions made in a studio in Suffolk and created out of the most beautiful designs, colours and fabrics (some of you will immediately recognise some iconic Fortuny designs) as well as the finest duck feather and down.


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To make things even more glamourous and special, each cushion comes beautifully packaged in a gift box, wrapped in tissue paper and tied with ribbon, and can be dispatched in the UK within a few days or internationally.


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There is also a useful section on the site that allows you to select your favourite cushions into a scrapbook where you can change their size, position and colour background, and another section that shows how to plump a cushion. A simple but invaluable tip. Tried and tested by A-Gent of Style. So never commit the cardinal sin to beat your cushion! Or call its founder a fluffer.



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- Imagery by Original Cushion Co – 





MUSEE DES ARTS DECORATIFS: a PIERRE FREY RETROSPECTIVE and a WALLPAPER TRIBUTE in PARIS





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Fresh from the enthralling whirlwind of events surrounding this January instalment of the Paris Déco Off – for which A-Gent of Style was a jury member – and all its peripheral launches, openings and bashes, A-Gent of Style will particularly remember the private event last week of the jaw-dropping Pierre Frey exhibition at the Musée des Arts Décoratifs as well as the Museum’s own tribute to 400 years of its own archive wallpapers. If you missed out on all the fun last week, A-Gent of Style would urge any wall hanging enthusiast to jump on a Eurostar this spring even for the day.


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The first major tribute ever paid to this major figure in interior decoration, Tissus Inspirés takes us chronologically through eighty years of creation, highlighting the skills and knowledge defining the Pierre Frey spirit and vision. The presentation of fabrics and wallpapers is complemented by works from the museum’s permanent collections and creations by contemporary artists brought together specially for the occasion and showing the considerable impact that Pierre Frey has made on current artistic practices. Celebrating this unique company’s history and identity, this exhibition takes visitors behind the scenes of a furnishing fabrics and wallpaper publishing house to reveal its sources of inspiration and production methods.

 

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This exhibition features the finest creations produced by Maison Pierre Frey since 1935. In the Study Gallery’s six rooms, it brings together some two hundred works from the creator’s collection illustrating the eclecticism and artistic collaborations that have characterized its history. Born in 1903, Pierre Frey started out in the furnishing fabrics world at the age of seventeen as a cutter for Maison Burger. He later became director of Maison Lauer, where he met the designer Jean Chatanay, with whom he created their own company. In 1937, he bought his partner’s shares in the firm and founded Maison Pierre Frey at 47 rue des Petits-Champs, where the company’s registered office still is today. The production values he established have remained unchanged thanks to his three grandchildren and his son, Patrick Frey, in charge of the company since 1975.

 

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The first room shows the stages and techniques involved in creating and producing a textile and the fabric publisher’s profession. Every Pierre Frey creation is a close collaboration between designer, weaver and printer, all of whose commitment is vital in achieving the company’s high quality standards. From the sketch to the finished product, the wealth of patterns, colours and materials of the pieces on display explore the creator’s stylistic identity. In the next rooms emblematic Pierre Frey textiles and wallpapers are presented alongside works from the Musée des Arts décoratifs. Their association emphasises the historical and artistic contexts in which they were created and evokes the tastes and tendencies of former times.

This historic approach to Pierre Frey’s work is revisited by a contemporary vision emphasising its modernity and topicality: four capsule collections by contemporary designers paying tribute to Pierre Frey. In the space covering the period from 1935 to 1959, Julien Colombier has created a printed fabric whose vivid colours react differently to ultraviolet light, creating a changing perception of the material in function of the lighting. In counterpoint to Pierre Frey creations from 1960-1979, Benjamin Graindorge’s wallpaper explores the problems of visual perception using the pixel as basic unit in spirit of the Op Art artists of the early 1970s. Marcel Wanders revisits Pierre Frey productions from 1980 to 1999 by reinterpreting the ever-present theme of the flower, and Nao Tamura, reflecting on Pierre Frey fabrics from 2000 to 2015, draws on her own universe to create a Jaquard Loom fabric, produced by the Pierre Frey factory in northern France, in which nature is omnipresent. The exhibition ends with a homage to Pierre Frey by seven artists of different nationalities working in different fields. They were asked to reflect on key Pierre Frey concepts: colour, ink, history, texture, pattern and the rustling of the fabric. Julien Salaud, Peter Gentenaar, Michelle Taylor-Dorset, Paule Riché, Kumi Yamashita, Memo Akten and Label Dalbin pay tribute to and metamorphose Maison Pierre Frey’s creative combination of tradition and modernity and project it into the future.



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And one floor up from the Pierre Frey exhibition, you will find the museum’s tantalising collection of wallpapers covering four centuries.


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Revealing the wealth of the Wallpaper Department’s exceptional collection, Faire le Mur features three hundred emblematic pieces selected from the reserve collection of more than 400,000 items. The exhibition juxtaposes and compares wallpapers from different periods and origins to illustrate the broad range of styles and skills in use from the 18th century to the present day. It shows wallpaper’s major role in the history of the decorative arts, whilst highlighting some of the jewels of the largest wallpaper collection in the world.



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LINE VAUTRIN & A-GENT of STYLE: A PHOTO SHOOT & FEATURE of CHRISTIE’S ONLINE AUCTION



 

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A couple of weeks ago, when Xavier Brunswick, 20th C Design specialist at Christie’s, London, approached A-Gent of Style to partake in another collaboration with the illustrious auction house, he felt extremely flattered. When it appeared he was to be involved in the online sale of Line Vautrin’s work, he felt a great sense of excitement – A-Gent of Style has been a great admirer of the “Poetess of Metal” for a long time, which he featured on a few occasions on this blog. When Christie’s offered to do a photo shoot with A-Gent‘s favourite picks from the sale at the latest residential projects he had designed in London, he had to pinch himself to believe it. Ensued an unforgettable and fun day of touching (and playing with) Line Vautrin’s creations, styling the shoot (and a lot of posing) and being interviewed for his favourite picks.


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Featuring jewellery, compacts, boxes and mirrors, from 1943 to the late 1960s, with estimates ranging from £200 to £8,000, this online-only auction  showcases Line Vautrin (1913-1997)’s mastery to work different materials, let it be bronze, talosel resin or mirror fragments. A handpicked selection from the collection of Helene Theodoropoulos forms the core of this sale. Madame Theodoropoulos was Head of Sales and owner of the boutique that Line Vautrin, “Poetess of Metal”, opened at the passage Sumika, when she moved from Paris to Casablanca in 1949. These works (lots 13 to 39) were given to her directly by the designer and have been in the family ever since. The mix and the variety of the use of materials and the careful use of poetry, charades, wit and humour will take you to the luminous, the timeless world of Line Vautrin, the quintessence of Parisian chic.
Christie’s would like to thank Marie-Laure Bonnaud Vautrin for her help with the cataloguing of these lots.

You can see the live online auction here

Full feature on Christie’s website here

 

 

A-GENT of STYLE’s FAVOURITE PICKS:

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PHOTO SHOOT (INTERIOR DESIGN by FABRICE BANA):


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A-Gent of Style would like to thank Xavier Brunswich and his photographer for this great opportunity, and also his client for letting them do the photo shoot at home.

Photographs by

© Christie’s Images Limited 2015

and A-Gent of Style







A-GENT of STYLE & INTERIOR STYLING at CHRISTIE’S





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Last month, A-Gent of Style was flattered to be approached by Christie’s to curate and style a space from the catalogue of their November Interiors sales. Being given carte blanche, the task was to scour amongst some 700 objets from their 128-page catalogue and select 25-odd pieces to create a vignette by styling an empty room at their South Kensington showroom two weeks ago before the auction on 17-18 November 2015. An enthralling challenge A-Gent of Style was eager to rise to.


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 Gallery space




- Below is the vignette A-Gent of Style created with an eclectic mix of objets and a juxtaposition of styles -

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- A-GENT of STYLE’S SELECTED OBJETS & AUCTION RESULTS -


Lot 343 A SPANISH STAINED GLASS AND METAL HALL LANTERN IN ISLAMIC TASTE, CIRCA 1940 Sold for: £2,750

Lot 343
A SPANISH STAINED GLASS AND METAL HALL LANTERN
IN ISLAMIC TASTE, CIRCA 1940
Sold for: £2,750

 

Lot 413 Madeline Rachel Wells, R.B.A. (exh. 1909-1940) Labours of the vine Sold for: £6,250

Lot 413
Madeline Rachel Wells, R.B.A. (exh. 1909-1940)
Labours of the vine
Sold for: £6,250

 

Lot 533 A LOUIS XVI GREY-PAINTED DAY-BED LATE 18TH CENTURY

Lot 533
A LOUIS XVI GREY-PAINTED DAY-BED
LATE 18TH CENTURY

 

Lot 321 A PAIR OF MODULAR OCCASIONAL TABLES LATE 20TH CENTURY Sold for: £1,500

Lot 321
A PAIR OF MODULAR OCCASIONAL TABLES
LATE 20TH CENTURY
Sold for: £1,500

 

Lot 308 A LINO SABATTINI (B.1925) SILVER PLATED ‘STAIRS’ TEA/COFFEE SET MARK OF SABATTINI, SIGNED WITH DESIGNERS FACSIMILE SIGNATURE, Sold for: £2,000

Lot 308
A LINO SABATTINI (B.1925) SILVER PLATED ‘STAIRS’ TEA/COFFEE SET
MARK OF SABATTINI, SIGNED WITH DESIGNERS FACSIMILE SIGNATURE,
Sold for: £2,000

 

Lot 470 A fine Heriz carpet Sold for: £1,625

Lot 470
A fine Heriz carpet
Sold for: £1,625

 

Lot 334 A CRISTAL ARTE LARGE MIRROR CONSOLE 2ND HALF 20TH CENTURY Sold for: £2,375

Lot 334
A CRISTAL ARTE LARGE MIRROR CONSOLE
2ND HALF 20TH CENTURY
Sold for: £2,375

 

Lot 177 A PAIR OF CONTINENTAL PORCELAIN BOTTLE VASES 19TH CENTURY, POSSIBLY SAMSON, FRANCE

Lot 177
A PAIR OF CONTINENTAL PORCELAIN BOTTLE VASES
19TH CENTURY, POSSIBLY SAMSON, FRANCE

 

Lot 585 A FRENCH BRASS-MOUNTED MAHOGANY BOUILLOTTE TABLE OF LOUIS XVI STYLE, CIRCA 1910 Sold for: £313

Lot 585
A FRENCH BRASS-MOUNTED MAHOGANY BOUILLOTTE TABLE
OF LOUIS XVI STYLE, CIRCA 1910
Sold for: £313

 

Lot 534 A PAIR OF IMPERIAL YELLOW GLAZE VASE TABLE LAMPS LATE 20TH CENTURY   Sold for: £3,000

Lot 534
A PAIR OF IMPERIAL YELLOW GLAZE VASE TABLE LAMPS
LATE 20TH CENTURY
Sold for: £3,000

 

Lot 596 A LARGE PAIR OF BEVELLED GLASS OBELISKS MODERN Sold for: £1,625

Lot 596
A LARGE PAIR OF BEVELLED GLASS OBELISKS
MODERN
Sold for: £1,625

 

AN ARTS AND CRAFTS OVAL COPPER MIRROR POSSIBLY RETAILED BY LIBERTY & CO Sold for: £1,250

AN ARTS AND CRAFTS OVAL COPPER MIRROR POSSIBLY RETAILED BY LIBERTY & CO
Sold for: £1,250

 

A FRENCH BRASS DRINKS TROLLEY MID-20TH CENTURY Sold for: £1,000

A FRENCH BRASS DRINKS TROLLEY
MID-20TH CENTURY
Sold for: £1,000

 

A GROUP OF CONTINENTAL FACETED AND GILT GLASS LATE 18TH CENTURY, MOSTLY BOHEMIAN

A GROUP OF CONTINENTAL FACETED AND GILT GLASS
LATE 18TH CENTURY, MOSTLY BOHEMIAN

 

MAX INGRAND (1908-1969) FOR FONTANA ARTE FLOOR LAMP, MODEL 1819, CIRCA 1958

MAX INGRAND (1908-1969) FOR FONTANA ARTE
FLOOR LAMP, MODEL 1819, CIRCA 1958

 




- BEHIND THE SCENE & THE MAKING-OFF -

 

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A-Gent of Style
would particularly like to thank Katy Richards, Communications Officers, Christie’s South Kensington, for inviting A-Gent of Style to partake in this fantastic project and for orchestrating the whole project so brilliantly. Many thanks also to my wonderful assistant for the day Katie Carder for being so patient and gracious at all times, the great photographers at Carol Sachs as well as the handlers and the rest of Christie’s wonderful team who helped make this memorable day such a success.

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Special thanks to my sponsors for their loans: Lalique for the green Languedoc vase, Miller Harris for their candles, Robert Kime for the cushions and Tissus d’Hélène for the wool and cashmere throws.


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- CHRISTIE’S DAILY FULL FEATURE -

You can view the full article and A-Gent of Style‘s interview on Christie’s Daily by clicking here, and also discover the different vignettes created by three fellow interiors bloggers.

 

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Photographs by Carol Sachs

© Christie’s Images Limited 2015

and A-Gent of Style



SHOE Fabrice Bana -® CarolSachs-Christies-Bloggers-5D3_2724-HiRes




PAST PRESENT FUTURE: DAVID COLLINS STUDIO TURNS 30



 

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Pearls are considered to be the oldest known and the most valuable gems in history as well as being regarded as ones of the highest for their beauty.

Similarly, timelessness, desirability and beauty are attributes that perfectly befit David Collins Studio who turns thirty today and is celebrating its pearl anniversary.


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Having reached this milestone, A-Gent of Style, a long-standing admirer of the Studio’s work and aesthetic, wanted to mark the occasion in his own way as a tribute to and celebration of a towering and much-missed personality of the design world by making a special collaborative feature with the Studio. Rather than looking back at the Studio’s past canon of work, which is much cherished and admired but has already been widely publicised, A-Gent of Style wanted to focus this time on the present and the future by showcasing a diaporama of some of David Collins Studio’s projects since the untimely death in 2013 of its acclaimed and influential creator David Collins, as well as revealing a fascinating interview with the Studio’s Communications Director, David Kendall.


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Far too dynamic to ever rest on its laurels and without a lot of fanfare and too much distraction, the Studio itself is hosting from today for two days only a one-off exhibition curated by Nick Vinson of The Vinson View, Wallpaper*: ‘PAST PRESENT FUTURE” at Philips auction house on Berkeley Square. Bringing together imagery and physical elements from some of the Studio’s most celebrated projects as well as a sneak peek at upcoming ones, the exhibition offers an insight into some of the its most definitive creations of the past three decades including its first trailblazing project La Tante Claire at Royal Hospital Road through some of it most famous destinations including Claridge’s Bar, The Wolseley, Mirabelle, Nobu Berkeley St, Bob Bob Ricard, The Connaught Bar, the Gilbert Scott and Colbert, to name but a few.


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In the last year, David Collins Studio has collaborated with a number of prestigious luxury brands on some of its notable projects to date, including the Continental restaurant at Pacific Place Hong Kong, VOGUE Lounge in Bangkok, and the Garden Lounge at the Corinthia Hotel, London. Two new departments were realised at Harrods and opened during the summer; Eveningwear and Luxury Collections. These followed the 42,000 square feet Harrods Shoe Heaven launched in August 2014. In September 2015, Alexander McQueen launched a new duplex flagship store on Rue Saint-Honoré, which follows flagships in Miami, London, New York and Tokyo, all designed by the Studio. During The London Design Festival 2015, David Collins collaborated with Italian master furniture creators Promemoria to realise the London collection: 14 pieces of furniture expanding an original Capsule Collection launched in April 2013 which have been continually refined and finessed over the last two years. The Studio also provided creative direction for the design of the new home of London Fashion Week at The Brewer Street Car Park last month. Some of you will have seen snippets of some of these projects on A-Gent‘s Instagram.

 

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David Collins Studio’s senior management team: Lewis Taylor, Simon Rawlings, Iain Watkins and David Kendall

 

Over the last three decades, David Collins Studio has become synonymous with redefining luxury interior design around the world and with revolutionising the contemporary aesthetic and urban landscape with its distinctive vision. Remembered for designing some of the most remarkable, innovative and desirable hotels, bars, restaurants, boutiques and residences of the last thirty-odd years in London and all around the world, its achievements are extra-ordinary and its legacy indisputable.

In the last couple of years, The Studio’s imagination and creativity has brought to fruition luxury interior design and architectural projects worldwide that are once again inspiring, unexpected, unique and thankfully not formulaic and faddish. Its incredible team of in-house designers as well as its trusted network of artisans and craftsmen have effortlessly carried the designer’s name and have kept his legacy alive and flourishing without any compromise. Reflecting myriads of influences and inspirations, the new projects are notable for how richly textured their interiors are – The Collection of David Collins estate sale last November at Christie’s was aptly named  “Luxury – Colour – Texture” – and these new projects feel simultaneously contemporary and already established, rooted in the life and traditions of their respective location. Each of them exemplifies the Studio’s extraordinary capacity to grow, flourish and reinvent and reinterpret itself.

 

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An interview with David Kendall, David Collins Studio’s Communications Director

 

David Kendall, Communications Director, David Collins Studio



How did David Collins Studio look back on the last three decades?

We have a vast archive of project imagery going back thirty years, and so we started with this, and really worked with Nick [Vinson] to create an edit of the projects and imagery. Not every project is shown, Nick has curated a series of narratives from the imagery which has been a really interesting process as we are so used to looking at this body of work and it is wonderful to get a different point of view.

 
With such a vast and varied heritage, how did you come up with the most-fitting approach to celebrate this landmark?
 
We discussed a lot of ideas about how to celebrate the anniversary and knew we wanted to create an exhibition, but really when Nick became involved he was able to give clarity to what we would present – he is a very decisive editor!

Why an exhibition? Can you tell us about its genesis and purpose?

The purpose is primarily to celebrate our heritage, our Studio and to look to our future. Beyond that, collaborating with Inca our production company, with Nick Vinson and Leila Latchin our set designer, and with Phillips, has been an amazing opportunity!

 
Tell us about your collaboration with Nick Vinson and his vision for this exhibition. 
 
We have always had a good dialogue with Nick, he understands where The Studio has come from and knows the current team here, so he was the obvious choice. It was so important for this project to find trusted partners, and I think we have been very lucky to have such a great team.


How is the studio balancing the David Collins legacy with the need to develop new ideas?

As a Studio we have never stayed still and the exhibition will demonstrate this. Every David Collins Studio project is sympathetic to its location and so will be different to the next. We have always trialled new ideas and allowed the designers to experiment, and we push ourselves to constantly refine work and not to settle for less than the best we can deliver. 

Would you say there are David Collins design hallmarks or is it more about an underlying ethos? 

You can look at our work and say it is about colour or symmetry or geometry, or texture and detail and lighting, but really the consistent is that our projects function and operate allowing them longevity. Simon Rawlings our creative director worked with David Collins for over 15 years and so he understood and shared his vision. There is an underlying ethos, and that is the spirit with which David built The Studio and mentored his team and the processes that were instilled in the office.

 
Why are clients are still attracted to the David Collins brand? 
 
Well, we are in our thirtieth year and have proven we can deliver! We have a heritage and that is really what this exhibition celebrates! David Collins is our heritage, our projects and their success is our heritage and our clients are our heritage, and when seen together it is a lot to take in! Our 60-strong office behaves professionally and integrates into teams across the globe to realise complex projects.


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What new projects do you have coming up? 
 
We have a number of important projects that we are working on globally. As the exhibition focuses on the past, the present and the future, these are presented in the exhibition to give a snapshot of what is coming next! 

 
In thirty years’ time when people look back, what will they say is David’s legacy?
 
They will see a Studio, they will see a body of work and a canon of projects, they will see a team, and they will see an interiors language that developed but didn’t follow trends and a series of projects that are sympathetic to their location and multi-layered and highly detailed. 
 


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The images below are the undeniable proof that David Collins Studio has turned all of their new enterprises into glorious hallmarks that already bear the creator’s unique and indelible style, vision and DNA. David Collins Studio’s journey to enhance our lives is far from over. It has just started.

- Happy anniversary -

 


Projects by David Collins Studio 2013-2015

Coffeemania

Coffeemania, Moscow, 2013

 

 

One Canada Square

One Canada Square, London, 2013

 

 

Alexander McQueen Tokyo

Alexander McQueen, Tokyo, 2014

 

 

Vogue Lounge, Bangkok

Vogue Lounge, Bangkok, 2014



The Continental

The Continental, Pacific Place, Hong Kong, 2014

 

Jimmy Choo Townhouse, London

Jimmy Choo Townhouse, London, 2014

 

Restaurant at PAD, London, 2014

Restaurant at PAD, London, 2014

 

Mahanakhon

Mahanakhon, Bangkok, 2014

 

London Fashion Week, Brewer Street Car Park, London

London Fashion Week, Brewer Street Car Park, London, 2015

 

London Fashion Week, Brewer Street Car Park, London

London Fashion Week, Brewer Street Car Park, London, 2015

 

Louis Leeman, Madison Ave, New York, 2015

Louis Leeman, Madison Avenue, New York, 2015

 

Promemoria 2015 Collection

Promemoria 2015 Collection, London



Promemoria 2015 Collection

Promemoria 2015 Collection, London

 

The Garden Lounge

The Garden Lounge, The Corinthia Hotel, London, 2015

 

Alexander McQueen, Paris

Alexander McQueen, Paris, 2015

 

 

A special thanks to David Kendall and Jodi Feder at David Collins Studio for their help, trust and support.

- Photos by David Collins Studio -







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