Art & Design

Apple’s animation on its design process is beautiful, playful, surprising, and interconnected – it’s a physical manifestation of Apple’s latest printed statement on design – one that challenges its critics’ by labeling the new approach of Apple’s as “simpler” or “flatter”.

If everyone is busy making everything, how can anyone perfect anything? We start to confuse convenience with joy. Abundance with choice. Designing something requires focus. The first thing we ask is: What do we want people to feel? Delight. Surprise. Love. Connection. Then we begin to craft around our intention. It takes time. There are a thousand no’s for every yes. We simplify, we perfect, we start over, until everything we touch enhances each life it touches. Only then do we sign our work: Designed by Apple in California.

It’s a reminder that design is not intended to be any one thing, other than created with the intent for human use. That’s why the word “delightful” is as important as “streamlined” – says Mark Wilson of Fast Company.


Great event last night listening to John Warwicker – co-founder of Tomato – talking about his creative and intellectual influences; a great insight into the mind of a design veteran.

As Adrian Shaughnessy pointed out – the 1990s was an era when we started seeing graphic design as ‘art’ and Tomato’s work was key in re-shaping the graphic design landscape.

John Warwicker sights Hokusai as one of his early influences and he now has strong connections to the Japanese creative scene – being the first foreign member of Tokyo TDC (Type Directors Club).

The following is a quote he’d read as a child and has had great influence on his work philosophy:

“From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.”

And some of his more recent work published in ‘A Floating World’ that collates themes, ideas, histories and memories, which have informed and influenced him to form a ‘delicate and fragile’ work.




Our passion for typography was the inspiration behind Trésor’s forthcoming collection of monogrammed luxury linen. We are currently preparing to launch the products on Trésor Shop soon.

The campaign was art directed by Bettina Szabo-Shaw and shot at an inspiring location in London with the talented team of: Melina Michael, photographer and Claire Morgan, interior stylist. Here are some behind-the-scenes images from our recent photo shoot.

Words and fashion are like two peas in a pod – acres of blogs and magazine articles dedicated to decoding the will of designers, seeking to read between the lines and discover the garment’s hidden agenda. This season fashion is returning the favour as the alphabet appears to provide inspiration to some of fashion’s biggest names and a whole trend is dedicated to typography.

Mary Katranzou pays homage to the crimson curves of the Olivetti Lettera 35 typewriter and in another dress she incorporates what looks like the keypad of an old fashioned mobile phone into her digitally printed garments. This dress is also featured in the November 2012 issue of British Vogue in an article dedicated to that glorious, very British past time – the car boot sale.


A more playful take on the trend appears in the Stella McCartney’s Autum 2012 Resort Collection, which includes elaborate calligraphy and crested initials creating a fusion of clean, modern cuts with classic country manor heritage fonts.

Versace’s heavily religous iconography plays tribute to Gianni Versace’s gothic themed final collection and features biblical block capitals as well as Byzantine crosses appearing on dresses and bags.

But it’s not just the catwalk that adopts the written word and typography – watch this space as Trésor prepares to launch a new collection on Trésor Shop !

Trésor have been looking at packaging in response to a recent creative brief. We found these rather inspirational.

The coated paper bag by Jil Sander for the Fall 2012 menswear collection – with stitched seams on each side, two gold-coloured metal eyelets and a stamped logo at its base. It is a take on the brown paper lunch bag and it costs $290 and it is therefore an interesting juxtaposition of the throw-away and the keepsake. The bag is named ‘Vasari’, which, with its ‘long rectangular silhouette’ perhaps alludes to the the painter and architect Giorgio Vasari or the ‘Vasari Corridor’ connecting two Palazzos in Florence – the Palazzo Vecchio to the Palazzo Pitti.

The image below featuring Chanel packaging is from a Tim Walker shoot for the April 2012 issue of American Vogue shot with Kate Moss at the Ritz Hotel in Paris, just before it closed for refurbishement. The Chanel brand stands for understated elegance, the use of black and white, straight lines, and rectangular designs represent purity. When a customer opens up a Chanel box, they see the product right away so they can experience it immediately.

© Vogue

Louis Vuitton released a small ready-to-wear collection in collaboration with Yayoi Kusama in July 2012 and now they’ve extended the collaboration to a concept store in London’s Selfridges accompanied by 24 window displays. This collaboration is arguably Louis Vuitton’s smartest artistic coup to date as the vast undulating polka dot fields seem to translate so well to textile and pattern design and to Louis Vuitton’s creative thinking fusing fashion and art.

Kusama calls her work “infinity nets” and sees the dots as the form of the sun, which in her words ‘is the symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing.’ As well as references to nature the colour pop of vibrant hues also hark back to childhood exuberance and cheerfulness.