BELLAS ARTES

Lavishly documenting men’s and women’s collections and featuring Owens’s continuing collaboration with the photographer Danielle Levitt, this book is an unabashed love letter to one of the most devoted followings in contemporary fashion. Picking up where Rizzoli’s previous monograph on Owens’s work left off, looks from his critically lauded homage to the rock-and-roll designer Larry Legaspi set a frenzied visual pace that never lets up—right through the pandemic, when Owens memorably staged shows on the Lido di Venezia. Here, the continued evolution of nearly three decades of Owens’s “grunge-meets-glamour” worldview is seen close up. Grace and grit are paired with an obsession with structural transformation and movement, where diaphanous, flowing shapes contrast with sharp objects. This formal invention is matched by a mania for new and exotic materials. The use of translucent bovine leathers, brightly dyed snakeskin, and the hide of the pirarucu, a massive Amazonian fish, are applied to old and new icons of the brand. Color is now firmly part of the Owens legendarium, and a profligacy of pink, orange, blue, green, and iridescent hues now vie with trademark black, oxblood, and dust that have been part of the palette since the inception of the brand.

In spaces that forgo easy categorization of traditional or contemporary, Hallberg uses art and objects from every genre and era—eighteenth-century gilt consoles, African baskets, selenite-slab tables—in a seductive interpretation of modernity that embodies the multifaceted, multicultural way we live today. Wrought by a native Californian with the heart of a classicist, these rooms reserve space for sunlight, foliage, and the sound of trickling water, which make the exalted approachable and revere the perfectly imperfect. Hallberg incorporates the finest natural and artisanal materials—reclaimed wood, hand-troweled plaster, marble, limestone, crisp linen, and sumptuous wool—but understands that the greatest luxury of all is comfort. This volume chronicles the instinctual process of a designer who eschews hard-and-fast rules for the wonder of breaking them, who leaves no stone unturned in his uncompromising search for beauty, and whose lifelong pursuit of the magical, ineffable, and gorgeous has yielded an incomparable oeuvre.

Best known for UNESCO’s Cop22 in Marrakech and the French Embassy extension in Vienna, as well as his daring “guerrilla architecture,” such as Bow-House made from scaffolding and repurposed doors and windows in Holland, architect, urbanist, author, and former graffiti artist Stéphane Malka is at the forefront of the architectural avant-garde. Malka’s work blends art and architecture from a humanist perspective informed by the designer’s intention to create work that is positive and sustainable. His practice, based in Paris and in Los Angeles, realizes homes, offices, art installations, and stage designs with the idea that we ought always to rethink our typical notions and challenge established conventions. This results in surprising places where there is an intermingling of dreams and pragmatism, the baroque and minimalism, ecology and sophistication.