Saturday 1 August 2020

Saskia Diez adds chains to face masks to make them feel "more like wearing an accessory"

Chained masks by German jewellery designer Saskia Diez

German jewellery designer Saskia Diez has created face masks with detachable chains plated in silver and gold.

Diez told Dezeen she hoped the design would make the devices, which have become mandatory in many situations due to the coronavirus pandemic, feel "less medical".

"It feels more like wearing an accessory than something you're being forced to wear," she told Dezeen.

The Munich-based designer produced the first batch of lightweight cotton masks with 50-centimetre-long metal or nylon chains that allow them to be worn like a necklace for her store in April, before publicising the products on her website and Instagram account in May.

Chained masks by German jewellery designer Saskia Diez

However, with designers rushing to put their own spin on face masks, covers with chain-link attachments have proved controversial. In an Instagram post by fashion watchdog Diet Prada, clothing seller We Wore What was called out for allegedly copying the design from fellow New York brand Second Wind.

After By Second Wind had launched its own chained masks in June, We Wore What direct messaged the brand asking for a mask, only to launch chained masks with a very similar design soon after being gifted it in July.

Diez believes she was the first to launch chained masks in April this year, but sees the addition of chains to face masks as a natural progression from the chains used to hold reading glasses.

Chained masks by German jewellery designer Saskia Diez

"The date I made them and launched them was clearly before these two brands, and I did not see anyone else doing any at that time either," said Diez.

"Maybe Second Wind had seen my work, but maybe she did not. But, actually, I think making masks that you can hang around your neck was a natural thing to do, especially with the hype of the glasses chains in the last years," she continued.

Chained masks by German jewellery designer Saskia Diez

Diez told Dezeen that the idea started off as her sewing some simple face masks out of old shirts for herself and her children at the beginning of March in the wake of the pandemic.

"Everybody always forgot to take it or left them somewhere," she explained. "And a friend of mine said, wouldn't it be great to have a chain like the glasses chain we had in the collection."

"So I did a few, bought fabric and got masks sewn by a tailor for our store in Munich. We sold out immediately, so we did more, I posted a picture [on Instagram] and from that day onwards we were inundated with orders."

Chained masks by German jewellery designer Saskia Diez

To keep the production price low at the start, the designer initially bought leftover brass chains from her brand's various suppliers. Since then, she now has three tailors sewing the masks, which are prepared in different workshops.

The detachable chains, which are plated in gunmetal, silver or gold, allow the wearer to hang the mask around their neck when not in use.

"I have one around my neck all the time and I have gotten very used to it," she said. "I have a black one with a dark chain when I am wearing black, a taupe one with a golden chain when I wear colour or neutrals, and a white one with a silver chain when I wear white or blue or grey."

Another practical yet fashion-forward masks was an expandable face covering made from washable fabric made from recycled plastic bottles by wearable technology company Petit Pli.

Artist Danielle Baskin also set up a company, called Resting Risk Face, that will print user's faces on N95 masks so they can use facial recognition technology while wearing them.

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Tote Around Exactly One Watermelon in This Elegant, Leather Bag

All images © Tsuchiya Kaban

Say goodbye to the days of fumbling an unwieldy melon while trying to carry in groceries. Japanese designer Tsuchiya Kaban’s latest leather bag provides an elegant, luxury vessel tote around your fruit. Holding exactly one, round watermelon, the carrier was crafted by Yusuke Kadoi as part of a project titled The Fun of Carrying, which encouraged designers to create playful, inventive items as side projects. Watch the video below to see Kadoi’s process and how simply he secures a watermelon inside. (via Spoon & Tamago)

 



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Motiv Architects experiments with cross-laminated timber for Vancouver garage

Eton Accessory building by Motiv Architects

Vancouver practice Motiv Architects has built a garage from cross-laminated timber as an experiment of working with the material on a small scale.

Called Eton Accessory Building, the garage is a 330-square-foot (30-square-metre) gabled structure on an alleyway in Vancouver. It is connected via a garden to the main residence that is on a separate street – a programme common in the city.

Eton Accessory building by Motiv Architects

Motiv Architects created the project to house the owner's restored vintage Mustang and to serve as a workshop for them to manage their industrial bag and belt fabrication company.

The studio built the garage with a prefabricated design using cross-laminated timber (CLT) because it wanted to learn how to use the engineered-wood building material.

Eton Accessory building by Motiv Architects

"This 100-per-cent wood structure is a testament that no project is too small for prefabrication, its design born out of a strong desire to work with cross-laminated timber – to better understand its properties as well as the efficiencies of its assembly on a project of a very small scale," Motiv Architects said.

Eton Accessory building by Motiv Architects

CLT, which is made from layers of timber glued together, provided a way to build quickly and easily, as the site was rather inaccessible and surrounded by other garages and houses.

"The site presented a number of challenges – accessed from a narrow alley with an overhead powerline, limited lay-down area and adjacent structures," Motiv Architects added.

Eton Accessory building by Motiv Architects

It took under two days to build Eton Accessory Building and it was constructed with a crane known as Hydrauliska Industri AB (HIAB). Black vertical boards and battens of native Western Red Cedar siding clad the exterior for insulation.

"Designed as a kit of parts, the structure is entirely made of three-ply CLT with large cedar framed openings at both ends," said the studio. "Cut into its component parts by hand as 14 pieces and trucked to Vancouver, the CLT was erected from a HIAB in one-and-a-half days – snapping together like a puzzle."

Eton Accessory building by Motiv Architects

Efforts to maximize the CLT panel size and sturdiness included incorporating a mezzanine inside and adding built-in gutters outside to stiffen the structure.

Inside, the CLT is left exposed to showcase the warmth of the spruce. Four skylights are even placed across the ceiling and align with vertical windows around the exterior. A long window above the desk in the rear also overlooks the garden.

Eton Accessory building by Motiv Architects

The exterior has an onyx finish for contrast and blends with the dark standing seam metal roof.

"A glowing contrast of interior and exterior is created," the studio added. "Neighbours come by to see what the latest project is and to admire the woodiness of it all… a gem in the neighbourhood."

In addition to this garage, another project built on a laneway in Vancouver is Laneway House by Campos Studio, but instead of being for cars, it has a bedroom for a growing family.

Eton Accessory building by Motiv Architects

Motiv Architects is led by architects Asher DeGroot and Tracey Mactavish. The studio has also built Swallowfield Barn for DeGroot's family farm in British Columbia.

Photography is by Jean-Philippe Delage.


Project credits:

Lead architect: Tracey Mactavish
Engineering: Aspect Structural Engineers
Collaborators: Nicola Logworks, Structurlam

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Burnt-red tiles and hessian feature inside Dough Pizza restaurant in Perth

Dough Pizza restaurant by Ohlo Studio

Interior design firm Ohlo Studio used materials that evoke the "rustic sophistication" of Italy to create the interiors of Dough Pizza restaurant in Perth.

Dough Pizza takes over a unit of Westfield Whitford City shopping centre which lies just north of central Perth.

Dough Pizza restaurant by Ohlo Studio

Locally based Ohlo Studio was tasked with designing the interiors and set out to create an aesthetic that, like the restaurant's name, is "timeless and no-fuss".

The studio also wanted the space to texturally reflect Italy and the country's "rustic sophistication".

"It needed to evoke a distinct atmosphere and personality reinforcing the cultural heritage behind the food," explained the studio.

Dough Pizza restaurant by Ohlo Studio

On one side of the restaurant, burnt-red tiles have been used to line the lower half of the wall.

Just in front lies a seating banquette upholstered in taupe-coloured fabric, accompanied by wooden tables and white wicker dining chairs. Slim disc-like pendant lights have been suspended from the ceiling directly overhead.

The same red tiles clad the central bar counter. It's surrounded by wooden fold-out high chairs, where customers can sit and eat within view of the open kitchen or grab a quick drink.

Dough Pizza restaurant by Ohlo Studio

A wall on the opposite side of the restaurant has been completely lined in hessian, which extends down to cover a chunky plinth that runs in front.

The plinth serves as a base for a series of tobacco-hued cushioned seats that can be easily pushed together or apart to suit different-sized groups of diners.

Dough Pizza restaurant by Ohlo Studio

Homely decor elements such as ceramic vases, potted plants and tiny lamps have been dotted throughout to evoke the same feel as a "neighbourhood Italian espresso bar".

Large photographic prints that capture scenes from sun-drenched Italian beaches have also been mounted on the walls.

In a bid to contrast the commercial setting of the shopping centre, the studio has applied the same selection of warm materials used inside the restaurant to its exterior.

"The tiled bar puncturing the facade also activates the boundary and creates a playful entry," added the studio.

Dough Pizza restaurant by Ohlo Studio

Ohlo Studio was founded by interior architect Jen Lowe and is based in Perth's South Fremantle suburb.

The studio's Dough Pizza project is one of several trendy Italian eateries across Australia. Others include Glorietta by Alexander & Co, which features wooden furnishings and a caged rattan ceiling.

There's also Pentolina by Biasol, which has worn concrete walls and pink-marble fixtures to emulate the materiality of Ancient Rome.

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Four chocolate trademark battles that were decided in court

KitKat trademark case

Ritter Sport's recent court victory over Milka is the latest in a series of long-running legal battles to trademark the design of chocolate bars. Here we round up four of the tastiest disputes.


EU gives two fingers to Kit-Kat's four finger design

KitKat vs Kvikk Lunsj

KitKat's tearable, four-stick design in the UK was the focus of an almost two-decade-long legal battle between Swiss company Nestlé and Cadbury, which is owned by American confectionary giant Mondelez.

Nestle, which owns the KitKat brand, had been arguing the case against the owners of rival Norwegian four-fingered chocolate bar Kvikk Lunsj since it filed a registration with the European Intellectual Property Office in 2002. This was appealed by Cadbury and a back and forth legal case began in 2007.

European Union General Court ruling from late 2016 found that that the bar had acquired "distinctive character through use" in the UK, but this was over-ruled by the UK Court of Appeal in 2017.

This decision was confirmed by the European Court of Justice in Luxembourg in 2018, which deemed that the shape of the chocolate bar was not distinctive enough to amount to a European-wide trademark. Country specific trademarks for KitKat still exist in some European countries including Germany and Italy.

Originally called Rowntree's chocolate crisp, the first KitKat was produced in 1935, while Kvikk Lunsj came to the market in 1937.


Four chocolate trademark battles that were decided in court

Cadbury vs Nestlé 

Nestlé and Cadbury also entered into another long-running battle over the colour purple. Cadbury trademarked the "predominant" use of its signature Pantone 2685C purple, which it had been using for over 100 years, for "chocolate in bar or tablet form" in 1995.

However, when it attempted to expand this trademark to cover its other products in 2004 it was challenged by Nestlé with the case ending up in the court system for several years.

Cadbury appeared to have won the legal battle with a UK High Court ruling in its favour in 2012. However, this was overturned at appeal in Court of Appeal in 2013 as trademarking a colour was considered too broad.

In 2018, Cadbury unsuccessfully attempted to update the wording of its original trademark for chocolate bars, which it finally dropped in 2019.


Four chocolate trademark battles that were decided in court
Image courtesy of Alaina Terwilliger via Pixabay

Ritter Sport vs Milka

Mondelēz-owned brand Milka challenged Ritter Sport's monopoly on selling square chocolate bars in Germany.

The result of a 10-year legal battle saw Ritter Sport come out victorious. The back-and-forth dispute began in 2010 after Milka was challenged by Ritter Sport for selling a quadratic chocolate bar.

The Mondelēz-owned brand was initially successful in winning the rights to also sell square bars in 2016, but this was dismissed in 2017.

The case was closed when Germany's highest court upheld this decision earlier this year, declaring that the square chocolate configuration was the sole property of Ritter Sport.


Four chocolate trademark battles that were decided in court

Poundland vs Toblerone

Mondelez found itself on the winning side of this legal battle UK discount retailer Poundland over Toblerone.

Poundland made a challenge to the trademark of Mondelez-owned Toberlone in 2017 when it was set to release a similarly shaped chocolate bar called Twin Peaks.

Poundland claimed its chocolate bar's Poundland form was taken from the shape of Wrekin Hill in Shropshire, unlike the Toberlone, which has a pyramidal shape said to be a version of the Alps' iconic Matterhorn.

When the case was taken to court, Poundland argued that a savings-driven redesign of the Toblerone bar that had larger gaps between the chocolate pyramids had diluted the trademark.

Eventually, Poundland entered into negotiations with Mondelez and released a modified bar with asymmetrically arranged sloped hills instead of peaked mountains.

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