Upon the event that you’ve ever been lucky enough to communicate with our customer service team…this is who is on the other end:

“The adventures of two women and one man
working together in one department.”

Since quality customer service is so important to us, these guys are very important to us. Luckily, we’ve got a great tight group with amazing karate chopping (aka customer service) skills.

We’ve shared a number of staff profiles in the past but there has been a major lapse in updating our team info. Now’s as good a time as any to get this going again and who better to start with than the Three’s Company (i.e. customer service) team. First up: Melissa!

Where are you from? Where do you live now? I am from the East Bay. I lived there forever until I decided to make a very ambitious trek across the bridge to San Francisco where I live now.

How did you get interested in design? I used to think design was frivolous and elitist and just didn’t think much about it until I interned for a magazine that featured new design products. I also had some friends that went to CCA for Design and that got me interested in the art. Now I see that design is an essential part of life because everything man made has to be designed by someone. Mostly, I admire the possibilities of combining art and functionality.

What’s your favorite DP product and why? I really like Thomas Paul’s Retro-looking Imperial Horse Linen Pillow and Apollo Head series. He has a definite sensibility for Retro-Victorian (don’t know if that’s an actual style, but in my book it counts).

What do you like most about our company? Why do you work here? I work here mostly because the staff is great. I love my co-workers and although the work here can be challenging I like the challenge. I like that we’re free-form and that there are many possibilities here if you make them happen. Also, I enjoy learning about design because you learn a great deal about people and lifestyle.

If you weren’t doing this what would you do? Probably Live in New York and write music reviews and starve.

What do you do in your spare time? I sing and play music.

Favorite member of the A-Team? The Oakland A’s? ha ha, don’t really know of the A-Team, I only know of Mister T and don’t think I quite get it, but I do like his fashion sense.

Thanks, Melissa!

We are currently looking to add a few new bloggers. Possible areas of focus include technology, fashion, and an all-around new/events/happenings/exhibitions/”what’s going on”-type reporter. If you would like to be considered for one of these positions with Design Milk, please email us at info@design-milk.com with subject “Contributing Blogger” and include:

1. A summary of your blogging or writing experience
2. What you believe you can bring to Design Milk
3. Link(s) to any articles, blogs, or other related websites to which you have contributed

Submissions without the above items will not be considered. We prefer that you have an art and/or design background or at least are passionate about this subject. Journalism or blogging experience is a plus. We want bloggers who are committed, passionate, and creative. For example, we love bloggers who will offer more than just a post here and there - we want ideas and feedback on how we can make DM better for our readers.

Bloggers are expected to write 1-3 posts per week, but it is preferred that they contribute more often. Communication and creativity are key to being a DM blogger. Please note that currently this is an unpaid position, but we’re growing fast and things can always change.

We’re always looking for one-off guest posts on any topic related to art & design. If you are interested in writing a guest post, please email us at info@design-milk.com with subject “Guest Post”. In your email, please explain what type of post you would like to write and link to any example posts or sites to which you have contributed. This is a great way to get exposure.

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There is one design legend who I fear is slipping into obscurity, and it would be a dreadful shame if that happened. That person is the late Sybil Connolly. If some of you are not familiar with her name, I'm sure you would recognize her work.

Born in Wales to Irish/British parents, Connolly began her career as a clothing designer, first in London and later setting up shop in Dublin. Proud of her Irish heritage, Connolly worked tirelessly to promote the native crafts of Ireland. Many of Connolly's clothing designs incorporated tweeds, woolens, and most notably Irish linen. In fact, Connolly garnered praise and notoriety for her pleated linen dresses. The handkerchief linen was so fine that it took nine yards of linen to make 1 yard of pleated material. Much adored in Ireland, Connolly also developed a devoted fan base here in the States with Jacqueline Kennedy, Rockefellers, and Duponts becoming clients. (You might recognize the official portrait of Kennedy below in which she is wearing a Sybil Connolly design.)

As the swinging Sixties and early 1970s rolled around, Connolly's designs fell out of favor with the liberated woman. Refusing to capitulate to the latest trends, Connolly once said "There comes a time in everyone's life as a designer when you have to decide whether you want to create the beautiful or the merely fashionable. Sadly, there can be a conflict between the two." With her glory days of fashion design waning, Connolly ventured into designs for the home. And this, to me, is the work that is most striking.

Connolly designed collections of textiles for Brunschwig & Fils and F. Schumacher as well as tabletop items for Tiffany & Co. Ever the champion of Irish handiwork, Connolly incorporated Irish motifs- flowers, basketweave, and the like- into most of her creations. In fact, I'm sure many of you recognize Tiffany's classic Tiffany Weave China which was designed by Miss Connolly.

But her greatest work of all had to have been her beautiful home on Merrion Square in Dublin (in my opinion, one of the most charming areas in all of Dublin). With the ground floor dedicated to her design business, Connolly's private quarters were comprised of the upper floors as well as a mews house. Her home reflected her style, her elegance, and her passion for the best that Ireland had to offer. Connolly once remarked: "Perfection is not human and we shouldn't pretend that it is. The ideal house should look lived in, as if somebody reads the books on the shelves." This sentiment is one with which I agree wholeheartedly and one which I have tried to convey on this blog, although not as eloquently as Miss Connolly.

Back in the mid-1990s, I had the opportunity to hear Sybil Connolly speak while I was employed with Tiffany & Co. Unfortunately, a fellow employee fainted and Connolly's talk was cut short. It was something that I always regretted, especially as Connolly died a few years later. But, I suppose I can take consolation with photos of her work. As you can see, she had a varied, productive, and fruitful career, and it is one which deserves some posthumous attention.

(An aside: when I was researching this post, I came across a New York Times article from October 1980 announcing a buffet dance at the downtown Rich's department store here in Atlanta. The dance was a benefit cook-off for the March of Dimes. And...Sybil Connolly cooked a marinated lamb, Robin Roberts of Clarence House made deviled chicken breasts, and Mary Jane Pool prepared an avocado salad called riboon. Now that was a stellar event! Had I been older and known who these people were at the time, I would have paid my $100 to attend.)


The Mews House's cheery yellow Living Room. The plaster shells on the cornice were duplicated from some real shells that she purchased in California with Tony Duquette.


The Living Room in the main house. The curtains were made of an Irish floral fabric.


Connolly's bedroom which was inspired by her antique Angoulême porcelain. Connolly found the Angoulême patterned wallpaper in London, and she then had the Irish textile industry copy the same print onto linen. Nancy Lancaster was so taken with the charming green and white bedroom that she asked Connolly if she could copy it.


A table set for tea in Connolly's garden


The dining room of the Mews House. Connolly's collection of blue and white Irish delftware grace the walls. It also looks as though the panelling on the walls was actually painted on in shades of blue.


The dining room of the main house. The wallpaper's floral print is fuschia, which grows wild in Ireland.


A blue and white toile that Connolly designed for Brunschwig & Fils (Image courtesy of The Hunt Museum)


"Tipperary" wallpaper designed by Connolly for Brunschwig. Do you think this looks like the Angoulême print in her bedroom?


A glazed chintz pattern, "Lily of Galtee", designed for Brunschwig (image from The Hunt Museum)


Tiffany Weave china, designed by Sybil Connolly



The late, great, and discontinued china pattern known as "Mrs. Delany's Flowers". Designed for Tiffany & Co. by Connolly, the floral pattern was inspired by amazing collages created by Mary Delany in the 18th century. Delany was admired throughout England and Ireland for her charm, intellect, and artistic skills. She used thousands of pieces of colored paper to create collages of flowers.


A paper collage by Mary Delany, c. 1777. Delany's collages inspired "Mrs. Delany's Flowers". (Collection of the British Museum)


One of Connolly's famed pleated linen dresses (photo courtesy of The Hunt Museum).


Jacqueline Kennedy's White House portrait, painted by Aaron Shickler, features Kennedy wearing a Sybil Connolly gown. (Image courtesy of The White House Historical Association)

He took the bandage dress and pushed forward. Aside from the iconic cinched mini, this season brought forth innovative fabrics, geometric color blocking and leather. A beaded one-shoulder minidress glistened on the runway.

Jack and Lazaro took their collection to new heights-outer space, to be exact. Jumpsuits in tech fibers, belted or beaded, drew adoring stares. "They were the best jumpsuits I've ever seen," raved Allure's Linda Wells. "These guys really are the next generation of style setters."

"I was inspired by a new dawn-the sun rising and the woman awakening," cooed the sultry Catherine Malandrino, who now has 10 years and 9 stores under her belt.

We saw fitted skirt suits, printed dresses, and light and airy trousers in metallics, cobalt, scarlet, and taupe. Statement accessories were also in the mix-ballet flats, sculpted wooden wedges, corset belts and an array of chunky necklaces.

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“Hillary Clinton’s biggest criticism is how harsh she is,� said Mary Lou Andre, president of Organization by Design Inc., a professional image consulting firm in Needham. “I think by wearing certain feminine colors, she will connect with voters. I think the public knows she can do the job. It’s her likability that’s the issue.�(source)

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Thanks to Margot for my questions to Alexis Stewart and Jennifer Koppelman Hutt of Whatever Martha!. These email “interviews” are always a little awkward and lose the flow, but I think it’s still worth sharing. For example,I really wanted to ask them if they had been Beavis and Butthead fans, because a lot of the times their shows sound like “heh-heh, heh-heh, she said ‘balls…’” but I felt like that might come across as disrespectful, when really I had been a a huge B&B fan back in the day and meant it as sort of a compliment. But whatever, here’s the interview:

How did you two meet? When did you know that the kinds of conversations you have would be perfect for your Whatever radio show?

AS: We met in the hallway at Martha Stewart Living Omnimedia and soon started ordering lunch together. We knew the radio show would work when we couldn’t get people to stop listening to our conversations.

JKH: We met while I was working for my dad at MSLO and Alexis was filming The Apprentice: Martha Stewart. (As for the radio show) I still don’t know!

Alexis, at what point in your life did you find yourself able to laugh at some of your mother’s projects? She seems to be a good sport about it! Is she really laughing with you?

AS: I have always laughed (OK, sometimes cried) at some of my mother’s projects! She doesn’t mind!

How do each of you pronounce “herb” -  with a silent “h,” or do you  pronounce it like “Herb” Tarlick of “WKRP in Cincinnati?”

AS: I pronounce it with a silent “h�, although to my horror, I have found myself slipping and occasionally Jennifer has caught me saying herb with an audible H! Ugh!!

JKH: I pronounce it with a silent “h.”

Have you seen any photos of Peanut Butter lately? I wonder what he’s up to. I was also wondering if any of his face-painting victims sued, or still have nightmares.

AS: WWW.PEANUTBUTTERPEANUTBUTTER.COM

Ironically, I watched your show right after watching “The Rachel Zoe Project” and found myself wondering if Martha had a stylist during these early socks with loafers and shorts days. She wore more denim shirts than Said on “Oz.” Does she have a stylist today?

AS: No, of course she had no stylist – she definitely thought her outfits were beside the point. I don’t know what to say about the denim shirts, but lots of people copied her and they were in fashion at the time. Today, I think she has someone buy stuff for her TV show because she hates shopping for clothes.

Do you do any DIY projects at home now? What kinds of Martha-esque projects do you enjoy? Which ones will you never ever do?

AS: I don’t craft much, but occasionally I will try something, try to get it right and then give it up forever when I can’t! But I do clean my house myself and I cook a lot (check out our blogs at www.whateverradio.com).

Have you two picked out one Martha segment that stands out as the most hilarious one you’ve ever seen? Do you agree on which one that would be? Do tell!

AS: So many of them are funny and we did so many, that I really can’t remember which were the best.

JKH: Recently on her daytime show, Martha sampled hot dogs with Kevin Sharkey. It was FANTASTIC and really funny.

Thanks to Alexis and Jennifer for taking the time to answer my questions. You can catch Whatever Martha! on The Fine Living Network.

images from FLN.com

Black Honey.MGX, designed by Arik Levy, made by Stereolithography, is inspired by the honeycomb.

Heatherwick Studio was commissioned to design a café building to replace a seafront kiosk in Littlehampton, a traditional seaside town on England's south coast. Exposed to weather and vandalism, the narrow site sits between the sea and a parade of houses.

The era of "left brain" dominance, and the Information Age that it engendered, are giving way to a new world in which "right brain" qualities-inventiveness, empathy, meaning-predominate.

Valentino has always been one of my favorite designers. To me, he is one of only a few designers who creates pretty clothing. And no, pretty is not a dirty word. Oh sure there are those fashion mavens who prefer clothing that is esoteric, architectural, conceptual, and the like. And yes, sometimes that clothing can be interesting to look at. But at the end of the day, don't women want to look beautiful and feminine?

I always felt that Valentino put his clients first; he seemed to intuitively understand how to make them look their best. His color palette was sure to make a woman look vibrant and alive: that sizzling Valentino red; pinks and corals; ice blue; black. There were dressmaker details- rosettes, pleats, and embroidery- that took a dress from being merely a dress to an exquisite piece of art. And never was the female figure obscured by extraneous bits and pieces.

I was excited to get a sneak peek at the new Rizzoli publication Valentino: Themes and Variations by Pamela Golbin (Rizzoli; publication date September 9, 2008). The designer, who took his final runway bow earlier this year, is certainly deserving of this lavish treatment of his work and his career. First, the photos are stunning- but with those beautiful dresses and ensembles, how could they not be? The book has minimal text, which is entirely appropriate as the clothing speaks for itself. (For those of you who are not entirely familiar with Valentino, there is an interesting biography provided.) I also thought the designer's work was organized in a very clever way, with pieces being featured in chapters entitled "Themes" (Ornamentation; Technique) and "Variations" (Line; Volume).

What struck me is how many of his designs from the 1950s and 60s look so current, proving that classic, feminine design never goes out of style. I also loved the vintage photos and advertisements which showed Valentino's designs through the years. How fun to see the progression from the swinging 60s to the exotic vibe of the 1970s, the exuberance of the 1980s (I don't care what anyone says- it was a great era for fashion!) to the minimalist 90s.

So why should we devotees of interior design discuss a fashion designer? Because, we have much to learn from the likes of Valentino. At the end of the day, it's about details, craftsmanship, and timeless design. Had Valentino's career been marked by tricks and trends, I don't think he would have survived in the fickle world of fashion for as long as he did. As Valentino said: "I think a couturier must establish his style and stick to it. The mistake of many couturiers is that they try to change their line with every collection. I change a little each time, but never too much, so as not to lose my identity." Perhaps this sentiment might apply to interior design too?

(Just to prove that Valentino's style is not limited to his couture creations, I'll post some images from his London home tomorrow.)

Now, for the important part.... the clothes!


Behind the scenes preparation for Valentino's last collection, January 2008 Paris.


Satin evening gowns with a delft print from Valentino's Fall/Winter 1968 collection. (Photographer was Henry Clarke)


Left: Giraffe print ensemble from Spring/Summer 1966; at right Fall/Winter 1967.


This dress, "Fiesta", was from Valentino's 1959 collection. I'd jump at the chance to wear this dress today- minus the gloves, though.


This orange silk jacket and trousers were designed in 1969. It still looks rather glamorous almost forty years later.


Look at the amazing detail and workmanship of this dress' bodice. Woven silk voile and iridescent sequins in a polychrome marble mosaic motif (Fall/Winter 1990)


You see, the love of coral has been around for a long time. This silk serge gown with handpainted coral motif is from the Spring/Summer 1968 collection. (Photographer Ruven Afanador)


OK, so the dresses and the hair circa 1968 look a tad dated. But that interior certainly doesn't. I also think Marisa Berenson looks fantastic in this photo. (Photographer Henry Clarke)


An ad campaign from Fall/Winter 2007. While Valentino's clothes certainly don't need any help from the model's surroundings, it certainly enhances the dress, don't you think?


A young Valentino in his salon at 54 Via Gregoriana, Rome . This photo makes me want a studio just like this... perhaps the Peak of Chic salon of blog writing?


Valentino surrounded by his models in the courtyard of the Palazzo Mignanelli (where Valentino's fashion house resides), c. 2000. Note the models are dressed in his signature shade of Valentino red.

(All images from Valentino: Themes and Variations by Pamela Golbin. Rizzoli publisher.)