LWE:大约18年前我们彼此遇到农贸市场。我刚刚从工作过,我的第一个孩子的时候,您的第一个突破。莫妮卡说:“我有个主意,我可以打电话给你吗?”And she called.
莫妮卡Zwirner:当时时尚非常logo-crazy。我从来没有一个标志的人。我更感兴趣的是简单,实用的东西不是很贵。有几个欧洲尼龙公司仍然存在,但没有人很实用。我觉得有一个美国设计师或公司地址空间。最初我们用过胶尼龙nylon-this非常基本的织物,孩子的背包是由最高纪录我们配对用昂贵的意大利皮革。每次我们告诉人们我们在做什么,他们会说,“嗯,真是傻,你为什么要把这样一个昂贵的材料,这种廉价的布料?它没有任何意义。你在浪费你的钱。”We would say "Well, the whole idea is to have something high-low." It’s incredibly fun and practical at the same time.
MZ:露西跑零售商店,所以我们开了一个商店。事后看来,这是很棒的因为我们可以满足消费者。人们会说,“我们像这样;我们不喜欢这个。”We had a lot of top-handle totes in the beginning, which look great—every bag looks good with a top handle—but they’re not functional. In fact, when you’re working or running around, you need a shoulder bag. I think the company from the beginning was listening to what women were looking for. We’re designing products for intelligent, busy women. There are a lot of great-looking bags—but does it work? It’s this concept of lifestyle-meets-design.
格伦利贡手提包在哈莱姆的工作室博物馆中获益。
广告:你在什么时候开始做这些合作?谁是第一个外部人才联手呢?
MZ:大卫(Zwirner,画廊主和莫妮卡的丈夫)做了一个慈善拍卖在海地地震后,我们觉得我们也想做点什么。我们设计了一个很简单的大手提袋,压花雷蒙德Pettibon“海地艺术家”的标志。这是第一个,然后他们真的出售。我们每个月写检查艺术家为海地想“哇,这太棒了。”But the first one where we really started from scratch was for the Studio Museum in Harlem. I’ve known Thelma [Golden, the museum's director and chief curator] for a really long time and love what she’s doing. She introduced us to Glenn Ligon.
MZ:最初,我们想要做些与玛德琳(普利兹克主任Grynsztejn当代艺术博物馆,芝加哥)在芝加哥的博物馆。他们在他们的50周年。当然,我们想芝加哥因为克里有这个神奇的表演,“Mastry”,我听见他说几次在他的机会。我们说,“嘿,这工作与工作室博物馆之前,也许我们可以做一些和它可以去教育。”She said, "Sure, absolutely." They were thrilled, but it took a while. She mentioned Kerry and I said, "Well he’s so busy, we don’t want to bother him," so we talked about other artists. In the end, she actually approached him—he has a very rigorous studio practice. She emailed one day and said, "I have an idea—the museum owns this painting [无题(画家)]。你想工作吗?”That’s when it came around. She approached Kerry and asked permission. It wasn’t an original artwork [created for the brand]. But it wasn’t with Glenn, either.
广告:他最终最终设计的思维吗?
MZ:我们叫他四个不同的印刷。我们必须忠于的颜色。我们想要的细节。当然,绗缝混乱起来。我们有点紧张,他会说,“嘿,等一下,你不能被我的画。”But he was an absolute gem in all of it. There was this one detail that he was really excited about—people know his figurative work more than his abstract work, but he has been working on these Rorschach paintings, and as we started to play with the image and the design I said, 'I hate bags with one side, it’s sort of tacky.' So we took the image and mirrored it. What happened was it turned into a Rorschach on one side. He said, "This is so great; something new happened out of a work that is older."
