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Oct 2009 / № 1240

I am using this post as an introduction to the Nooka line and some of the early models that got it all started. It began not as a watch company, but as a design studio that had a new way of telling time, it just happened to work out that watches became a natural direction to take.


Nooka C-Series

The C-Series was the first Nooka watch to see production. After perfecting the interface, which would later become synonymous with Nooka and its products, I was posed with the problem of creating a simple yet elegant way of presenting this new way of telling time. Framing the interface in a stainless steel case with a brushed steel face became the aesthetic of the first round of Nooka timepieces.


Nooka Zan

The Zan watch was the second design to be released, and remains the only analog piece that has seen production. The watch design is intentionally simple, telling time with two thin hands meant to blend into the mirror finish of the face.



Nooka V-Series

The V-Series was basically the second generation of the original C-Series. The biggest change was the addition of a mineral crystal lens instead of the brushed stainless face. I also expanded the line by adding two new face designs, the Zenh and Zenv, and new finishes: gold, mirror, black and white. It was a challenge to re-introduce the C-Series in a new light, with a fresh new design. Not only was the face and aesthetics updated, but alarm and chronograph functions were added to this series, creating a necessity for two additional buttons.



Nooka Zub 20 & 38

The Zub line was designed with a single-unit construction out of soft and flexible polyurethane rubber, using the same four displays from the V-Series. They were originally designed with flush buttons but due to manufacturing difficulties were released with exposed buttons. Later I was able to figure out a way to trim down the buttons as close to the body as possible, creating a nice sleek silhouette.




Posted by nooka Categorized: Design Fashion |

Oct 2009 / № 1198

John Chauvin, Stephen Visser, and union-man Joe Schiavone all worked on the 20+ member strong Visual Merchandising team at Filene’s downtown flagship store in the 80’s. I joined the men’s styling squad there while still in art school. Those guys taught me to rig a men’s bust-form. Pull the suit first, select the shirt to compliment the suit, and choose the tie (the item available in the widest variety) to link the two previous items together through color as well texture and luster.


I used to love the last moment of a rig. Sliding the tie-knot up under the collar spread. To get to that point you had to select the combination, spot-clean the bust-form, steam the suit three floors down in the alterations department, starch-iron the shirt and pin it to the form back in the studio. Joe Schiavone used over 30 pin positions on the shirt, but then again he was getting paid by the hour. That effort was only paid off at that last tie-sliding moment.

Years later at Timberland we obsessed about the idea of layering. When they team at Polo put a leather jacket under a wool duffle we were jealous of their inspiration. Within the extremely limited range of expressive motion in the world of rugged casual menswear, a move like that makes all the difference. I understand the concept of layering differently now. A mix of my rugged casual Timberland days, years in the men’s suit department at Filene’s and decades of unpaid people-watching which began when I was about 12.

For me now great expressive men’s style is about setting up the strata.


Strata isn’t a fashion term obviously. It comes from geology. Contrasting layers of color and/or textured material.



For me this way of looking at it clarifies layering’s real pay-off. These are the extremely compact zones of expression and styling attitude that are born of layering decisions but which deliver nearly limitless impact despite the restricted space in which they actually occur.


This way of looking at it also clarifies the legacy of Beau Brummel whose understanding of how to maximize the dramatic effect of an individual outfit’s strata zones always struck me as self-evident. For me it also explains how dandyism can be at once minimal as well as flamboyant. Flamboyance being compressed and enhanced by the pressure of menswear’s overriding minimalism and stylistic restraint such that it bursts through these small areas with even greater force. Like increasing the water pressure of a garden hose by holding your thumb over the nozzle, or pressurizing a lump of coal into a diamond.

A simple image-Google of the sartorial legend makes the point pretty clearly.


So today we continue to accept and even embrace the practical restraint of menswear silhouette as well as it’s more limited overall use of intense color, print, translucency, shine, movement and float. Attempts to break out of these restraints remain historical novelties while the traditional restrictions represent the immutable mens style norm.



And on the street you can see, or at least I fancy that I can see, the manipulation of mens strata yield endlessly diverse style attitudes. For the Beau it was a shirt, a brocade vest, a silk cravat, a jacket and frock coat. Today it might be Polo’s cleaver use of leather as a mid-layer or some kid’s impulse to layer three tee shirts over each other. Headphones replace neckwear and untucked undershirts and boxer-short waistbands replace waistcoats and watch-chains.


It really doesn’t matter what end of the menswear spectrum I’m looking at, when the strata’s been well managed it makes all the difference.


From the pages of Alice Cicolini’s The New English Dandy or the pages of August Sander’s Homme du XXe Siecle or the pages of any of Schiffer Publishing’s Military Uniform tomes, the effect can be easily researched. The dandy, the worker, the solider, and an infinite number of style tribes in-between set up the strata in their own way because the possibilities for utterly individual style are limitless despite its seemingly very limited physical parameters.



Considering the creation of personal style on these terms also reinforces for me what the wisest arbiters of individual taste have always said. It has absolutely nothing to to with money. Those ” …contrasting layers of color and/or textured material,” from the geology book gain even greater expressive momentum when their contrasts are spontaneous and eclectic and feature the hallmarks of both personal finesse and lighthearted experimentation. Menswear vintage, military surplus, heritage workwear, second-hand designer, and any other source are all within the rulebook. And it’s a sincere kick to try and break down how guys with great style are managing their strata and what highly nuanced cultural and sub-cultural signifiers they employ to pull their look together.




And it consider some of it’s historical DNA.



Posted by Liam Maher Categorized: KDU |

Oct 2009 / № 1144

Today as i was headed to do my daily gym routine, I had the fortune to run into one of downtowns local legends, Nathaniel Anthony Ayers. I have seen him around downtown a couple time but had never had the chance to listen to him fill the air with his amazing talent. I sat down on the steps of Pershing Square amongst 3-4 others, and enjoyed listening to this former Juilliard student. I must say it was the best 20 minutes i have spent all day. I hope that he choses to use the nickel (the nickname the homeless gave 5th st in the 50-60’s) as one of his frequent concert halls. I Love Los Angeles!

Posted by wearenotyou Categorized: Photography |

Oct 2009 / № 1141

Russian fashion bloggess Olga Bohan reveals a heap of cool and trendy Fashion Applications for your shiny metal… Apple.
Try them and be on top notch of catwalks, photosets, trends and brands, models, stores and events.

Posted by Arseny Vesnin Categorized: Fashion Tags: applications iphone |

Oct 2009 / № 1540

homage  to james dean:

Porsche 550 Spyder

“little bastard”


Posted by paul fronckowiak Categorized: KDU |

Oct 2009 / № 1075


I’m art directing Automatic eyes next album. Got lots of work to do including new logo, cd-covers, magazine ads, website, flyers, posters etc…

Last night we had about 8hour photoshoot session. Really nice photos coming up and I got all my ideas done. Even more! Photographer was a great photographer and a friend of mine Pasi Lehtinen.

iPhone photos from the session above.

Posted by perttumurto Categorized: Design Photography Print Web |

An older song they are rereleasing with her upcoming album, we were approached earlier this summer to bring an animation component to the endless summer vibe of the video. Working with the director we used the the loose concept of animated magazine spreads as a starting point to a variety of graphic extravaganzas sprinkled through the video.


Here also is a link to the video on our site where we also included some of the storyboards that got us to the look we ended up with.




UFFIE “Pop the Glock”

Ed Banger Records

directed by: Nathalie Canguilhem

Design and animation: Laundry!

Oct 2009 / № 1062

Here at Nooka we have been involved with many collabs over the years. In doing so I have realized engaging in brand+artist / brand+brand collaboration is a form of social network brokering similar to alliances via marriage amoungst royal families in previous centuries – basically “i can’t give you the money for your ad campaign, but you can marry my son/daughter”. it’s a good discussion to have as collabs, when done correctly, generate a good deal of online buzz, but for some reason, not as much buzz in traditional media, and moreover, they don’t often directly translate into sales. for nooka though, it’s a great way to learn about new markets and connect with new consumers and fans.


Supremebeing first began as a small, hand-printed graphic t-shirt venture in the UK, and today has grown to a full street-wear clothing line for both men and women. The fully-formed line features everything from clothing to trainers and accessories, along with their staple t-shirt collection. Many of the t-shirts are still printed by hand, keeping the personal touch of the line alive and well. Their ethos, ‘Created First Amongst Equals,’ encourages consumers to not simply wear their clothing for the brand name, but because they love the clothes. This attitude is expressed in the brand’s own designs and is also apparent in the collaborative design with Nooka.

Supremebeing website here.


Above a collab we did with basketball and Hip-Hop-centric brand UNDCRWN

Posted by nooka Categorized: KDU |

Oct 2009 / № 1057


i hope to use my posting space on KDU to expand the dialog on universal communication. some of the major obstacles to truly moving forward with technology and our future as a planet is communication. it is unfortunate that the dialog on this issue becomes an emotional one for many individuals. i find even educated people regress to emotional arguments as to why one must preserve language as intrinsic to individual cultures – which is valid to a point – but to them i always ask ‘how can you argue that the range of emotions or intellect is limited by any one language?’

these arguments get in the way of truly analyzing the economic and ecological impact of maintaining so many world languages when we can do so much more when resources are pooled; look how india has benefitted from outsourcing simply by having a large english speaking population. how many man-hours, ecological resources and electricity are used in translating documents, books, entertainment in the most basic of international interactions and what is the carbon footprint of this activity?

now, i know i am not the first person to obsess over this issue and i know i won’t be the last. my argument is only more difficult by being an english speaking american with english [and america] being viewed as some kind of imperial force by many. to my own defense, i am bilingual in japanese and not a huge fan of english grammar. that said, japanese [and chinese] are have too complex a writing system to be a truly universal language and we all know what joke esperanto is. this does not mean the discussion on how important this issue is over, and i have many ideas on these themes which i will share here in future posts. i believe we can be respectful of all languages and cultures and still see that the need to choose one language for the planet is both logical and imperative.

not to contradict myself but there is a wonderful word in japanese for “universality” and it is this i made into an image to illustrate this post. the definition translates as: things that are common to everything. example: universal human rights. universally accepted ideas/concepts.

why let language get in the way?

Posted by nooka Categorized: KDU |

Oct 2009 / № 2565
Sep 2009 / № 1016

I was recently featured in IdN magazine’s “Self-promotion issue” (Hong Kong) . Out now

Posted by spaceknuckle Categorized: Design Press |

Sep 2009 / № 1000


NO! typographic organic illustration.

Organic and structural typographic illustration, created with Faber Castil and Rotring technical pens. A mass of tangled branches and coral-like fans entwined with sharp structural forms. A sparrow hides amongst the branches guarding her eggs.  Hidden amongst the elements is the words ‘NO!’ – this can be seen best via the development images – meaning hidden amongst the mass. Set to be a limited run screen-print.

kdu_bulletFull development images and process can be viewed here.

― Daniel J Diggle

Sep 2009 / № 984

Wooden Toy Quarterly and Semi-Permanent presents Lyrics and Type.

Exhibition starts on the 9th October at the Gorker Gallery http://www.gorkergallery.com/gorker_home.html

http://www.woodentoyquarterly.com  http://www.semipermanent.com



Piece for the Wooden Toy “Lyrics & Type” exhibition/zine at the Gorker Gallery, Melbourne, Australia.

Posted by Monaux Categorized: Design Print illustration |

Evgeny Kiselev

Evgeny Kiselev

Saint-Petersburg based Russian illustrator Evgeny Kiselev never stops and draws everywhere he goes.
No matter that a tube station or snorkelling in Asia, he always finds inspiration from enjoying the life.
He started freelance work few years ago after being squeezed in local creative agencies where he got professional experience. The lack of academic background hadn’t changed the way he creates and even improved the will to tie his life with graphics and visualisation. So what you think makes Evgeny’s artworks outstanding? I do believe he found a unique way of creativity flow and concentrates on researching new ways of inspiration. His works are recognisable and rarely use the previous idea generating new diversities. Since last year he started to materialise illustrations on cushions and umbrellas what makes them unique and colourful.
Since I’m watching for his artistic career he has collaborated with European media like ROJO, Computer Arts, Miller, IDN, Grafik Magazine and of course Designcollector participating in our six anniversary.

Read the rest of this entry »

Posted by Arseny Vesnin Categorized: illustration Tags: curating graphic design Russian |







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