THIS CARRARA MARBLE, CHAIR SCULPTURE, HAS A STEEL SKELTON INSIDE OF IT, BLURRING THE LINE BETWEEN FURNITURE AND ART.
LIMITED EDITION 1 OF 5 PIECES
FOR FURTHER INFORMATION ABOUT SALES AND EXHIBITIONS PLEASE CONTACT SIMONJSPURR@ME.COM
AX-2 FLOOR LAMP
PRICE AVAILABLE UPON REQUEST
MID CENTURY INSPIRED BRASS FLOOR LAMP WRAPPED WITH OSTRICH SKIN. AVAILABLE WITH WHITE, RED OR BLACK SHADE.
THE SHADE ROTATES ON 2 AXIS TO PROVIDE PRECISION LIGHTING AT ANY ANGLE.
PERFECT AS A READING LAMP OVER A CHAIR/ SOFA, OR SIMPLY AS AN ELEGANT ACCENT TO ANY ROOM.
FOR FURTHER INFORMATION ABOUT SALES AND DISTRIBUTION PLEASE CONTACT SIMONJSPURR@ME.COM
Simon Spurr (2005- 2012)
Visual history of select SIMON SPURR menswear product.
PLAYLAND - ROCKAWAY BEACH, NY.
The relationship of aspects of a subject to each other and to a whole.
Inspired by the works of abstract artists from the 60’s such as Sol Lewitt, Robert Mangold, and Brice Marden who rejected the compositional treatment of form; Mr. Spurr explores the relationship of light moving within a fixed space and the distortion of the natural perspective of the room, with respect to the elements of form, color, line, material and surface.
TRNK AT HOME WITH SIMON SPURR | BY TARIQ DIXON
We catch up with the menswear designer, to learn how he's evolved as an artist since leaving his eponymous label.
It's been nearly three years since Simon Spurr abruptly resigned from his eponymous menswear label, leaving the fashion world surprised, perplexed and in chatter. Initially discrete about the reasons for his departure, we eventually learn that investor conflicts were the motivation - a tale all too common in the creative, albeit commercial world of fashion. Unwaveringly committed to his vision as a creator, Simon made the tough decision to walk away from the brand he not only built, but bore his own name.
Unbeknownst to most of the public, Simon's personal life was amidst a similar transition. As his company unraveled, his young marriage had likewise come to an end. An unlikely and unfortunate set of circumstances, only a true optimist could realize the silver lining: the rare opportunity to start completely anew. Simon settled into a new home, in a new neighborhood, as he contemplated the next steps of both his personal life and career.
After a consulting stint at Tommy Hilfiger, Simon went quiet - disappearing from the fashion world for several months. The designer had taken time off to explore new artistic mediums, working on a series of projects that “blur the lines between furniture, sculpture and architecture.” “I was able to create works that were truly the purest expression of myself,” says the passionate creator, who considers his process more akin to an artist than a designer.
But eventually, Simon found himself back into the hands of fashion, assuming the role of Creative Director for the British heritage brand, Kent & Curwen. A year into the job, Simon's professional life has finally started to settle, just as his personal life reaches a new turning point. After three years of bachelorhood in Brooklyn, Simon is moving back to Manhattan, to build a new home with his girlfriend.
We captured Simon's Williamsburg apartment in its final days - a mere week before his move. The designer was grateful for the opportunity to memorialize the space that will forever maintain a personal significance - the place he called home during such a challenging, but cathartic chapter of his life.
A beautifully curated home, so calming in its restraint and flooded with natural light, while no longer, I'm certain the designer has recreated the same tranquility in his new West Village apartment.
WHAT HAVE YOU BEEN UP TO SINCE LEAVING YOUR BRAND?
I was already working with Tommy Hilfiger, consulting on men's runway. But then my contract with them was up, so I took six months off and started some furniture, sculpture, engineering projects, which are still in the works. But now I'm back in the fashion world, designing for Kent & Curwen. It's a British heritage label, but the head office is now here in New York.
When I was presented with the idea of going into a heritage brand, I knew that I would approach it differently. Very few men's heritage brands have gone the route of a Celine or Balenciaga, where they've completely modernized, or re-invented the brand. If I were to design period costumes, and draw solely upon the brand's cricket sweater heritage, it wouldn't be relevant - it's not going to sell. The tricky part for me to is to extract the DNA of the brand, but to make it current.
WHAT INSPIRED YOU TO EXPLORE OTHER ART FORMS DURING YOUR TIME OFF?
This may contribute equally to my success and my struggles in the fashion industry, but I've always considered myself more of an artist than a designer. I've always designed from the heart. Whether it's creating clothing, or curating a home, it has to be very personal. But with the six months, I was able to create works that were truly the purest expression of myself, unconstrained by any sort of market or trend.
The project I started- and am still working on now- uses marble, ostrich skin and brass to create a sculptural form that'll ale be functional. It sort of blurs the line between furniture, sculpture and architecture. It's taking me a little longer than expected, but my goal is to show it in a gallery once it's done
YOUR HOME IS VERY RESTRAINED, BUT HAS WARMTH. HOW WOULD YOU DESCRIBE ITS MOOD?
Tranquil. Definitely tranquil. I mean, I live in New York, and I work in Fashion. You know, it's a chaotic, fast-paced environment. We have a saying, “Your home is your castle” and this is sort of my retreat. When I close the door it's very important to me that it's serene, tranquil and away from clutter. I don't like clutter. I can't think in clutter. I don't like to relax in clutter. But with this sort of minimal aesthetic, it can start to feel sterile very quickly. I try to offset that with a little bit of color and warmth.
THIS IS QUITE THE COLLECTION OF MID-CENTURY FURNITURE. HOW DID IT ALL COME TOGETHER?
The furniture is an accumulation of about eight years of collecting. I've had some of it since living in my old apartment in the city, but a lot of it is new additions. I've come to develop certain styles and specific designers that I like. I have a few pieces by Paul McCobb, Milo Baughman and quite a few works by Curtis Jere. Most of these pieces are actually from eBay. Once you know what you like, it's a lot easier to go out looking for it. At forty years old, I kind of feel like I've found the rhythm of my style. These aren't pieces that I'm just going to throw away when I move apartments.
I've always designed from the heart. Whether it's creating clothing, or curating a home, it has to be very personal.
When I close the door, it's very important to me that my home is serene, tranquil and away from clutter. I don't like clutter. I can't think in clutter. I can't relax in clutter.
“ At forty years old, I kind of feel like I've found the rhythm of my style. These aren't pieces that I'm just going to throw away when I move apartments.”
- Simon Spurr
Kent and Curwen (2012-2016)
Kent and Curwen, under the creative direction of Simon Spurr, defines the aesthetic of the modern man – as seen through a British lens. Catering to a man of distinctive style, the collection utilizes current principles of design with regards to fit and silhouette in an innovative and precise manner. Modern interpretations of the label’s cricket past can be subtly found throughout; with the use of leather lapel pins, lion head studs and the newly considered, signature “V” splice.
Kent and Curwen Spring/Summer 2015 Backstage Video
Kent and Curwen Autumn/Winter 2014 Backstage Video
2012 CFDA Menswear Designer Of the Year (HD)
The Future of Fashion - Simon Spurr and Cisco
Ralph Lauren (2003-2006)
Working as Design Director for Purple Label and Black Label menswear.
Saint Laurent (1998-2000)
Saint Laurent was the diffusion line to YSL Rive Gauche for London, Paris and Tokyo during Hedi Slimane's first tenure at the brand.