Style File // The Columnist

For the eclectic literary enthusiast, this week we bring you The Columnist. A contemporary take on the “beat-era creative” paired sounds from Devendra Banhart’s Niño Rojo and a series of books centered around architecture and photography from the late 50s and early 60s. We’re featuring our Red Cross Gingham from August’s Short Run Collection and our White Linen Pocket Square, both Summer essentials. Enjoy!

Featured Products:

Shoes: The Lucien Oxford from Shipley & Halmos in Black

Monocle: Colonel Monocle Whiskey Tortoise from Warby Parker

Tie: The Cockle from Pierrepont Hicks

Notebook: The Reporter with plain pages from Moleskine

Banner: Vintage Festival of States Banner from Three Potato Four

Pants: Life/After/Denim’s Slim Fit Chino in Castlerock from Stag, Austin

Album: Devendra Banhart’s Niño Rojo

Chair: The DAX-99 Herman Miller Eames Chair circa 1966, image from the Eames Catalog

Book Series: All books and descriptions from UNIONMADE’s Bookshop

– Large Scale, Fabricating Sculpture in the 1960s and 1970s, Jonathan D. Lippincott, Through beautiful images and text, Large Scale takes a close look at how 30 postwar artists were able to realize their grandest ambitions.

– The Red Balloon by A. Lamorisse, 1956 Hardcover, Photographs taking during the filming of the movie LE BALLON ROUGE.

Yosemite in the Sixties, Glen Denny, Yosemite in the Sixties is the definitive visual record of the climbers who shaped the sport. These rock climbers of the sixties dropped out of conventional life for residence at Yosemite’s camp 4 just beneath the walls of El Capitan and Half Dome; there they honed their techniques, tools, and life style to shape what the sport has become today. With a foreword by Yvon Chouinard, founder of Patagonia, and photos by Glen Denny, Yosemite in the Sixties shows the climbers lifestyle the way it was in it’s most infantile stages.

2 1/4 William Eggleston, Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson’s The Decisive Moment. In 1966 he changed from black and white to color film, perhaps to make the medium more his own and less that of his esteemed predecessors. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the “first color photographer,” and certainly the world in which we consider a color photograph as art has changed because of Eggleston. From 1966 to 1971, Eggleston would occasionally use a two and one quarter inch format for photographs. These are collected and published here for the first time, adding more classic Eggleston images to photography’s color canon.

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