In 1997, Yeohlee Teng debuted her “Urban Nomad” collection. Now, she has opened a store in the NoMad neighborhood. “I felt like I was going home, ” she said of the location. And what a home she has created! Yeohlee arrived from Malaysia over thirty years ago and is a graduate of the Parsons School of Design. Today, she is a renowned fashionista, having had her work exhibited in shows at the MOMA, the Victoria and Albert Museum in London, and the Museum at FIT. Her designs can also be found in the Costume Collection of the Metropolitan Museum of Art where they are permanently ensconced. In 2010, she opened a store on 38th Street as part of the Made in Midtown project, aimed at reinventing and strengthening the garment district. Yeohlee continues to have her clothing made locally, just one part of her quest for sustainability. “The store has always had a point of view, ” she explained, "focusing on reducing waste and maximizing use of materials. " This approach may sound familiar, as it is echoed by many across the food world, but struck us as unique in the fashion scene. To hear Yeohlee explain it, though, is to believe that, inevitably, others will follow suit. Yeohlee tailors her clothes to “the intelligent woman. ” Most who buy her clothes understand what they are buying, and how it fits them in every sense of the word. People often think only about how clothes look, forgetting “the interstitial spacing created by the interplay of the clothes and the body. ” Yeohlee believes that the way that our clothes fit, in turn, affects how we behave and present ourselves, therefore allowing men and women to gain self-confidence by wearing such perspicaciously designed clothes. Every item in her boutique is simple, elegant, and ever true to the strong principles of design that Yeohlee wields like her very own wand. Most garments are for women: shawls, sweaters, coats, and something called a jerkin - a chic coat-vest of sorts. One of our favorite items was the zero-waste mobius scarf, a must for stylish mathematicians, but the highlight was getting to spend time with Yeohlee Teng, and to have her share her story and her passion for clothing with us. Stay tuned for the men’s collection that will be launching shortly.
Originally known as the Manhattan Opera House, 311 West has had an interesting history. Oscar Hammerstein built the theater in 1906, but after a few short years, the Metropolitan Opera House came to him requesting that he not compete with them, and made him an offer that he could not refuse. Shortly thereafter, Mr. Hammerstein sold the building to the Shubert brothers where they continued to feature a variety of shows and concerts. In 1922, it was sold again, and this time a Grand Ballroom was added. Unbeknownst to the builders, they had created an outstanding acoustic setup where musicians from Harry Belafonte to the Grateful Dead have performed and recorded. Over the past twenty plus years, construction has been on-going as more multimedia studios have been added and a refurbishing done to the Hammerstein Ballroom to accommodate large private events.
With construction starting in 1958 and finishing ten years later, Saint Vartan Cathedral represents the first Armenian Apostolic cathedral built in North America. Named after a saint who was martyred a millennium and a half ago defending Armenian Christianity, Saint Vartan Cathedral had a memorable beginning. During its construction and immediately following its completion, the building was visited by the highest authority within the Church, His Holiness Vasken I, marking the first such visit by a Supreme Patriarch and Catholicos of All Armenians in the United States. For a people so persecuted throughout history, and especially by the recent Armenian genocide, the building and consecration of this holy house was a monumental event in the community. His Holiness Vasken I, looking out at an assembled audience soon after Saint Vartan's completion, spoke of "an admirable picture of spiritual grace - a rare moment of spiritual bliss - to which we are all witnesses. " But far from being a relic, the church continues to thrive with the energy of the community it houses. I encourage any visitors to the church to walk through the intricately decorated doors and take some time to absorb the sheer size and depth of the church. Narrow strips of stained glass depicting biblical scenes and significant events in the history of the Armenian Church rise up to the impressive dome, which depicts Christian symbols in paint and stained glass, such as a human eye within a triangle (representing the omniscient Triune God), the wooden ship (representing the Church), and the white dove (representing the Holy Spirit). Closer to the altar, the “Head of Christ” is chiseled on a slate of stone in high relief. Silver and gold crosses decorate the distinctly Armenian altar. On the sides of the altar are paintings of St. Sahag and St. Mesrob, the two men credited with inventing the Armenian Alphabet, and a painting that seeks to honor the victims of the dreadful Armenian genocide.