Just off the quiet cobblestones of Bond Street and up a few steps is Vitsœ (pronounced Vit-soo), a British-based furniture store for those with an appreciation for simple, clean compositions. Andrew Jones, a planner with the company, told me that the company chose locations like Bond Street to reflect the "nonaggressive, yet engaging aesthetic of the brand." Founded in 1959 by Niels Vitsœ and developed by Dieter Rams, father of the “ten principles of good design,” the dedication to the construction of their pieces has never wavered.
Vitsœ produces three main products: the 606 universal shelving system, the 620 chair, and the 621 side table, all conceptualized by Rams in the 1960s with his “less is more” philosophy. The designs are timeless, but the materials used to create them have evolved over the years in order to ensure maximum sustainability. Rams believed it is important to be responsible in sourcing the planet’s natural resources. In addition to environmental concern, Vitsœ is strongly devoted to providing top grade products so that consumers’ relationships with their pieces endure for years. Modular, sturdy, and easy to install, Vitsœ chairs, tables, and shelves are well known for doing just that.
The ethos of respect and quality precedes everything Vitsœ does, including the treatment of employees and customers. That is what drew Andrew from London to the New York Vitsœ showroom. He said that in a big city like New York where people tend not to know their neighbors, Vitsœ transcends unfamiliarity. The Bond Street Vitsœ team is friendly with the tenants above them as well as the bookstore below, and is constantly welcoming new customers into the Vitsœ community.
On the afternoon I stopped by the airy modern salon, I watched as visitors sat down to the computer with attentive Vitsœ associates and arranged furniture within digital simulations of their apartments. As an aside, Andrew mentioned that apart from great service, the New York showroom also makes great coffee in store for customers, as the brand appreciates the artistry behind a quality brew.
A dainty shop located on Extra Place - that little side street off of 1st Street where the Ramones photographed an Album Cover - Nalata Nalata features high quality décor sourced mainly from Japan. In the same way that Manhattan Sideways shares the stories of businesses on the sidestreets of Manhattan, Nalata Nalata, as their website explains, “is a retail experience founded on promoting awareness of the people and stories behind our curated lifestyle products. ”On my first visit to Nalata Nalata, I spoke with Angelique J. V. Chmielewski, who co-founded the business with her husband, Stevenson S. J. Aung. Originally from Alberta, Canada, Angelique came to New York to study fashion design at the Fashion Institute of Technology while Stevenson, her boyfriend at the time, fulfilled his masters in industrial design at the Pratt Institute. Nalata Nalata began as a website beautifully crafted to feature sections like Backstory, with write-ups on the brands behind the pieces, and Journal, detailing the journey and artistic endeavors through captioned photographs. In late 2013, Nalata Nalata opened in Extra Place as a pop-up store and, after falling in love with the spot, the owners decided to make it a permanent stay. Though functional in a traditional way, each product in the store contains intrinsic artistic and narrative values, many sourced from “multigenerational craftsmen who continue to refine their skill. ” Angelique first directed me to the porcelain Ju-Bakos, Japanese stacking boxes, which are traditionally used for food on special occasions. Representative of multilayered happiness, each box was crafted with a different glaze. Later, Angelique held up a glass terrarium box designed by 1012 Terra, a company based in Chiba, Japan that is focused on celebrating plant life. In the box was a dried flower reminiscent of the rose in Beauty and the Beast. “In order to preserve a flower, ” she explained, “pin it in the box and flip it upside-down. When it has completely dried out, it will be straight when turned upright. ”Though devoted to sharing the works of others, Nalata Nalata is cemented by the artistry of Angelique and Stevenson. From the custom-made cabinets to the slab roof ceiling, the two redesigned the entire interior of the store in the months before its opening, with the help of some additional hands. The carefully selected products perfectly complement the spare, bright space. The store's website also reveals a great deal of artistry, with each piece beautifully photographed, set to a white background, and matched with a whimsical remark and a few lines about its origins, making online shopping more homey and intimate. The wool blankets exclaim, “Cool nights, brisk mornings, frigid afternoons. Whatever weather the day may bring I’m a tried-and-true, dyed-in-the-wool cozy friend… Always by one’s side to provide warmth and comfort. ”Nalata Nalata is also working on their own line of products. One recent addition, the denim Ojami, bridges Japanese traditions and contemporary American design. Handmade in Kyoto, the Ojami are versatile pillows. Angelique and Stevenson enjoy using them as seats to “live low, ” but they also function as throw pillows. In the future, the couple hopes to get into more denim and hardware products, while continuing to curate objects they appreciate artistically and sentimentally. For now, Angelique says, “We are just happy to be here. ”
John Derian was described to me as “a hunter and gatherer” of sorts by one of his employees. His company is a treasure trove of fine delights. Here, one will find an array of textiles and furniture. John’s discerning, artistic eye does not stop at fine furnishings and fabrics, be sure to stop by next door at #6 to see so much more of John Derian’s collection.
Though native to Philadelphia’s suburbs, Stuart Zamsky has earned the label of “true New Yorker” after decades of living in the East Village and running the antique shop, White Trash, half a block from his apartment. Stuart and his now-wife, Kim Wurster, were actors doing odd jobs and frequently traveling out of town in the 1990s. On their trips, they visited flea markets, stockpiling housewares, 1950s collectibles, and kitsch, which they would resell on weekends on the street outside of their home. “We amassed a huge amount of stuff” and garnered a following from neighborhood locals, Stuart said. “We just loved it. ”Over time, the couple’s sidewalk sales drew the ire of police, so they transferred their growing inventory to a nearby storefront and have continued selling beautiful furniture and “value-oriented pieces” ever since. Kim went back to teaching while Stuart managed the business — he nonetheless still relies on her good aesthetic judgment when picking his wares. Though Stuart is sometimes saddened by the migration of his fellow antique shops to isolated showrooms or online platforms, he is delighted to see that the digital age has ushered younger buyers into the world of antiquing. During the COVID-19 pandemic in particular, he found that people stuck at home increasingly felt the urge to “buy themselves real furniture and leave their cinder blocks and milk crates behind. ”As for the shop’s unique name, Stuart admits that it was inspired by an inside joke. When he and his wife would return to the city — hauling kitchen tables strapped to a DIY roof rack on their car and with furnishings and knickknacks poking through the windows — they would quip, “We look like the worst white trash in the world. ” Humorously, the title stuck, even as the business left its hodgepodge beginnings behind and started offering more modern pieces.
In 1989 John Derian had his art studio here. As the story goes, when people began to stop by just to view the work he was creating, he got the idea to turn the place into a store. Every time I entered this shop, I do not know where to look first. The decoupage plates that Derian is famous for – featuring old-world-style prints of sumptuous fruits, glorious seashells, and endearing love letters – occupy a mere portion of what can be found while wandering. I was also fond of the massive array of vintage dishes, from leaf-shaped plates and knobby oversized bowls to floral cake stands and hand-painted glassware. Vintage brushes, colorful light fixtures, rubber duckies, a collection of books and even old-fashioned dusters are among the display. John Derian Company is charming, crave-worthy and genius.
Had we not been personally escorted through the unmarked double doors that lead to Kenkeleba Gallery, Manhattan Sideways might not ever have known it was here. The only sign on the building reads Henington Hall, etched into the stone facade along with the year it was built, 1908. According to Joe Overstreet, in the 70’s the building was condemned until he and his wife, Corinne Jennings, were able to strike a deal with the city in 1978. Although 2nd Street was teeming with drug activity back then, the arrangement proved worthwhile for Overstreet, as it gave him, his wife, three children and the emerging Kenkeleba House a home in an area that eventually cleaned up its act and became one of the most important neighborhoods for the arts in New York City. Since its founding, Kenkeleba House has flown under the radar as a not-for-profit gallery space and artist workspace. Joe and Corinne were only interested in promoting new ideas, emerging artists, experimental work, and solo shows for those deserving of the recognition. They preferred to showcase artists whose works were not typically featured in commercial galleries, focusing primarily on African American art. Joe and Corinne’s vision of Kenkeleba House - as a space for artists to grow, to showcase African American that oftentimes would have been lost, and teaching African American history through gallery shows - was only possible due to their extensive background in art as well as their immense individual efforts. Corinne was born into a family of artists in an isolated part of Rhode Island, and until she was about twelve or thirteen, she thought “that’s what everyone did- I thought people made things. ” Her father, a talented printmaker who studied under Hale Woodruff, is widely known for his black and white wood engravings and costume jewelry. The Wilmer Jennings Gallery - across the street on 2nd Street - is named for him. Jennings’ mother was a Yale graduate and painter. Corinne came to New York in the 1960’s, originally wanting to be a scenic designer. Even though she was qualified, she was turned away by the head of the scenic designer’s union with the explanation that they did not want any women or black people. She instead started to do art projects, and eventually decided to “tackle some of issues that prevented African American artists from fully developing. ”Corinne and Joe spent a lot of time speaking with artists from different parts of West Africa and the Caribbean, eventually coming upon the realization that “they needed to find a different way for people to develop, for people to have space to work, [and] to find alternative educational routes for people. ” In 1978, Joe and Corinne purchased an abandoned building on second street, fixed it up, and opened up their first art exhibition in 1980. From then on, they began amassing their extensive and remarkable collection. The exhibits on display in this gallery recognize the rarely explored contributions that people of African descent have made to the art world. It is here, hanging on the walls and filed away in the deepest recesses of their private collection, we were showed a portrait of Dr. John DeGrasse painted by a largely forgotten African-American artist by the name of Edward Mitchell Banister (1828-1901). Banister won a national award for his most famous painting, “Under the Oaks. ” The magnificent framed picture of Dr. DeGrasse is easily worth more money than we could count, but the history lesson we received from Joe was priceless. Dr. DeGrasse was a native New Yorker and also one of the first African-Americans to receive a medical degree. He gained acceptance to the Boston Medical Society in 1854, making him the first African-American to belong to a medical association in that state. And to boot, he was also the first African-American medical officer in the U. S. Army serving as Assistant Surgeon in the Civil War. In addition, Manhattan Sideways viewed works dating back to 1773, by the late Hale Woodruff, an African-American abstract painter who lived in New York City from 1943 until his death in 1980. In addition to being an artist who aspired to express his heritage, Woodruff was also an art educator and member of the faculty at New York University. “We are African-American, so that is what we do, ” said Corinne, “but we are also interested in artists from the Lower East Side. ” Corinne’s personal art collection reflects much of her parent’s amazing work, as well as that of other African-American artists, both well-known and yet undiscovered. Kenkeleba Gallery aims to teach the younger generations about African-American history. “Every nationality walks by here on a daily basis, but they have no idea who we are as a people. ” Joe and Corinne were well aware of the contribution African-Americans have made to the arts that began right here in this community. Their private collection is made up of over 30, 000 paintings, artifacts, art books and jazz records that tell the rich history of African-Americans in this country.
The space is fabulous at Billy Reid, furnished with vintage southern pieces and housed in an amazing Bond Street building. Billy began his fashion business in Alabama and opened up his inviting menswear enclave here in 2008. Soft flannel shirts, great suede boots, woven skinny ties, colorful bow ties, well-made blazers, beautiful striped shirts and more…I love everything about this boutique, and each time I stop by, I am inspired to make over the men in my family. Billy designs much of the clothing in the store (minus the Levi jeans). He has gorgeous fabrics to choose from for suits and sport jackets. And there is a tasteful selection for women, too.