HIGH POINT — A.R.T. Furniture is introducing three new whole home collections at the fall market here, each of which is underpinned by the company’s signature focus on bringing architectural design elements into home décor.
The new Revival collection, inspired by the historical Dunbarton House in Washington D.C., encompasses bedroom, dining and living room selections with opulent swirled mahogany veneers and is aimed at taking traditional design elements and updating them for a new generation.
“This is a collection that targets Grand Millennials,” said Doug Rozenboom, president of A.R.T., referencing those Millennial consumers who are inspired by traditional design and seek to blend vintage looks with modern touches.
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As an example, he pointed to the young people featured in the book “The New Antiquarians,” which features the homes of 22 young connoisseurs whose decorating aesthetic blends antiques with modern design sensibilities to create their own singular design statements.
The Revival collection blends elements from the Federal architectural style embodied by Dunbarton House with geometric detailing and exotic woods reflective of Art Deco furniture design. The collection will encompass both case and upholstery pieces.
Also new this market is Montage, a whole home collection that, like its name suggests, blends overlapping design elements to form a cohesive look. Executed in “Puzzle Cut” ash swirl veneers and clean minimalist styling, the collection connotes a blend of transitional and contemporary style elements.
The third new collection, Cove, incorporates the concave arch designs associated with that architectural style. On bed designs for example, a cove-shaped cutout between the headboard and its top molding creates a unique shadow effect that reinforces the design inspiration.
To showcase the design elements on its upholstery pieces, the company selected light taupe fabric treatments against the collection’s dark wood accents to highlight the unique cove shapes. Case pieces feature bronze metallic accents.
From the makers of Nuna, a household name every parent knows when it comes to top-of-the-line baby gear, Tavo is poised to change the way we travel with our pets. For many families, pets aren’t just pets – they are intensely loved members of the family who deserve the same level of safety and comfort when traveling as babies and children do. With Tavo’s new Maeve™ Pet Protection System, they’ll receive just that.
Drawing upon decades of research, development, testing, and engineering from Nuna, Tavo created a system to seamlessly take your pets from home to car to adventure. The Maeve™ Pet Protection System consists of a carrier and a vehicle base for the carrier, similar to a child’s carseat. Those who have travel needs beyond the car can opt for the Roscoe™ stroller frame. Together, the Maeve™ and Roscoe™ create Tavo’s 3-in-1 Pet Protection System, giving pet owners complete ease when on the go with their furry family members. To achieve the highest degree of safety and protection, Tavo uses the latest United Nations ECE child restraint standards to benchmark their rigorous testing. Pet parents can travel with a peace of mind, knowing their companions are safely secured.
Like Nuna, Tavo also prioritizes aesthetics and comfort. The carrier is available in five colorways (Onyx, Fawn, Merle, Sable, and Brindle) while the strollers are accented with vegan leather details in black, cognac, and chocolate.
The Maeve™ is priced starting at $700 while the Maeve™ and Roscoe™ 3-in-1 Pet Protection System bundle starts at $1000. The Roscoe™ Stroller Frame is available separately from $400, as is the vehicle Base from $195. Pre-orders are now available at tavopets.com.
HANGZHOU, China, Oct. 16, 2023 /PRNewswire/ — Nano Labs Ltd (Nasdaq: NA) (“we,” the “Company” or “Nano Labs“), a leading fabless integrated circuit design company and product solution provider in China, today announced the introduction of a new photography studio service (hereafter, “the New Service”) within its iPollo Metaverse business segment. The New Service, which merges 3D scanning and printing services, aims to offer innovative experiences in digital avatar collection and the creation of lifelike 3D figures. During the 2023 Hangzhou Asian Games, a quadrennial multi-sport event featuring athletes from across Asia, the New Service catered to over 5,000 athletes and garnered attention and media coverage from numerous outlets, establishing it as a popular destination within the Asian Games Village.
The New Service, featuring an image scanning cabin, adeptly captures athletes’ memorable moments, solidifying its status as one of the most sought-after technological applications in the Asian Games Village. Integrated with iPollo’s 3D scanning, printing, and AR technologies, the iPollo Metaverse crafts varied digital environments for multiple IPs, enhancing user engagement and hastening the digital transition of IPs into the Metaverse realm. Furthermore, iPollo’s 3D full-color printing technology brings digitized IPs to life in exquisite form, while providing personalized services to users through its iPollo Store, thereby showcasing the allure of the Metaverse.
Moreover, the Company has successfully initiated the tape-out of Cuckoo 3.0, the third iteration of the Nano Labs Cuckoo series, marking a significant advancement in the development of the Company’s Cuckoo series.
About Nano Labs Ltd
Nano Labs Ltd is a leading fabless integrated circuit (“IC”) design company and product solution provider in China. Nano Labs is committed to the development of high throughput computing (“HTC”) chips, high performance computing (“HPC”) chips, distributed computing and storage solutions, smart network interface cards (“NICs”) vision computing chips and distributed rendering. Nano Labs has built a comprehensive flow processing unit (“FPU”) architecture which offers solution that integrates the features of both HTC and HPC. Nano Lab’s Cuckoo series are one of the first near-memory HTC chips available in the market with a maximum bandwidth of approximately 2.27 Tbps, as well as one of the first movers of the ASIC-based Grin mining market *. For more information, please visit the Company’s website at: https://ir.nano.cn/.
*According to an industry report prepared by Frost & Sullivan.
Forward-Looking Statements
This report contains forward-looking statements within the meaning of Section 21E of the Securities Exchange Act of 1934, as amended, and as defined in the U.S. Private Securities Litigation Reform Act of 1995. These forward-looking statements include, without limitation, the Company’s plan to appeal the Staff’s determination, which can be identified by terminology such as “may,” “will,” “expect,” “anticipate,” “aim,” “estimate,” “intend,” “plan,” “believe,” “potential,” “continue,” “is/are likely to” or other similar expressions. Such statements are based upon management’s current expectations and current market and operating conditions, and relate to events that involve known or unknown risks, uncertainties and other factors, all of which are difficult to predict and many of which are beyond the Company’s control, which may cause the Company’s actual results, performance or achievements to differ materially from those in the forward-looking statements. Further information regarding these and other risks, uncertainties or factors is included in the Company’s filings with the Securities and Exchange Commission. The Company does not undertake any obligation to update any forward-looking statement as a result of new information, future events or otherwise, except as required under law.
For investor inquiries, please contact:
Nano Labs Ltd
[email protected]
Ascent Investor Relations LLC
Ms. Tina Xiao
Phone: +1-646-932-7242
Email: [email protected]
SOURCE Nano Labs Ltd
BILLINGS — An edgy Apsaalooke bead artist’s work is featured on the October cover of British Vogue, with Montana-born Blackfeet actress Lily Gladstone wearing his necklace, right next to movie co-star Leonardo DiCacprio.
“They sent it back to me like two weeks later and everything was wrapped in, like Vogue has their own packing tape it just says Vogue on it in black and white,” says Elias Not Afraid, Apsaalooke bead artist.
The cover shoot was for the new movie Killers of the Flower Moon and it’s famous co-stars, but the blockbuster fashion is what has one Montana designer feeling pride for his work and his Apsaalooke heritage.
“Their editor-in-chief for British Vogue tagged me in a post as well, and I was just like holy sh*t,” says Not Afraid.
It’s a Crow-style dentalium breastplate with a modern twist, turned into a necklace and hand-beaded by Elias Not Afraid, who started beading in Lodge Grass, Montana when he was just 12.
“It was during the winter. It was a really bad winter. We couldn’t do anything outside. We were living in my great-grandmother’s house and she had a lot of her old stuff there, a lot of it was beading stuff. I found a pair of her leggings and I always wondered how she did it, so I just kind of took it apart. I would take one row of beads out and kind of reverse engineer it and see how she did it,” says Not Afraid.
He kept practicing until he got the intricate two-needle applique method perfected, and he hasn’t put down the beadwork since, creating traditional and non-traditional Apsaalooke designs.
“Growing up in Lodge Grass out in the Wolf Mountains, we’re just surrounded by nature. There’s a lot of flowers. A lot of that is a lot of my inspiration,” says Not Afraid.
Not Afraid’s work also has a taboo edge that’s caught the attention of major museums like the MET, which purchased his beaded cradleboard to put on permanent display.
“There are some taboos with Crow beadwork, like you’re not supposed to use black because that’s supposed to signify mourning and death,” explains Not Afraid. “You’re not supposed to bead snakes, you’re not supposed to do skulls, anything like that. You’re just supposed to keep it traditional.”
Despite some negative feedback from more traditional tribal elders, he continues to do his beadwork, his way, and it’s paying off as art museums and even the NFL pick up his pieces for tens of thousands of dollars.
“They told us the only thing we had to have in there was the logo and Super Bowl 57, so I just started sketching all these different designs,” says Not Afraid. “I did 15 different ledger designs and then narrowed it down to 5 and then let them pick. It was a really insane experience.”
An experience he hopes inspires other indigenous artists to make it big too.
“I don’t want to just take this information and keep to myself. I want to share it with people,” says Not Afraid. “If you need help, just ask.”
Not Afraid recommends buying direct from native designers. You can find a list of designers via Triia, known as the Etsy of indigenous designers. He also recommends Beyond Buckskin, which compiles a list of native designers.
The work of Quil Lemons has always been something of a quiet testimony. Whether it’s the documentations of a block in his hometown of Philadelphia in his daring series 6 7, or his weaving of the generational gap through his photo essay To Say the Same Thing in Many Different Ways, he always assumes the position of a mirror for his subjects, who have often been close friends and family. Quiladelphia is the latest feat for the photographer, with different subjects, but the same closeness and the same commitment to self exploration. The exhibition of the new series, held at Hannah Troare Gallery in New York, traces Quil’s documentation of the Black male form and his experience as a Black gay man, continuing on his journey of using “photography as a diary”.
Growing up in Philadelphia, Quil experienced a similar journey to many late-millennial and early gen-Z queer kids – closeted and finding a community online, but still spending copious amounts of time fantasising about their life had they been able to live openly. “Tumblr wasn’t necessarily a queer space, but it was at least queer-coded, like most things in art and fashion,” he tells us. Traversing the platform as young as 11 years old, through the escapism that its imagery had to offer, he found that he could be anyone online; so much so that he started to manifest his current life from the dashboard. “My camera then became a segway between my life and this curated world online. Through my images I felt I had a say in the world,” he adds.
“Quiladelphia is the emancipation of Quil Lemons,” Quil proclaims. The works show a maturation for the photographer in representations of his inner world and surrounding culture. Throughout the series we are met with the power of repetition – a set-like room with tiled floors, non-descript echoing buildings and a wall in what seems to be an empty room. But, he doesn’t rely on scenes this time, only varying levels of exposure, and the subject’s vulnerability. Fom the tender and retiring expression in Jabari to the nude and penetrative portraits throughout his untitled works, he brings the breadth of his subject’s experience into full view. “It came from immense research into the queer and Black canon of artists before me,” he tells us. Gaining much of this inspiration and language from Black female artists such as Mickalene Thomas, Lorna Simpson, and Lynette Yiadom-Boakye, he sees it as being in parallel with his “upbringing of being constantly nurtured and affirmed by Black femininity”.
