Introspective Magazine

6 days ago | 1stdibs.com | Rachel Davies

As one of the cochairs of the Met Gala, it was only fitting that Colman Domingo brought the heat to the evening’s watch scene. The actor wore an unreleased Omega Speedmaster on which very little information is available, aside from the fact that it’s 18-karat gold. Although fans of Domingo’s gala wrist wear will have to wait to try on that particular model, plenty of other Speedmasters are available on 1stDibs.

1 week ago | 1stdibs.com | Rachel Davies

If you needed proof that Beyoncé is doing country music — and fashion — her way, you need look no further than the first night of the Cowboy Carter tour. She opened the nearly three-hour-long show in an all-white custom leather Mugler look composed of a fringed jacket, corseted bodysuit, buckled chaps and, of course, cowboy hat. Later, she wore a red-bandana-print catsuit designed by Moschino and a bedazzled denim-printed catsuit by Roberto Cavalli.

1 week ago | 1stdibs.com | Fred A. Bernstein

In 2007, when Adam Blackman and David Cruz moved their renowned design emporium, Blackman Cruz, from West Hollywood’s antiques district to Highland Avenue in Hollywood, the only other gallery nearby was JF Chen, owned by their competitor and friend Joel Chen. Eighteen years later, the neighborhood is full of design galleries. Blackman and Cruz, who thought of themselves as outsiders for decades, are now, at least geographically, mainstream.

1 week ago | 1stdibs.com | Ted Loos

Art history has only a limited number of truly distinctive gestures, ones that we recognize in an instant and that summon the makers’ names immediately. Franz Kline’s big black slashes on white canvases from the 1950s fall into that category. Confident, bold and pared down to the basics of form and line, they still exert enormous power and are one of the lasting achievements of Abstract Expressionism.

1 week ago | 1stdibs.com | Cara Greenberg

One eye-catching wall speaks volumes about Lauren Garrett’s uncommon approach to a loft in Manhattan’s Flatiron District. Laced with criss-crossingplumbing pipes, some straight, some curvy, the lot of them unabashedly punctuated by an electrical junction box and a disused fire-alarm bell, the wall is utility as art, a strangely beautiful composition in and of itself. Another designer might well have sheet-rocked over the jumble.