Shige Tomo

Japan’s Everlasting Sprout

Japanese designers Keiichi Muramatsu and Noriko Seki founded the Tokyo-based fashion label, Everlasting Sprout, in 2005, based on their mutual interest in knit design. Each intricate creation in their Spring/Summer 2009 range took up to a week for them to construct. Read more

Japan’s Namba Park

Situated amongst the urban bustle of Osaka, Namba Park is a welcome relief from the walls of gray concrete that swathes the city. This green oasis — with its cliffs and waterfalls — stands where the local baseball stadium used to be, and is made up of a thirty-floor skyscraper and a shopping mall with eight floors of terraced gardens.

Piano Bar: a bar in Tokyo which seats just 8 people

Quietly nestled in the ‘Street of Drinkers’, Shibuya, is the tiny Piano Bar. Upon entering through the windowless door, you are transported to a bizzare world of red velvet, crazy chandeliers and bizarre portraits. There is a maximum capacity of just eight people, so make sure you get there first. Read more

Ken Taylor

Australian illustrator Ken Taylor has created imagery for some of rock n’ ’roll’s great purveyors of sound, from the Rolling Stones and Queens of the Stone Age, to Nine Inch Nails and the Mars Volta. He has an easily recognizable style that screams sharp edge cool. Bold and bawdy, Taylor’s pieces use vivid colour to create a cut-out-comic-like feel reminiscent of old movie posters from the 1930s and 40s.

Kelly Smith

Beautiful, delicate, fragile, a little bit collage, a little bit sketchfull. This is the work of Kelly Smith. Combining several mediums in a collaborative expose between pencil, paint and print to create timeless works of elegant splendour, it is easy to compare Smith’s works to the last snowflake of winter, fleeting but real, avoiding the brash bright mercantile world for the prettier climes of illustrative pleasure. Smith has a twelve-day exhibition on at the 696 Space in Brunswick, Melbourne, opening November 14.

Brandt Peters

Trapped in a time warp between then and now, the work of Brandt Peters combines an old school aesthetic with a modernity bordering on futuristic fantasy, with a touch of morbid fascination thrown in for good measure. In other words, he creates wonderful imagery combining cartoon-like pin-ups with sometimes freakish attributes (large skulled beings, for instance), and every now and then seems to throw in a nod to sci-fi — such as a mechanical glass jar — for good measure. Muted tones replace the bawdy colours often associated with such mediums, giving his pieces a whimsical, dream like quality. He must live in a delightfully wispy world.