Meet the experts! These design industry leaders will discuss their strategies for growing followers, audiences, and readerships that translate to valuable, real life community. Join Us Feb 5th 6-8pm 27 Howard St. SoHo NYC.
News
Michele Varian Designed Products are part of CB2 spring collection!
We're so excited to share.. We teamed up with CB2 to bring you new, accessible, designs!
CIRCLES SILK PILLOW
Black, white and grey geometric pattern of half circles reads like watercolor in style and technique. Design is retro in spirit but luxe silk elevates pillow to modern, high-end status. Designed by collector, curator and artist Michele Varian. Do the math: CB2 low prices include a pillow insert in your choice of plush feather-down or lofty down-alternative (a rare thing indeed). CB2 exclusive.
WATERCOLOR SILK PILLOW
Black and white cascade like watercolors down the front of this moody silk pillow with mirror image of a bird perched subtly at the bottom. Print flips to solid black back. Designed by collector, curator and artist Michele Varian. Do the math: CB2 low prices include a pillow insert in your choice of plush feather-down or lofty down-alternative (a rare thing indeed). CB2 exclusive.
VIBRA PILLOW
Black and white with a pop of green, abstract pattern reads like soundwaves across this cotton pillow. Edgy design in neutral tones layers easily with other solids. Designed by collector, curator and artist Michele Varian. Do the math: CB2 low prices include a pillow insert in your choice of plush feather-down or lofty down-alternative (a rare thing indeed). CB2 exclusive.
WASH GREY WATERCOLOR RUG
Soft and stormy. Varying shades of tonal grey swirl to watercolor effect in this hand-tufted wool rug. Designed by Michele Varian, soft, screen-printed pattern provides an artful, elegant base for any room. CB2 exclusive.
Available in five sizes!
Featured In : New York Social Diary
Michele Varian
Designer Michele Varian opened her first store in SoHo very shortly after 9/11 when she had money burning in her pocket from the sale of her gorgeous pillows to big name stores like Barneys and Neiman Marcus. Ultimately, she says, it was because she wanted complete control of the product—“I wanted something I could be proud of.” She can also be proud of the fact that she’s still holding on in this current climate of retail oddness. Originally trained as a fashion designer, she sold only her pillows but as eventually expanded into the jewelry, accent pieces and ceramics that can be found at her current store on Howard Street. It’s still a treat, and an affordable one too, but much of our discussion centered on the strange future of retail in our new digital world and her own involvement with keeping small businesses such as her own alive. She credits her civic activism towards a childhood spent in Detroit, raised by socially conscious parents who put her and her sisters (they are triplets) through the Detroit public school system because, as she puts it, they wanted them “to have a robust social experience.” It seems to have stood her in good stead.I was reading up on you and someone described your store as a “modern curiosity shop” and I can see here in your own home you have Victorian-influenced objects and photos—what is about that era that appeals to you?
Well I was lucky enough to grow up in a historical home in a landmarked neighborhood in Detroit, called Indian Village. It’s now become a very desirable neighborhood because it is these old, beautiful turn-of-the-century homes where the lumber and auto barons moved to in the late 1800s and early 1900s. But it is the inner city, sort of about how far the Financial District is from 14th Street in New York.
The front door of Michele and her husband Brad's Soho loft is an old metal loft door, which they use as a magnet board with sketches mainly by Brad. "Besides hanging things that we need to remember to pop in the mail, it ends up being where we put things that we don't want to forget — like Brad's upcoming shows (Brad Roberts is the lead singer for the Canadian folk-rock band Crash Test Dummies — playing in NYC this Saturday, December 9th).
Leaning on top of the electrical box is a small painting that was a gift from and by Penine Hart. The loft has multiple roosters sprinkled around. "When Brad and I eloped in Reno, there was a stuffed rooster in the 'Southwestern' room where we sealed the deal. When asked what we wanted as a wedding gift, we said, "a stuffed rooster." Well, we got everything but!" explains Michele.
Before Michele started designing her own wallpaper, she sold Neisha Crosland's wallpaper at her shop. "I still love it. And, yes, I covered the electrical pipes and utility boxes with it too."
The dining nook next to the kitchen. The copper, hanging fixture was designed by Michele and is sold in her shop.
That’s not really how people see Detroit now, is it? They think of the broken city and poverty.
Yes, the blight, and it is very real. My sisters and I—I am one of triplets—while we grew up, the city decayed and slowly atrophied. My parents chose to stay. They wanted my sisters and I to have a robust social experience. They didn’t want us to have a homogenized experience. We stayed in the city and we went through the Detroit public school system. By the third grade, we were the only white kids in our school. And within that year, we were the only kids not on welfare.
So how would you say that informed the rest of your life?
Hugely. My Dad grew up in Larchmont in Westchester, so he was part of swim team, the club life and that kind of thing and he felt that it was extremely important for us to have a team experience. We lived near Belle Isle, which was designed by Frederick Law Olmstead who designed Central Park, and they have two private clubs, a yacht club and a boat club. We were members of the boat club and all of the members were white and from the suburbs. So we had access and exposure to radically different social circles. It made us super sensitive to both sides and made us realize how lucky we were relative to the kids we went to school with and again how lucky we were relative to the suburbanites who weren’t as socially sophisticated.
The main seating area is a mix of furnishings and objects found or bought over the years. Michele and Brad's casual approach to living means sometimes leaving decorations in place. "I didn't realize we left stuff (the red pompom) we hung for a Day of the Dead party that we had ..."
On the left is "Brad's Chair." "We tried to get rid of it, because it has stuffing coming out of it. The replacement wasn't as comfy, so had to call the delivery guys to bring this one back!"
Whenever Michele finds a good frame, she drags it home and often hangs them to frame the other frames. The paintings and antlers have been found at flea markets and vintage shops and during travels.
A leather sofa is covered with a mix of Michele's pillows and an Indonesian Ikat throw. The walls are covered in Neisha Crosland wallpaper. "I have no fear of mixing patterns."
Michele's "party shoes."
Did you maintain the friendships you made at school?
Absolutely. Very long, strong friendships from both sides.
It is relatively unusual to have life-long friendships across what I can only call a race barrier.
Yes, it’s super-unusual. But that’s what Detroit breeds.
Did you feel any racism directed towards you at school?
Well ... yes but it wasn’t an issue until the third grade when all the kids’ home lives were devastated because their parents lost their jobs. It really drove home that circumstances are a more of a driving force than race.
The kitchen is separated visually from the "den" and "dining" room by a hanging pot rack, some glass fly-catchers and a wooden bar door. "We are lucky enough to have a wood burning stove in our kitchen."
Showing the pot rack as divider between kitchen and den. The kitchen peninsula is an old concrete top lab table Michele bought when there was still an outdoor flea market in Soho
Current Obsessions NYCJW Special. Beyond Aesthetics: The Jewelry Industry Michele Varian in conversation with Danielle Wilmore and Wade Papin of Pyrrha
Michele Varian in conversation with Danielle Wilmore and Wade Papin of Pyrrha
The magic of Pyrrha is obvious from the get-go: it’s in the aesthetic, the strong historical and cult-ural references, the body of influential people wearing the pieces, and the general good vibes of its designers, Danielle and Wade. Here, they discuss their evolution and growth, status as a B-Corp, and share one seriously legendary story featuring an all-time favorite rockstar. Read through to find out who!
Could you share a short bio, and give a quick description of our relationship?
More than two decades ago, we had this vision to create meaningful jewelry that would stand apart from the factory-made, mass-produced pieces so common in the industry. Because we live in such a throwaway society, it was necessary, and joyful, to create things that could be kept. So we focused on good design and sustainability, and the result was our line of talisman jewelry made using authentic wax seals and imagery from the Victorian era. Each piece is highly personal and people who wear Pyrrha choose their talismans based on which meaning speaks to them. It’s this connection to our customers that we are most proud of.
Sustainability is also very important to us, and we handcraft every talisman in our Vancouver studio using time honored, old world techniques and 100% reclaimed precious metals. We are a certified carbon neutral B Corp, which means we meet rigorous standards of social and environmental performance, accountability, and transparency.
We met Michele at the NY NOW tradeshow in the early 2000s. She was exhibiting in a neighboring booth, and we felt a real synergy with her and her design aesthetic. Michele invited us to be the first independent designer to retail in her shop (alongside her personal collections).
How did you guys become jewelers?
Following a move to Vancouver in the ‘90s, we met, both quit our jobs, and started handcrafting jewelry at our kitchen table. We both knew we weren’t best suited to conventional corporate jobs and that we would ultimately only be satisfied running our own business. We saw a large gap between fashion and fine jewelry that we felt needed to be filled, so we started reading every jewelry making book that we could get our hands on, and taught ourselves metalsmithing and soldering techniques. Two years later we founded Pyrrha. The road to success wasn’t easy, but we remained focused on building something important to both of us. We were driven to create and giving up wasn’t an option.
What inspires your designs?
We discovered a box of antique wax seals at an estate sale many years ago, and that quickly became the heart and soul of the Pyrrha aesthetic. The symbolism and heraldry really drew us in – it’s such a fascinating subject and you discover so much about every era and culture throughout history. Most of our inspiration comes from the Victorian era, but we’re also very attracted to medieval imagery for its darkness and simple beauty.
Since discovering that first box of seals, we now travel the world scouring flea markets, antique auctions and stores in search of these authentic 18th and 19th century treasures that inspire our designs.
Our customers are also constant inspiration to us. We love that our pieces can do amazing things like give people hope, make them happy, or remind them of their loved ones. Knowing that something we created is making a difference on a daily basis to so many people is incredibly inspiring.
Tell me about the evolution of your manufacturing processes or the ways you use materials.
The wax seals really drew us in, but their fragility presented a series of challenges that we had to approach through trial and error. To preserve the unique imperfections of each seal, we’ve always insisted on handcrafting everything in house.
For several years now, we’ve also been incorporating heraldic imagery into our own original designs, which has given us the flexibility to collaborate with other artists and brands, and create collections such as Pyrrha x Game of Thrones, Paul Smith, and The British Museum.
Since the very beginning, we have cast our jewelry using 100% reclaimed precious metals – sterling silver and 14K gold sourced from highly reputable suppliers. That was our first major stride toward sustainability, and each year we try to make more environmentally conscious choices in all stages of production. In the past five years, like we’d mentioned, Pyrrha has achieved official B Corporation status, and become certified carbon neutral.
What was the first store that ever carried your jewelry?
We actually started out by taking small collections of jewelry to a local shop on consignment. We had to wait for them to sell it, and then took that money to buy more materials and create more jewelry. That cycle went on for about a year or so, and as soon as we could afford it, we exhibited at the NY NOW gift show and landed one of our first big stores, The Conran Shop. It was our most exciting accomplishment to date because it was a design store, and that really validated our abilities as designers. Their UK team recently reached out and asked to retail Pyrrha in their London locations, which really brings the relationship full circle.
How has your sales representation evolved over time?
The number of retailers carrying Pyrrha has grown very organically over the years. We started with just a handful of boutique locations in Vancouver, and now have more than 400 store locations around the world, including Liberty London, Paul Smith and Nordstrom. One of our first US locations was Fred Segal in Los Angeles, and we started seeing our customer base grow rapidly there, so we decided to open our flagship store there on West 3rd Street. Even though we’re based in Vancouver, we spend a lot of time in LA and we also wanted to make our jewelry accessible to stylists, costume designers, and celebrities. That’s been a really exciting aspect of our growth and expansion.
How is your design and/or business ethos reflected in your manufacturing processes?
While most jewelers try to make their pieces look flawless, we embrace the flaws and handcraft each talisman to ensure that the original cracks are being preserved. Every piece of jewelry is rough hewn, like it’s been loved and worn for decades – imperfect and brimming with personal significance.
The biggest lesson we’ve learned is that life is nothing without meaning, and that is the number one reason people are drawn to Pyrrha talismans. We love that each one means something different to different people. They offer a way to inspire people and deepen the connection to themselves and others.
Pyrrha collectors buy for their friends and family because they believe in the ethos of the brand. We’ve managed to create a community of like-minded people around the world who connect with each other by sharing the stories of the talismans they’ve chosen to wear.
Click here to watch a short video where we talk about the meaning of our talismans.
Can you share a personal story from an encounter within the jewelry ecosystem that has stuck with you over the years?
We are huge music fans, and get very excited when a musician purchases our jewelry, or we see them wearing it during performances. Several years ago we heard that Patti Smith was routinely buying our talismans from a store in New York, and having listened to her albums on repeat for 30 years, it was so personally moving. We actually have a history of celebrating business milestones with live music, so when it came around to our 20th anniversary party, we decided to reach out and invite Patti to play. I think we were all in a bit of shock when she said yes. She performed an intimate set in our Vancouver studio for all our employees, friends and colleagues. It was pure magic and we’ll never forget it.
Michele Varian is a NYC-based designer and retailer, carrying home goods and over 70 jewelry brands in her SoHo shop (including Pyrrha, who has a quite memorable shop-in-shop there!). Visit the shop on Instagram here, and her curation of fine jewelry here!