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Issue link: http://digital.hylandmagazine.com/i/353528
he ceiling of '21' makes a surprisingly contemporary statement, its entire expanse encrusted with hundreds of vintage toy trucks of every possible make, an installation that would please both Marcel Duchamp and John Chamberlain. Beneath this bricolage we sat, a diverse trio: Christopher Hyland, Editor-in-Chief of HYLAND, Juliet Kinchin, Curator of Architecture and Design at MoMA and myself, all disciples, in sometimes radically different ways, of the religion of design, a branch of art history we all agree deserves elevation. Christopher is a consummate connoisseur, an autodidact in art, his formal education being in international affairs at the Edmund A. Walsh School of Foreign Affairs at Georgetown; Juliet, a scholar, with a degree in classics from Cambridge and an M.A. from the Courtauld Institute in London. I am a writer, once torn between the love of objects and that of words, first meeting Christopher Hyland at his showroom during a two-year fling at interior decoration. I have known both these design mavens for over twenty years but on separate continents, separate cities, Juliet as my professor at the University of Glasgow, Christopher in New York. It was gratifying to celebrate my 57th birthday with them both, to have two influential mentors who have put up with much from me finally intertwine. Our diversity was expressed by what we wore: Juliet, neo-punk, in black jeans jacket and black sneakers with a necklace, of translucent rubber loops, by a contemporary Hungarian designer; I, in an Ines de la Fressange red sweater and pedal pushers from Uniqlo, red suede Pumas and gilt Grecian-inspired T HYLAND