Toaster Challenge

by Doug Black

The household toaster serves a simple purpose, but some models do it better than others. At CH we take this responsibility very seriously, and in hopes of separating the best from the average, we recently pitted four models from different manufacturers in a head-to-heat toast-off and recorded our highly subjective results. The toasters we used were the Alessi SG68, Viking VT200, Breville Smart Toaster BTA820XL and Krups TT6190. We tested each toaster using two different types of bread, and tasted them with both butter and jam. All of which succeeded in the base-level function of making our bread warm and crispy, but each had its own advantages and pitfalls. We took our combined impressions and then arranged the toasters from first to worst.

Breville's new "Smart Toaster" does everything besides making the bread. Not yet on the market, it has an LED panel that counts down and also employs a robotic function that slowly submerges the bread into the glowing coils and raises it again after an abbreviated two minutes (at the medium setting) of toasting. It even boasts a button labeled "A Bit More" to ensure your personal level of toasting excellence. The experience of using the toaster elicited the most "oohs" and "aahs," with several commenting that it seemed to have a personality. And the resulting product was admirable itself. The bread had an unrivaled level of evenness, with a consistent brown color from crust to golden crust. A formidable challenger, the Breville would be tough to beat.

Our second favorite didn't have the most features or the fastest toast. It didn't have a perfectly even toast either, but what it lacked in technology, it made up for with an attractive style and capable simplicity. As with the rest, the Alessi ($200) was a two-slice toaster but spaced lengthwise (which seems to be a purely aesthetic choice, unless you intend to brown an entire length of French bread). It also was the only toaster to include a removable top-level rack for warming things too big to fit inside or toast for a crowd. But where the Alessi really shined was on the taste test. After eating the resulting toast, it was unanimously hailed as the taste champion. And despite concerns with limited availability, it would look striking in any kitchen and reliably produce a quality product, which is all we really ask for.

The Krups model ($60) was also big step forward in the feature department. With a bright display and digital toasting levels, you could precisely time toasting intervals from one to nine and countdown to the exact second it would pop. That said, the openings were too short to accommodate even slight variations in bread size. Also, the Krups took one-third longer to finish than the other brands, equaling a definitive minus. Even with all the features under the sun, nobody wants to wait any extra time for their toastable breakfast pastry.

The Viking ($275) had a dismal rank in the size-per-feature ratio (not to mention cost-per-feature). A bulky toaster, it offered the bare minimum of options while looking similar to an industrial washing machine. It seemed solid enough to withstand the most demanding kitchen, but had few other remarkable pluses befitting its hefty pricetag. The Viking's toast was altogether pedestrian, and was soon lost amidst the other, shinier appliances.

Paris Stores: April 77 and Jerome Dreyfuss

by Tim Yu

by Jason Wilson

April 77
Fashion and record label April 77 has just taken up residence in a retail space right down the block from the company's headquarters. Designer Brice Partouche tapped interiors guru Steven Thomas after reading a book on Biba, the '70s retail monolith that Thomas also designed. The circular space recalls a turntable with its dark vinyl-esque floors and gleaming steel beams, a choice that complements Partouche's rock-n-roll-inspired, super-skinny styles and fitted double-breasted blazers. Vintage radios are stashed throughout the crannied displays to further address the line's affinity for the chicest beats.

Jerome Dreyfuss
Despite the escalating euro, there is another reason to hop the pond in search of some uncommon French finery. Luxe handbag designer, Jerome Dreyfuss, just broke ground on rue Jacob in the splurge-worthy Saint Germain shopping district. "It's a great opportunity for me to show my client the universe of the label," the designer says. "Plus, I was dreaming of that exact location for years…and I hope to be able to seduce women for a long long time with my work." Conveniently, his wife and fellow fashion designer Isabel Marant's boutique is located next door.

Designed by Dreyfuss and an architect friend to resemble a modernist locker room, the 400-square-foot boutique features "lots of Jean Prouvé or Charlotte Perriand-style platform benches." Perhaps the most in demand will be the trash denim and tie-dyed totes that hang from the wall like boxing gloves—but no need to duke it out, there's plenty of attractive selections to choose from.

April 77
49, Rue de Saintonge
75003 Paris, France map
tel. +33 1 4029 0730

Jerome Dreyfuss
1, Rue Jacob
75006 Paris, France map
tel. +33 1 4354 7093

Esopus

by Lost At E Minor

New York-based Esopus hits newsstands only twice a year, but take a peek inside and you'll understand why. With a CD of new music in each issue, specialty papers and a hand-crafted feel, this ad-free magazine of writing and artwork strives to create a place for "unfiltered" and "un-mediated creativity." Yes, please!

There's a part of us that wants to give each new issue the white glove treatment (move the coffee cup away, try not to crack the spine), while the other half wants to rip out pages and frame them for the wall.

China Design Now

by Letizia Rossi

A look at the creative energy in modern China, China Design Now chronicles the recent cultural rebirth brought on by a combination of global influences and the rediscovery of China's pre-Socialist traditions. Opening 15 March 2008 at the Victoria & Albert Museum in London, the exhibit explores three cities beginning with Shenzhen, where graphic designers have been experimenting with new concepts since the 1990s. Next the exhibit examines the effect of consumerism and urban culture in Shanghai and finally Bejing where the architectural developments for the Olympic Games have transformed the skyline. Including architecture, fashion and graphic design, as well as film, photography, product and furniture design, youth culture and digital media, the show features around one hundred contributors.

China Design Now
15 March-13 June 2008
Victoria & Albert Museum
V&A South Kensington
Cromwell Road
London SW7 2RLmap
tel. +44 (0)20 7942 2000

John Varvatos Footwear: Spring/Summer 2008

by Doug Black

John Varvatos' latest footwear collection takes classic archetypes and squeezes new life out of them. No stranger to men's fashion, Varvatos cut his teeth working at Polo Ralph Lauren and Calvin Klein for more than a decade before he started his eponymous clothing line in 1999. Since then, he's expanded from clothes to include fragrance, skincare and (obviously) footwear. Regarding the latter, he's best known for a long-standing partnership with Converse, which produced the popular slip-on Chucks, "Crazy Laces" and myriad other creations.

Less visible is his personal footwear line. In his latest collection, he sticks to his philosophy of taking classic models and adding a subtle, creative touch to bring a new vitality. We were lucky enough to get our hands on a couple pairs of their wingtips and were impressed with the impeccable detailed stitching and design. Just like he did with the iconic Chuck Taylors, he retains the overall style, while adding his own signature. The Dark Ghurka Murray shoes (bottom right) feature handsome, burnished detailing. With the Cloudy Ludlow (bottom left), he experiments with a weathered, vintage coloring fit for both formal more affairs. Both reflect quality production and are handmade in Italy with all-leather uppers, lining and soles.

You can buy John Varvatos footwear at selected retailers around the world, or on the website.