From the Cabat to the City

I’ve often complained about the New Yorker’s coverage of design and architecture (Zaha Hadid: too personal; James Dyson: too gee-whiz). I must give credit where credit is due. Last week’s profile of Bottega Veneta designer Tomas Maier opens with a set of personal fusses with which I think most design people would identify, from a publicist who removes lint from writer John Colapinto’s suit (“If that’s there, he won’t be able to think of anything else.”) to the news that Maier removed the H from his first name to achieve lettristic balance (Oddly, I have also always found Tomas more attractive than Thomas).