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Retail rebellion: we trace Dover Street Market’s first decade of boundary-pushing design


To mark the tenth anniversary of the revolutionary retail concept Dover Street Market, the original London store reopens its doors this week after 72 hours of Tachiagari (‘beginning’ in Japanese) reinvention, kicking off a month-long calendar of special projects, limited edition products and installations.

‘Tachiagari is part of Dover Street Market’s DNA,’ says vice president Dickon Bowden on the store’s signature mode of creative flux that’s seen artists and set designers dream up infinite concept spaces over the years, ‘It continues in everything we do.’

This birthday facelift includes the expansion of the ground floor’s fine jewellery space (remodelled by English artist Tom Price), an enlarged rooftop Rose Bakery café, the global launch of G I R L (Comme des Garçons’ fragrance collaboration with Pharrell Williams), and Tokyo’s Good Design Shop’s basement residency.

‘Rei [Kawakubo] has always been very inspired by the energy and the clashing of different people coming together within markets, which ultimately resulted with this beautiful chaos idea,’ explains Bowden.

The celebrations technically began in late August with Louis Vuitton’s first DSM concept space (the brand has historically only been available through its own boutiques and department store partners) debuting Nicolas Ghesquière’s A/W 2014 collection, housed on the first floor until 14 October.

Equally as anticipated is this week’s erection of a series of ‘Market Street Dover’ themed stalls scattered around the store, selling reasonably priced DSM souvenirs that have been either curated or created by DSM founder and Comme des Garçons designer Rei Kawakubo, along with exclusive products fashioned by designers from Simone Rocha to Rick Owens and Giambattista Valli.

And although the DSM concept has now expanded to Ginza, Tokyo and New York, initially, it was inspired by London’s famed Kensington Market. ‘She used to love going there,’ continues Bowden, referring to the three-storey indoor market on London’s Kensington High Street. The bohemian enclave catered to almost all of Britain’s sprawling sub cultures over the years, from the hippies to the ravers, via the punks, before it closed its doors in the 1990s.

‘Each one has its own personality,’ continues Bowden of the three stand-alone emporiums. ‘London is the original and it’s the soul of Dover Street; Ginza is a beautiful, beautiful store; and New York encapsulates the chaos very aptly.’ Indeed the latest edition spans seven floors, east of Midtown on New York’s Lexington Avenue.

And despite the fact that this milestone is being celebrated under DSM’s forward-focused ‘The Next Ten Years’ campaign, we couldn’t help looking back at some of the stellar collaborations from fashion brands and artists that have transformed this London space over the years, as talents like Matt Moser-Clark and Gary Card have each let their imaginations roam wild to fuel pure merchandising magic.

‘They give so much freedom to experiment and make things the way I intend them,’ says Card of his interactions with the brand. ‘I’m a strong believer in the first instinctive idea being the best, and Dover Street are so open to that, they are extremely receptive to strange ideas, yet nothing is strained or forced.’ The set designer’s most ambitious project included an installation of 40 clown heads displaying 40 pairs of glasses, each one lovingly sculpted from 100 roles of masking tape, which toured all branches.

Moser-Clark shares the sentiment: ‘Working as an artist, you quickly learn how fast the world turns, and then working with DSM I learnt how much faster fashion moves. The whole thing is an experience not a shop.’ The first project he worked on was a window piece called ‘The Ship of Fools’ back in 2011. ‘It was as you might expect, a sort of fishing trawler decorated with ice cream sundaes,’ he says of the work that was about the same size as his studio at the time.

‘You’ll be doing a window at 3 or 4 in the morning and people are stopping and taking pictures,’ reflects Bowden on their unexpected displays that wink out from one of Mayfair’s poshest addresses. ‘That’s hugely satisfying.’


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Free Goods of the Week: September 1st, 2014


We’re working hard to make Creative Market the world’s best marketplace to buy creative digital goods. Even if you’re not ready to buy something though, you can still enjoy the site. We give away not just one, but six free goods every single week! This weekly blog series from Matt Borchert will walk you through each weekly free good so you can get a good idea of what you’ll be getting before you download anything.

Free Goods Video Walkthrough Free Goods This Week

Stop by our Free Goods page to download all of this week’s great freebies. Keep in mind that these premium goods are free this week only and will return to their normal prices soon!

Anaglyph 3D Action – The Original

Unicorg Comedy

PSD Super Bundle

Vintage Flowers II

Author Theme for WordPress

Intro Sale | Repaint & Repair Font

Earn Money By Sharing Our Free Goods

Odds are, if you love our free goods, so will your friends. If you sign up for our Partner Program and share our free goods on social media every week, you’ll likely refer tons of your followers.

So how does this make you money? You’ll earn 10% of every purchase for an entire year from all new customers you refer to Creative Market using your Partner URL! How cool is that?

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What Is a Font License? (And Do I Need One?)


font license

Almost every design project you encounter will include type of some kind. And it’s very likely that that type will start as a font on a computer, unless you create it yourself. With using specific computer fonts, come some very specific rules regarding their use, which can vary by project.

So what is a font license? Do you need one? And where can you find the tools and resources you need to make sure you are using fonts properly? Lucky for you, we have a primer. (And the images in this post include fonts that you can license to use in your projects.)

What is a Font License?

font license

font license

font license

A font license grants the owner the right to use a typeface in a specific manner as outlined in the license. (Note that in this article we are going to use the terms “font” and “typeface” rather interchangeably.) Every typeface comes with a license of some sort – even those free online typefaces.

The big caveat about font licenses is that every type house or designer has the right to create a license of any type. So it is imperative that as a designer you check the specific license for any typeface you use commercially before you use it. You can find these rules in the End-User License Agreement that is “attached” to every font you download or buy. (And if you don’t have one, you can find it with a quick online search.)

Types of Font Licenses

font license

font license

font license

Fonts are technically considered bits of computer software, and just like any other software you are not supposed to install or use it without a license. This definition is beginning to evolve and primarily applies to desktop fonts; web fonts have a set of rules that are somewhat different.

Trademarks, design patents or copyrights often legally protect typefaces, fonts and their designers. This is why obtaining the proper license is so important. It ensures that the right person (or company) is compensated for their work.

Desktop and Print Licensing

A desktop or print font license is a basic, standard font license that applies to most of the typefaces that come on your computer or with any other software you install. This license allows you to use the font on your computer and use it to make static images, such as designing something for print. This applies to everything from posters to t-shirts to business cards to mugs.

WebFonts and Licensing

A webfont is a font that is used online. What makes it different is that the font is formatted so that browsers can see and render it accurately. This is often called a dynamic font, because the creator and user must have the font to see it properly.

These fonts are often embedded in the design project to ensure this works properly. Fonts can be embedded by the designer (but most licenses do not allow for this), while others include hosted embedding (this is how most webfont services work).

Open-Source Licensing

Open-source fonts are among the top choice for digital designers. Open-source fonts are free to obtain, free to use and free to share. Often open-source fonts come with the ever-increasingly standard Open Font License by SIL International, an international language expert. The OFL is “a free, libre and open source license specifically designed for fonts and related software based on our experience in font design and linguistic software engineering.”

This license allows for many things that others do not. It can be distributed and it can be modified. The primary rules for us are that you do not sell and OFL typeface and give proper credit for use.

Google Fonts, for example, the site and font service used by a huge number of designers for the web uses this type of font license. From Google: “All of the fonts are Open Source. This means that you are free to share your favorites with friends and colleagues. You can even customize them for your own use, or collaborate with the original designer to improve them. And you can use them in every way you want, privately or commercially — in print, on your computer, or in your websites.”

Commercial Licenses

Almost all of the above licenses apply to personal use. Commercial use for any typeface is a whole other matter and should be handled with care; even a typeface labeled as “free download” may not always be free if used commercially.

When working on projects for clients, for example, the most common practice is for the designer to use and work with fonts that are licensed by the company. This includes typefaces used for a company’s logo and those outlined in the company’s style guide. The thing designers have to be careful with is use – these fonts can’t be used for other clients unless they too own a license for them.

If you, the designer, are using a font from your own collection for a client, it is likely that you need multiple font licenses. One for personal use, and one for the client. Make sure to check the EULA carefully for each typeface so you don’t slip up.

Do I Need a Font License

font license

The simple answer is yes. When in doubt a designer should always assume that a license is necessary. And then check the specific license of the typeface you are using and for how you are using it. Following this routine is probably enough to keep you from encountering any font drama.

For Personal Projects

A desktop license is typically enough for anything you are doing on your computer that is not for a client. Likely, you’ll have a nice collection of typefaces that come installed with software or from downloads that you like and can carry you through most personal projects.

For Client Projects

When it comes to working for someone else, the best option is to work with fonts that they client has licenses for. Before using any font for a commercial project or use, make sure it is ok.

Commercial projects often require extended licenses and even some of those font freebies require payment for use commercially. When doing a project for hire, or for a client (or even yourself) that will be used for monetary gain, make sure to read every single line of fine print first.

For Digital Projects

Digital projects often require fonts that work in a number of environments, making use of a subscription font service particularly appealing. This allows you to buy a plan of fonts that you can use in a number of projects for one price with all the proper licensing included. Adobe’s Typekit is a popular option that has multiple plan levels (including a small free selection of typefaces.) Google Fonts are another very popular option for digital projects.

Getting Your Fonts in Order

The most common ways include buying or downloading a typeface right from a type vendor, as a part of a large software package, downloading a typeface from a designer or website or subscribing to an online type service.

Now that you understand why you need font licenses, how can you obtain them? The most common ways include buying or downloading a typeface right from a type vendor, as a part of a large software package (such as the fonts that come with the Adobe Suite), downloading a typeface from a designer or website or subscribing to an online type service.

But be careful of this rule that often applies to font licenses: “The most basic legal rule of font copyright is that unless the license specifically allows it, fonts cannot be shared among multiple computers, even if they are all owned by the same person or corporation, and fonts cannot be given away to others,” according to SIL International. When there is any question about a license or usage, refer to the EULA or contact the vendor directly.

Font Licensing Resources

Here are a few more resources to help you navigate the world of font licenses.


The most important things to understand about font licenses are that you likely need some sort of font license for most of the work you will be doing and not all font licenses are the same. Commonly, they vary by the creator of the font and whether you are using a typeface for personal or commercial use. Check each license carefully based on how you will be using it.

The best advice is to think about usage every single time you start a project. Make sure each typeface is licensed for the work you are doing and personal and commercial licenses are kept separate. If you are doing a lot of client work, you might even want to invest in software to keep track of it all.

Image Source: That Hartford Guy.

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Chocolate Bouchon


Bouchon Cakes

It is no secret that Sarah loves to bake. When she isn’t baking (or studying which is taking up a lot of her time as she prepares for her end of Year 12 exams), she is researching recipes or looking through cook books. She recently purchased Bouchon Bakery by Thomas Keller and Sebastien Rouxel which is a feast for the eyes. It is a wonderful resource for French style baking (tarts, cookies, muffins), breads, and confections. She has made a few recipes from the book so far – including some delicious madeleines which didn’t last long enough to be photographed.

Chocolate Bouchon

She made some fantastic Bouchons (the signature cake from the Bouchon Bakery) which is similar to a small brownie. We didn’t have a bouchon pan so used the Drommar Muffin tin from IKEA, which worked really well. They are delicious little chocolate cakes that are wonderful served dusted with icing sugar (confectioners sugar) and fresh berries. They are the perfect French treat!

chocolate bouchon

Chocolate Bouchon recipe

These decadent chocolate cakes are shaped like small corks. (Bouchon means cork in French).

3.0 from 1 reviews

Chocolate Bouchon




Prep time

10 mins

Cook time

16 mins

Total time

26 mins


Bouchons are small, rich chocolate cakes that resemble corks (Bouchon in French) and are similar to brownies.

Author: Thomas Keller from Bouchon Bakery

Recipe type: Baking

Cuisine: Cakes

Serves: 12


  • 5 oz butter- room temp
  • ¼ cup plus 1½ T flour
  • ½ C plus 2 T cocoa powder
  • ¼ C plus 2 tsp ( 1½ large eggs) eggs
  • ⅛ tsp kosher salt
  • ¾ c plus 1 T sugar
  • ¼ tsp vanilla paste
  • ½ C chocolate chips
  • for dusting powered sugar


  1. Place the flour, sifted cocoa powder and salt in a bowl and whisk.
  2. Combine the eggs, sugar, vanilla in a stand mixer and whisk on med- low speed, scrapping down sides and bottom of bowl. With the mixer running, alternating between the two, add the butter and flour in 3 additions. Then mix to combine well, scraping the bowl as necessary.
  3. Remove bowl, fold in chips. Let sit in a cool spot ( not the refrigerator) for 2 hours. Batter can be made ahead and refrigerated for up to two days, but make sure to let sit at room temp for two hours before filling the molds.
  4. Pre heat oven to 350F
  5. Using a pastry bag or spoon, fill the molds, stopping just below the rims.
  6. Bake for 12 minutes in a convection oven, or 16 minutes ins a standard oven. Remove mold from the oven and let stand 10 minutes(so that they will hold their shape), then unmold the bouchons on a cooling rack, turn right side up and let cool completely. Dust tops with powdered sugar. -


Chocolate bouchon recipe

Form more delicious French style recipes, check out Bouchon Bakery  by Thomas Keller and Sebastien Rouxel.Chocolate bouchon cakes

The post Chocolate Bouchon appeared first on A Spoonful of Sugar.

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Eavesdrop> Libelous Muckraking Architecture Critics!


Zaha Hadid has sued the New York Review of Books. The complaint, filed last month in Manhattan Supreme Court, takes issue with a piece by architecture critic Martin Filler that allegedly mischaracterized her comments on the deaths of hundreds of migrant construction workers in Qatar, where she has designed a soccer stadium for the 2022 […]image