If we can have exactly what we want, in the size and color we want, with a small modification, a lot of our retail expenditures will fall away, as will surely some of the ability to manipulate buying preferences, and, hopefully, wasteful overproduction.
I marvel at Gorey’s wallpaper, Hopper’s shadows, Louis Comfort Tiffany’s colors, Al Hirschfeld’s space, Saul Steinberg’s simplicity, and Joel Rosenthal’s ability to make diamonds look like dust.
“Bread for us is an emotional product. How do we give it the level of attention it deserves? And how can we present bread in a different way? If we look at conventional bakeries, they stuff the bread on to one shelf. How do we make it a product you really desire, that triggers emotions and also reflect on traditional consumption and connect to bread in a different way?”
“In the last 16 years we measured 5000 women. From that research we found many new results…Why does the body work like this? What does the body do about walking?…The pants show the body. It should be a nice picture and painting. We want to make that possible. That was our purpose. We’ve never been satisfied by anything that is half.”
The FoodTech world is fatally out of touch with the food world. In the food world people consume at least as much food porn as meals, spend their free time closely observing chefs making things by hand, and take an added pleasure in reading about food, cooking, and restaurants. It’s a hot journalistic category. Two crucial sensations in the pop culture passion for food are pleasure and power. The pleasure importantly can be mediated and digital, not only sensory. Food gives us other pleasures than taste.
“I never wanted to be in the family business. So I went to London. I was cooking for Barclay’s Bank. But those people were both very demanding and not very appreciative.