인스타그램 스토리 뷰어

Archived
Now open for appointments

Visit us in Los Angeles to explore our curated collection of rare designer brands, furniture, and objects in person.

Appointments can be made via our website.

Archived
Now open for appointments

Visit us in Los Angeles to explore our curated collection of rare designer brands, furniture, and objects in person.

Appointments can be made via our website.

Archived
Now open for appointments

Visit us in Los Angeles to explore our curated collection of rare designer brands, furniture, and objects in person.

Appointments can be made via our website.

Archived
Now open for appointments

Visit us in Los Angeles to explore our curated collection of rare designer brands, furniture, and objects in person.

Appointments can be made via our website.

Archived
Now open for appointments

Visit us in Los Angeles to explore our curated collection of rare designer brands, furniture, and objects in person.

Appointments can be made via our website.

Archived
Now open for appointments

Visit us in Los Angeles to explore our curated collection of rare designer brands, furniture, and objects in person.

Appointments can be made via our website.

ARCHIVED GARMENT HANGER

Available Online Now

Precision laser-cut from aluminum sheet and meticulously assembled. Releasing in both brushed aluminum and black finish.

ARCHIVED GARMENT HANGER

Available Online Now

Precision laser-cut from aluminum sheet and meticulously assembled. Releasing in both brushed aluminum and black finish.

ARCHIVED GARMENT HANGER

Available Online Now

Precision laser-cut from aluminum sheet and meticulously assembled. Releasing in both brushed aluminum and black finish.

ARCHIVED GARMENT HANGER

Available Online Now

Precision laser-cut from aluminum sheet and meticulously assembled. Releasing in both brushed aluminum and black finish.

Archived Tray is now available to order on our website.

Material: Aluminium
Dimensions: 140x40mm
Weight: 447G

Price: $110
Limited Release

Sand(black) included with every order.

Functional also as an incense holder (with sand), and holding accessories.

Archived.co/tray

Logo designed by renowned artist Paul Nicholson @number3__

Archived Tray is now available to order on our website.

Material: Aluminium
Dimensions: 140x40mm
Weight: 447G

Price: $110
Limited Release

Sand(black) included with every order.

Functional also as an incense holder (with sand), and holding accessories.

Archived.co/tray

Logo designed by renowned artist Paul Nicholson @number3__

Vetements FW2016 ‘TFD’ bomber added to Friday’s release.

Vetements FW2016 ‘TFD’ bomber added to Friday’s release.

Vetements FW2016 ‘TFD’ bomber added to Friday’s release.

Maison Martin Margiela Autumn/Winter 2008 explored a darker, more aggressive vision of Martin Margiela’s deconstructivist world. The collection combined sharp tailoring with post-apocalyptic textures, featuring exaggerated funnel-neck silhouettes, distressed fabrics, snakeskin motifs, cracked finishes, and industrial details like barbed-wire-inspired accessories.

Margiela pushed themes of anonymity, protection, and transformation through sculptural shapes and experimental materials, while still maintaining the house’s signature approach to reconstruction and conceptual design. The season is now regarded as one of the brand’s most influential late-era collections, foreshadowing many silhouettes and ideas later adopted across contemporary fashion

Maison Martin Margiela Autumn/Winter 2008 explored a darker, more aggressive vision of Martin Margiela’s deconstructivist world. The collection combined sharp tailoring with post-apocalyptic textures, featuring exaggerated funnel-neck silhouettes, distressed fabrics, snakeskin motifs, cracked finishes, and industrial details like barbed-wire-inspired accessories.

Margiela pushed themes of anonymity, protection, and transformation through sculptural shapes and experimental materials, while still maintaining the house’s signature approach to reconstruction and conceptual design. The season is now regarded as one of the brand’s most influential late-era collections, foreshadowing many silhouettes and ideas later adopted across contemporary fashion

Maison Martin Margiela Autumn/Winter 2008 explored a darker, more aggressive vision of Martin Margiela’s deconstructivist world. The collection combined sharp tailoring with post-apocalyptic textures, featuring exaggerated funnel-neck silhouettes, distressed fabrics, snakeskin motifs, cracked finishes, and industrial details like barbed-wire-inspired accessories.

Margiela pushed themes of anonymity, protection, and transformation through sculptural shapes and experimental materials, while still maintaining the house’s signature approach to reconstruction and conceptual design. The season is now regarded as one of the brand’s most influential late-era collections, foreshadowing many silhouettes and ideas later adopted across contemporary fashion

Maison Martin Margiela Autumn/Winter 2008 explored a darker, more aggressive vision of Martin Margiela’s deconstructivist world. The collection combined sharp tailoring with post-apocalyptic textures, featuring exaggerated funnel-neck silhouettes, distressed fabrics, snakeskin motifs, cracked finishes, and industrial details like barbed-wire-inspired accessories.

Margiela pushed themes of anonymity, protection, and transformation through sculptural shapes and experimental materials, while still maintaining the house’s signature approach to reconstruction and conceptual design. The season is now regarded as one of the brand’s most influential late-era collections, foreshadowing many silhouettes and ideas later adopted across contemporary fashion

Hedi Saint Laurent jackets releasing this Friday.

Hedi Saint Laurent jackets releasing this Friday.

Hedi Saint Laurent jackets releasing this Friday.

Hussein Chalayan
AW1995 “Along False Equator” Wooden Corset

Unlike much of his work, this corset was not created with the specific political and social narratives that generally inform his collections. However, Chalayan’s reputation for an intellectual rationale to his design process is such that it is difficult, if not impossible, to assess individual examples of his work without contextualizing them in the larger body of his conceptually driven production.

The essentially low-tech “bustier” stands in contrast to much of Chalayan’s experimentation with unconventional materials, including some associated with aerospace technology. It does, however, relate to an earlier design from his 1993 Central Saint Martins graduation presentation and the later, beautifully rendered, “furniture” pieces that transformed into garments from his fall/winter 2000-2001 collection. With its boxing- in of the body, if only partially, the bustier recalls the kinky improvisations of archaic medical prosthesis, the sleekness of boat hulls (one is reminded of Diana Vreeland’s pronouncement that jeans were the most beautiful thing “since the gondola”), and, perhaps most aptly, the confinement of coffins.

Hussein Chalayan
AW1995 “Along False Equator” Wooden Corset

Unlike much of his work, this corset was not created with the specific political and social narratives that generally inform his collections. However, Chalayan’s reputation for an intellectual rationale to his design process is such that it is difficult, if not impossible, to assess individual examples of his work without contextualizing them in the larger body of his conceptually driven production.

The essentially low-tech “bustier” stands in contrast to much of Chalayan’s experimentation with unconventional materials, including some associated with aerospace technology. It does, however, relate to an earlier design from his 1993 Central Saint Martins graduation presentation and the later, beautifully rendered, “furniture” pieces that transformed into garments from his fall/winter 2000-2001 collection. With its boxing- in of the body, if only partially, the bustier recalls the kinky improvisations of archaic medical prosthesis, the sleekness of boat hulls (one is reminded of Diana Vreeland’s pronouncement that jeans were the most beautiful thing “since the gondola”), and, perhaps most aptly, the confinement of coffins.

Hussein Chalayan
AW1995 “Along False Equator” Wooden Corset

Unlike much of his work, this corset was not created with the specific political and social narratives that generally inform his collections. However, Chalayan’s reputation for an intellectual rationale to his design process is such that it is difficult, if not impossible, to assess individual examples of his work without contextualizing them in the larger body of his conceptually driven production.

The essentially low-tech “bustier” stands in contrast to much of Chalayan’s experimentation with unconventional materials, including some associated with aerospace technology. It does, however, relate to an earlier design from his 1993 Central Saint Martins graduation presentation and the later, beautifully rendered, “furniture” pieces that transformed into garments from his fall/winter 2000-2001 collection. With its boxing- in of the body, if only partially, the bustier recalls the kinky improvisations of archaic medical prosthesis, the sleekness of boat hulls (one is reminded of Diana Vreeland’s pronouncement that jeans were the most beautiful thing “since the gondola”), and, perhaps most aptly, the confinement of coffins.

Hussein Chalayan
AW1995 “Along False Equator” Wooden Corset

Unlike much of his work, this corset was not created with the specific political and social narratives that generally inform his collections. However, Chalayan’s reputation for an intellectual rationale to his design process is such that it is difficult, if not impossible, to assess individual examples of his work without contextualizing them in the larger body of his conceptually driven production.

The essentially low-tech “bustier” stands in contrast to much of Chalayan’s experimentation with unconventional materials, including some associated with aerospace technology. It does, however, relate to an earlier design from his 1993 Central Saint Martins graduation presentation and the later, beautifully rendered, “furniture” pieces that transformed into garments from his fall/winter 2000-2001 collection. With its boxing- in of the body, if only partially, the bustier recalls the kinky improvisations of archaic medical prosthesis, the sleekness of boat hulls (one is reminded of Diana Vreeland’s pronouncement that jeans were the most beautiful thing “since the gondola”), and, perhaps most aptly, the confinement of coffins.

Hussein Chalayan
AW1995 “Along False Equator” Wooden Corset

Unlike much of his work, this corset was not created with the specific political and social narratives that generally inform his collections. However, Chalayan’s reputation for an intellectual rationale to his design process is such that it is difficult, if not impossible, to assess individual examples of his work without contextualizing them in the larger body of his conceptually driven production.

The essentially low-tech “bustier” stands in contrast to much of Chalayan’s experimentation with unconventional materials, including some associated with aerospace technology. It does, however, relate to an earlier design from his 1993 Central Saint Martins graduation presentation and the later, beautifully rendered, “furniture” pieces that transformed into garments from his fall/winter 2000-2001 collection. With its boxing- in of the body, if only partially, the bustier recalls the kinky improvisations of archaic medical prosthesis, the sleekness of boat hulls (one is reminded of Diana Vreeland’s pronouncement that jeans were the most beautiful thing “since the gondola”), and, perhaps most aptly, the confinement of coffins.

Hussein Chalayan
AW1995 “Along False Equator” Wooden Corset

Unlike much of his work, this corset was not created with the specific political and social narratives that generally inform his collections. However, Chalayan’s reputation for an intellectual rationale to his design process is such that it is difficult, if not impossible, to assess individual examples of his work without contextualizing them in the larger body of his conceptually driven production.

The essentially low-tech “bustier” stands in contrast to much of Chalayan’s experimentation with unconventional materials, including some associated with aerospace technology. It does, however, relate to an earlier design from his 1993 Central Saint Martins graduation presentation and the later, beautifully rendered, “furniture” pieces that transformed into garments from his fall/winter 2000-2001 collection. With its boxing- in of the body, if only partially, the bustier recalls the kinky improvisations of archaic medical prosthesis, the sleekness of boat hulls (one is reminded of Diana Vreeland’s pronouncement that jeans were the most beautiful thing “since the gondola”), and, perhaps most aptly, the confinement of coffins.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

New arrivals in Rick Owens, Chrome Hearts, Issey Miyake & more online now.

Rick Owens Stag T side table releasing this Friday.

Introduced around 2013, the piece has become a defining work within Owens’ collectible furniture line, known for its brutalist minimalism and organic influences. Constructed from two intersecting planes of ebonized, stained solid plywood, the stool forms a stark T-shaped silhouette. A raw moose or elk antler serves as the third structural support, ensuring that each piece is inherently unique due to the natural variations in the antlers used.

Rick Owens Stag T side table releasing this Friday.

Introduced around 2013, the piece has become a defining work within Owens’ collectible furniture line, known for its brutalist minimalism and organic influences. Constructed from two intersecting planes of ebonized, stained solid plywood, the stool forms a stark T-shaped silhouette. A raw moose or elk antler serves as the third structural support, ensuring that each piece is inherently unique due to the natural variations in the antlers used.

Rick Owens Stag T side table releasing this Friday.

Introduced around 2013, the piece has become a defining work within Owens’ collectible furniture line, known for its brutalist minimalism and organic influences. Constructed from two intersecting planes of ebonized, stained solid plywood, the stool forms a stark T-shaped silhouette. A raw moose or elk antler serves as the third structural support, ensuring that each piece is inherently unique due to the natural variations in the antlers used.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

Maurizio Cattelan is an Italian contemporary artist known for his provocative, satirical, and often controversial works that challenge ideas of power, celebrity, religion, and the art world itself. Blending dark humor with hyperrealism, his sculptures and installations frequently blur the line between absurdity and social critique.

He often uses horses in his work as symbols of power, vulnerability, failure, and mortality. Rather than portraying them heroically, he places them in surreal or unsettling situations that create tension between beauty and discomfort. His taxidermy horse sculptures frequently appear suspended from ceilings, pinned against walls, or collapsed on the ground, transforming an animal traditionally associated with strength and nobility into something fragile and tragic.

Works like Novecento — a stuffed horse hanging from the ceiling — evoke feelings of exhaustion, defeat, and suspended time, while also critiquing ambition and spectacle. The realism of the animals makes the scenes emotionally immediate, forcing viewers to confront themes of death, absurdity, and the instability of status or success. Through these distorted presentations, Cattelan turns the horse into a metaphor for both human ambition and collapse.

New Chrome Hearts jewelry releasing this Friday.

New Chrome Hearts jewelry releasing this Friday.

New Chrome Hearts jewelry releasing this Friday.

Rick Owens entry for “The Hoppening,” a global competition for designers to craft the ultimate ‘90s bunny costume, was showcased by New York club icon Susanne Bartsch and Playboy Enterprises. His design featured a white leather jumpsuit complemented by laced gloves, presented in September 1994 through rickowensforever.