Kempt

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Manchester’s Finest

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Peter Saville doesn’t usually suggest holiday cheer.

The dour Mancunian graphic designer is best known for designing the Unknown Pleasures sleeve you saw on all those shirts a few years back, but it looks like his work has taken a festive turn of late. As part of his hometown’s “Visit Manchester” campaign, he’s designed a limited edition wrapping paper that most resembles a festively industrial fluorescent blur.

At the moment, there are 725 rolls remaining, which means you’ve got some time, but don’t dawdle too long. You can pick one up here for three pounds (five bucks). With all the design cred involved, we’d use it sparingly—but if you’re wrapping up the latest New Order compilation...

The Week that Was

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Valet has managed to somehow cram the pandemonium of fashion week into reasonable graphical form once again. Their well-appointed, color-coded, and designer-tagged representation of last week’s runway shows just went up here. Enjoy.

On Trend

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The aesthetes at Valet just debuted The Edit, a more web-integrated wing of their site. There’s a steady stream of obsession-worthy objects, a handy virtual newsstand and a digest of some of the best style blogs on the web (ahem), but what really caught our eye was a little applet called The Pulse.

Anyone who’s spent an afternoon scouring Google Trends can testify to its almost limitless appeal, but The Pulse is the first time we’ve seen it harnessed in editorial form. Above, you can see the Met Ball debacle broken down in handy graphical form, as news of Mr. Sutherland’s infamous headbutt gradually spreads through the blogosphere, and thousands of people simultaneously wonder who Jack McCollough is.

Mach Twelve

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Speaking of the movies, the most recent Bond outing recently brought our attention to an entirely new kind of director: the Kansas City graphics firm MK12.

You may have seen their work before in the titles of The Kite Runner or detailing Will Ferrell’s humdrum existence in Stranger than Fiction (both from Quantum director Marc Forster), but the opening titles of a Bond film are iconic enough to be any animation worker’s dream job. Add in a desert setting and Jack White and Alicia Keys’ fantastic title song, and you’ve got one of the best intros in the series.

Well played, gentlemen.

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