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@snuffy.nyc

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Julius Margulies
@aballexyz
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Aballe reminds me why I choose New York, a city where you can suffer and thrive in the same afternoon and get charged for both. And when I fly too close to the sun, it pulls me down before the wax gives out. 🎥: @noah_deitch by @snuffy.nyc
We visited @matteonangeroni this summer in Padova… he insisted we make the Horologium Spinale for the tank. Now he visits us in New York and we’re all pretty happy about it by @snuffy.nyc
I took the loans. I leveraged myself. To own anything at all, I spread myself thin, strapped the house to my back, and started to climb. Because every dream has a purpose, and mine is home. I learned on the way up that the things you own end up owning you. And here is what no one tells you. The American Dream was named in 1931, in the pit of the Great Depression, and the man who coined it never meant a house. He meant a fuller, freer life for everyone. We turned it into a deed and a thirty-year note, and that note is a modern invention. A century ago you paid your home off in a few years, or you rented. The lifetime of debt was designed. So the dream is not a fallacy because it isn’t real. It is a fallacy because it’s sold without the fine print. We take the debt anyway, and we carry it, because that is the purpose. You spend a whole life paying it off so the ones who come after you inherit the freedom instead of the climb. That is my idea of home: the heaviest thing I will ever carry, and the one thing I will never set down. SELF EMPLOYED Julius Margulies Sand Coated Aluminum by @snuffy.nyc
I bought a building in Williamsburg off Craigslist. I learned to tattoo from YouTube. None of it was the conventional way in. It was just the way that was open to me. I’m Coming In is about that. About refusing to let a door stop you. He wears the suit, learned the pageantry. He respects the history of the room he is trying to enter. The suit is the respect. The kick is the refusal. I’M COMING IN, 2025 Julius Margulies Steel and resin, coated in sand, recessed into the wall. by @snuffy.nyc
18 karat yellow gold Spinale bracelets 8mm - 10mm - 12mm with vs diamonds 18 karat yellow gold Horologium Spinale on vintage Day date 18 karat yellow gold Horologium Spinale on vintage Day date (Top to bottom) Ferramente single and duo rings in 18 karat yellow gold Immortale rings (8mm 12mm 16mm) in 18 karat yellow gold Ferramente single and duo rings in .925 Sterling Ferramente single and duo rings in .925 Sterling Ferramente single and duo rings in 18 karat yellow gold Ferramente single and duo rings in .925 Sterling Find the whole collection @h_lorenzo by @snuffy.nyc
We are proud to announce that Aballe has found a home at H. Lorenzo, Los Angeles. For over fourty years, they’ve made a room for the boundary pushing and the unexpected. A room that treats fashion as high art. Come see the pieces in person and hold the weight of them. @h_lorenzo by @snuffy.nyc
Before 1895, no one alive had ever seen their own skeleton. For three hundred thousand years we walked around carrying something we could not look at. Then Wilhelm Roentgen pointed an unknown beam at his wife’s hand, and Bertha, looking at the bones inside her own fingers and the metal of her wedding ring, said, “I have seen my death.” (seen on the last slide) He called the rays X because in the mathematics of the day, X meant unknown; he refused to patent them and gave his Nobel money away. In some ways, the world was less noble with its new sight. At the De Beers mines, workers were X-rayed at the end of their shifts, frisked from the inside for swallowed diamonds. (seen on slide 2) I grew up on the other side of that wall. My father showed me X-rays at the kitchen table from the time I was a boy, the column of bone glowing white against a black backdrop. To him, the inside of a body was a problem you solved with the right construct. To me, it was the first art form I ever loved. ABALLE is built so other people can have the same moment. Bertha looked at her hand and saw her death. You look at yours and see the architecture you have been carrying your whole life. X-ray. ABALLE x Julius Margulies. by @snuffy.nyc
Drive a screw into bare bone and the bone splits. Cut the thread first, and it holds. This is called tapping the bone. In the 90s, tapping was done by hand, with the T-bar. Today, it is done by a machine. We’ve already talked about the pedicle screw. This is the tool that put it in. The T-bar is the handle used to turn the tap. The whole procedure came down to how it was held. Too much force and the pedicle breaks, millimeters from the nerve. So a surgeon would turn it slow, and read the bone through their hands. The tap comes back out. The handle comes back out. Only the screw stays in the body. Today a robot aims the screw and a motor drives it. The field spent thirty years engineering the hand out, because the hand was the risk. In the 90s, there was no robot. Just the hand. Ferramenta ABALLE x Julius Margulies by @snuffy.nyc
I asked my father, “what would you do if you had to close the gap between two vertebrae?” He said, “well, medicine has advanced now, but back then we would have used this.” And he reached into his case and pulled out a Harms cage. This is a Harms cage, developed in 1986 by Jurgen Harms, a titanium mesh, diamond-cut, designed to replace a vertebra. When trauma or disease destroys one, the surgeon performs a corpectomy: the diseased bone comes out, the cage goes in, packed with graft. New bone grows through the openings. X-rays pass through them so the surgeon can watch the fusion happen. In the era my father was operating, a version of it sat in his instrument set. It always intrigued me. When we were designing this bracelet, we refused to use a standard clasp off the shelf. So along with the pedicle screw (introduced in a previous post), we built the Harms cage into the clasp. The two vertebrae from each side of the bracelet would be joined by a clasp with a gold spring bar on the wrist. Spinale. ABALLE x Julius Margulies. by @snuffy.nyc
I spent much of the last 10 years tattooing. I gave people the best work I could and watched it disappear with them. Skin is the most intimate medium and the least permanent one. Gold does not have that problem. Gold will outlast every cell in your body. I stopped making things that depend on a body to survive. This is for the wrist after yours, and the one a thousand years from now that finds it in the ground. ABALLE x Julius Margulies. by @snuffy.nyc
Before any of the art, there was a house. I was a young apprentice at AM Studio-Build, the design-build firm specializing in Frank Lloyd Wright style work. They put architecture in my blood. The project was a 1951 house in a 47 home community called Usonia, a utopian society envisioned by Frank Lloyd Wright where he and his disciples would design the homes. While he personally designed 3 of them, he would oversee the other 44. AM Studio-Build took on the job of bringing a Ted Bower home, an apprentice of Wright, back to life. And I was lucky enough to stand in the shadows. In those shadows, I picked up Wright’s rule. Ornament is structure made visible. What holds a thing up should also be what makes it beautiful. That rule never left me. Look at my lightboxes. Surrealist drawings on layers of glass with a glow inside, like a lit-up X-ray. The Village is one of them. The hands all reaching in has its own story. What I want to tell here is how it is built. It freezes a Wright house mid-build. You see the bones of the house before the walls cover them. Wright said the bones should never be covered up. He said the bones were the beautiful part. The same rule shapes ABALLE. The Spinale bracelet is a structure, a literal spine, made wearable. The structure of the body worn as the ornament of the body. Look hard enough it’s all the same house ABALLE x Julius Margulies by @snuffy.nyc
Stacked neatly in the closet on racks, perforated metal cases from the floor to the ceiling. I knew they belonged to him. I knew they had something to do with cutting people open and fixing them. I didn’t know what was in them. I didn’t appreciate them. The more I grew into the ABALLE project, the more I started to learn about all these different tools and implants. A single specialty set inside one of these cases can cost $20,000 to $100,000. The instruments are not disposable. Reuse demands sterilization. That is what the case is for. After every operation they go back into the case, sealed and run through an autoclave at 121°C. A chemical indicator on the lid darkens once the cycle is complete. The case stays closed until it reaches the next operating table. Every detail intrigued me. How they were delivered. How they were placed in the case. It is amazing that an engineer and a surgeon are required to design something that lives inside a human for life. And equally impressive: the engineer with OCD who designs the case they live in. So when the time came to package our pieces, I knew exactly where they belonged. In the same case. Packaging. ABALLE x Julius Margulies. by @snuffy.nyc

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