It’s a drizzly day as I drive across the Queensboro Bridge to Sutton Place in Manhattan. I’m visiting Robert Rufino, a born-and-raised New Yorker and man about town who has had the kind of career that makes perfect sense in retrospect, but could hardly be planned in advance. As I walk into his foyer, the picture starts to come together. There are objects, paintings, furniture, and all manner of hints of a life well-lived.
In The Studio With Austin Eddy
We caught up with Austin Eddy, a Brooklyn-based fine artist who just happens to be our nieghbor at QMS HQ in Greenpoint. You can view more of his great work here.
Photos by Sam Schmieg
How long have you been in your Greenpoint studio? What was the neighborhood like at the time, and how has it changed?
I have been in this studio building complex for just over 7 years, but before that right when I moved to New York in 2011 had a small shared studio up on Box Street for a little while. My studio bounced around a bit at the beginning I was sort of squatting in person I knew at the times weird space in TriBeCa. That was short lived, from there I moved things to Greenpoint on Box St. After a couple of years there I moved to the Navy Yard before it was developed into what it is now. After that space I came back to Greenpoint when a friend was organizing this studio situation I am currently renting in now.
The neighborhood has seen a lot of changes over the past decade I guess. When I first moved in you could see Manhattan from the Pulaski Bridge. There are also a lot more Vape shops, I think there might have been one if any back in the day. In general greenpoint has gotten a face lift, so many new restaurants and bars, old buildings being torn down for glass apartment complexes. When you are living through the change, it doesn’t really feel like change in a way.
Could you talk a little bit about your background growing up in New England? You're from Cambridge, so did you grow up going to the Cape, Maine, the Vineyard, anywhere like that?
I am from New England, and I have always loved living by the water. Growing up in Boston was great, you could walk to the ocean and the seafood was fantastic. When I go back I always love taking the Ferry between down town and Salem, It is a nice little trip.
After Boston I spent a good amount of time in Chicago as well. They have the lake which feels like a large body of open water, but its not quite the same thing as the Ocean. But to answer your question I did spend a lot of time going to Maine when I was growing up. It is a really magical place. The Beaches are particular, and the wild life is spectacular. I still like to visit, though less frequently than I would like. Living in Greenpoint can kind of give you that salt air fix.
We'd also love to hear a bit about what you're currently working on.
Right now there are a few projects I am working on. Most of the work in the studio right now is for Marfa Invitational with Baldwin Gallery, that presentation will be opening in May. I am also in the beginning stages of working on an upcoming show that will be opening this summer in Greece with Eva Presenhuber. It is a very exciting time in the studio for me, lots of work ahead.
How long have you been wearing QMS, and how did you first encounter the brand?
I think I have been wearing Quaker Marine for a few years now. I am pretty sure I first came across the brand in the early stages of the pandemic probably on Instagram. I remember I ordered the Striped Utility shorts along with the standard sailing hat for summer that year. I was thrilled. Always on the look out for cool nautical clothes to rock at the beach.
What are a few of your favorite QMS items?
I am a big fan of the whole line. There is a cool classic quality to the designs and colors you are doing. I think a few of my personal favorites are the Oysterman hat, and the MacArthur Shirt, and I really like the new ties, but have yet to wear one. But the new textiles you are using are very cool, a nice blend of old and new.
QMS: We’re up here in Sutton Place, and I’m kicking myself for not having hung out around here before. It has a real old New York charm. I know you’re a native New Yorker who has stuck it out here for decades now. Tell me about growing up here.
Robert Rufino: Well I actually grew up downtown, in Chinatown, which was a much different place than it is today, more like a village than anything. My father drove a taxi, and my mother ran a card shop. I went to a missionary school, and really had a great childhood. A little bit after going to FIT where I majored in window display and merchandising, l had the good fortune to start my career at Henri Bendel on 57th Street, which was quite extraordinary.
QMS: Wow, as I understand it, that was THE store of that time in New York. What did you learn while you were there?
Robert Rufino: It was a very special place, almost like a private club. And at that time window dressing was an art form – we called it street theater. Working at Bendel opened my eyes to a whole new world. Not only did I design the windows at Bendel’s, but I was in charge of store design and merchandising. Early on I knew I was dyslexic, and I had a talent for putting things together. My eyes and hands were my tools – whether I was designing a fashion window or a beautiful still life.
QMS: It sounds like you’ve always had a keen eye for style. How did that translate into your career post-Bendel’s?
Robert Rufino: Bendel’s being what it was, I was so entrenched in fashion that it was very normal for me to go on to work in fashion magazines. What started in retail led to me becoming a fashion editor for many years, at various magazines like Elle Fashion to The New York Times, Harper's Bazaar, and others. Eventually, I was Vice President of Worldwide Creative Services at Tiffany & Co. for 13 years.
QMS: Then you made a shift back to magazines. What prompted that?
Robert Rufino: I felt I had accomplished what I wanted at Tiffany’s and it was an honor to design windows for this landmark American brand. I wanted to return to the magazine world, but not fashion. I had the good fortune to work for Stephen Drucker at House Beautiful for about three years. From there, I went to Architectural Digest, Elle Decor back to House Beautiful, and now I work for myself, contributing to Frederic (put out by Schumacher) and do other projects for various magazines like Elle Decor, Town & Country and Veranda. I also consult certain brands.
QMS: You've described yourself as a producer. Can you elaborate on that role in the context of editorial work?
Robert Rufino: Yes, I do prefer the term “producer” over “stylist”. As an editor with my experience, producing a shoot is like being an Art Director. You set the stage for the photoshoot. It's a collaboration between you and the photographer, especially for magazines with a distinct voice. You have to master the process of working, of evolving an idea into reality. Whether you're designing a window or a dress, you have an idea, but you don't know how it's going to look until you start draping fabric or putting it together.
QMS: Let’s shift to your personal style for a moment. What specific moments or experiences influenced your approach to dressing?
Robert Rufino: The late '70s and early '80s in New York were influential. It was a time of individual expression. People dressed so individually; there was an explosion of personal style with figures like Steven Burrows, Stephen Sprouse, Halston, Perry Ellis. People wore what they wanted, unlike today, where it feels like everyone is wearing more of a uniform.
QMS: How did that era shape your personal style?
Robert Rufino: It's all about how you put things together. It’s the way you wear your hat. Real style is something you have within you, not a trend. It's about finding what makes you comfortable and being yourself. For example, I’ve always loved wearing blue, even now. When I was at Tiffany’s I used to wear a lot of beautiful deep blue suits, but now I’ll wear jeans and a blue shirt, and maybe a sport coat instead of the full suit but it's still clean and classic.
QMS: What music were you listening to back then? What was the soundtrack to that era for you?
Robert Rufino: I was a big Supremes fan! Also, Marvin Gaye, Stevie Wonder, Aretha Franklin… so many artists. Roberta Flack, Eddie Kendricks, Diana Ross. I was a total Motown boy! But I always kept a little room for the Stones, the Beatles, and Janice Joplin.
QMS: You have all these great cultural reference points that the new generation hasn’t lived through. I’m curious, what are your thoughts on the younger generation and their approach to creativity and style?
Robert Rufino: In a way, all these young people have access to even more cultural reference points than I did growing up because of the internet. But I think you lose something when everything is so readily available. We had to search for everything ourselves, not just find it on the internet or Instagram. You know, shopping online is different, people aren't really looking at what they're buying – the fabric, the fit, the whole retail experience, which is what I grew up with. Life was simpler for us. But I know creativity finds a way to thrive in every generation, so the kids will be all right.
