12/04/2012

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Reykjavík – The Other Scandinavian Fashion

When thinking of Iceland, what first comes to ones mind might be far-flung landscapes and hot-tempered volcanoes, or one of Iceland’s most famous exports Björk. Singer/composer/musician/actress, known for her critically acclaimed albums as well as for her eclectic wardrobe. Somewhere here, between the scenic surroundings and artistic multi-talent, we are tuning in on what Reykjavík Fashion Festival (RFF) is aiming for. By gathering all that creative energy into one single event they form a common platform where the local as well as the international audience can discover fashion, design and music in the various venues that the city has to offer.


Being an emerging designer is hard enough in any country, but maybe even more so when being based on, well, let’s call it an island. The creative industry of Iceland has been growing over the past years, and promising creative individuals have been trying to go overseas, but with an often limited marketing budget and a not so obvious fashion scene, the way to reach out might become a little bit more jolty. Internet and social media have all their glory, but where does it take you if the contact stops there? The fact that the RFF for 2012 doubled the number of attendees is in itself an indication that the interest for the country has gone up and the focus during this year’s edition was not only to showcase the most skillful of creative minds but also to prepare them for an entry into the international fashion business. The interest and support from industry leaders and authorities are an important element in the success of young designers and in order to foster the Icelandic fashion, awareness has to be raised. It is for this reason that events like the RFF becomes so important for the country and the designer it holds.

Speaking of the designers. Scandinavian fashion is famous for its well-tailored and clean silhouettes, but the Icelanders take a leap and gives us a wider arrange of provocative variety. Sure there are the simple lines evoking the beautiful shapes of the body, but Reykjavík Fashion Festival also offered shows in the category of dramatic extravaganza. Even though a few of the brands no longer have their base in Reykjavík, the collections and identities of the companies still marks the importance and value they put in their heritage. The fashion world in Reykjavík has become an exciting place where modernity meats tradition and like every other Fashion Week the surrounding events are as important for the ambiance as the main event itself. The spots around the city showed off the musical industry of Iceland, one that might be as important to the country as the blooming design business, but the RFF 2012 also introduced the city’s first ever Fashion Night Out.

A small economy such as Iceland might never measure up with the importance of the main fashion cities, but they can for sure fight for their earned right to a few days in the spotlight. By fostering rosy designers and offer a few days of alluring nature, Reykjavík Fashion Festival might just become a stop to consider on the fashion calendar.

Lisa Olsson Hjerpe – Images courtesy of Ruediger Glatz

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11/04/2012

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Sporty Sophistication by Siki Im

After a few seasons of general praise, and after having won the prestigious Ecco Domani-prize for best men’s wear in 2010, The German-born designer Siki Im of Korean-descent is the man of the hour. The fact that Siki Im is a multicultural half-breed stands very clear in his design. In his latest collection, the Rei Kawakubo bulky-silhouette is juxtaposed with the European penchant for Jil Sanderian neo-minimalism.

Come fall, Im has taken a peak in the rear-view mirror and paid a homage to his own high school jock-phase, during which he played basketball for five years, and classic American athletic wear such as Nike and Champion held a firm grip of his wardrobe and everyday life. At that time, The Chicago Bulls and Michael Jordan were in their age of glory. Therefore, their uniforms and sneakers have provided with inspiration for Siki Im’s up-coming season.


He even mentions Rocky’s Russian opponent Ivan Drago in Rocky IV as an influence; thus, the fluffy box-hair cut has been resurrected, accentuated by black and reddish sweatbands. But never mind the 80’s action movie allusions, the collection hoovers in a completely different dimension of modern sophistication, which could be explained by the fact that Im has once worked under the wings of Karl Lagerfeld and Helmut Lang.

Except for safe card such as black and grey, the collection presents a wide array of nuances from the red colour spectrum, featuring scarlet sweatshirts, burgundy blazers, coral slacks and ruby drawstring-tunics, all effortlessly layered together with goofy popcorn-print shirts and bomber jackets.
“Most people think my designs are very serious and avant-garde, but I really like it when some people say my collections are funny”, Im admits.

According to himself, he prefers to work with men’s clothing since it’s easier for women to wear menswear than the other way around. “The clothing can be worn comfortably by either sex”, he insists, “I think what’s important is to be comfortable.”

Petsy von Köhler

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06/04/2012

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G Star Raw And The 3rd Dimension of Denim

During the next year, the most stalwart piece of clothing will turn 140 years – the jeans. The denim pants have come a long way since Levi Strauss and Calvin Rogers launched them in the commercial spotlight, and made them a crucial part of the everyday working life of the humble Northern American peasants.

Today, the label G Star Raw is the brand du jour who has seen into the future and brought innovation to their previous and current collections. At the right moment, when we were overfed with 3D-film productions, G Star decided to bring that peripheral dimension into their clothing line instead.

While 3D-pants might sound like something out of a cheap science fiction-production, on the contrary, the intricately constructed Elwood and Arc pants incorporated new techniques to the classic denim tailoring. To achieve an asymmetric tapered fit that adjusts to the leg, twisted seams and inseams were used. The jeans have a bow-legged shape when laid flat, but has an ergonomic 3D-effect around the leg when put on.

Ergonomic functionality has also been a priority in the current collection, with one style influenced by motorcycle rider from the swinging old days. In the 1920’s and 30’s, the importance of flexibility and comfort was never undermined; a fact that G Star Raw felt like it was time to remind the world of. Therefore, the new 5620 Dimension pant has evoked those qualities, through advanced moulding techniques, while staying true to their 3D-concept which adds volume for body parts in motion, such as the knees, in five different directions.

G-star Raw recently revealed their newest concept for the fall/winter collection – a line named Deep Tones, featuring denim that have undergone a formulated molecular treatment which will prevent the fading of colours when washing. This treatment has been applied to the Elwood and Arc pants. Aside from denim, experiments have also been carried out on wrap dresses and coveralls; by baking the denim, a more crinkled texture was obtained.

Since its inception in 1989, G Star Raw has so far been at the vanguard of jeans innovation; the challenge however lies in continuously moving forward with the technological 3D development while approaching ethical and environmental issues in new dimensions as well. Since 2011, the brand has lead a close collaboration with the multi-stakeholder organisation MADE-BY which aims to ameliorate environmental and social conditions in the fashion world. All hail to innovation, but let’s not forget that with great technological progress comes great corporate responsibility.

Petsy von Köhler – Images from the SS12 collection 

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05/04/2012

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Meeting Tim Coppens

Another time around, Tim Coppens created some hard-earned murmur about the eponymous brand during New York Fashion Week. With references drawn from the film ‘Drive’, tailoring marked by extreme care in details and a color palette adding sophistication to the otherwise dynamic and slightly aggressive aesthetics, Coppens presented his third menswear collection, FASTER, for Fall/Winter 2012/13. His image of the modern man goes beyond the classical structure for menswear. “I don’t think there is one specific clothing that fits every man”, the designer said when the Blogazine caught him for a quick chat somewhere between New York and Belgium.

In your F/W12 presentation, details from motocross and ice hockey gear had a strong influence on the details and athleticism is reflected in your collections. What is your personal relation to sports?
I grew up riding BMX and skateboarding and did that for about 14 years. The reason why I went to certain cities with friends was to skateboard and find the best spots. The last couple of years I have been into long distance running and cycling. I am attracted to individual sports where it’s more about going further and further, getting to know your limits. For me it’s a really good way to think and structure ideas. I’m not a big fan of group sports but I do like sports like ice hockey, rugby and American football where it’s more about the warrior athlete dressing up in battle gear getting ready to defeat the other team. The dress code and the protective armor are really interesting objects.

Does any specific type of music or places inspire you in your work?
I listen to a lot of music. But I also notice that I filter a lot more than I used to do, and doing that I also realize that I go back to the old records that I bought and loved to listen to, whether it’s Kenny Larkin or the Screaming Trees. I don’t have a favourite band. Places and music are connected.

The Fall 2012/13 collection is beautifully composed with the materials complementing each other and the meticulously worked-over details catching the eye. “I like compact materials, whether they are cottons or wool, et cetera”, Coppens said when we talked about what combinations of materials her prefers to work with. When talking about Tim Coppens, it is impossible to not speak of colors. His previous collections have been noted for some of the graphical elements that we don’t see for Fall. Instead we find the continuous subtle feeling of color blocking, given some extra vivacity through a few well-placed dashes of bright blue. The collection, which is described to have an aggressive edge and is very masculine and active, yet have a sophisticated side to it. We asked Mr Coppens if this somehow reflects on how he sees the ‘Tim Coppens man’: “I think so, yes. The masculine and sophisticated edge is something that is really important to me. Although, I have noticed that a lot of women like wearing my bomber jackets.”

Coppens, who was born in Belgium, graduated from the Royal Academy of Fine Arts in Antwerpen, and 2012 he is being noted as best new menswear designer of the year with the Ecco Domani award. Antwerpen and New York are both renowned fashion cities and the home of several noteworthy designers. Today he has chosen to live in New York, where he, as previous mentioned, also shows during Fashion Week. “I prefer spending my time in New York because it’s home for now. But I do like going back to Belgium from time to time.”

Lisa Olsson Hjerpe with a special Thank You to Tim Coppens

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02/04/2012

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The Talented – Steffie Christiaens

Steffie Christiaens is someone who knew her business before setting up a studio in Paris. Prior to her first self-named prêt-à-porter collection, which was brought to the runway in March 2011, she attained her fashion design diplomas at Arnhem Academy in the Netherlands and IFM in Paris. She was chosen finalist in the prestigious Hyères Festival 2009 and she worked as collection assistant at Maison Martin Margiela as well as next to Nicolas Ghesquière at Balenciaga. Merging the probably immeasurable expertise gained while working at two highly renowned fashion houses with her knowledge in architecture, 3-D construction and fabric design, Christiaens is creating space for a new discussion in the land of fashion and art.

The experiments have their point of departure in the forceful elements of nature and science. Femininity is presented in complementary to bold cuts and structures where texture, movement and shape all come together, creating powerful and forward-looking images throughout the three collections that so far has left the studio. The Fall/Winter 2012/13 collection is without a doubt a dynamic woman, but there’s a sensitivity and sophistication to her appearance. There’s the dimension of the projected deficits and asymmetric irregularities, and there’s the dimension of the precious work on the fabrics which adds an overall strength to a single piece as well as to the collection as a whole, both gaining from the inspiration coming from the transforming states of water and structures of ice. Black leather, 3D looking jacquards, hefty felt and zippers are softened up with light silk materials and soft shapes created out of goat hair. A color scale that stretches from black and the darkest of charcoal to the lightest crystalline whites is livened up and made more interesting with two outfits in blood red, light shades of camel and skin and the whole spectrum of icy greys.

Runway semblances can be seen through round necklines, high collars, slightly shortened trousers and heavy coats but it is not what makes the Steffie Christiaens brand worth talking about. It’s the dissimilarities in the sculpted shapes, cut outs and fine points like sliced up tights, resembling a fissure in a glacier or the hand-blown glass objects holding water and carried out as an accolade to the inspiration element. Every garment has the outlines for being a classic piece but thereafter the collection takes its own shape. Slim, nondescript trousers are matched with apron shaped miniskirts, the jackets are embellished with sculptural lines and every cut is emphasizing and shaping the female body. The line between accentuating and distorting is sometimes fine but Christiaens noticeable research and savoir-faire keeps her on the right side.

In 2011, preceding all of her runways, Christiaens released Deliquesce, a short film signifying the aesthetics in motion while slowly unwrapping and revealing a couture creation. The abstract image presented might just have been the start off for the label, but it might just become the core, representing the magnetic beauty story behind a collection.

Lisa Olsson Hjerpe – Images steffiechristiaens.com

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29/03/2012

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Peter Movrin – A Modern Take On Medieval Times

Slovenia might not be one of the most noted fashion countries to date, but it’s nonetheless home to Peter Movrin, the young avant-garde designer who has won countless awards in the motherland for his design and styling abilities. After having finished his studies in textile technology at University of Ljubljana in 2011, and having been awarded “the prize for special achievements” by his university, he was announced by Slovenian Elle as “the most promising young stylist with strong vision”. His latest collection “Franz Madonna” is heavily inspired by the medieval gothic era’s heydays. The art, the architecture and the religious beliefs of the time were all cultural factors taken into account during Movrins’ creative process.

”The collection is about the gothic era, Christianity and people’s humility,” Movrin explains. “All the architecture, paintings and statues were strongly marked by religion. I combined an investigation of the era and people’s characters with one of the eastern world and its Islam belief. Covered faces and the curiosity about what is hidden underneath of all the dark material makes us pay attention to the body movement.” The main part of the domestically produced collection consists of laser cut leather pieces, however, the sharp edges and bulky silhouettes have been juxtaposed with lighter materials such as lace to obtain a more sensuous edge. Crocheted mask and embroidered details adds a romanticist element, along with the silk underskirts.“ The collection has actually been quite well received.

“Franc’Pairon from Institut Français de la Mode said that he liked the collection, but a few people here in Slovenia were kind of frightened I think. The young generation is more impressed by the story behind it, but a little afraid of the actual clothes. But I like the fact that some people get scared of those wearing my clothes,“ he told us. Peter is currently working on expanding his own brand, but says that he wouldn’t mind working for an already established fashion house one day, and if we are to take him at his words, Slovenia is a fashion nation under development to keep an eye on.

“Since we don’t really have any real fashion critics and journalist with real knowledge of fashion, people in general don’t know that much about it. But we have some amazing designers, such as Nataša Peršuh who worked for Kenzo, and Nataša Čegalj who’s working for Stella McCartney, and not to forget artist Marina Abramovići. We have many fashion talents yet to be discovered…”


Petsy von Köhler & Peter Movrin

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28/03/2012

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The Talented – Thomas Tait

You know his name. You know he’s the youngest graduate ever from the MA Fashion Design course at Central Saint Martins and you probably know that the Montréal-native Londoner Thomas Tait received the Dorchester Fashion Prize back in 2010. And you most definitely know that he’s one of the top must-see-designers showing during London Fashion Week.

Tait wasn’t raised in the midst of fashion, nor did he find his calling precociously. But he was never content with the looks surrounding him, neither those on the streets nor those in the vintage shops in downtown Montreal. So he set to work. And once firmly on the fashion path, he earned a technical design diploma at La Salle College and then found his way onto the London scene. And it’s a scene he seems to have mastered since he was one of very few CSM graduates chosen to debut during London Fashion Week 2010.

Being involved in every part of the creative process, from designing to pattern construction and sewing the pieces together, Thomas Tait has gone from sharp cuts and all black, to whites and pastels matched with trainers for spring, to a Fall 2012 collection presenting wardrobe classics in scenic moss greens, dark navy and mustard colored leather.

But make no mistake: though the coats and jackets may have classical names, their shapes and cuts are as technically complex and worked over as ever. Curvilinear silhouettes and well defined shapes with low-cut or folded up high collars join to form a collection where the Tait’s aesthetics were well incorporated with aspects of wearability, an aspect that the designer at times have been criticized for when creating ‘too’ much of a structured figure.

Only three collections in, he seems to be working his way towards something that can balance his initially angular nature of silhouettes (starting from a fascination with shoulder blades and pelvic bones) with something that will fit the female body beautifully at the end of the day.

He is still young, and according to what he says, not yet ready to be categorized as a proponent of a certain aesthetic as far as the word “minimalist” is concerned. Clean collections with technical complexity behind them are reasonable to expect, but the Thomas Tait woman will surely continue to develop alongside his progress as a designer. And whether you yourself partake in London fashion scene or not, Thomas Tait is most assuredly a name you will come across again.

 

Lisa Olsson Hjerpe & pictures courtesy of style.com  

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26/03/2012

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Sean Frank – McQ behind the scene A/W 2012

Everyone remembers the mystery of the dried leaves at McQ’s breathtaking Fall 2012 show in London last month. And while we’re still not sure how they managed to fill the room with real autumn leaves in February, we’ve at least been given another look behind the scenes to see first-hand some of the other magic of the event in Sean Frank’s just-released backstage video. It captures perfectly the dark, ethereal energy of Sarah Burton’s larger McQueen universe.

Against a backdrop of a constantly crescendoing John Gosling track, Guido Palau’s otherworldly hairstyles steal the show. Quick flashes of intricately detailed pieces from the collection mix in chiaroscuro with models, makeup and, of course, those brilliant leaves on the runway. The end result is a sweeping narrative that gives perhaps the most visceral impression yet of the collection’s story.

Watch twice for the full effect – you’ll catch some of the more subversive details the second time around. Fantastic work.



Tag Christof

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12/03/2012

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Guest Interview n° 37: Alexandra Verschueren

Born in Antwerp, Belgium, designer Alexandra Verschueren rose to prominence when being awarded Le Grand Prix at Festival d’Hyères in 2010 for her innovative Medium-collection featuring garments of felted and starched wool treated to look like paper. Today, Alexandra’s work is less conceptual but more thought-provoking than ever.

You grew up in the city of The Antwerp Six and many other influential designers, how has that heritage affected you and your work?
I started to be aware of it when I was 12 years old, in the 90’s, and I think it definitely influenced me in a way. It always felt kind of weird to have six such great designers, since Belgium is such a small country.

When you studied craftsmanship at The Royal Academy of Fine Arts, did the Belgian design tradition have a great influence over your education?
Walter Van Beirendonck (The Antwerp Six) was actually one of my teachers in the third year. But we were never allowed to look at other designers in that school, you never ever reference another designer. You’re supposed to find your own voice. In my final year I was working with paper and I had this idea to push garments flat, but my pattern-making teacher just said “Margiela has already done that”.

You were awarded Le Grand Prix at the Hyères festival in 2010, that must have been quite an experience.
I’ll never forget that. I graduated in 2009, and I went to New York to work for Derek Lam and Proenza Schouler, but the transition from being in the school’s artistic bubble to being in the commercial reality of fashion in New York was hard, so for me Hyères made the transition smoother. It opened so many doors; suddenly everyone knows your name, even if it’s hard to pronounce (laughs). I even got two letters from the French minister of culture.

And what happened afterwards?
I realized that my moment had come; it was the perfect timing to start the label. I still don’t feel completely ready, that’s why I do such small low-key collections. Many people think my work is simpler now, but there’s a more focused idea behind it. It’s about learning how to make a garment people will feel beautiful in. Very often fashion is all about image, making an impression. My collections are not about making disposable images, but to learn how to build a lasting one.

It sounds like you have a profound respect for the actual craftsmanship.
Yes, I just want to take my time, and show my respect for the métier. We once had a workshop with Dries Van Noten. He told us that his grandfather had this shop where he turned suits inside out for people. When they were worn out, he just turned them, rebuilt them, and they were like new again. That struck me as something that’s now fading away, but for me it’s very important to understand how a garment is constructed.

How has your working technique evolved since you began designing?
The trial process has become important, sometimes I just change a whole garment. Some I’ve redone like 5 or 6 times. I used to be very stuck with ideas of how I wanted it; I thought I was very consequent. Before it was more about the concept, since no one would actually wear the garment anyway. But when I started making wearable clothing I became more free. Now when something’s not working, I try to solve it. It’s more about the process.

How would you describe your current idiom and design?
I’m 24, so there’s still a lot to learn and I’m still figuring things out. The quality is very important for me. The sweatshirt fabric I used for my current collection is made with a machine that goes 10 times slower than a mass-production one, there’s no tension on the thread so the shirt stays softer for a much longer time. I like boyish things. In school when I was drawing collections people used to say, “Oh, you’re making a men’s collection…”

What’s behind your universe, what inspires you to create?
Words sometimes inspire me, maybe because my parents are linguists. The last collection was called “Shift”. For me, it was a very important word at the time, because it was about a transition, and I had a lot of overlapping details in my clothes. So it was about overlapping and shifting from one thing to another and evolving. I can be inspired by a detail I see on a garment, but never by a designer.

What are your goals for the near future?
I hope I can expand the collection, to sell enough to survive. If a job opportunity appeared, I wouldn’t turn it down. I just want to be able to have a nice presentation of my clothes, and I’d be happy to see more people wearing them. I’d love to be based in Paris. I love New York as well, but I’m too European to live in The States, I feel too unpolished.

Petsy von Köhler – Photos Fred Aufray

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02/03/2012

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Tung Walsh / POP

We were more than happy to see the newest spring/summer issue of POP magazine on the shelf of the bookstore, and indeed one copy of the fresh number landed in our office on a sunny spring morning.

The bi-annual POP’s number 26 is strongly present with its fashion editorials. Not a single editorial leaves you empty-handed, and the issue responds to various kinds of eyes for aesthetics with shoots from Emma Summerton, Tyrone Lebon, Hugo Tillman, Colin Dodgson, Danielle Levitt, Jamie Morgan, Viviane Sassen, Daniel Sannwald, Mel Bles, Mark Borthwick, Robi Rodriguez, Anthony Mayle, Max Farago and 2DM’s own Tung Walsh.

“POP Chinatown: New York” features Tung Walsh’s adventure with the model Maryna Linchuk from home to the Tom Sachs show “WORK” at Sperone Westwater gallery. The journey took them also around Chinatown’s streets and shops, mixing the Asian scenery with the gossamer clothing from Diesel Black Gold, Alexander Wang, Donna Karan, Marc Jacobs, The Row, Rag&Bone, Calvin Klein, G-star, Proenza Schouler, Michael Kors, Ralph Lauren and Altuzarra. The shoot is styled by Sara Moonves, hairstyling is by Tamara McNaughton, and the make-up by Ozzy Salvatierra.

Nora Stenman

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