Tuesday 12 February 2013

Noel Stewart Reflects on His Label's Ten Year Anniversary and the Millinery Industry's Evolution for A Shaded View On Fashion



Dear Diane and Shaded Viewers,
Ten years ago, Noel Stewart launched his millinery label. Since then, the Royal College of Art graduate has collaborated with the likes of Erdem, Hussein Chalayan and Oscar de la Renta, proving his skill for a wide range of designs from the understated to the avant-garde.
Incorporating holographic materials and PVC, he has displayed his creative talent in dreaming up headwear creations for women, but for two seasons now has shown that he can work the same millinery magic when it comes to male designs. His latest A/W 13 collection was a leather, sports mesh and tweed-packaged affair of reinventing classic shapes such as the trilby and trapper hat.
Stewart sat down at his Dalston studio to discuss a decade of designing, sculpture projects and the powerful volume of headwear. 

What aspects of the transition from women’s to men’s designs did you find challenging?
In some ways, it’s a lot easier because I’m a man and find it a lot more straightforward. Also, there’s no occasion wear for men really, so the hats had to be more versatile. There is only so many times a man can wear a hat. With a women’s collection, you’ve got so many different points to hit, so many different aspects and facets to the market. I find it really hard to keep the womenswear collection succinct, whereas with men’s it’s so much clearer. It’s all about the quality of the materials and manufacture. It’s got to be luxury in terms of design, so you’ve got to have something interesting in there.
What would you say is your trademark?
There’s a soft angularity to my work. I like to create something that is unusual, but at the same time you can get it, it’s still flattering and something that you want. I’m not into wearing ridiculous things on your head. I want it to be something beautiful, but that’s a broad spectrum.
What is it about a hat that makes an outfit?

It’s a volume button. You can be wearing your outfit but if you put a hat on, there’s a range. You can turn the volume up to ten, or you can put it down to four or five. It gives you an extra layer of subtlety or accentuation.
Especially in England, because there’s a strong tradition and certain localisation of the millinery craft, for example with the Queen or Ascot races.
The craft side and discipline of it is pretty unique here. There is something about England, I think it’s partly the fashion here, which is constantly so adventurous and exciting, and has been for many years. Combined with millinery, it creates this extraordinary crucible of talent. When I started, people constantly asked: “Don’t you wish you were living in the Edwardian era where everyone had to wear a hat?” No, I do not, because apart from anything else, it was a convention. For me, it’s far more exciting that someone has chosen to wear a hat as part of an outfit, are trying to make a statement, or want to be chic and hide themselves at the same time. There’s all these different aspects to it. Don’t get me wrong, I’ve worked with Royals and it’s kind of liberating because they have gotten to that point where they really know what they want. Sadly, the vast majority of people don’t wear hats on a regular basis. But once they’ve discovered it, it’s like a kid in a sweet shop, all these wonderful things they can do, try and experiment with. If you can have that sense of adventure with hats, it’s a real bonus and makes for a much better experience. 
You’ve worked with quite a lot of names in the industry. Is there anyone that you would love to collaborate with in the future?
So many people. I’d love to make stuff for Björk because she can do something quite radical. I’ve always wanted to work with Balenciaga or Celine. But that’s on the fashion side. There’s an artist friend of mine named Alice Channer who does extraordinary work which is decisively referencing fashion. We’ve collaborated before when she was at college, but I’d really like to work with her again. She’s a sculpturer and that was my path that I didn’t take.
But there is a sculpting aspect to the shape of a hat as well.
I found when I started off in my education that I was always addressing the body three-dimensionally. When we collaborated, she got permission from the Henry Moore Foundation and the Barbara Hepworth Foundation for me to make hats for these sculptures. It was really satisfying, such a completely different thing. It was about doing the thing, as opposed to a product, which was a release in many ways, and quite fun.
Do you have any iconic men in hats that stick to your mind when designing? 
There’s an Avedon picture of Quentin Crisp wearing a trapper and I kind of modeled my trapper style on that. The hat swamps him, it’s this fantastic fur explosion on his head and very beautiful. That sticks to my mind, but there's so many. Men wear hats more often and understated as part of an outfit on a regular basis. I love that. But now, men’s fashion is really exciting. If you want to do exciting things, you have to be in menswear at the moment.
Which is quite interesting because London has Savile Row and its very traditional tailoring, but especially now that we have our own menswear fashion week, you see people really pushing that.
I don’t think anyone was quite prepared for how established it feels. It's got its own voice, is authentic, not following anyone else, and unique. That’s what you’d expect from London, but no one was expecting it to be so fully formed already. It’s all been there, it just hasn’t been brought together. It will be interesting to see how it will integrate with the rest of the fashion press. Only time will tell.
You worked Stephen Jones quite early on in your career, what was the most important lesson you learned during that time?
I learned a lot from him. There were always tidbits of millinery advice, like how to make something or what was important in terms of a catwalk experience. We had just done the Dior couture show and were walking back when he said: “You see Noel, it doesn’t necessarily always matter about the precision of the line or the finish of the edge or something like that, it’s more about the image at the end of it, the statement, the drama or the impression”. It was couture and full on, every millimeter of those outfits was embroidered or covered in feathers or whatever. I actually found it quite overpowering how intense the entire look was. It was at the height of the Galliano drama, so it was about that concept being communicated, whereas I was always thinking, it’s got to be so precise, perfect and finished. He is too, it’s just sometimes it’s not about that. It’s about something else.
What’s inspiring you at the moment?
In terms of next season for womenswear, we’re looking at vorticism. I found this beautiful picture of Isabella Rosselini’s feathered hat collection. I’ve never visited feathers properly before, have always tried to avoid the standard millinery things like feathers and flowers. If I do it, I really want to do it differently. The fluffiness belies the subtle and complex nature of them in a way. So we’re having a look at feathers and the graphicism of Moroccan and Arabic tiles.  
You just celebrated your tenth anniversary. What can you say looking back on that decade?
When I started people said, “What are you doing you crazy person, you’re going into hats, no one wears hats anymore, it’s a dead industry, why are you bothering”. Literally everyone told me this. But I had just discovered this thing, fallen in love with it and what I was doing. And then I launched my own label. At that point, there was only two people really doing work that I was interested in, Philip [Treacy] and Stephen [Jones]. But since then, there’s been a complete turnaround. Now, there’s so many more milliners than before. I don’t think people really looked at hats but Stephen highlighted them at his V&A exhibition [Hats: An Anthology] in 2008. Since then, it’s been non-stop. That was on the brink of the recession and my business just took off from there.
That’s amazing though, to be able to positively make it through the recession.
But it makes sense. Do people want another bag that is covered in studs? How many bags does one actually need? If you really want to create something individual, you can’t get better than hats. There is always going to be that desire to be and reinvent yourself, to explore what you can wear and the potentials and possibilities of your own garments. Hat wearing is such a fantastic luxury, it’s one of the few left in terms of apparel. 
Since you started, how have you seen your label evolve?
There’s a lot more acceptance of a varied range of millinery that wasn’t there in the beginning. It’s been great for me to see the industry turn around from ‘oh don’t bother it’s a dead zone’ to actually being very valued. The wonderful thing about fashion is you can have someone who makes millions of pounds for a label and under the same umbrella, somebody do something as artisanal as what I do. 
Would you ever want to branch out your brand into other areas as well?
I’d love to have a shop. That’s always been on my mind. It’s a critical thing, but it’s got to be right. That’s the next big step, we’ll see what happens after this year. 


Later,
Carla

Read the full article here.

Meadham Kirchhoff on Boys Wearing Girls' Clothes and Sensory Fashion Experiences for A Shaded View On Fashion





Dear Diane and Shaded Viewers,
It's only been two seasons since Meadham Kirchhoff have unleashed their menswear collections on the fashion industry, but already, just as with their offerings for womenswear, the designs are impossible to overlook.
A/W 13 was an Edwardian-influenced, headband-wearing, grungy-living gentleman, bin bags and all. One half of the design duo, Benjamin Kirchhoff sat down to discuss collection prologues, the brand's ongoing collaboration with Penhaligon's and his fascination with heroes.

Who was the one male style icon you admired while growing up? 
I don't think I ever thought about it at that time. I was quite introverted and shy and didn't really look up to anyone. 
How did the setting and the title 'Please!' fit in with the message you were trying to convey this season?
"Let me get what I want".
What inspired you to do a fanzine for the presentation of this collection?
It wasn't meant as a fanzine as such, but I wanted a pre-emptive narrative to the collection, like a prologue in a book or a play. I thought a lot about the last year and all the crap that accompanied it and wanted to tell the story of a man/boy/soldier preparing for combat and all that came with it — goodbyes, intensity of moments, longing for something that is about to go or has gone. I've been fascinated by the idea of heroes.
How important are contrasts and contradictions in your work?
It's entirely about contrast and contradiction. 
How does the design process differ for your menswear collections?
It's only season 2 (round 2), so it's difficult to point down exactly. It's still a figuring out process.
What kind of man do you see wearing your designs?
Who ever wants it. I always say that as soon as the show has happened and the clothes are in store they don't belong to us anymore, they should be left alone for someone to discover and react to. How people wear them, who they are, what they do with them is not my prerogative. 
How do you see the incorporation of feminine elements in your pieces? 
I don't know if I do it intentionally, but some of the techniques are more traditionally feminine. I don't really see sense in separating gender/ sex when it comes to clothes, it's The Man's problem to see evil in boys wearing girls' clothes.
You collaborated with Penhaligon's on a scent for your installation. How did this season's scent help express your vision and what is it about perfume that compels you to use it for the presentation of your collections?
Every element of the shows is part of a sensory experience, so the smell is intrinsic to the shows. Hammam Bouquet is Penhaligon's first ever scent and it still confuses people. The rose is very pungent and there's the overly male/ animalistic accents of the civet. It just seemed appropriate. It's also my favourite smell, the one I always go back to.
Two seasons in, how has the feedback for your menswear been and how do you hope to develop your brand for the seasons to come? 
Who can say...it is only 2 seasons. The reactions seem good, but I have a problem trusting reactions. 11 years in doing this has taught us to be cautious. 

Later,
Carla



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Comme Des Garcons x Hermes for Twin Magazine blog



What do you get when you combine one of the most influential designers from the East with one of the most prestigious luxury brands of the West? A limited edition line of silk scarves entitled Comme des Carrés to be exact.
Fusing together Rei Kawakubo’s eye for the all things off-kilter with Hermès’ reputation for craftsmanship and quality, the capsule collection is  comprised of five Black and White styles in everyone’s favourite non-colours, plus six Colour scarves printed with geometric patterns such as gingham and stripes. The former will be exclusive to Comme des Garçons stores in Paris, New-York and Aoyama-Tokyo, whilst the latter will be launched at the Dover Street Market retail venues in London and Tokyo.
“In our project together, rather than wanting to wear the scarves, I was looking forward to the change that would happen when I added something to the beautiful ‘paintings’ of Hermès scarf designs. I think through the addition of abstract images, we have transformed the scarf and created something new,” explains Kawakubo.
Mission most definitely accomplished.

Read the full article here.

Christopher Raeburn Discusses His Love of Functionality and New Role as Artistic Director at Victorinox for A Shaded View On Fashion



Dear Diane and Shaded Viewers,
Since founding his label in 2008, Christopher Raeburn has always managed to stand out amongst the menswear designer pack. Recycled fabrics, a 'Remade in England' approach and ethically aware production methods make him a designer with a conscience, but his slickly tailored, urban reveller meets outerwear utility pieces are really the main attraction, striking the perfect balance between functional and stylish. The first designer to receive NEWGEN sponsorship for his womenswear and menswear lines in the same season, plus a British Fashion Award for Emerging Talent Menswear win in 2011, the industry has already given Raeburn its seal of approval.
En route to Berlin to start his new role as Artistic Director of Victorinox, Raeburn talked about his A/W 13 collection, outerwear memories, and what the future holds.
Your trademark piece is the parka jacket. Do you remember the first one you wore as a child? 
I’ve got two older brothers and we grew up in those jackets like Kenny wears in South Park, so we were around them from an early age. From the age of 13 to 17, I was involved in the Royal Air Force cadet scheme, so you’d come across different combat jackets as well. It’s kind of a linear pathway. The other thing that was influential was seeing Quadrophenia when I was really young. It was more of a constant stream rather than one specific piece.
Your A/W 13 collection was inspired by the Maunsell Sea Forts. How would you explain this season's concept?
Those sea fort towers were built in the Second World War, it was about the re-imagination of what it would be like living on today in a very contemporary way, as opposed to an isolation. For me, the fascination is always this mix of archaeology and creating garments with new technology, adding a real modernity to them. That’s the original reference point, but then we worked hard to bring in some original fabrics dating back to the 1940s, 50s, 60s, new Italian fabrics and Japanese recycled fabrics. It’s quite a hybrid collection. The maps rather than them being printed on, are in fact original 1960s maps that were being used by the Royal Air Force. They were printed onto rayon at that time rather than paper, simply because it lasted longer and wouldn’t perish if it got wet or damaged. Those pieces are part of our Remade In England line for this season. 
What purpose does clothing serve for you personally first and foremost?
Obviously on a basic level, it’s protection first and the love of functionality. That’s very close to my heart. I’m always very keen on layering and working with different fabrics that you’re wearing for specific reasons. But then beyond that, of course the opportunity to experiment and wear amazing clothes is something one should celebrate as a designer, and as a human really. 
Not only do you have an ethical way of producing the garments through recycling fabrics but a bulk of production is done in England. When you were setting up your label, what was it about those two factors that made them an important part of your design ethos?
It’s pretty straightforward, to me it just made good sense. It’s really as simple as that, why would you not want to? It has always been about the quality of production as well. As the company has developed and grown, particularly for some of the more sportswear sides of the collection, we’ve looked at other places and manufacturers simply so that we can improve our quality. Here in the UK, we’re very well known for working with wools, leathers and accessories, but beyond that our background in sportswear isn’t traditional, so I think it’s about doing the right thing in the right place for the right reason.
But at the same time, still keeping with that ethical aspect of it, because there are companies where production is done outside of the country, but not in the best working conditions. Who else do you think is helping lead the industry in that respect?
Stella McCartney stands out in the way that she has worked but the deciding thing for me is how mainstream and mid-level companies can really make a phenomenal difference. I’ve closely worked with Nike on a project, self-motivated by Nike about how long-term they can change their design practices and make better choices, how ultimately as a designer one can make better choices. It’s absolutely fascinating because on the one hand, the work that we are doing I’d like to think is going the right way, but then in comparison to some of these giant machines that work on multiple levels, actually the influence you can have by advising can be really instrumental and make an exceptionally big change. It’s not just the case of high-end design leading the way. It’s about collaborating, sharing information, and educating, as well as allowing people to make better choices.
Especially on a consumer level, where people are responding well to that, wanting to purchase garments that are made in an environmentally friendly way. 
We never tried to sell ourselves early on as being ethical or sustainable. For me, it has to be design led first, because ultimately that’s how the consumer makes their choice. The real backbone of sustainability is just adding to that, but above everything else, it has to be a really good design to begin with. We’ve got fifty stockists worldwide, in order for your product to sell it has to be of interest first. What fascinates me is that a person likes the look of it, but then when they come over and read the swing tag or see the labelling, they understand more about the process and thinking behind the garment, the construction and materials that have gone into it. I’m not really one for standing on soapboxes or preaching to people, but if you can provide a better product, that’s quite an amazing thing on a lot of different levels. That’s really the challenge for me.
How did your position as Artistic Director at Victorinox come about and how are you feeling about it? 
I’ve worked with Victorinox for the last three years, starting with the Remade in Switzerland project, which was a really immersive extension to the work that I’d been doing. What I’ve continued to do is work on different projects with the fashion design team based in New York. During the course of those three years, I’ve become a lot more involved and started to consult more. The new position is hopefully the next step for the work that I’ve been doing, and above all incredibly exciting, because Victorinox is a company that I’ve know since I was very young. I was given a Swiss army knife when I was in my early teens, so that emotional connection that I have is really quite important. We share a great deal of the same values in this quest for quality and innovation. Even the fact that Victorinox is still producing all of their knives in Switzerland and employing 900 people there, that to me is fascinating in terms of the legacy that they have, being a fifth generation company. The exciting thing now is how I can bring my creativity and aesthetic to the whole division, which is a real honour. 
Are there any material innovations that you are planning to work with, what are the future plans for your label?
There have been the developments in Japanese recycled fabrics and now we are starting to think globally about where we are sourcing. In womenswear, we’ve started to work a lot more with Italian mills which is really good, but the next steps for the company involve the introduction of knitwear and jersey, really refining what we’ve been working on. The other thing that has been really rewarding is the introduction of our accessories line, because over the last three seasons it’s been a really significant growth. It’s almost becoming a company within the company, which we’re hoping to give its own voice to help it grow. But I’m very patient, what’s important is that what we do, we do properly, that we grow strategically at the right rate. I’m not thinking exponential quadruple growth every season. It has been about carefully mapping out what we are doing and why, making sure we’ve got the right partners and suppliers, that the product we are supplying is very good for the market.
As an outerwear-focused designer, what would be your ideal day spent outdoors?
I have to travel a lot, so enjoy just being in the UK. What I’ve started to do now in the summers for my birthday is a 24-hour challenge for charity. We started first by doing the Three Peaks Challenge which is in the highest mountains in Scotland, England and Wales and relatively easy with no real training. Then last year, we did the Welsh 3000s which is the 15 mountains in Wales above 3000 feet and you’ve got to get up and down all of them in 24 hours, which is considerably more difficult [laughs]. I am actually quite looking forward to planning the next one. It might be something in the Lake District this time, but I think the important thing is something UK-based and getting into the great outdoors.


Later,
Carla


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Stylishly Serpentine for Twin Magazine blog



MAC Cosmetics is chiming in 2013 – known in the Chinese New Year as year of the snake – with an intriguing new make up collection.
Not only are the swirly scales of the animal embossed into every lipstick, eye shadow and powder, but thanks to a shimmering colour palette of rich golds, plums and reds, each product creates a lushly dramatic effect.
Whether it’s a simple swipe of pearl blush to brighten up your complexion or a full-on crimson lip, consider yourself cosmetically prepared for the new year.

Read the full article here.

Guy Bourdin: A Legacy for Twin Magazine blog



Tonight, the ICA is hosting a panel discussion on the one and only Guy Bourdin. With his hyper real use of colour and surrealist techniques, the French photographer’s work for the likes of French Vogue and Charles Jourdan managed to strike the delicate balance between provocative, trailblazing and timeless.
Guy Bourdin: A Legacy will not only delve into his long-lasting influence on fashion imagery, but also show rare footage of Bourdin’s cine films. Leading the discussion will be curator and lecturer Judith Clark, Christie’s Director Philippe Garner and Samuel Bourdin, the artist’s only son and Exhibit A: Guy Bourdin co-author. Expect an insightful and interesting look at one of the 20th century’s most prolific image makers.

Read the full article here.

Ink & Needles for Twin Magazine blog



Aside from the horribly misogynistic term ‘tramp stamp’, little has been said about the relationship between women and tattoos.
Bodies of Subversion studies the involvement of women in the ink industry from the nineteenth century until today, not only as customers but also as artists, such as the legendary Maud Wagner or Kat Von D. Covering topics including body art as custom couture in Victorian society, author Margot Mifflin delves into tattoos not only for decoration purposes but also as a helpful healing process for breast cancer or domestic abuse survivors.
Extensive as it is visual, Bodies of Subversion is an insightful look at what happens when the body becomes a canvas.

Read the full article here.

Everyday Extraordinary for Twin Magazine blog



Opening today, the Design Museum’s Extraordinary Stories About Ordinary Things is a love letter to the often overlooked design details of everyday life.
Thanks to its exploration of contemporary design and architecture, the exhibition not only examines furniture objects, but also fashion designs from the 1970s to the 1990s — in specific the Issey Miyake 132 5. collection, constructed out of a single piece of recycled plastic, which acts as both a folded two-dimensional object and a three-dimensional garment.
“Issey Miyake’s work tries to find a balance between the practical and the beautiful, a concept that is as relevant today as it was when he started the fashion house. His constant experimentation with both forms and also production has kept him at the peak of international fashion and design,” comments the presentation’s curator Gemma Curtain.
Getting a new perspective on the seemingly ordinary is always a visual delight, and this exhibition does its task more than justice.
Extraordinary Stories About Ordinary Things is on display at the Design Museum, 28 Shad Thames, London, SE1 2YD.


Read the full article here.

Carlos Kusubayashi of A Lab On Fire Speaks About the Importance of Mystery and Positively Deceptive Packaging for A Shaded View On Fashion



Dear Diane and Shaded Viewers,
Elusiveness is an essential element of perfume's magnetism. The sudden whiff of something spectacular in an overcrowded subway train or the immediate affection towards something that you have never smelt before, but in that single second where fragrance molecule hits nostril, you know you must possess.
With his niche fragrance brand A Lab On Fire, Carlos Kusubayashi has managed to capture that mystery in a way that has heavyweight perfumers such as Olivier Polge and Dominique Ropion living out their fragrance fantasies in a bottle, from the streets of Paris to a night in New York City. Packaged in simple, utilitarian-style bottles, A Lab On Fire may not scream exclusive perfume treasures to the innocent eye, but one press of the atomiser button and you'll know why.
In the following interview Kusubayashi talks about the changing mechanisms of the industry and what really counts when it comes to falling in love with a fragrance.

What is the most profound scent memory of your childhood?
Oil and steel. My father had a small factory making screws and bolts in Fukuoka, Japan. I was brought up surrounded by that smell.
Your introduction to perfumery was through art, how do you see the two mediums relating to one another?
I worked as a part time studio assistant to an artist who had incorporated scents into his sculptures. He was selling his own line of fragrances, and I often packed and shipped the orders. I enjoyed working there but do not share the same view. I don't think perfume is art in a sense that a painting or sculpture is. It's a sort of craft. A great fragrance generates emotion similarly to certain types of abstract art, but to call perfume an art, I think there is one level that is missing. 
How would you describe the creative and collaborative process in creating a scent?

Imaginative and improvisational. It's fun. Otherwise I wouldn't be doing it.
What attributes does A Lab On Fire fragrance need to have?
Each scent by ALOF has to be refined and elegant. It also has to have a masterful touch. These qualities are quite opposite to the packaging, and we like the contrast between the outside and the content of our fragrances. 
What was the idea behind that?
It might be related to the fact that I love La Belle et la Bête so much, but if we had to justify the odd packaging, I would say it's our statement. There are too many fragrances with fancy packaging and poor scent. The quality of a scent has nothing to do with its exterior, and we didn't want any deceptive frills on our packaging. Some might say that it's deceptive in a contrary way, but that's a good surprise, no?
Being a limited production perfume house, would you say that fragrance has lost some of its preciousness through mass production? 
I think it's true, but it's not necessarily a negative thing. The big part of the industry is changing, and the small ones like us are starting to have more opportunities to shout.
The idea of mystery plays an important role in your brand. What is it about the unknown that you find fascinating, and how do you see perfume being a part of this notion?
One reason for our 'mystery' is that we want to leave plenty of room for the imagination of our customers. The other is our focus on the quality of each scent. To make people fall in love with a fragrance you don't need much information. 
Which perfumer would you like to collaborate with next and what does the future hold for A Lab On Fire?
There are a few under-recognised but fantastic perfumers that we want to work with. We are planning to tap into these talents gradually. As for ALOF's future, we are still just going with the flow.

Later,
Carla


Read the full article here.

Jona of InAisce on His F/W 13 Collection and Embracing the Feminine Side of Masculinity for A Shaded View On Fashion



Dear Diane and Shaded Viewers,
With InAisce, designer Jona has created a label based on quality, not quantity and precision, not press. Born in Colorado and having lived in Japan, Italy and Indonesia, Jona's vision of design and branding is one that continues to stand as a unique take on traditional. For his F/W 13 menswear collection, the New York-based creative explored the human sense of exile, accompanied by collaborations with Claudy Jongstra, Layer-0 and Artemas Quibble. High-end materials such as silk, cupro and shearling were contrasted with raw seams, asymmetrical cuts and sandblasted surfaces, whilst the rawness of oversized felted wraps was juxtaposed with the clean and strict lines of tailoring. 
What was the inspiration behind your latest collection, Seeking Aether?
Where last season was a disciplined exercise for me, Seeking Aether was a playful creative process with a lot less parameters.
A few of the pieces such as the skirts are stereotypically feminine items, questioning what clothing is considered masculine. What boundaries would you like to push in the world of menswear?

I'm not interested in pushing boundaries of menswear or influencing menswear/fashion at all. Experimenting with garments that are currently considered 'feminine' is a result of thinking outside the narrow confines of our current era and culture.  There is nothing intrinsically feminine about a skirt or long flowing shirt, they are simply associated with women's clothing at this time.
Of course, I must consider that I am creating for the people of now, so to that extent I am offering some 'feminine' garments as menswear. I think it is a powerful practice as men - regardless of our sexual orientation - to embrace our feminine side.
When it comes to the business ethos of your label, what made you decide to go against the typical PR and marketing strategies?
Marketing is a lie. Where is the integrity in selling a product simply because you force it on people? I wanted to challenge myself to create something which is beautiful enough to draw attention without us screaming for it, and with enough value for people to purchase it and be happy without us asking them to.  
How does the juxtaposition of the natural with the industrial, as well as Eastern with Western aesthetics play out in your work?
There are many examples of this from fabric compositions to silhouettes to details. This is not a new approach, but I try to do it in such an integrated way so that entire looks, and the individual garments, cannot be placed in a specific time or place. 
You recently said that you are influenced by music, architecture and nature. Who are the people in these fields inspiring you today?
The music I was listening to while creating Fall/Winter was more beat driven than usual.  Things like Tinariwen, Uakti, Huun-Huur-Tu, Julien Jacob. I like architecture that creates a powerful environment, from monumental modernists like Kahn and Pei, to the masters of integrating natural surroundings like Andō, to more humble firms like Lot-ek, who re-purposes unconventional materials and dramatically rethinks dwelling environments. Who inspires me in the field of nature?Well, I must conclude there is a designer, but I don't know who it is and precisely what techniques were used. 
The uniquely sourced materials and diverse textures are an important part of your work, what innovations are you looking forward to working with soon?
I am very intrigued by tech fabrics but right now I'm getting involved with more primitive techniques that start with the origin of the fibres.
In what direction would you like to take your label in the future?
Wherever the LABEL takes ME. 

Later,
Carla

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Insight Photography for Twin Magazine blog




Iconic is an often overused word, but when someone manages to not only profoundly shape their art form, but also stay relevant 20 something years into their career, the term is more than justified. Opening today at the ICA, Juergen Teller: W00 is an expansive study of the Erlangen-born photographer’s work.
From his black and white images of Kurt Cobain during Nirvana’s tour in 1991 to the provocative nudes of Vivienne Westwood, every honest and intimate portrait by the German photographer, alongside his longstanding collaborations with brands such as Helmut Lang and Marc Jacobs, not only commemorates his longevity as both a commercial and art photographer but also shows that aside from his trademark overexposed photography technique, what really makes a Juergen Teller image is his connection to the individual.
During a preview of the exhibition yesterday, Teller spoke openly about his work process and decades’ worth of pressing the shutter button:
“With every picture you have to be really open and honest about it and tell people what you want to do. I have no idea what I am looking for in an image, it really varies. I have to have complete concentration on the subject, I never have music playing or people standing behind me talking, it drives me crazy. I need the full attention, of their attention to me as I have attention to them, and that’s why it’s powerful and direct in every picture. My way of working hasn’t really changed that much since the beginning, but I have become a lot more careful, project-based and tend to work in series. I am more confident and secure within myself.  I want to explore and see things, I’m curious about life. You only live once, you can’t just be miserable and complain all the time, you have to take risks to do something exciting and that’s what I try to do. You have to fucking go out there and do it.”
Juergen Teller: Woo exhibits at ICA until March 17.

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Rebel Talk for Twin Magazine blog



The title of tonight’s event at LSE says it all: Women, Protest and the Nature of Female Rebellion. Hosted by  journalist Laurie Penny, who currently writes for publications such as The Independent, the talk will look at courageous women throughout history,  from the time of the Paris Commune through to the defiant ladies of Pussy Riot. There may have been years when it was unthinkable of a woman to raise her voice, but 2013 definitely isn’t one of them.
Women, Protest and the Nature of Female Rebellion runs from 6.30-8pm at the London School of Economic’s Sheikh Zayed Theatre, New Academic Building.

Read the full article here.

Marni Reincarnated for Twin Magazine blog




The brainchild of Consuelo Castiglioni, Marni is that quirky Italian label which always manages to put a new spin on its eclectic aesthetic. It’s only natural that the house’s first ever fragrance carry on that tradition.
The subtly masculine scent steers far away from stereotypical smells of femininity such as florals and saccharine sweetness. Instead, the crisp yet spicy top notes of bergamot, ginger and pink peppercorn make way for a rose, cardamom and cinnamon bark concoction, grounded by a woody accord of patchouli, incense, vetiver and cedarwood. So while there is a ‘feminine’ heart of rose notes, it is enveloped in multiple layers of spices and woody notes, making for an elusive, multi-faceted and original scent.
As a house renowned for its use of prints, the polka dot-covered and clean-lined bottle makes the fragrance come full circle to a pure olfactory reincarnation of the Marni brand.
MARNI launches exclusively at Harrods and Harrods.com in February.

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Legendary Prints for Twin Magazine blog


For most people, the Louis Vuitton brand name immediately conjures up images of those infamous, and often copied, interlocking L and V letters. But in fact, its little logo sister, the Damier canvas, celebrates a proud 125 years of iconography this year.
The first ever patented invention by the house of Vuitton, this discretely brown and beige checkered design has literally proven to stand the test of time since its introduction in 1888.
Since then, it has undergone several colour palette changes, but nonetheless is a universally recognisable trademark of the French design house. For this anniversary, the Damier has been given a neon-hued and athletically shaped makeover. Further proof that a luxurious classic never goes out of style.
louisvuitton.com

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A Celebration of Cinema for Twin Magazine blog



Commemorating its tenth anniversary this year, the London Short Film Festival provides its genre with the same compelling spotlight as its lengthy, blockbuster counterparts. Showcasing the best of the UK’s independent film scene in venues all across town, from the ICA to Curzon Soho, the festival has divided the work of the nation’s rising talents into according themes such as Fucked Up Love, Femmes Fantastique and Youth Of Today.
Screening this Saturday, I am Dora by Jemma Desai is a special highlight.  A collaboration with designer Claire Huss, the project is an ongoing personal study  of fellow female identification, and the flaws and misunderstandings that come with it. This edition will focus on the legacy of Sylvia Plath. “Perhaps when we find ourselves wanting everything, it is because we are dangerously near to wanting nothing,” Plath wrote in 1955, and the weight of her words are studied in two versions of Lady Lazarus — Sandra Lahire’s 1991 film and the Mad Men episode — plus an ‘In Conversation’ discussion between Desai and psychotherapist Sandra Hebron.
Alongside this intriguing project, the short film compilations, documentary screenings and special events like Club des Femmes presents… The Art of Conscience: A Pussy Riot Fundraiser are all the more reason to get your cinematic fix this week.
The London Short Film Festival runs until January 13.

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