Dom Perignon & Iris Van Herpen - Metamorphisis

Dear Diane and Shaded Viewers,

Dom Pérignon has teamed up with Iris van Herpen to explore themes of evolution, transformation and renaissance for their latest Creator collaboration.

The fruits of their labor - the Dom Pérignon Limited Edition by Iris van Herpen gift box set and a bespoke sculpture entitled Cocoonase - were unveiled at Pioneer Works Center for Arts and Innovation in Red Hook, with the entire site being immersed in the metallic green color of van Herpen's design for the night.

In the following interview, the ANDAM Fashion Award winner and Pérignon's Chef de Cave Richard Geoffroy discuss futuristic innovation and the beauty of creation.
How did this collaboration come about?

Richard Geoffroy: Dom Pérignon was drawn to working with Iris van Herpen because of how she pushes established boundaries.  She innovates in terms of techniques, technologies and materials, and her creative curiosity extends beyond the world of fashion into all art forms. She revels in contradiction, much like Dom Pérignon, with one foot firmly planted in traditional craftsmanship and the other in futuristic innovation. She is a perfect example of the Power of Creation that Dom Pérignon inspires.

Iris van Herpen: I am so honored to collaborate with Dom Pérignon, which is an exquisite icon and an undeniable symbol of creation and metamorphoses. It is a pleasure to work with a Maison that encourages and inspires creation in all its forms. Dom Pérignon exudes mystery and paradox, embodying its own distinct style yet always reinventing itself. I was strongly attracted by these qualities, as I always want to push fashion to the extreme and embrace contradiction and new forms of expression. Dom Pérignon’s Power of Creation is linked to venturing beyond the frontiers of the known, and inventing extraordinary experiences, sensations, emotions and images. I express this in my work by constantly experimenting with my own creation and in collaboration with other artists and visionaries.

What was a key moment in the collaboration?

Iris van Herpen: The most heartening and joyful moment for me was visiting the graceful landscape and monastery of Epernay, experiencing the magical tasting with Richard and hearing his beautiful words. This day was so inspirational for me. One thing he said to me I found particularly mesmerizing as it was a true difference between our worlds of creation in between all our similarities; it is the memory that is in the essence of all his creation, it is the experience and moments of joy that leave traces of memories. He somehow focuses towards the inside of the body, where I focus on the outside of the body. This beautiful difference in creation I found very inspirational and it was the start of my research into fossilization, where change is shaped by time.

What is the link between the worlds of fashion and champagne?

Richard Geoffroy: Those who create fashion and those who create champagne do so for the audience who will appreciate and interact with the design or the wine. Our creations are very personal – whether they are creations that we wear on our body to express ourselves, or creations that we physically consume – and both are centered upon forging an ever-greater connection with our followers and lovers.

http://www.domperignon.com/
http://www.irisvanherpen.com/
Later,
Carla


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Nastasia Alberti Interview for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Annin Arts is bringing art to the masses, literally, with their latest exhibition #MYNAMEIS. The show sees five artworks by Nastasia Alberti, Duval Timothy, Kevin Morosky, Annie Mackin and Gillian Wearing displayed on single billboards throughout London. While #MYNAMEIS brings up intriguing questions surrounding a different kind of interaction with art outside of exclusive gallery walls, its main focus lies in the importance, perception and burdens of names.London-based artist Nastasia Alberti chose Slutever blogger and Vogue columnist Karley Sciortino as her subject, depicting the writer in a sepia-toned portrait. In the following interview, Alberti discusses hours of location scouting in public libraries, the single image that inspired her to take up photography and why art consumption needs to catch up with our busy schedules.

When was the first time you realized you were interested in photography?
I start being interested in it when I was about 13 or 14 years old. I can remember that moment exactly: I went to an exhibition with my family and saw a Francesca Woodman photograph, the one where she's disappearing into the wall. That image had a very strong impact on me. Somehow it was showing what I was feeling. From then on, I wanted to do the same.

How do you go about creating your images and what inspires them?
I usually get inspired by my own life. I try to talk about emotions, about feelings.

What was the working process on this exhibition like?
It was really quick. The first aspect was choosing the girl and then timing. When George Annin told me about the exhibition and the subject that Gillian Wearing wanted us to work with, I got a bit freaked out because it was far away from what I usually do. But once I passed that stage it was really fun. I proposed my idea of working with Karley Sciortino to the gallery and they completely supported me, which was great. So then it was only a matter of organization, I had to go to NYC to see her.

Talk to me about the composition and overall feel you were going for in your photograph.
I wanted something moody but peaceful in her expression and an image that somehow would show Karley as a strong person. It was very important that she was seated at a desk surrounded by books. We walked around in the NYC library for hours to find the right place. I really wanted the photo to remind people of those old portrait paintings of writers, where they were always pictured sitting at their old desks with glasses on, looking very wealthy and serious.

How do you see the photograph interpreting the themes of the exhibition?
I really wanted to create a piece on the expectation that goes with names, the idea of clichés and stereotypes that a name can bring. Everyone in the show has done such a different and personal piece of work which is really awesome.

What was the collaboration with Karley Sciortino like and why did you choose her as your subject?
It was so much fun! I love her so much. We basically hung out in NYC all day talking about our lives and taking some photographs. She is the best person to work with because she is very open. She trusts you to do whatever you think is best. When I decided I needed to talk about stereotypes and clichés that came with a name I needed someone with a strong image. It obviously needed to be someone that when you say their name you have an image of said person pop up in your mind straight away.

I thought of Karley straight away because she is the perfect example. I feel that she is one of the best writers of our generation, and she's so smart, but as soon as you mention her name the first thing people seem to have in mind is not her writing but more her boobs, her sexy clothes, her hair, etc. Just because she talks about sex does not mean that she only has to be this sexy girl. It's so cliched and one-dimensional. People have put her in that box : the super sexy writer who talk about sex. So for me, depicting her in a classic portrait looking so different was thrilling, because this seems to be the image that writer should have, which is also a cliché. It was also important for me to work with a woman.

How do you see the public’s interaction with these images, displayed on billboards throughout London, differing from that of a gallery setting? Do you think these kind of shows are perhaps more relevant to our times?
I think it's a brilliant idea, it is relevant to our times and an easier way to consume art that matches our busy lives in this ever-changing social climate. I have a tendency to think that gallery shows are always a bit too snobbish, and not that open to everyone. For me this setting is so much more open, you don't need to take your Saturday off work to go to a gallery, you can just walk to your shop and see art. It's so smart. Everyone is included in this; you can be a young kid and still have access to it. I love that idea.

What are your upcoming projects and goals for the future?
Recently I've been very interested in working in cinema, on set photographs. I would really like to do that for a bit. I'm also gathering more material in order to hopefully publish a book by the end of next year. My biggest project at the moment is getting my US visa as I would like to settle down in NYC for a long time.

#MYNAMEIS is on display until July 7 at the following locations:Karley Sciortino by Nastasia Alberti - 129/127 Hackney Road, E2 7QS - Billboard no 0237
Gillian Wearing by Gillian Wearing - London Bridge Station, SE1 9SL - Billboard no 1331

Lateefa Smith / Chang Jian Wen by Kevin Morosky - 178 Westbourne Grove, W11 2AD - Billboard no 1458
Annie Mac by Annie Mackin - Camden Town, Camden Road Station, NW1 9LS - Billboard no 1105

'London Bridge Arizona Arizona London Bridge' by Duval Timothy - London Bridge Station, Duke Street Hill, SE1 2SW - Billboard no 8171
http://www.nastasiaalberti.comhttp://www.anninarts.com

Later,Carla

View the full article here.

Beautiful Savage: The Man Issue for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Most magazines, upon releasing an edition called The Man Issue, would probably scout a cover star with A-list credentials, a six-pack and expertly coiffed hair. Then again, Beautiful Savage isn't like most magazines.

For the cover of its third issue, the independent art and fashion glossy chose model, DJ and Lana del Rey music video regular Bradley Soileau. With his delicate features and heavily tattooed exterior, Soileau is the perfect embodiment of the issue's theme of modern masculinity. Inside the magazine, readers will find interviews with the likes of JD Samson, Sebastian Errazuriz, Asher Levine and Theo Gosselin. "The whole magazine is about telling stories about people who do beautiful and challenging pieces of work. I never worked at a magazine before, and I was like, 'fuck it. let's just make something really dark and cool'. Beautiful Savage, was a name I chose to represent visually stunning works that possess subversive or challenging themes," explains the magazine's editior-in-chief Chad Saville.

The story behind the birth of Beautiful Savage is just as unconventional as its content. After suffering from a spinal cord injury that nearly left him paralyzed, Saville was inspired to start the magazine in February 2013. "My friends, a bunch of photographers, artists, and basically art and fashion nerds, would hang out with me a lot and like take out my trash and make my bed for me. And I sort of rediscovered journalism through my love of art and fashion and magazines. During that time, the only thing I would do is take pictures and hang out in art galleries," he explains. 

In the end, it begs to question: what is the ethos that lies at the heart of Beautiful Savage? "Our mission is to connect with jaw-dropping artists and to tell their story. We're not really interested in who's a celebrity, or the illusion of exclusivity, or fashion parties and all that stuff," Saville says. "It's more about, who really are the important artists, independent or otherwise, and what makes them remarkable."

http://beautifulsavage.com

Later,

Carla

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JC de Castelbajac Resort 2015 Report for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Jean-Charles de Castelbajac put his own upbeat spin on French Riviera elegance for the Resort 2015 season. Inspired by the paintings of Henri Matisse and illustrations of Jean Cocteau, the designer infused classic and casual pieces such as jersey shift dresses and silk jumpsuits with a new livelihood thanks to trompe l'oeil prints, 3D shoulder details and cane weave cutouts. 

More restrained silhouettes and colors such as cream and olive were contrasted with splashes of red and quirky parasol prints for a collection that managed to be simultaneously chic and cheerful.

http://jc-de-castelbajac.com

Later,

Carla

View the full article here.

Siki Im SS14 Show Report for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Upon entering the abandoned car park venue of the SIKI IM SS14 show, it became evident that this wasn't just going to be your run-of-the-mill, three-piece suit routine.

Instead, models appeared to have just (stylishly) escaped from the psych ward — Saran wrap adornments and all. The collection, entitled Remorse, was inspired by the themes of crime, judgement, guilt and regret, as well as the following excerpts from Fyodor Dostoevsky's novel Crime and Punishment:

"He was standing over the river, he may have sensed a profound lie in himself and in his convictions. He did not understand that this sense might herald a future break in his life, his future resurrection, his future new vision of life.

He looked at his fellow convicts amazed: how they, too, all loved life, how they valued it! It precisely seemed to him that in prison they loved and valued it even more, cherished it even more than in freedom.

If he has a conscience he will suffer for his mistake. That will be punishment—as well as the prison."

The collection took on garments otherwise reserved for wear in penitentiaries and hospitals but liberated them into becoming something more: medical scrubs transformed into silky nylon tunics and straitjackets into slim-cut blazers.

Paper-nylon raincoats hung asymmetrically off of the body as if to hint at the sense of dysfunction present within its wearer, a majority of the cuts were "oversized like prison uniforms", and as an ode to the body art of the incarcerated, Im collaborated with tattoo artist MxM Maxime Büchi on a range of tattoo prints for the season.

All in all, this collection managed to take on a very poetic, and at times disturbing, subject matter and translate it into beautifully thought-provoking pieces. 

http://www.sikiim.com/

Later,

Carla

Read the full article here.

Hiroyuki Ito Interview for A Shaded View On Fashion

Dear Diane and Shaded Viewers,

As a freelance photographer for The New York Times, Tisch School of the Arts alumni and NYC resident for almost 21 years, it's safe to say that Hiroyuki Ito knows his artistic way around the city. His latest exhibition sees the Tokyo-born creative bring together both geographical aspects of his life.

In A Clueless Spectator, Ito captures the diverse moments of everyday urban life, whereas Red Rain follows him on a journey as he revisits his home country for the first time in 20 years following events of tragic personal loss. However different their themes may seem, both exhibitions offer a chance to experience the photographer's poignant and striking imagery.

How did you first get involved in photography? 

After I moved from Tokyo to New York in 1992. It was one of the random classes I took when I was a freshman at college.

In the exhibition intro to A Clueless Spectator you wrote: 'I photograph almost mechanically with no sense of emotion'. Can you elaborate on this statement?

I try not to place an emotional emphasis on what I photograph. Things already are what they are before I run into them.

Especially your Red Rain series draws on a lot of personal and painful experiences. How does this vulnerability feed into your work and how does it feel to publicly portray this side of yourself?

As a photographer I shoot out of joy most of the time. Obviously it wasn't fun to shoot my father's funeral but I could have been more devastated if I weren't able to digest what was going on by the sheer act of photographing what I experienced. It wasn't a personal art project. Things happened and I kind of had to react. To this day, I can't exactly judge the Red Rain series objectively. But I have never lived my life objectively, so...

How do the A Clueless Spectator and Red Rain series stand alongside each other? 

They are basically the same thing. Looking at Red Rain and A Clueless Spectator side by side, I was struck by how unoriginal my visual style is if I ever had one. I never invented any new vocabularies of photography but used what was available. But again, I was never big on originality. I don't mind talking out of stolen cliches. 

What would you like readers to take away from both exhibitions?

Even after answering these questions, I am not even sure of what these pictures are for. But somehow I desperately want people to see my photographs. What is my problem?

“Red Rain” and “A Clueless Spectator”: Two Series by Hiroyuki Ito 

September 3 to October 10, 2013 

721 Broadway

New York, NY 10003 

http://www.hiroitophoto.com/

Later,

Carla

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Stavros Karelis of MACHINE-A Interview for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Since its inception in 2009 through the powerhouse quartet that is Stavros Karelis, Anna Trevelyan, Ella Dror and Ashley Smith, MACHINE-A has been a retail haven for upcoming design talent. After a relaunch earlier this year, the store now resides in Soho's Brewer Street and stocks international labels like Raf Simons and Bernhard Willhelm alongside new names like Alex Mattson, Agi & Sam and Ashley Williams.

In the following interview, founder and head buyer Stavros Karelis discusses the rebirth of MACHINE-A, retail versus e-commerce and the driving force behind London's fashion industry.

What inspired you to start MACHINE-A?

I always wanted to create a space where many young creatives will collaborate on different projects and push the boundaries of fashion retail. A space where all young emerging brands would be accessible to customers. That was an initial raw approach that got shaped into what MACHINE-A is today: a dedicated space to showcase international, British and emerging brands and a place where all the latest trends are concentrated under one roof, offering the most exclusive products to our customers. 

How would you describe your work process as a team?

We have worked together for quite a long time and that has created a strong bond between us. We are very appreciative and grateful for that. For me personally, working with our fashion director Anna Trevelyan and PRs Ella Dror and Ash Smith has been an amazing process that I wouldn't have done any differently.

We talk about everything, all have different opinions and see things from different angles. We are all very respectful of each other, and want the same thing which is to promote and showcase the newest talents and position them along with international and up and coming brands. It is a team effort and we all are young professionals who work hard to achieve what we feel is right. 

What do you look for in a designer?

Talent is the most important thing, but I also see the quality, ethos, hard work, determination and a great understanding of how to produce a beautiful collection with approachable prices. 

As a retailer, how do you find yourself challenged by the creative vision versus commerciality debate?

I think that these two parameters don't sit opposite, but instead, they can coincide in order for something to be successful. A retailer needs to be commercially appealing to attract customers, but a directional and clear creative vision will create a dedicated crowd and a niche to the retail market. 

What things have you decided to do differently in your relaunch and why settle down in Soho?

The previous store and current store are very different in terms of brands, selections and direction of the store. Having said that, the core of the store, which is the creative team, is the same. As result our beliefs and how we feel the store should be, remain the same; we want to promote and showcase the best of London as a fashion capital, concentrating on the emerging brands and graduates. 

Soho is an ideal place to be because it is so vibrant and centrally located. I strongly believe that Soho is transforming into a shopping destination that will be more visible in the next few years, and it works perfectly for the concept of MACHINE-A. 

What makes London such an attractive fashion capital?

London is such an amazing city to be in, the creativity here is absolutely unique in comparison to any other city in the world. Every year the number of successful examples of creatives that are working in key industry positions is increasing because the best fashion colleges of the world are in London, and as such it produces a vast number of talented people and puts the city on the top list of fashion capitals in the world. 

How do you see the relationship between retail and e-commerce developing, do you see the latter threatening the other in any way?

They are both so interconnected that I cannot imagine the one could exist without the other. In order for a retail business to survive and have a long lasting successful growth, it needs e-commerce to open its sales to an international market. However, in order to secure that the e-commerce will be successful one needs the gravity and reputation that the retail space provides, which is absolutely necessary for the brands to feel comfortable, and the customers to feel safe to place orders and to know that they will always find the products they are searching for.

What does the future hold for MACHINE-A?

MACHINE-A was launched almost 4 months ago, and the reviews so far have been fantastic. For us, this is a great beginning of a bright future. Our main focus is to move forward securely and build the safe grounds that an enterprise needs.

From a creative point of view, we have started with a wonderful selection of brands that we will increase each season, and our efforts have been concentrated on securing all the exclusive and hard to get products from our favourite brands. As we would like to keep our customers always satisfied, we have planned a number of exclusive products and collaborations with designers that will be available from our retail and online store. 


http://machine-a.com/


Later,

Carla


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Jackie Villevoye Discusses Why a Bow Tie Makes an Outfit and the Importance of Artisanal Craftsmanship for A Shaded View On Fashion

Dear Diane and Shaded Viewers,

Jackie Villevoye has been creating unique and handmade accessories under her label Jupe by Jackie since 2010. Formerly an art collector, photographer and interior decorator, the designer learned the high craft of hand embroidery in India before opening up her own atelier. Distinguished for the painstaking needle artwork put into each silk tie, bow tie, pocket square and scarf, Villevoye’s brand has since expanded into womenswear and is stocked at illustrious retailers including Colette, Dover Street Market and Barneys. 

In the following interview, she reveals what family photograph sparked her passion for ties, adding identity back into the world of fashion and why all her designs should be worn with a smile.



What first sparked your fascination with ties?

A tie for a man is the same as a (neck) jewel for a woman; it peppers and brings the colours of shirt and suit in balance. Moreover, a tie makes a man more interesting.

How would you describe your aesthetic? 

My main focus is to work on a proper symmetrical or correctly proportional design in the right colour combinations. Overall I am a colour freak.

What was the inspiration behind your latest designs?

BALLS! 

What makes a bow tie such a crucial part of an outfit?

A bow tie is a fun accessory, giving a young , fashionable and ‘intellectual’ character all in one (the tuxedo bow tie excluded of course).

What is your favourite bow tie of all time and what is the story behind it?


There is a photograph of my children at the beach where they were all dressed up for a ‘family shoot’. My youngest son, Julien is dressed in white with a classic yellow/navy silk mini bow tie, making him more cute than ever. That was the moment where my love for these accessories started.

In your brand's statement you mention the importance of individuality. How vital is this aspect of fashion to you and do you think that in a world of mass production this idea is still achievable? 

Walking through big streets such as as Oxford Street in London or Kalverstraat in Amsterdam and seeing all people dressed as one big black crowd makes me sad. Designers should educate on a daily basis that a colourful world is a more happy and interesting world. Hopefully each Jupe piece I sell will add a little bit more ‘identity’.

Having learned the craft of needle artwork, how important do you see the relationship between a creative vision and artisanal ability in design?

In my brand this is of MAIN importance! 

Do you find this craftsmanship aspect is perhaps neglected in the fashion industry, i.e. in machine-made designs or sweatshop production?

Unfortunately, the fact is that there is only a small group of people who want to spend money on clothing, and understand the ‘art’ of how to dress. For this reason, it is logical that machine-made clothing rules the market.

How do you see your womenswear collections as an expansion of your brand?

The skills of the hand embroidery put into a Jupe by Jackie piece are executed at the highest possible level, making the dresses special and rare pieces. The uniqueness make them precious. I do not think of the word expansion. I just love making them, together with these great artists!

What are your plans for the future?

Hopefully I can continue doing this for a long, long time. I love what I am doing and trust that I can make people happy with a hand embroidered piece — and have them wear it with a smile!

jupe-by-jackie.com



Later, 

Carla


Read the full article here.

Niclas Lydeen of Agonist Discusses Sustainable Perfume Production and 360 Degree Fragrance Experiences for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

AGONIST is the brainchild of Swedish designers Christine Gustafsson and Niclas Lydeen. Formed in 2008, their fragrance brand is focused on creating 100 percent natural fragrances inspired by Nordic culture. Presented in exceptionally handcrafted sculpture bottles and through art installations at events such as UNSCENT, their products are visually as they are olfactorily pleasing and give AGONIST its own unique sector in the niche perfume market.

Lydeen sat down to discuss the beauty of melancholy, multi-layered sensory experiences and the brand's latest fragrance creation...



I wanted to start off by talking about the founding of your company. Your fashion and visual arts backgrounds are quite unusual. How did this idea of doing fragrances come about? 

It was when me and Christine met. She moved back from Paris where she did fashion for many years and I was working a lot with graphic design, packaging and art direction for various campaigns. We met and started to collaborate on this idea of how to — via imagery, storytelling, graphic design and conceptual ideas — create a brand based on giving life to an invisible product like fragrance.

We’ve always had a love for fragrance and been very fascinated by that sensuous, individual experience. We just saw that we wanted to do this together and started to think about themes and ideas. We wanted to show another side to this perception of clean Swedish design. We were more inspired by a poetic, darker and melancholic side of the Swedish culture and heritage.

Do you have certain artists, movements or visuals that you find your brand’s aesthetic continually inspired by? 

It’s always evolving, but we are quite drawn to Surrealists and abstract modern art, things that are conceptually strong and more based on an idea rather than actual decorative or figurative art. We really love music, movies and photographers like Guy Bourdin. The Swedish poet Karin Boye is our muse and we found a lot of fascinating themes in her work.

We get inspiration from a lot of different directions but it’s always things that give an experience and inspire you. That could be because fragrance for us is very much an individual experience. In fashion you can impose a trend or style that people collectively agree upon, but for fragrance it’s up to you, if you like it. It’s the same with abstract art. It’s something that the heart realises within you. It doesn’t tell you what it is, so when you experience it, it’s your own imagery and emotions. That’s what inspires AGONIST creations.

How does your background help shape the way you go about creating a perfume? 

When we started AGONIST it was very much based on our own sense of taste and expressions. Agonist means two things connect and a third thing is created, two things join and a third one is awakened or two forces unite and become a third. It was the same with Christine’s background, my background and the way our creativity meets. But I think we are quite experienced and sure of what we like and have the possibility to express that in the packaging and visuals.

When we then get into this abstract world of fragrance, we find our concept and then have different skills to express ourselves surrounding that. Our background makes us quite secure in what we want. When we started, we saw all these perfume brands just packaging in ordinary bottles, everything looked the same and people didn’t really use the other dimensions of a fragrance experience. You have the fragrance and then you have all these layers of communication surrounding it. It think we found something there that really made all our other expertises connect.

For your sculpture bottles the aesthetic is quite a modern look but the company you work with was founded in 1742. It brings together something very traditional with a modern vision of fragrance. How do you see that relationship between the scent and how you are going to visualise it? 

We always thought about creating something based on the quality of raw materials and a sustainable approach. Our initial idea was to create a perfume bottle that you would never throw away. Today with the mass market packaging, people are buying it, then throwing it away and buying a new one. We wanted to started with this more old school point, these refillable flacons which you have in your home that your kids will inherit. Hopefully when you find a fragrance you love, you really want to cherish and keep it.

When we started thinking about the bottles, we knew that we had this fantastic heritage of Swedish art glass. The material is so beautiful, we thought that it was the optimal possibility to try and push that traditional way of glassblowing. We approached Kosta Boda and one of the artists, Åsa Jungnelius, had the same idea. She is a traditional glassblower but still has this modern aesthetic. We met up with her, started to collaborate and really connected. We started to create ideas that she could in turn translate to the glassblowers and help us realise.

Now after a few years, we have found a unique way to approach glassblowing, which is also based on the quality of raw materials and process. We wanted to create handcrafted bottles so that no piece looks the same. When you buy an AGONIST sculpture you know that it is only yours, so it is about connecting all that individuality.

What is really interesting as well is this aspect of sustainability because that is never really addressed in perfumery. On the whole your fragrances are natural, so I was wondering where you stand on the natural ingredients versus synthetics debate?

We’re quite humble because our aim is to create products that will last, and in the biggest regard possible take care of nature. One hundred percent natural is very difficult to achieve. For us, it’s more about if we are able to achieve what we want create with natural ingredients. We are not militant with other brands that create with only synthetics, but we believe so strongly that when you hold the sculpture and smell the fragrance, you really appreciate the difference. That’s the important thing.

Five of our seven fragrances are a hundred percent natural. Two of them are like 90 percent, it’s just a few synthetics that we needed to add to fixate an ingredient. For us it's about creating quality products. It’s also in the way that the packaging is made. The sculpture, the artistic qualities and all the details together create a product that is as unique and as special as possible.

Obviously each scent is completely different, but what is the underlying theme in the fragrances that you create?

Very much connected to the AGONIST fragrance experience is that it always includes several dimensions. We try to find a complex composition that changes all the time, that is definitely very unique in our fragrances. We want to tell a really strong story with every fragrance that we create and that is also told in the composition.

For example for ISIS, the new fragrance that we just launched, our idea was based on the exact moment when winter ends and spring begins, that energy exploding when new life begins. It’s also based on a poem by Karin Boye. That’s why we wanted to have this fresh top where you have a really distinct new energy, but at the same time you still have the history, so it’s quite deep in the base.

When you feel it the first time you get this mandarin, tangerine, ginger kind of top. We really wanted a shock in the beginning, so it’s quite fresh and then after a while it gets more sweet with notes of anis and a bit of caramel. In the base you have amber, vanilla and some deep musk. So you have the fresh beginning, the kind of sweet body and the base of low tones and dark depth. That’s very similar in all of our fragrances: they start off very clear and direct and then give you something else in their depth. They always change in a very interesting way, all the fragrances are really telling a story in the way that they are layered.

One of the things about a great fragrance is when it develops like a story on the skin. You can end up somewhere completely different than from where you started.

Exactly, that’s also something we try to look for. When we create a fragrance we do trials for a long time because we need to evaluate all the evolvements of the scent, how they grow on you and how they react throughout time. When we are satisfied, we know that we can guarantee quite a unique experience.

You recently did an installation at UNSCENT in Milan. What made you decide on that artistic form of presenting your fragrances and how did the whole installation come about?

We try to create a 360 degree experience. We want express the fragrance in as many dimensions as we possibly can, that’s really our art and what we love to do. We try to create things that resemble the vision that we have inside our heads.

AGONIST comes from an artistic background. When we started we were more in galleries and art exhibitions, collectors bought our sculptures and we did a lot of limited editions. We put a lot of effort into the way that we give life and shape to the fragrances, and the experience that we want to give to people.

The idea for the ISIS was based on the exact moment where the plants are bursting and blossoming. We created this tension inside the glass bottles so that they were cracking during the installation. Then we wanted to add this audio experience, so we had a frequency playing in loop, as well as these recordings of the glass breaking.

It was really intense if you had the fragrance in your nose, the sound in your ears and this visual installation. We wanted to create something that encapsulated the fragrance with all the senses. I think to create this art installation with fragrance in this olfactive experience is a beautiful dimension, suddenly your memories connect with the people who experience it. It’s really fun to create more than just a fragrance.

Your brand is comprised of a sculpture line and a more affordable spray line. How you see this idea of balancing the artistic and commercial aspects of your work?

We enjoy the idea of the haute couture and pret-a-porter version, just like in fashion. The sculpture piece is the mothership of the fragrance where the scent comes to life. We had always planned for a way to have people experience the fragrances and not have to buy these really expensive sculptures. It took us a lot of time to figure out how to create this balance.

When we finally came up with the concept of our spray line, we created these bottles which are colour-coded to connect with each sculpture. When stores are presenting AGONIST they usually have the sculptures and the spray line, so you see and experience the whole brand. If you are in love with the bottle of the fragrances, you perhaps buy the spray and then after a while gather some money and get the sculpture because you want it as an art piece. We have different customers relating differently to it. 

What are your future plans for the brand?

The future of Agonist is to keep on working with fragrance as a starting point for artistic expression. We’re also exploring other materials and ways to distribute the fragrances. We will launch one more fragrance in the autumn of this year, which we’re working on now. I can’t really tell you much about it yet, but I will say its not as fresh as ISIS, it’s going down another type of route. We have some projects going on beside that, which will perhaps be launched later this year or at the beginning of next year. We’re working on different ideas on how to expand the collection and the story.



http://www.agonistparfums.com



Later,

Carla


Read the full article here.

Bernstock Speirs Discuss DIY Punk Culture and Three Decades of Design for A Shaded View on Fashion

Dear Diane and Shaded Viewers,

Bernstock Speirs (one part Paul Bernstock, one part Thelma Speirs) have been creating their well-crafted yet whimsical headwear for over three decades. Especially known for their veiled beanies and bunny ear baseball caps, the two designers have become so well-versed in working as a duo that they even finish each other's sentences.

In the comfort of their Brick Lane flagship store and design studio, Bernstock and Speirs discussed their latest menswear collection, 'accidental' foray into the world of millinery and the evolution of the fashion industry.


What was the inspiration behind your most recent men’s collection?

Paul Bernstock: Last year was our 30th anniversary and we did an exhibition showing work we’d done from the 80s. Some things really came from that actually, didn’t they?

Thelma Speirs: Yes, it felt right again. Our millinery is also inspired by elements of traditional menswear and turning those clothing aspects into a hat. 

P:  We did some thick knits with satin which were like quilted flying jackets. So quite often, we work differently from other milliners whose work tends to be more sculptural and fanciful. We studied fashion design and have always seen our designs in relation to fashion. A lot of the techniques we do are more clothing techniques than millinery techniques.

When it comes to your designs like the baseball cap with bunny ears, are those creations about not taking fashion too seriously or just going all across the board with your brand?

P: We don’t do occasion hats, it’s about being relevant to seasonal stuff that is going on and although we do have a range of customers, our brand is quite youthful.

T: Hats aren’t really that serious anymore, are they? 

P: If you start going to the more serious side, then you get into the big glamour thing. We never felt like we wanted to do that, it doesn’t excite us.

T: The bunny cap is a prime example of ours because it does have a function, but it’s kind of funny. You could wear it for an occasion but you could wear it to the corner shop, it’s utility-like.

P: We’ve always been interested in utility clothing, the detailing, that there’s a functionality and something integral about the design — it’s not just about being decorative. We more often take things away rather than add, because we like it to be the...

T: Bare essence. 

P: The simplest, barest version of what it can be.

T: Bunny ears of course are essential [laughs].

P: The bunny ears came from a collaboration with Peter Jensen, whom we’ve worked with for quite a long time.

T: In 2009 we did the first bunny cap. We really liked it but didn’t think it would take off because it’s so humourous, yet we sold loads of them.

P: Sometimes with those things it’s hard to know. It’s a fine line between people thinking it’s a joke shop kind of thing and getting it right.

T: But you get it right through the quality. It looks serious in the way that it’s made.

You’ve done a lot of designer collaborations. What is the process like of already working as a duo and then bringing another person into that equation?

T: It’s really good because you can throw in other ideas. The person can have ideas that can inspire you so much. We like to work with people that have a similar aesthetic, people like Peter are a primary example because his clothes are lighthearted but of a really good quality. We fit well together.

P: It can also be weirdly isolating working in fashion where usually everyone keeps their collection a secret until it’s shown, but that’s the nice thing about doing collaborations, apart from the fact that we also found really good friendships through them. It’s that support aspect as well, fashion is a tough business and obviously really competitive, but actually, you can get a lot from just having that working relationship. You share a lot of things, help each other and ask each other for advice. 


How do you two compliment each other in the design process?

T:  Paul is a really good maker of things, so he can figure out the technique. I’m quite good at editing things after Paul has worked them out.

P: Thelma is quite good at saying no when I’ve made something [both laugh]. No, Thelma is really good at editing which is something that doesn’t come naturally to me. Editing is a really difficult one to learn because your first instinct is always to show more so that there’s a chance that people are going to like it more.

T: When the collection starts we just talk about ideas or fabrics and then it all comes from random discussions. We don’t do a mood board. 

P: The fact is that we work together every day, do a lot of social things and travelling together, plus live in the same house, so we see a lot references together.

During the 31 years that you have been a part of this business, how do you think has millinery changed from being something classical to more daring and humourous?

P: We started doing hats because we wanted to create something together, it was quite accidental. We found a pile of old straws, sprayed them with car spray paint and it just happened from there. There was also a nightclub movement going on. Our generation wasn’t able to find the clothes that they wanted in shops, there was not much going on fashion-wise. A lot of it was people coming from art schools with not much money because the country was coming out of the recession, so it was hard times and people were customising and making their own stuff. The first time around it partly came from that, the fact that people were wearing hats in clubs as part of dressing up. That is what has started happening again on the club scene in that last 7 or 8 years.

T: In the early eighties it was definitely coming from the punk ethic of doing your own thing. The energy was in London. 

P: There were no support systems like NewGen around then. There were no possibilities of getting sponsorship deals, it just didn’t exist. It was about somehow doing it yourself and calling in the help of friends.

T: People did shows and didn’t pay the models or people to do the hair and makeup, they were trying to do it themselves. 

P: In some way, I think the support thing is slightly a poisoned chalice.

T: You get scared to get out of it. In the end you’re getting sponsorship and doing these shows, but at some time you’re not going to have that support forever. It’s really expensive doing a show, not many people in the London gang can do it without that extra help.

P: It’s a difficult one, isn’t it? On the face of it, it should be good.

T: It’s because there are new people coming out all the time and they want support. 

P: It’s scary, there’s so much product now across everything, that feels like a big difference. The first time around when we started doing it, we got invited to this big showcase in New York by Susanne Bartsch. She took a load of people over and basically all the American stores started buying us all and coming to London to buy because it was exciting and interesting, but also there wasn’t as much stuff available back then, whereas now it’s really tough. There’s much more happening in the U.S., a lot more homegrown talent and the bigger labels cover all the bases, from the main line to the diffusion lines and accessories.

T: Then there’s the celebrity thing which wasn’t around then. 

The internet wasn’t around then as well.

P: Obviously the internet has a big part to play. Maybe things have changed since the recession but everything is available and attainable, even if only through credit, you can still buy it. When we were growing up, things weren’t as accessible. You had this desire for things which weren’t that available so you did something of your own. Everything has become so easy to get and throw away.

T: And easy to find out.

P: When we were at college we would go to Paris and try to get into the runway shows, it was amazing because you wouldn’t be able to see those images otherwise. We would also read Suzy Menkes’ reviews.

T: She only did about three pictures.

P: That was the only way to get that information, but it made it more... 

T: Exciting. But things can’t go back. Tom Ford really tried to make that happen for him by not letting any photographers into the show but it’s like going back culturally for everyone. People just ignored it a bit. I can see what he was trying to do, but I don’t think it worked.

Having had a big anniversary recently, what are you looking forward to in the next decades to come?

P: First up, we’re doing a talk at the V&A in the summer.

T: Last year we spent a lot of energy on doing our retrospective. We’re hoping we can reap the rewards and carry on.

P: Our veil beanie seems to have had another take off, so we’ve got a lot happening from that and started selling to a lot of new shops. But we want to keep it niche and special.

T: We don’t want huge shops or loads of staff, we’re really happy to keep it quite small.

That is something about hats in general, you don’t buy them in the same way that you would a pair of jeans, it’s a really considered thing.

T: It is, isn’t it?

P: It’s funny because trends take a long time. We actually stopped doing hats in the early nineties and had a break because we always saw them sitting alongside fashion. Then suddenly everything changed.

T: Because of the web.

P: But it’s also a confidence thing. People are getting used to wearing them and it being a part of their wardrobe, whereas for quite a long time they didn’t think about it. Obviously for cold weather there was that protection aspect, but it is gathering momentum and feels like more and more people are doing them. Also going back to that desirability thing, I think that there’s a longing for things which are more specialised and feel like more craft and care has gone into them. People are getting that more and more. 

T: They also want it to be more individual.

P: And of quality. In terms of our label, it was always important that it was made in England because we don’t just want to send it somewhere. It’s about quality control and making things that have a lasting value.



http://www.bernstockspeirs.com/



Later,

Carla


Read the full article here.