DEJAN DESPOTOVIC, FULL OF EASTERN PROMISE
March 7, 2010 by Editor
Filed under MEN'S FASHION, STYLE, WOMEN'S FASHION
AT JUST 23 YEARS OF AGE, DEJAN DESPOTOVIC HAS MANAGED TO CRAM A BEYOND-IMPRESSIVE AMOUNT OF ACHIEVEMENTS INTO HIS RELATIVELY SHORT LIFE. HAVING HIS OWN ACCLAIMED DESIGNER COLLECTIONS, A SUCCESSFUL STINT WORKING AS A STYLIST ON THE SERBIAN EDITION OF ELLE, WINNING NUMEROUS INDUSTRY AWARDS AND INTERNING AT GARETH PUGH AND BIBA ARE JUST A FEW OF THE THINGS THE SERBIAN DESIGNER CAN ADD TO HIS CV. NOT BAD AT ALL FOR SOMEONE WITH ONLY FOUR YEARS OF PROFESSIONAL EXPERIENCE BEHIND HIM.
But for a man whose success has been mostly down to his menswear collections, it comes as something of a surprise that Despotovic started out designing womenswear. “Well, I started with designing for women, but with time I started doing men’s clothes. It’s very interesting, and it’s not harder to be more innovative with men’s clothes. It’s very inspiring for me, because you can have your vision within it and it can be very, very avant-garde and progressive, more so than with women’s clothes.”
The fashion industry quickly began to take note of Despotovic’s creative talents. At the Nokia Awards, he scooped first prize for the Young Designers category and this was quickly followed by winning the Black and White competition at the opening of Belgrade Fashion Week in 2007. In 2006 and 2007, he was nominated for Best Young Designer at the Pantene Beauty Awards.
Despotovic’s passion for clothing is evident, and it’s clear he takes his work seriously, speaking enthusiastically about his designs. “In designing menswear, I really like to play with cuttings and forms, and to put some story into the clothes. It can get you into another world and it can look like some kind of movie scene. For me, it’s always about something romantic, but also dark and mystic.”
“Men are more fashion-conscious now than, say, five years ago,” he continues. “They started taking risks in clothing and being more adventurous which is very good, because there are a lot of designers who started doing these incredibly alternative yet wearable clothes, and men are freer to look at it and to take some elements of those designs and combine them with their own style to create something new. In the next few years I think that men will take all of these designs and wear them without saying, “Is someone going to say something bad about my style?”
But does he really think that men would be brave enough to lift looks straight from the catwalk and wear them on the streets? Is this not just a fashion car-crash waiting to happen? “Today nothing is a mistake,” he insists, “but there is a way of dressing for certain occasions. And men do know what rules there are.” Like what? “Like never wear boots that cut off under the knee. I once saw a man wearing a trench coat with sportswear too, which was little bit odd,” he recalls.
His fledgling fashion career began nine years ago, when as a textiles student, he began styling and designing for local shows which culminated in his first award, a Silver Doe at the Belgrade Fashion Fair in 2003. In 2005, he enrolled at the College for Design, Textile and Management in Belgrade to study fashion design, with his debut individual collection presented a year later in both Berlin and Belgrade.
But studying in Serbia hasn’t been without its problems, as Despotovic himself can confirm. Despite the admission that Belgrade’s fashion schools are “quite good,” lack of money and the inability to get scholarships abroad hampered his chances of trying his luck elsewhere. But he has no regrets about the way in which his career has developed: “The fashion scene (in Belgrade) is great, we have a lot of fabulous, pure fashion designers.
“I’m glad that designers from Eastern Europe have started presenting their work outside their own territories, and that they’ve started becoming really respected in the fashion world. It is harder for us, it’s true, but I believe that our talent will be seen and it has to be, because there are a lot of very talented designers and every time we present something in Paris, London or somewhere else, people are really wowed.”
Despotovic’s own designs are a mix of classic elegance and smart tailoring, complete with gothic undertones. Black is a mainstay in his collections for men and women, along with unusual cuts. Despite working with some of the biggest names in fashion- including the London-based, Austrian model-of-the-moment Florian Pessenteiner, who modelled Despotovic’s SS 09 collection- he has remained low on the fashion radar. At the time of writing, he has no official website (though one is on its way, he reassures us) and no press rep. But perhaps his imminent move to London will change things.
“My plan is to base my work in London and start showing at London Fashion Week. It will happen soon, either at the end of this year or the start of the next. I’m working on it. I’m glad I started presenting my collections in other countries though. Every collection I make is a personal success, because it’s very hard for young designers to find financial support for the collections. It’s hard, but with enough work, you can get what you want.”
Conversation turns to the fashion industry, and the recent scandals which have rocked it- starting with Mark Fast’s decision to use size 14 models in his catwalk shows last year. Would he ever send a plus-size, or even an average-size, model down the runway? “No!” is his emphatic response. “I would not. On the catwalk, never, but it’s a very brave and fantastic idea. In my designs you will always see something oversize, a sleeve or a skirt.” Does he think that weight is as much an issue for men as it is for women in the fashion industry? “Of course! That is a problem, but I think that there are a lot of shops and stores which sell XXL or bigger clothes. Fashion for slim people is changing all the time, and I don’t think that now is the right time to start changing plus-sized clothing, but there will be time…”
Just days before Despotovic is interviewed by AGENT2, news breaks of the untimely and tragic death of Alexander Lee McQueen, one of the most influential and creatively gifted designers in history. It seems only fitting to ask how Despotovic has taken the news. “I really loved Lee and he will remain the only designer who could do something which could take people’s breath away every single time…that’s real fashion. I hope that there will be someone who will keep the Alexander McQueen label the way it was before Lee died.”
Is it possible that the pressures of working in the fashion industry got too much? “When you’re such a genius like he was, it is hard to make something spectacular two times in year. It’s a very big pressure, but I think that we must be strong and creativity is something which you live, and another world, and lot of people think that fashion is just beautiful; a very nice job and way of living, but they don’t know how much pressure we have as designers. It isn’t easy to swim in a sea full of sharks, especially when you’re young designer, and today everyone wants to be designer. I think that you’ll agree with me.”
It’s certainly true that everyone wants to be a designer. Fortunately for Dejan Despotovic, he is living the dream.
Words Kay Weston thefashionistahasspoken.blogspot.com
LAMIJA SULJEVIC INTERVIEW
March 1, 2010 by Editor
Filed under STYLE, WOMEN'S FASHION
INSPIRED BY THE YOUTH SHE NEVER HAD, THE WAR-TORN HOMELAND FROM WHICH SHE HAD TO FLEE AND THE HANDICRAFT HERITAGE OF HER ANCESTORS, LAMIJA SULJEVIC’S FIRST-EVER INDIVIDUAL COLLECTION IS SUITABLY NOSTALGIC, YET ALSO TOTALLY FORWARD THINKING – BECOMING OF A LADY WHO HERSELF HOPES TO ONE DAY TO FLY THE “SAFE” NEST OF STOCKHOLM FOR MORE PARISIAN CLIMES. AGENT2 MAGAZINE’S ALEX JACKSON DISCUSSES THE IMPORTANCE OF THE HANDMADE, CHILDHOOD AND “THE NEXT STEP” WITH THIS SWEDEN-BASED UP-AND-COMER
Looking at your FW/10 pieces there seems to be quite a strong Balkan influence, a sort of Byzantine-gypsy feel – and I can’t help but notice your name and the roots it hints at. Surely not a coincidence, can you elaborate?
Well I was born in Bosnia, but had to flee to Sweden during the war in 1992 when I was five. My inspiration for this collection was very personal, I believe it was my way of dealing with everything that has happened. It almost felt like this was my time to tell my story. Also, when my mother was young she actually had this bohemian, gypsy style. I kind of inhered it from her.
Does the collection have a title?
I don’t have titles; I work with a concept instead: Making sure that my garments are something more then just clothes on a hanger. I work with more than just design and the whole process of making my clothes for example I always want to make sure that my look book gets the right feeling. For this shoot, for instance, I also made shoes in paper and jewellery out of small coins, all by hand. I want to give a feeling to my customers, to give almost a little story-my story- so that they understand my inspirations and my process.
On your website you refer to “childhood” and the “playfulness” of youth – does this refer to the story you wish to tell? Why are these things so important to reflect in your work?
As I mentioned, I didn’t have a ‘normal’ childhood. When we came to Sweden we had to start over, we had nothing – only the clothes on our backs. I became almost a grown-up at five years old; I learned and struggled with things I know most of my friends and people around my age still don’t know anything about. Ironically, this ‘lost’ childhood has followed me and will probably follow me my entire life. Maybe that’s why I focus so much on this when I work, it’s my way of finding my youth and letting myself be that little girl that’s still somewhere inside me.
So when did you realise you could rediscover this lost period through designing?
I think it started when I was around 11 years old. I studied fashion design for three years in a small town called Växjö, later specialising in pattern design and tailoring in Stockholm at the Cutting Academy. When I was 17 I started my own fashion company with a friend. But last year I decided to move on, so this is my first collection under my own name.
You only use handcrafted techniques in your work so how does this process affect/influence your work and does it hint at a personal manifesto?
I feel so much nearer my hometown, a place called Foča, when I work with handicrafts. I have so many memories and traditions that involve such techniques. It maybe sounds weird, but I love the process of making my future by going back to my past. My crocheted pieces actually have a lot to do with my grandmother. She worked with luxurious handmade crafts her entire life and I learned at a very early age to value this, my clothes are the result. My mom taught me to knit when I was 11 and crochet came very naturally to me. I never use any patterns, I love to improvise.
With braiding, embroidery, pleats and laces being so central to your work, is texture almost more important to the overall look than form or colour etc?
Maybe not more important, but it’s just as important. If I can’t find the right fabric I usually change my patterns.
You currently produce one-of-a-kind pieces by appointment, which I imagine is a very personal way of working, is this integral to your philosophy as a clothes designer?
Yes, and I wish I could work like this always but I already feel like I need to move on to the next step. I will never work with mass production but I would like to work with more limited collections in the future. For me it’s important to get to know my customers, it’s almost like I need to know that the story will end well. My garments are almost like children and I need to find their parents.
How do you describe the Lamija Suljevic look?
New thinking. A bit crazy but always elegant. Everything that is beautiful but lost.
You bring up the “lost” again, is this another projection of yourself, of a sense of dislocation?
I’m Bosnian born and I think that power is stronger than anything else. I have been back to Foča only once. I visited my old apartment, it was emotional but I think necessary. My parents have an apartment in Sarajevo so I try to visit when I can. But I don’t know, I don’t think about it so much. Most of my friends are from Sweden and I have been here 17 years now!
I also notice that your website refers to “romantic Parisian visions,” so is Paris somewhere you see like yourself working as a designer in the future?
Yes, Paris feels like home. I feel a bit lost in Stockholm, I can work very well here but people in Sweden are mostly too ‘safe’. In Paris they have a totally different vision on how a women should dress and I really like everything about it and feel my personal style is very close so theirs.
Words Alex Jackson
“INDIA” – JOURNEY TO THE LAND OF MYSTERY AND WONDER
A SEVENTY-FIVE STRONG TROUPE OF MYSTIFYING ARTISTS HAILING FROM MANY REGIONS OF THE INDIAN SUBCONTINENT COME TO FRANKFURT AM MAIN UNDER THE PATRONAGE OF HIS HONOURABLE GAJ SINGH II, MAHARAJA OF JODHPUR, TO ENTERTAIN AND INSPIRE US WITH THE SPECTACULAR WORLD PREMIERE OF THE SHOW ‘INDIA’.
With help of superbly innovative stage technology, Prime Time Entertainment AG transforms municipal space in the centres of European cities into a magical tent village. The huge marquee, in the perfect illusion of a palace landscape, is where the bewitching Indian culture presents itself in a whole manner of new and exciting ways.
Upon entering this fabulous marquee world, it is easy to conjure up the great Maharajas of times gone by as ornate pile carpets, colourful Divans and furniture made of precious woods line the walls, floors and ceilings. You may take in different aspects of life at court by visiting themed rooms such as Sky Garden, Bengal Door, Banyan Lodge Himalayan Court, White Elephant, Emerald Room and also a lively bazaar before the big spectacle in the high Chapiteau begins.
The scene is set by a silently meditating Fakir sitting frozen on a bed of nails and the frenzied whirling dance of a glamorous eunuch. The lights dim, the drums begin to beat and out rush dozens of scantily clad, body-beautiful dancers all undulating to the sounds of Keith Levenson’s groundbreaking fusion of Indian and Western music.
The shows takes you on an awe-inspiring journey to the land of mystery and wonder through performances by fire jugglers, magicians, fakirs, contortionist and musicians; from the ape-men of Jogi who can shin up three meter vertical poles and hold spectacular gravity defying shapes to the mesmerising shadow puppeteer who creates a wonderful catalogue of animals with his bare hands.
The show has been designed by the world renowned Pascal Jacob, an expert in circus arts and Brian Burke who staged the legendary Las Vegas shoe ‘Le Reve’. The encounter with Indian myths and rituals, with dances and acrobatics is truly a work of art firmly embedded in the music, which combines traditional character with a modern soundtrack. This fascinating panorama of a world culture, which is marked by an aesthetical brilliance and erotic charm as well as by philosophical depth, is not to be missed.
“India” is at St Pauli Heiligengeistfeld, Hamburg until 3rd March 2010 then touring Germany and Austria throughout 2010-11
Words by Almaz Ohene
CARNABY STREET CELEBRATES 50 YEARS OF FASHION AND MUSIC
CARNABY STREET IS ABOUT TO MARK ITS 50TH ANNIVERSARY WITH A YEAR OF CELEBRATIONS AND EVENTS.
Since the Swinging 60s this iconic street has been synonymous with cutting edge fashion, music and youth culture. John Stephen opened his first shop His Clothes in Beak Street just off Carnaby Street in 1957, which became a Mecca for mods and started its travels as the hub for male fashion.
The first event launches on the 26 February until the beginning of April and is an innovative exhibition and limited edition book of the same title; ‘Carnaby Street: 1960 – 2010’. The event will be held at 38 Carnaby Street and will put into context the history of Carnaby from its earliest origins in the 16th Century to the present day with a focus on the 1960s.
The central feature of the show is a unique 3D timeline which illustrates key people, events and happenings in the area. The show will start right from the beginning, 500 years ago, when Carnaby Street was a green field site with a well and a scarecrow.
It will cover the iconic characters associated with Carnaby’s music heritage such as The Rolling Stones, Sex Pistols and Jimi Hendrix. The limited edition book will feature images from 60s photographer Philip Townshend and exclusive interviews with people who have lived and worked in Carnaby including The Who’s Pete Townsend.
The exhibition and book are the work of curators and fashion historians Judith Clark and Amy de la Haye, who have organised exhibitions at major international museums including the V and A and Mode Museum in Antwerp. They are readers and joint directors of the MA Fashion Curation course at London College of Fashion, one of the foremost centres of fashion education in the world.
There will also be a number of historical exhibits, many revealed for the first time, including items borrowed from The Museum of Soho, and pictures sourced from The Museum of London, Victoria and Albert Museum, Getty archive and private collections.
One of the most famous residents of Carnaby Street was William Blake, whose powerful imagery of the plague and documentation of social injustices will be featured.
The heritage material will be displayed alongside newly commissioned artwork by documentary photographer Syd Shelton and illustrator Alice Smith, and a short film by James Norton, commissioned for the anniversary will present archive film footage.
The show will be an insightful glimpse into the famous shopping street and its continued relevance today. The area’s 12 streets are known for unique independent boutiques, global fashion brands, award winning restaurants and nightlife. More than 60 per cent of the 135 stores in the area today are independent, with new design talent and concepts nurtured in Kingly Court and The Newburgh Quarter.
The exhibition will be followed by a series of events throughout 2010 to celebrate Carnaby’s 50th Anniversary including a live music weekend in June and a unique fashion show in September.
Words Jennifer Butler
READER OFFER – THE EXCELSIOR CITY ESCAPE
February 23, 2010 by Editor
Filed under EDITOR'S DESK
“THE EXCELSIOR CITY ESCAPE”
Take some time to relax and combine your visit in Cologne with a visit to the Claudius Therme!
The Claudius Therme is located in the Cologne Rhine Park and is considered to be one of the most beautiful thermal baths in Europe.
With its appealing architecture based on the Roman bathing culture, the thermal bath harmonically fits into the charming parkland.
Enjoy the exclusive stay at the Excelsior Hotel Ernst together with revitalizing “Sunny Day” treatments in the Claudius Therme.
Program:
2 nights- stay in a superior room
* * *
3 course menu in one of our restaurants including complementing beverages
* * *
Welcome cocktail in our Piano Bar
* * *
“Sunny Day” wellness program in the Claudius Therme including a day ticket for the thermal spa and sauna area, a mixed salad and an orange juice in the restaurant of the Claudius Therme, bathrobe and sauna towel for rent, a relaxing massage with aromatic oils (30 min.), a visit on the solarium (10 min.)
* * *
Limousine transfer between the hotel and the Claudius Therme
Excelsior Hotel Ernst breakfast buffet
Double occupancy: EUR 375 € per person
Single occupancy: EUR 480 € per person
Book one of our deluxe rooms for an additional charge of only EUR 80 per person.
All prices include the minibar, use of the sauna and fitness area, as well as service and VAT.
The package is valid upon request and availability excluding trade fair dates.
We look forward to your reservation:
Tel.: + 49 221 / 270 3220
Fax: + 49 221 / 270 3333
2 COVET – MARCH 2010
UNIFORM WARES WATCHES
Uniform Wares produces objects and apparel intended for everyday use by individuals with an eye for meticulous design details.
Their products have an intentionally pared down form that is characterised by distinct colour. The colour of each product helps design its purpose, how it is used, what for and by whom.
The Uniform Wares aesthetic has been tailored with longevity in mind, we believe that a product should have a practical permanence. Each product is designed at Uniform Wares’ London headquarters.
PAUL SMITH FOR STELTON
Arne Jacobsen’s Cylinda-Line bar accessories have been around since the 1960s and the latest incarnation of the design is courtesy of Paul Smith, who has turned the classic set into “a gorgeous fantasy in black.” Titled simply ‘Statement,’ Smith gave the steel a black titanium finish and accented it with his own personal statements, engraved so the letters shine through the titanium in contrasting steel script, that say inspirational things like “take pleasure seriously” and “start something new.” The Statement bar set is available in limited edition and includes a cocktail mixer and spoon, shaker, ice bucket with tongs, a two-litre jug with strainer, small glass coasters and a serving tray.
THE 7L REMINDER – KARL LAGERFELD
The 7L Reminder is simply one of those really useful books. While traveling the world Karl Lagerfeld has, time and again, unsuccesfully searched for the perfect address/notebook.
So he conceived his own private notebook: with sufficient space for all those numbers one nowadays has to take down in order to communicate.
To satisfy his aesthetic needs he has equipped the book with a photo sequence by Japanese photographer Okada Kuwabara. Thus daily usage of the notebook turns into a perfect pleasure.
Printed on a light elegant paper — perfect for any writing implements — bound in soft dark blue leather, Smyth sewing for longevity, and covered in tissue paper, this is a must have luxury item.
HAOSHI DESIGN ANIMAL JEWELERY
Haoshi Design studio wants us to acknowledge the small joys in life–that the existence of things such as animals, fruit and everyday objects are important. To honor their ideals they create collections of jewelery that will help us remember what they stand behind. Check out some of our favorite rings and necklaces from the Animal Series below or take a look at the whole collection here.
CLASSIC COLOGNE, A SCENT OF LUXURY
ASKING THOSE WHO’VE BEEN TO COLOGNE WHAT THEY REMEMBER FROM IT WILL OFTEN BRING UP AN ASSORTMENT OF REPLIES, FOR IN THIS SMALL CITY BURSTING WITH STORIES, THERE REALLY IS AN AWFUL LOT TO SEE AND DO. AGENT2 DISCOVERS, IN BETWEEN CLIMBING GOTHIC CATHEDRALS AND SHOPPING IN THE NEW QUARTER, THAT COLOGNE ISN’T JUST YOUR AVERAGE GERMAN TOWN. RIDDLED WITH ANCIENT ARCHITECTURE, WARTIME RUINS AND 18THC BUILDINGS, IT IS THE ONE OF THE FINEST CATALOGUES OF HISTORY GERMANY HAS TO OFFER.
Cologne, or Köln, as it is known in Germany, is nestled in West Germany, only an hour away from Brussels by train. One of the most popular tourist destinations in Germany, it is home to just one million inhabitants, making it a refreshing break from the hustle of larger European cities.
Cologne's imposing cathedral
However, whether you arrive by train, plane or boat, the first thing that will strike you as you enter the city won’t be its quiet cobbled streets or its famous river Rhine. I guarantee when your first breath is stolen, it’ll be upon seeing its imposing and impressive Cathedral.
A huge black-stone building with a ashy grey steeple stretching high into the foggy sky, the Cathedral holds historical tales that have lasted for centuries.
Now a UNESCO World Cultural Heritage Site, six million visitors come every year to see Germany’s largest Cathedral, which, at 45 metres tall, overlooks the rest of the city. Taking over 600 years to build, its foundations were first laid down in 1248 but it wasn’t completed until 1880, when it became the tallest building in the world. Nine years later, it lost this title to the Eiffel Tower, at 300 metres tall.
The gothic architecture of the church is itself outstanding – black stone carved into a variety of biblical figures stand above the entrance door, its high arched ceiling offers an arresting presence and its colourful stain glass windows stretch nearly its entire height. Mosaics are scattered on the floor and original 13thC features can be found throughout. The tombs that circle the perimeter of the cathedral, as well as the crypt that rests underneath it, lend themselves rather well to the quiet, eerie atmosphere.
However, the reason why Cologne’s Cathedral is so significant isn’t really to do with its design, nor its impressive longevity. Within this heavily Catholic city, lay some of the most precious remains of its biblical heritage, for the Cathedral has housed the golden shrine of the Three Magi (Three Wise Men) since 1164. Pilgrims flock to Cologne every year on 6 January when the shrine is opened, to see their remains.
The only building in Cologne not to be bombed during WW2, the Cathedral has huge significance to its survivors and its people.
Our guide, André Fischer told us: “It’s impossible to describe the connection Cologners have to this church. It is part of us. It is our identity.”
The Cathedral isn’t the oldest thing about Cologne though. And it only took a short walk to realise what sort of history this city holds. A short stroll from the Cathedral we ambled across what looked like some old building debris, surrounded by fence and scaffolding. What we had actually stumbled across were the authentic ruins of Cologne’s Roman rule. One of the oldest cities in the world (dating as far back as 58BC), Cologne houses some of the best preserved Roman ruins outside of Rome. Built using these ancient foundations, beneath Cologne’s modern and medieval buildings lays an entire Roman city.
One of the best places to experience its Roman history is to visit the Roman-Germanic Museum (5 EUR for adults), which centres round a huge Dionysus mosaic, uncovered during the Second World War. The museum is home to huge ruins such as tombstones and small remnants that have been discovered throughout the years including coins, weapons, tools and the largest collection of Roman glassware in the world. All these remains have helped uncover the vast history of this West German city, and tell of its prominence in the Ancient World.
Cologne by night
The Prätorium (2.50 EUR for adults) is another place not to miss if you’re keen on your Ancient History. Discovered in the World War Two rubble, the prätorium was once home to the city’s Governor and was one of the largest buildings in Cologne during Roman times. The building foundations have remained perfectly in tact aside from a deep gash through one its walls: a scar from a 4thC earthquake. The walls, its underground heating system, and octagon rooms are all otherwise in perfect condition and give a brilliant insight into the life and history of this Roman province.
In the same visit, you can explore over 100 metres of Ancient canal sewage tunnels from 50AD, which are still in pristine condition.
One of the best ways to examine Cologne’s vast and varied history is to have a stroll through its Old Town (Altstadt). Though most of Cologne was destroyed during WW2, few buildings within this medieval quarter remained. Walk along its cobbled streets and through its sparse empty squares and enjoy the peaceful atmosphere of this quiet part of the city. The narrow side streets are the best place to experience Cologne’s traditional beer holes and try its authentic cuisine. The Rhine promenade sprawling with colourful houses, picturesque plazas and lonesome benches add a special character to Cologne, giving a taste of what this beautiful city was like pre-1942.
Indeed, the story of the Second World War isn’t forgotten within this once-walled city. Its tight-knit community together with its rich heritage makes Cologners proud to be Cologners. But when the war broke out, their pride and indeed, their city was shattered. Whereas in 1939 there were 750,000 residents in Cologne, by 1945, there were only 42,000.
Cologne's annual carnival
Since then though, Cologne has successfully moved on: uncovering magnificent ancient ruins, restoring medieval streets and constructing a modern city centre around its fragile foundations in the ‘Rheinauhafen’, the new quarter. Home to some of the most popular shopping areas in Europe, the places to visit are Hohe Straß for department stores and Breite Straße for boutique shops. In recent years, the Belgian Quarter has become a thriving area for vintage clothes and trendy accessories.
Despite its turbulent past, Cologne has managed to salvage some of its major ruins and reinvent itself, creating a city full of stories, memories and character, that’s a true pleasure to visit.
Walking through its promenades as the splendid Cathedral is lit up on a cold wintry night, there’s a buzz that runs through the city; a reminder that every step taken is like a walkway through history.
TRAVEL INFORMATION
Cologne is one hour ahead of the UK (GMT) and the currency is the EUR where £1=1.15 EUR. Visit during the six-day holiday of Carnival (Feb 11 - 17) where the streets come alive with parades, events and shows, and Cologners dress in colourful costumes. Visit www.koelntourismus.com for more information.
HOW TO GET THERE
German Wings fly to Cologne/Bonn Airport from London Stansted and have recently launched a new route from Manchester airport, flying five times per week. Flights take 1h 15 minutes. Prices start from £13.99 and can be booked at www.germanwings.com or by calling +44 (0)906 294 1918.
WHERE TO STAY
Excelsior Hotel Ernst +49 (0)221 2701 / www.excelsior-hotel-ernst.de)
Just 200 metres away from the Cologne’s main station and 20 metres from the Cathederal, this 5* hotel has everything you could require. As well as its proximity to the old quarter, Excelsior also boasts excellent modern suites, gym, spa and plenty of places to wine and dine including gourmet restaurant Hanse Stube, Piano Bar and the Riesling Lounge where guests can enjoy wine tasting sessions of Germany’s own wine variety, the Riesling. Double rooms start from 270EUR prpn.
CHECK OUT OUR GREAT EXCELSIOR “CITY ESCAPE” READER OFFER HERE.
OTHER PLACES TO VISIT
FARINA Fragrance Museum Find out the interesting story behind the world’s oldest fragrance company, Eau de Cologne. Follow the narrative tour by a ‘Rokoko parfumeur’ telling the tale of its creation in 1709 and its popularity among huge historical figures including Napoleon.
Lindt Chocolate Factory (7.50 EUR) Learn the history of chocolate-making, the branding of Lindt and try some chocolate for yourself.
Carnival Museum Museum of Cologne’s infamous Carnival showcasing masks, costumes and past videos where you can learn all about the city’s much-loved celebration.
WHERE TO EAT
Früh A traditional micro-brewery hosting Cologne’s famous brew, Kölsch and serving some of Germany’s traditional cuisine. Try the Rheinischer Sauerbuten (marinated beef with dumplings and red cabbage) for 13.95 EUR.
Taku Bar and Restaurant at the Excelsior Hotel
Taku, Excelsior Hotel An Asian restaurant in the 5* hotel serving quality meals from Japan, Thailand and Vietnam.
Words Natasha Al-Atassi
IZMAYLOVA – THE EDGE OF DARKNESS
February 21, 2010 by Editor
Filed under STYLE, WOMEN'S FASHION
THE RECESSION HAS PUT PAID TO THE ASPIRATIONS OF MANY A YOUNG DESIGNER, BUT WITH 2010 SET TO BE A PHENOMENAL YEAR FOR FASHION, IT’S ONLY FITTING THAT NEW LABEL IZMAYLOVA SHOULD CHOOSE TO ANNOUNCE ITS ARRIVAL IN STYLE. WITH SEVERAL DESIGN HOUSES FORCED TO CLOSE THEIR DOORS OR COMPROMISE ON LUXURY, IT’S A RELIEF TO SEE A LABEL BRINGING A HEALTHY DOSE OF GLAMOUR BACK TO THE CAPITAL. AND GLAMOUR IS MOST DEFINITELY IZMAYLOVA’S FORTE.
Founded in 2009 by native muscovite and Creative Director Antonina Izmaylova under the business direction of Parisian-born Nathanael Gam, the label resides at the highest end of the luxury market and combines the grandeur of Russian aristocracy with the decadence of a bygone era, complimented by a fashion-forward London-inspired edge.
With both Antoninia and Nathanael aged just 22, they’ve already firmly established their luxury fashion house in London’s Hanover Square.
Izmaylova launches with its debut womenswear Autumn/Winter 2011 capsule collection titled ‘Edge of Darkness’, a directional, predominantly dress-based collection of modern and dazzling black crystallized eveningwear.
According to the designers, the eight-piece, couture-quality collection is inspired by the vision of a fusion between the opulence and the boldness of Imperial Russia and a futuristic post-apocalyptic world. It consists of luxury handcrafted evening wear, made from materials such as Swarovski crystals, silk and soft leather, combining bold and edgy designs with detailed tailoring.
The collection is made using laser cut leathers, tailored into cuts that give a strong futuristic edge to mini dresses. The unique features are designed to give emphasis on shape and structure. Exquisite finishes compliment the luxurious materials: Swarovski black crystal embellishments, soft body-hugging leather and feathers. The dresses are created with invisible inner support to guarantee perfect body shaping and a flattering fit.
Now you can get a taste of Russian luxury without having to leave the country- or even London. So stay one step ahead of the fash pack and get yourself down to Hanover Square, before the best-dressed descend and claim it for their own.
Words Kay Weston thefashionistahasspoken.blogspot.com
ZIAD GHANEM – THE CULT COUTURIER
February 16, 2010 by Editor
Filed under MEN'S FASHION, STYLE, WOMEN'S FASHION
“MY DESIGNS ARE LIKE WATCHING A HOLLYWOOD MUSICAL ON ACID”
This statement is fairly accurate when it comes to trying to describe Ziad Ghanem’s designs. Branded the ‘Cult Couturier’ for his eclectic mix of streetwear and couture, Ziad creates bespoke creations for clients as well as his ready-to-wear collections and his junior line, Maiden Britain. Working almost exclusively with recycled materials, he has quickly gathered a cult following and tremendous respect in the fashion industry. He has also collaborated with Topman and Firetrap and has worked alongside Random Bangle (aka accessories designer Russell Barratt), and can add Editor to his repertoire since taking the helm at Drama, a fashion and performance magazine available on the i-Phone. Here AGENT2’s Kay Weston speaks to the man himself about the fashion industry and why fur is ‘shit’.
How do you feel about your reputation as the ‘cult couturier’?
I feel good (about it), since I am not a fan of the word ‘Couture’. It gets so misused. My label is exclusive to certain markets and followers, and it will remain that way.
What made you decide to go into fashion as a career?
I always wanted it. I was born with it. I never made the choice, I just let it be.
Your designs are really adventurous. How do you come up with ideas and what inspires you?
London inspires me. People play a big part and the simple things in life can be very dramatic if we pay attention. I love Punks and Chavs.
Why did you decide to focus on producing sustainable and eco-friendly fashion?
Because at the start, I didn’t have money to buy new fabrics so I used what was in my flat, a bit like with the Gone with the Wind curtains dress. Then after that, I wanted to use whatever was available and charity shops can offer a lot of inspiration.
Where do you find the materials you recycle in your designs?
I shop at charity shops, friends send me unwanted clothes and I buy eco-friendly fabrics from a Brazilian company.
You were asked to produce some designs for cigarette packets. Why did you turn the offer down?
I hate smoking.
So do you think the fashion industry is, in general, unethical?
No, I think people mix things up. Fashion is a business. Capitalism is sometimes unethical. When gain is involved we make our own morality. I am anti-fur, fake or real. I wish people in fashion would stop wearing this shit.
You recently said you cast your models for their personalities, not just their looks. In an industry famed for its superficiality, is there room for personality?
I never force my clothes on people. I want to be inspired by the wearer. I like them to be happy, and understand what they are wearing. I like to work close to my models and share their ideas and thoughts. I refuse to put my clothes on some boring dummy.
Your A/W 10/11 collection is called Lucy in the Sky with Diamonds. Why did you choose that name? And what can we expect from the collection?
Mr Quayle, my friend’s father, came up with the name at Christmas dinner. He said that watching my designs is like watching a Hollywood musical on
acid. I wanted to express the glitz and the added glitter in my new collection, and I can see Lucy flying in the sky with diamonds.
Why did you choose to work with Immodesty Blaize (a burlesque artist) for the collection?
The collection is inspired by Fellini, circus and the show of burlesque. It is the art of undressing. Immodesty is intellectual and a great performer. I’m so lucky to have her in my show, I wanted a Burlesque performer and I was surprised when I got the best one in the world.
How did the collaboration with Firetrap come about?
Firetrap wanted a breath of fresh air in their label by collaborating with young designers. I wanted to experiment with denim with financial backing. It was a very great experience with a happy ending.
Why did you decide to focus on denim for the collaboration?
Denim does not crease and it has a thick skin. I wanted to use exciting garments to avoid wasting new fabrics.
Are there any designers you’re championing right now?
Everyone is a hero. I love Comme des Garcons and I respect (Azzedine) Alaia.
What’s the worst fashion mistake a person can make?
Fashion is in the eye of the beholder. I never follow fashion. I love clothes.
Words Kay Weston Images Ram Shergill
BAD ROMANCE
AS WE ARRIVE AT THE SECOND DECADE OF THE NEW MILLENNIUM, AGENT2 ASKS WHETHER WE ARE STILL A NATION OF ROMANTICS, OR IF ROMANCE REALLY DID GO OUT WITH THE RECORD PLAYER.
There was once a time where the term ‘in a relationship’ meant more than just a Facebook status. Love letters were as eagerly anticipated as the text messages of today, and Valentine’s Day was not just about the number of cuddly toys to pass through Clintons’ front door in the run-up to February 14. But today, it seems as though romance might just be exclusive to the chocolate industry and cinema’s rom-coms.
The likes of Jennifer Aniston and Cameron Diaz continue to repeatedly meet their soulmates in the most charmingly imperfect of circumstances on the silver screen – but in real life, even these honey-haired, perfect-pinned goddesses remain happily single. What hope is there for the rest of us if even the Anistons and Diazes of the world are existing on a romance-free diet? Today we are living in a time of technological revolution yet sentimentally, it seems that if romance isn’t dead, then it certainly lies in an intensive care unit somewhere, currently unresponsive to treatment.
Don’t get me wrong, the concept of romance is still alive and if not kicking, still twitching. It’s just that the concept of modern-day romance is all wrong. The Oxford English dictionary offers up, ‘A pleasurable feeling of excitement and wonder associated with love’ as its number one definition for the term. At no point in that definition does it say that romance should mean flowers, massive cards and stuffed toys. But each year, the commercialisation of Valentine’s Day and, ultimately, of love has led us to believe that the concept is really about nothing more than the giving or receiving of this miserable trio of Hallmark-crafted goods. OK, maybe Hallmark don’t make flowers but surely at this rate it’s only a matter of time before they do.
Anyhow I digress. This was not intended to be a rant at the money-making aspect of one day in the year; rather an argument that maybe in these modern times, the main ingredient missing in the love potion is actually a little bit of creativity and… feeling? Romance at its best is spontaneous, fun and reciprocal. Ladies, you can hardly be complaining that your man doesn’t spoil you any more when he is the one having to spend all the moolah and put in all the effort to make you happy.
A while ago, while standing in the queue of a popular lingerie shop, I was eavesdropping on the conversation of two fellow shoppers (as you do). Clearly, the best friend of some misguided girl was instructing said girl’s boyfriend into exactly how he should be treating her, starting with which presents to buy her. “Last Christmas, my boyfriend only spent £700 on me,” she bleated. “I nearly dumped him.” The poor sod went green.
First of all, if true, let me be the first to tell this man to grow a pair: £700 in the midst of a global recession? Either he’s a famous footballer or he thinks that not spending all his money each time an annual celebration rolls round is akin to telling his beloved that he just doesn’t love her any more. And I’m pretty sure that the girl queuing behind me was not Coleen Rooney.
Clearly this young lady was not of the belief that it’s the thought that counts. For our male readers, let me assure you that this girl is in the minority. I truly believe that most of us would rather spend a special day with the boyfriend, doing something away from the regular constraints of courtship, than rummaging through his pockets to find the receipts of his tokens of love.
Moving away from the material, something that has been lost along the years is the old-fashioned ways of expressing blossoming relationships – yet the sentiments remain the same. Royal Mail is no longer inundated with love letters between sweethearts, but a simple Facebook message tends to cause just the same reaction.
A first date might now be a quickie (drink!) down the local as opposed to a candle-lit dinner and dance, but you can bet your bottom dollar that at least one half of the potential couple will have spent just as long getting ready for the hot date as their ancestors did. And while gentlemanly customs such as holding doors open for and kissing the hands of their ladies might now be scoffed at, it’s unlikely that you will find many women who don’t want their boyfriend to get down on one knee when they eventually propose.
The world is getting older, its human inhabitants are still evolving and social concepts like romance are always going to be changing. As cave people, it was probably once considered quite romantic to hold a lump of ice to the head of the woman you’d just clubbed. Perhaps one day we’ll sit in our deckchairs with our trousers rolled up to our knees watching the sea levels rise, reminiscing about the good old days of the social networking site where romance was just a click away. Just remember that no matter what the shop display window might be telling you, you really don’t need a big pink teddy bear and a 5-feet-by-3-feet card proclaiming its love to you, to know that someone cares about you. Really, you don’t.
Words Sian Ranscombe
