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
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
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
LADIES GET THE TAILOR’S TOUCH
February 1, 2010 by Editor
Filed under STYLE, WOMEN'S FASHION
STOWERS BESPOKE TAILORS ARE INTRODUCING A LADIES TAILORING AND HAUTE COUTURE SERVICE, AT THEIR ALREADY FAMOUS STORE IN SAVILLE ROW, WITH THE LAUNCH OF THEIR HOLLYWOOD COLLECTION.
There are three expert tailors at Stowers Bespoke who together bring over 120 years experience. Ray Stowers, Brian Jeffrey and Brian Pusey are supported by a number of highly skilled cutters, under-cutters and other experienced individuals. From hemming a handkerchief, to designing for royalty, there aren’t many tailoring situations this team of experts haven’t encountered.
Ray Stowers has dreamed of designing womenswear for some time, but it was the closure of ladies tailoring at Hardy Aimes that was the deciding factor leading to his decision to follow through with his dream.
Together with Alistair Macdonald, who worked with Ray creating intricate bead work for the label at Liberty’s, Stowers Bespoke has created a refined and inspired womenswear collection.
This specialized collection showcases the collaborative talents of Stowers Bespoke designers and will appeal to ladies looking for a tailor who is unique and offers the highest levels of service and the finest hand-tailored garments.
The collection could be worn from red carpet glamour to simple, everyday chic living. Stowers Bespoke do not have a house style. They have an original and individual approach to design and believe in designing clothes around you, not for you.
Alistair and the team at Stowers Bespoke have created a divine range of Hollywood-glamour inspired pieces, including a Greta Garbo inspired two-piece skirt suit in grey hounds tooth tweed with a matching Swarovski crystal clutch bag and a stunning grey hounds tooth headpiece with dark cock feathers and Swarovski crystals.
Other Hollywood fashion pieces include a Pink Harris Tweed trouser suit with Mother of Pearl Buttons inspired by Katherine Hepburn and a matching headpiece with central cream hackle feather spray.
Joan Crawford was the inspiration behind their stunning black beaded cape with Swarovski lead crystals and their black chiffon Marilyn Monroe dress, which has over 8,000 jet black Swarovski crystals covering the gown and over 40 full plumb Ostrich feathers adds even more glamour to an already exquisite catalogue of fashion creations.
Stowers Bespoke pride themselves on fitting around each individual client’s needs. If you need them to visit you they will, and they will even extend their working hours to allow for people who need to visit them late.
Whether you have your own distinct style, or if you haven’t quite found it yet, Stowers Bespoke will work to create a unique garment inspired by you. They will draw on your personality and character and their designs will radiate how you see yourself and how you want to be seen. The creations may be delicate and low key or daring and distinctive, but most importantly, they will be yours.
This Hollywood film-star fashion collection is a mixture of luxury and quality that is sure to appeal to ladies in search of a touch of glamour and class combined.
Words Sarah Lloyd
DO JUDGE A BOOK BUY ITS COVER – THE SARTORIALIST
IN A WORLD SATURATED WITH FASHION BLOGS SCOTT SCHUMAN’S THE SARTORIALIST HAS BECOME THE ONLY FASHION BLOG TO LOOK TO FOR EVERYONE FROM THE REAL FASHION DICTATORS TO THOSE SIMPLY WITH A LOVE OF TIMELESS STYLE.
The Sartorialist has become a worldwide phenomenon, with over 180, 000 visits a day. It has been named as one of the top six style blogs by the Sunday Times and is rated by Technorati as the Number 1 fashion blog in the world.
Scott Schuman worked in the fashion industry for 15 years before setting up his blog. The aim was and still is to showcase the varied style of real people on our streets, not only those of the fashion elite.
Although in an ironic testament to his talent and status it is often the fashionistas who clamour to get their picture taken by Schuman, as Cathy Horyn, The New York Times, said: “Everybody loves being photographed by Scott Schuman. If he spots you in the crowd whether in New York, Paris or Milan, it’s kind of a validation.”
In this book Scott has compiled his favourite images, adding the odd comment here and there, but mostly letting the images speak for themselves. From achingly hip Stockholm to the faded grandeur of Milan Schuman captures the essence of style and distils it in his now world-famous images.
It is his clever, appreciation of individual style which has readers of his blog hooked. He does not include just ‘fashionable’ people, but dapper gentleman exuding a quiet arrogance striding around the streets of Milan, a newspaper casually tucked under one arm. Or a disparate group of rosy-cheeked teens posing against the dramatic backdrop of the Eiffel tower, each competing with each other to make their own individual style statement.
Images of fashion’s big players, such as Editor-in-Chief of French Vogue, Carine Roitfeld, appear alongside an awkward 13-year-old Parisian boy photographed in his brand new high-tops. It is this contrast of the recognition of high fashion and the perceptive eye for a great image which makes this book work.
He often focuses in on particular quirky details, such as the frayed, worn cuff of a suit in a photograph entitled, ‘His Dad’s suit, Milan’. This poignant caption is all that is needed to spark off thoughts of a man’s long-held respect for an absent father.
The book differs to the blog of the same name in that it does not allow readers to interact with the images. This dimension is removed and perhaps at first sight Schuman’s brief captions may not seem enough but if you require more, you are missing the point. He wants you, the reader, to develop your own thoughts on an image, to draw your own conclusions. It is a picture book of the greatest kind.
The longer comments he does include, however, are so tantalisingly insightful they leave you longing for more. Beside the image, ‘Conflict of expression, Stockholm’, Schuman’s comment makes you study the image of that shy young girl with a kind of arcane, secret knowledge. He discusses the misconception that you have to be confident within yourself to express personal style and comes to the conclusion that often this dichotomy between, “wanting to remain anonymous and yet dressing in a noticeable way- can lead to equally great expressions of personal style.”
Often the photographer and the subject do not speak the same language so the resulting image retains a certain mystery and the character created is forever suspended. As Schuman eloquently puts it, “I am totally open to creating my own version of who I think this person is.” Sometimes when you do delve beyond the surface a romantic image is tarnished a little, therefore these images without dialogue are perhaps some of the most special in the book.
Schuman is constantly relevant, including images of those dressed in head-to-toe designer fashion alongside images such as, the young man dressed in a five-dollar doctor’s coat. He remarks that it is wholly about how you wear something, as this guy testifies by pulling off this look, “with a cool nonchalance.”
There are many street style blogs out there, but none with the unflinchingly honest, appraising eye of Scott Schuman. In this way The Sartorialist is unrivalled.
If you require style inspiration on a particularly bleak day or simply want to spend a pleasurable couple of hours lost in far-flung, imagined lives then look no further.
Words Ashley Wallis
ALICE TAKES A TRIP
January 13, 2010 by Editor
Filed under STYLE, WOMEN'S FASHION
FAMED FOR ITS STEEL INDUSTRY, SHEFFIELD IS PERHAPS ONE OF THE LAST PLACES IN THE UK YOU’D ASSOCIATE WITH HIGH FASHION, AN ASSUMPTION BACKED BY FINDINGS OF A NATIONAL SURVEY WHICH RANKED SHEFFIELD AS ONE OF THE WORST-DRESSED CITIES IN BRITAIN. BUT FOR CLAIRE MIDDLETON AND HER SISTER LAUREN, THEIR CLOTHING LINE IS AIMING TO BRING GLAMOUR TO THE CITY AND EVEN FURTHER AFIELD.
Alice Takes A Trip is heavily influenced by Lewis Carroll’s legendary book Alice in Wonderland. This is something evident in their quirky clothing and accessories, drawing design inspiration from vintage and fairytale fantasy. The pair also cite the famous namesake London boutique Granny Takes A Trip as an influence on their designs, which have been rapidly gaining a committed cult following not only in the Steel City but also in fashion capitals such as Paris and Japan.
Claire admits that it can be difficult establishing a fashion brand outside of London. “It can be hard. There seems to be more people wanting to be individual in places like London. Elsewhere people just want to follow the crowd and wear high street. Alice Takes A Trip label does really well here (Sheffield), we have a good following of regular customers and I think this is because it’s young and fun, and it seems to fit in with the good music scene Sheffield has.”
Each of the pieces from the collection are handmade in their Sheffield workshop to retain an individual look, and Claire and Lauren also produce tailor-made clothing for customers looking for something truly different. Claire remembers her favourite custom piece: “We got picked to participate in the Channel 4 programme Frock Me, hosted by Alexa Chung and Henry Holland. We had to design and make one of the competitors an outfit. We made a tartan skinny-fit suit which went on to win him the competition as the best-dressed guy in Sheffield!”
So is it difficult working with your sister as a business partner? “No, not really. Because we’re sisters we can tell each other what we really feel, so there are never any real disagreements, whereas talking about things might be more difficult if it was a just business partner. We both have the same ideas, when we go fabric buying we both pick out the same fabric at the exactly the same time. We both love the designing part but we have individual strengths that pull the business together. For example I’m good at the manufacturing side and transforming the designs from paper to garments and Lauren is good at the website design and designs all the flyers, tags and other marketing products.”
Claire says that her and Lauren have been interested in fashion since a young age. “We got our first sewing machines when we were around 12. When we were younger we weren’t particularly interested in what was in fashion, but more about trying to be individual, and we think this is still reflected in both of our labels today.”
By ‘both’, Claire is referring to their new boutique line, The Tales of Alice Horretta, a slightly more upmarket range launched at an Oxfam fashion show in December. The collection will comprise six dresses a season. “The inspiration behind this label comes from pot dolls, myths and fairy tales and each collection will show this influence,” she explains. “Our current collection has a Victorian twist to it and we used velvet and lace as our main fabrics.”
And what about the cryptic name? “Alice Horretta has a story behind the name! When we were younger, our parents gave me the nickname Alice due to my dippy personality,” Claire laughs. “And they gave Lauren the nickname Horris for Horrible Horris, being the youngest and more spoilt. We put the two together to come up with this name. We plan to do a collection for this boutique label every season.”
There are plans afoot to expand both the Alice Takes A Trip and The Tales Of Alice Horretta labels in 2010. Currently stocked in five stores in the UK after retailers showed an interest in their designs, they are planning to expand their online presence and produce brochures to approach more shops themselves. The increasing interest in all things vintage has also helped. “We think it’s because most of the high street shops take inspiration from vintage and a lot of the pieces available on the high street imitate the vintage style. Shopping for original vintage keeps you that one step ahead ensuring that your outfit will not be seen on anyone else.”
But Claire knows that there will always be a demand for their clothes in their hometown, where they regularly sell out entire collections of Alice Takes A Trip at Freshman’s, the city’s biggest vintage store. “People here seem to be less creative with the style than they were a few years ago. But now there are five large vintage shops within a 20-metre radius of each other so hopefully this should change a few things.”
Words Kay Weston – thefashionistahasspoken.blogspot.com
GABRIELLA MARINA GONZALEZ INTERVIEW
January 12, 2010 by Editor
Filed under STYLE, WOMEN'S FASHION
‘AND NOW FOR SOMETHING – AND SOMEONE – COMPLETELY DIFFERENT. MISS GABRIELLA MARINA GONZALEZ. WITHIN THE LAST BATCH OF ART STUDENTS TO GRADUATE FROM CENTRAL SAINT MARTINS COLLEGE, THIS EXTRAORDINARY YOUNG FASHION DESIGNER HAS A LOT TO SHOUT ABOUT, AND SHE’S NOT AFRAID TO MAKE HER VOICE HEARD. BORN IN MANHATTAN, RAISED IN MIAMI, AND EDUCATED IN LONDON FROM THE AGE OF 18, SHE’S NOT AVERSE TO CHANGE. HER BOLD AND DISTINCTIVE STYLE OF DESIGNER HAS EARNED HER MUCH PRAISE OVER THE PAST YEAR, BUT JUST HOW HAS IT COME TO THIS FOR GABRIELLA, AND WHY DOES SHE BELIEVE SHE’S GAINING SUCH SUCCESS? AGENT2 FINDS OUT ALL THE ANSWERS TO THESE BURNING QUESTIONS.
Why all the moving about when you were younger?
I was born in Manhattan but moved to Miami when I was young because my parents, and I quote were living in an A.I.D.S epidemic and were tired of bringing there three year old daughter to their close friends’ funerals.” By 18 I’d had enough of Miami and decided to move to London to continue my studies. Here I experienced the perfect placement and the worst placement. The perfect placement was at Jean-Pierre Braganza. He was encouraging, realistic and gave me a good understanding of what I was to encounter over the coming year, an all around inspiring individual. The worst placement I will leave unnamed; I left early and never went back without explanation. I’m not one to be treated like a subservient c*nt and well, I was less than grateful about the opportunity in the end. I graduated in July and am planning on staying in London until it’s had enough of me. When it comes to a city as mysterious but predictable as this one, it seems it’s more in charge than I am and will decide when to evict me. Have you noticed I left out my age?
What first interested you in fashion designing?
I have been sewing since I was very young. It must be in the blood because my grandmother was a seamstress and my father was a fashion designer. Art and design was all around me and I was encouraged to be creative while growing up. This is most likely because it was apparent at an early age that I did not care about multiplication as much as I cared about dreaming. I tried a lot of things as a kid, maybe just not to be like my family, but with age I came to realise that maybe the best thing for me was to be like my family and so I allowed my passion, which was of course, clothing design.
You have a clear, bold and recognisable style, which is easy to spot. What gave you this style and how did you develop it over time?
I can honestly say, and call it a cop out, that I have no idea how to explain this question. Some times these images appear, ‘poof’ in my mind, and I if I keep my eyes closed long enough I see the details and then I draw it. It’s like trying to remember a dream. Sometimes the idea does not come and I have to reprimand it for being so cruel. I have no formula; I just make what I draw and draw what I imagined. If anything, the style is a real life materialisation of the drawing.
Those monster platform shoes are quite something! What inspired you to develop such chunky soles?
I drew the shoes on about a million girls in my illustrations while designing the collection without giving them real attention. When it came time to make the clothing I had subliminally convinced myself that it wouldn’t be the complete vision without them. So they crept up on me and weaselled their way into real life.
Is there a type of garment design you find much easier and natural than others?
Yes, the natural kind. Otherwise it looks forced and manipulated to be what you think others want it to be and I think this makes it unsuccessful and stuffy.
So many successful designers have passed through the doors of Central Saint Martins. What makes you different, and how did the place help nurture your talent?
I don’t want to lure people into my brand by subliminally advertising it as something they need to consume because they are told it will make all there dreams come true or help them play the part they want in glamorous circles in society. I want to create clothing that becomes a treasure in the closets of the wearer that they will have for the rest of their lives and makes them feel like it was made just for them. I want it to be a worthwhile keep sake with all the qualities of luxury without the guilt. The place helped to teach me how to survive entirely on my own. Whether that is my doing or theirs I may never know, but I am grateful.
What made you come up with a collection title ‘Clothing for the emotionally dispossessed’? Is it to do with your perception of women?
It’s not to do with my perception of women; it’s to do with my perception of people. They roam daily, trying, but sometimes its just not there and these hollow facades make it impossible to be intimate with others. This causes a lot of grief and makes you feel like the only one on the planet, with only your echo as a companion.
Do you wear the pieces you’ve designed? How does it feel?
A garment has the capability of morphing depending on the personality of the wearer. On me I have experienced the clothes to give me a tough but strangely graceful strength of character.
Is there a particular designer or single person who has particularly inspired you?
Most of my inspiration comes from the state of mind I’m put in when people act just how they really are. The truth is a powerful thing and in the people I encounter and the experiences I share with them, be it good or bad, is were I find most of my inspiration.
What are your hopes for the future?
The future is so vast and the abundance of plans and ideas I have seems endless. The most important thing for me in the future is that I never run out of inspiration, never succumb to complacency and that I am recognised and more importantly respected in the industry for my work.’
gabriellamarinagonzales.blogspot.com
Words Emma Zücker Images Leon Mark Hotel – leonmarkholt.co.uk
AGENT2 TALKS TO THE ‘DARK HORSE’ OF FASHION, MARKO MITANOVSKI
December 30, 2009 by Editor
Filed under WOMEN'S FASHION
SERBIAN DESIGNER MARKO MITANOVSKI’S DRAMATIC, THEATRICAL DESIGNS GOT HIM NOTICED FOR ALL THE RIGHT REASONS DURING LONDON FASHION WEEK THIS YEAR, CEMENTING HIS STATUS AS ONE OF THE BEST EMERGING NEW TALENTS IN FASHION. BACK IN 2008 HE WAS AWARDED ‘BEST YOUNG DESIGNER’ AT BELGRADE FASHION WEEK AND HIS REPUTATION AS THE DARK HORSE OF FASHION HAS BEEN STEADILY GROWING EVER SINCE. HERE HE TALKS TO AGENT2 ABOUT HIS DARKLY ENTHRALLING ‘LADY MACBETH’ COLLECTION AND THE INSPIRATION BEHIND HIS DESIGNS.
You’ve shown at Belgrade Fashion Week and Vauxhall Talent Scout. What was that like?
Taking part at the London Fashion Week has helped quite a lot in furthering my career, especially since the reactions to my collection in London were extremely good. The whole concept of London Fashion Week is very much different from Belgrade Fashion Week. I like the way the audience in London reacts to shows; spontaneously, without hesitation, sometimes overwhelmingly, whether they like what is presented to them or not, regardless of whether they are viewing the collection of the established or a new designer. In Belgrade, once you establish yourself as a respectable designer, you will receive the same treatment later on regardless of the development or successes. I don’t believe that is stimulating for the designer.
Have reactions to your collection been different in London than in Belgrade?
I think that reactions were very good on both accounts, with the difference that my design sensibility and style are more London that Belgrade inclined. Fashion market in Belgrade dictates more commercial approach where in London you have more relaxed attitude and freedom to express yourself through your work.
Is it difficult for designers in Eastern Europe to make a name for themselves in fashion?
I think that working hard, with having a real talent are attributes that are always recognized regardless of where you are from. You do need a lot of patience for the right things to happen at the right time.
Would you ever consider relocating to Paris or London?
I already have a presence in London. My last collection is based there for promotions and sales. I do plan to take my collection to Paris in the near future as well.
Your designs are very avant-garde, almost like works of art; do you design for a certain kind of woman?
When I design new collection I mainly concentrate on the concept and inspiration while trying to tell the story. Therefore, I am not designing costumes to be worn by particular kind of women but I am trying to stay true to the story that has inspired the particular line.
Do you try to make a statement or tell a story with your designs? If so, what?
Of course. It all depends on the inspiration and the story I am trying to tell. Every collection I am working on has a very strong subtext that would lose its meaning if I was to start explaining it. It is the same with literature. Finding the meaning and understanding the piece offered is individual and very private. There is no ‘common angle’ for understanding the art, whether we are talking about poetry or fashion collection.
Your designs are very intricate with a lot of attention to detail. How long does it take to design and create a piece?
I don’t like to work and create under stress or in haste. I need time to seek and understand the material, I play with textures and forms. So, it all takes around three to four months of intensive work.
Your designs were influenced by Renaissance and Elizabethan costume. Why did you choose these as themes for the collection? Are they periods that you have a personal interest in?
I have found tippet form quite inspirational and interesting to play with and style. I transported elements of Renaissance, redesigned and multiplied them. I am impressed by forms unpinned in structure. For my last collection multiple tippet was used quite effectively in trying to get that effect. I viewed Lady Macbeth collection through two prisms. In form it is the replica of the Renaissance costume and in the colour and atmosphere my vision of Shakespeare’s Lady Macbeth character. That was the inspiration for my last collection. In the future ones I will be dealing with themes that seem most intriguing at the time.
What will the next collection be like?
I hope you will be able to view it and judge it for yourself.
Are there any designers you admire?
I admire young London designers like Iris Van Herpen and Craig Lawrence. They are amazingly talented.
Words by Kay Weston – thefashionistahaspoken.blogspot.com
Images Anne Marie Michel Hair Nina Butkovich-Budden Make-up Issidora Styling Marko Mitanovski & Ronitt Bourmad Model Angie Ng
