DEJAN DESPOTOVIC, FULL OF EASTERN PROMISE

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.

dejandespotovic.com

myspace.com/dekyd

Words Kay Weston thefashionistahasspoken.blogspot.com

ZIAD GHANEM – THE CULT COUTURIER

“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.

ziadghanem.co.uk

myspace.com/ziadghanem

Words Kay Weston  Images Ram Shergill

THE IMPORTANCE OF BEING ELEGANT

EVERY NICHE OF A FASHION MOVEMENT HAS IT’S OWN DISTINCTIVE HISTORY, AND THE SAPEURS OF THE DEMOCRATIC REPUBLIC OF CONGO ARE NO DIFFERENT.

Imagine the men of the Belgian Congo in 1965 on the eve of independence, all trussed up in western attire, waiting for Lieutenant General Mobutu to declare the end of Belgian Colonial rule, and finally able to celebrate self-governance. But with the power now in the hands of the fiercely pro-African Mobutu, the three pieces suit was deemed a symbol of western repression. In it’s place, men were advised to wear the ‘abacost’, (an abbreviation for the French ‘à bas le costume’ – literally ‘down with the suit’), a short or long sleeved button up jacket with a high collar, worn without a shirt and incidentally an imitation of the tunic favoured by Chairman Mao. See, the self claimed Father of the Nation was a fan of Maoist ideology as well as his fashion sense.

Embarking on a fiercely nationalistic campaign of pro-African cultural awareness, Mobutu renamed the country ‘Zaire’ and outlawed many aspects of colonial life including Christian names (citizens were to be re-named with African ones), and also the Three Piece Suit. Between 1972 and 1990 Zairians were banned from wearing suits with a shirt and tie to symbolise the break with their colonial past. As with a great deal of political upheavals, the non-violent backlash presented itself in a new fashion movement. Many men deeply revered the dapper three-piece-suits imported from the stylish Fashion houses of France and Belgium and continued to wear them despite Mobutu’s ban.

La Sape — the Society of Ambience and People of Elegance (from the French ‘Societe des Ambianceurs et des Personnes Elegantes’) — was launched by Papa Wemba, the world music star, in the 1970s when he thrilled Zairians by flouting the dress code by appearing Zairian television dressed head to toe in European designers. He called his new style Ungaru, and it was a throwback to the sophistication of the 1930s in the West: complete with tapered trousers, brogues, neatly parted hair, and trilby hats worn at a rakish angle. For Zairians all over the world, the look was irresistible. He had given birth to La Sape.

His band, Viva La Musica, took fashion-worship in Zaire to a new level, even writing designer names into song lyrics. Designer brands of suits and accessories are of the utmost importance to Sapeurs – Pierre Cardin, Roberto Cavalli, Dior, Fendi, Gaultier, Gucci, Issey Miyake, Prada, Yves Saint Laurent, Paul Smith, Versace, Yohji Yamamoto – are their patron saints, indeed La Sape is a religion of sorts, complete with a set of commandments to adhere to.

Sapeurs have perennially become from focus of Western media attention from as early as the late 1980s, but it is only since world-class photographers like Héctor Mediaville began studying and photographing Sapeurs in 2003 that they have become visible on the fashion radar. The Italian photographer Daniele Tamagni has thrown the Sapeurs into the media spotlight once more with the recent publication of Gentlemen of Bakongo: The Importance of Being Elegant, a stunning collection of all his subjects in full dandy regalia. In 2007 he won the best portfolio in the Canon Young Photographer award for Italy with his images of the Congolese dandies.

Often pictured against a backdrop of extreme poverty, Tamagni creates striking juxtapositions in every photograph. Many of his subjects live in shacks bordered by stinking sewers in the southern suburbs of Brazzaville. Those who can work double jobs; those who can’t must beg, borrow and occasionally steal; whatever it takes to strut in designer gear at the pinnacle of sophistication.

Within the Sape movement there are good-natured rivalries and incontestable affiliations: Paris vs Brussels, Brazzaville vs Kinshasa, Bakongo vs Mungali. The Brazzaville Sapeurs tend to follow the three colours only rule; meanwhile in Kinshasa it’s all about going overboard.

The removal of Mobutu in 1997 sparked a civil war in Zaire, now renamed the Democratic Republic of Congo, and La Sape halted its activities. Their motto became “let’s drop the weapons, let us work and dress elegantly” as Sapeurs stand for a unique morality; “there can only be Sape when there is peace” so did not reinitiate its activities until 2002. The exaggerated reality of the Congolese Sape shows us Africa from a different angle. Instead of the usual fare of continual conflicts, famines, despotism and tribalism we have an unknown and extravagant movement that laughs in the face of these troubles.

Indeed, Paul Smith paid homage to La Sape and based his entire Spring 2010 women’s wear collection on the images in Tamagni’s book. The striking image on the front cover features a Sapeur in a bright pink suit with red lining and a red bowler hat. Smith, who made his name in colourful Men’s wear, showcased his eye for flamboyancy with the new Women’s Wear collection. The first model strutted in an androgynous copycat piece of Tamagni’s cover and the following pieces were women’s suits cut with very narrow shoulders and a long, slim style. Colours were uniformly bright and African prints were also used to set off many outfits.

Words Almaz Ohene

RAD HOURANI – FASHION’S COOLEST GENDER-BENDER

RAD HOURANI IS A NEW PIONEER IN GENDER-BENDING FASHION. THE STYLIST TURNED FASHION DESIGNER HAS JUST RELEASED HIS NEW 2010-SPRING/SUMMER COLLECTION, WHICH IS SURREAL AND GOTHIC, USING ABSTRACT SHAPES WITH A FLOURISH OF DARK, SOMBER COLOURS. DRESSING IN A NON-CONFORMIST, ANDROGYNOUS FACADE IS A FASHION STATEMENT TO SAY THE LEAST, BUT ALSO A TREND THAT HAS BEEN SEEN IN MANY PREVIOUS HIGH FASHION CATWALK SHOWS OVER THE YEARS. HOURANI’S EXPRESSIVE USE OF AN ANDROGYNOUS BLEND, WITH OUTLANDISH SILHOUETTES, MINIMAL COLOUR AND DYNAMIC SHAPES, OFFERS A FRESH NEW APPROACH IN THE WORLD OF FASHION DESIGN.

A mass of black, skinny, shiny, geometric shapes and reflective, futuristic layered fabrics, he sends a volcanic wave down the clean, white catwalk. Heels send a potent message, as the male and female models featured in Hourani’s catwalk show are wearing the squared, chunky heel with style and grace. Skinny slashed trousers, with a mixture of PVC/ leather style fabrics, scream new wave emo/goth, very much informed by the indie rock scene. With sharp, intricately cut shoulder lines, the clothing is built heavy on top, and as you work your way down, the silhouette felt lighter and skinnier in shape and fit.

Since his first collection in 2007, Hourani has shown his flair for the minimalist, the abstract and the surreal. His look, as well as his collections, are inspired by a new generation of designers who see fashion as mix and match of identity and gender role playing, from Gaultier and Galliano, who have toiled with sexuality, creating new masculine and feminine guises through their high fashion catwalk shows.

The collection is very much a futuristic blend of new age warrior meets indie kid. The catwalk marches of models were very difficult to distinguish, who was male or female? A deliberate approach to setting alight an array of dominate looks that can be worn by either a man or a woman, maybe. From gender bending to the clothing consisting of rich blacks and greys with hints of white. His previous autumn/winter 2008 collection used an electric red, mixed with blacks and greys also. The layering adds to the look of an armored, shield-like affect, with a hint of strong shoulder pads, 80’s style; think Prince and Grace Jones.

I got to put some questions to Rad Hourani to see what inspired this boundary breaking designer. This is what he had to say:

What inspired you for this new collection?

It’s just a transformation from the season before. I don’t really make a ’statement’ with each collection. Therefore I do not start every new season with a specific theme or concept, but rather try to establish continuity from one to the next. I always wanted to work with metallic fabric & texture and I found these 100% silver chains and some metallic zippers, but I never really liked zippers, and I thought it would be great to do something different with zippers that can be useful and can give a metallic effect. You can make jackets sleeves shorter or transform the jacket into a vest, trousers into shorts and even on the sides you can make things tighter with the zippers so there’s a transformation element. I also wanted to focus on my signature look and pieces that I started since my debut; my main colours are black and white, my straps pants, my open elbow sleeve, my vest/top/dress, my skirt/pants and my half leg leather pants.

Black is featured throughout in this collection and many of your previous collections. How would you convince Anna Wintour of U.S Vogue magazine to include it in her run though for the magazine? As you know she hates black…

I am more attached to the notion of purity and by choosing black simple, stark lines. I strive to blur gender boundaries; apparent simplicity, but refinement in details and if I end up using all black for a collection, why not? Black is mysterious, chic, unisex, slick and timeless. Fashion for me is about clothes transcending simple functionality and gaining symbolic, evocative power by engaging in a dialogue with their environment and their time. It’s a tool for self-expression and self-invention. Anna Wintour need to set up trends for her magazine each season like all other editors to keep the fashion machine going, which I respect, but I’m not into trends or fashion, I’m into style in which I focus on my signature look. I don’t need to be the one who makes the boldest statement every season, I’d much rather commit to my personal aesthetics and that of the people who like to wear my clothes. There’s nothing scarier than making fashion, or anything else, for that matter, that everybody agrees on.

You have said your designs are ’sophisticated modern classics for anti-conformist individuals’. Can you explain further?

Circumstances have brought me to move around from an early point in my life, and I’ve felt compelled to continue on doing so; for this experience has made me consider things in a wider perspective, with no restrictions. I want to convey this notion into my line, and design clothes that can be worn anywhere, anytime. I hope to reach people who do not define themselves primarily as men or women, who go beyond the classical demographical criteria, with no limit of age or national identity. I also try to find the right balance of something that’s not too gothic, funky or rock ‘n’ roll, something that has no reference of one limited style. You can mix my pieces with any style without looking contrived or overdone.

Androgyny, and this asexual feel to your collection, as well as previous ones, is very much a statement within your work. Why is that?

It doesn’t make sense to me why a woman will wear a dress or high heels and not a man. When I say unisex, it’s really in looking at the lines. They are straight, there are no curves: they don’t have a feminine or masculine. It is completely genderless. I believe that using what I would like to wear, as a starting point to the design process is the most truthful and straightforward approach, for it allows me to stay focused on my aesthetic statement and also assess my commitment to wearability, functionality, and comfort. I design from a virgin point of view, trying to elude classical ready-to-wear rules that made us believe that women and men deserve different approaches. My pieces are timeless and freed from any gender differentiations.

Your work borders on cutting edge, yet timeless in some ways. Is that a deliberate approach, and why?

Yes, my clothes have erupted from this world of mine. They are asexual, aseasonal. I’m into unisex, timeless, long, straight, sharp, black, slick, geometric shapes and layered silhouettes that, by the use of noble, fluid materials, come alive through the movement of the wearer. They come from no place, no time, no tradition, yet they can be home anywhere, anytime. They exude a sense of discreet chic, the essence of timeless style, drawn on a monochromatic and graphical canvas. I never went to any school after high school for that matter and I guess my influences are the gathering of my own personal experiences and observations over the years; not something somebody told me to do or think. To that end, my collection might be more personal.

RADHOURANI.COM

Words Joe Tehrani

INTERVIEW – HAMPUS BERGGREN

HAMPUS BERGGREN IS A MENSWEAR DESIGNER WITH A DIFFERENCE. HAVING ALREADY FEATURED HEAVILY IN THE INDIE FASHION MAGAZINES AND BLOGS, THE SWEDE HAS ESTABLISHED A FIRM REPUTATION AS ONE TO WATCH IN THE FASHION INDUSTRY, PLAYING HEAVILY WITH SHAPES AND TEXTURES. AGENT2 FINDS OUT MORE.

You’re originally from Sweden but moved to the UK to study at Central Saint Martins. Why did you decide to leave Sweden for London to study fashion?

I feed off London’s creative vibe. I didn’t actually move to London to study fashion, it’s something I fell into whilst living here. Sweden is a wonderful country in many ways, but I decided very young that I wanted to explore something else.

Is there a difference between Swedish style and British style?

Definitely. I look at Swedish style and think functional, minimal and well thought through. British design makes me think of beautiful, well-kept tradition, which later ends up in a charity shop, cut up and full of safety pins. It’s the mix that keeps it interesting.

You also have a passion for writing. Why did you choose to pursue fashion instead of that?

I always wanted to become a journalist, but something changed four years ago. I still like to write, but I think I’ll keep it on a personal level.

What do you like most about fashion?

The commitment and energy designers put in to create something truly beautiful.

What influences you when designing?

Everything from people I meet, places I go, and books I read. It’s really a never-ending research trip.

How do you decide on a theme for a collection?

I have themes and concepts that lay very close to my heart, but I always try to challenge them. I like when the wearer understands where the ideas are coming from, a collection should always be telling a story.

One of your most unusual pieces is one made from plastic bags. How do you decide on materials and fabrics?

This is actually a coated Nylon fabric, but I’m aware it looks like a bin bag! I like playing around with textile and it’s something I want to explore more in the future.

How hard is it for young designers to make a name for themselves in fashion today?

I strongly believe that hard work and commitment one day will pay off.

HAMPUSBERGGREN.COM

Words Kay Weston

THE FASHIONISTAHASSPOKEN.BLOGSPOT.COM

IT’S A MAN’S WORLD – AGENT2 MAGAZINE TALKS TO ALEXANDRA WOOD

As any man knows, the right suit is imperative in business- or leisure. It’s also something that Alexandra Wood understands only too well as a tailor of bespoke suits. With a high-profile client list and a reputation as one of the most prestigious tailors in the UK, Alexandra is used to creating suits for first-timers and seasoned suit-wearers. Having recently introduced a home visit service as well as facilities at Savile Row, she explains why the right suit is so important to a man.

Can you talk us through the process of creating a suit for a client?

We visit our customers either at their own home or office and first discuss what they need the suit for. We then come up with an on the spot idea for them, whilst helping them to select a fabric and lining, which will make them look their very best. We then take over 20 measurements and configurations to make sure that our customers’ suits will fit them perfectly. We come back 4-6 weeks later with a completed suit. If there are any additional alterations needed we fulfil these within two weeks.

Which factors do you take into consideration when designing a suit?

We take into great consideration our customers own personality, lifestyle and shape. It is very important to us that our suits reflect our customers very own style, not our style, not a shop’s but their own developed style. This helps set them apart from everyone else.

Which are the most challenging or difficult aspects of designing?

The most challenging aspect is when a customer has complicated configurations, for example a very sloping shoulder along with a bad posture. We have to then really think about how we are to cut the
suit to make them look perfect. Also, some customers can be stuck in a style rut, so we have to show them that what we have in mind is a good move. They’re always very happy with the results and so are their wives!

Why do you think bespoke suits are so important to your clients?

The fact that they can’t find suits in the shops that fit is a number one, along with the lack of time available to them. The next would be that they want to make a difference to the way they look. Especially now, the difference between a good suit and a bad one is crucial. As it can even be so drastic as making or breaking your career, as your clothes definitely represent your attitude to the way you work.

Do you have a personal favourite suit that you have designed?

I have just finished a suit for a client at BNP Paribas, he had had a suit made for him by another Tailor in Savile Row. He was not that happy with the result he got. He was very specific with me about what he wanted from this suit, which can be a challenge in itself, as the expectation is always much higher. When the suit was finished he couldn’t contain the smile on his face and told me it was perfect and exactly what he wanted. That for us is the ultimate compliment. Plus he did look particularly fantastic!

Your suits are very exclusive and individual. How do you ensure that they stand out?

Our individual cuts are what stand out particularly. We think long and hard about how to cut our suits, to make sure that our customers look their best. We like to try and hide anything that a customer does not like in particular. Usually a tummy! Our fabrics are of a very high quality and our fabrics are updated seasonally, ensuring that a customer will always be unique.

Who would you most like to have as a client?

This perhaps is a little unconventional, but I would like to design for Boris Johnson, without insulting the man, he could do with a little tidying up and looking a little slicker, whilst staying true to his personality, which is what we do best. To another extreme, I would also like to design a suit for George Lamb from Big Brother’s Little Brother, I have something in mind that would make him still look fun and quirky, but with a little twist!

www.alexandrawood.uk.com

Words Kay Weston

ALEXANDER WANG – 2010 MENSWEAR COLLECTION

Picture it. An urban metropolis, a playground of new styles and creations, where the male urbanite roams, sporting the new fashions by Alexander Wang.

The overall feel for his first menswear collection for 2010 communicates freedom, clothing for the sporty, rebel identified dresser and is infused with a style that reflects a trendy, everyday, ready to wear get-up . The feel of the clothing- from hooded tops to extra large tank tops and metallic black shorts styled with a backward sports cap- is reminiscent of hip-hop culture, street culture and the casual, sporty man. Some of Wang’s inspirations come from skater culture, music and realism, capturing an urban style for the younger, trendy rule-breakers that make fashion statements with their out-of-bed look. Is dressing down the new dressing up?

From his cutting edge, illustrious designs in womenswear, Wang has explored new territory in fashion design. His up-and-coming menswear collection has been fixated on a monotone colour palette, grey, beige, white, black- a safe yet diligent variation, a variation that is more blendable and workable with other clothing in a man’s existing wardrobe.

The silhouettes reflect his themes in reaching out to the casual man- the loose-fitted, baggy everyday clothing, but still retaining a sense of maturity.  A mundane choice of colour selection and cut you may say, but a smart move for his first menswear collection, offering something that is accessible and necessary to a casual man’s daily attire.

Wang concentrates on delivering a limited structure in his menswear designs in relation to comfort and ease, something he wants to get across through the cut and materials used in this collection yet never trying to over complicate. Wang has gone from catwalk couture to the everyday man, a designer on the pulse of what’s around him. His womenswear collection is much more edgy, using more expensive, luxurious fabrics.  His key looks can be striking, from his first womenswear collection in 2007 to some of his many magazine editorials with Vogue, V, I.D, W, Bazaar, Tank, and Elle. Wang infuses his love for raw, escapist chic, which transcends into mini statements, setting new trends within fashion.

The 2010 menswear ensemble is more of a mirror image of Wang’s personal style and vision, from the streets of New York to the catwalk.  Designing since he was 15, Wang is a designer that has evolved, like many designers, going from womenswear to a menswear range. Very much a commercial designer, Wang still designs to stand out in the commercial, ready to wear fashion market. The style for his new collection is a clean, minimal mix. Wang has designed a collection for the cosmopolitan man, the city enthusiast, the skater, the band member, someone who wants to be stylish, but without too much effort. Wang’s 2010 collection is a Jil Sander throwback with a twist. A simple, modernist approach for the male urbanite that enjoys simplicity and a relaxed, non-suffocating feel to his sense of style and fashion.

ALEXANDERWANG.COM

Words Joseph Tehrani

GRAHAM TABOR – INTERVIEW

New York based designer Graham Tabor’s primal designs have been catching the attention of the industry elite for some time now. Using advanced seamless knitwear technology, his designs are the antithesis to high fashion. Rips, holes and tears feature heavily in his designs, as do trailing threads and unravelling edges. Yet his S/S 09 collection is underpinned by an ethereality compounded by the use of sheer fabrics and clever design. The worn look is entirely intentional, reflecting Tabor’s fascination with archaeology which is heavily incorporated into his designs.  His clothes are conceptual, exploring the cultural fragments of civilisation. This is fashion stripped down to the very basics.

What initially attracted you to the idea of working in fashion?

I’ve always been interested and involved in making objects since I was young.  For me, fashion is another form of object making.  I’m also fascinated by the fragmented tribalism of modern urban life and fashion’s role in it.  As high tech and ‘evolved’ as we are, we still exist and function in tribes. Only now they are centred on our job, our career, our taste in music/arts and our tribes and communities are less and less geographically defined ­ they are global.  We might be in closer contact with someone in Paris then our next-door neighbour, but despite this, we still define and identify our selves visually as a member of our tribe.

You’ve worked for designers such as Helmut Lang in the past. What are the most important lessons that you have learned from them when it comes to designing?

Taking the time necessary to get something right. Trying to always open oneself to alternatives or possibilities that you might not see immediately.  Most importantly, a lot about methodological things ­ ways of working that are good and bad.

What do you strive to achieve when designing a collection?

To make something beautiful and satisfying that looks beautiful on people.

Your collection has been compared to an archaeological dig in how the clothes are constructed. Was it a conscious decision to design specifically with that in mind, or was it something that emerged during the design process?

I think it was an extension of other interests and not necessarily the original inspiration. It was natural metaphor to help convey my interest in fragmentation and the transformative power of work like – Gordon Matta Clark’s extractions as well as another facet of the fragmented modern tribalism of our society.  It was also a metaphor for the way we as spectators transform what we see with the partial knowledge we have of any given situation. This was really about knowledge transfer more than anything aesthetic.  It was about the idea that we only ever have an incomplete knowledge of any situation – like an archaeologist who only has the handle of a coffee cup and has to piece in the rest of the object and create a story about it¹s function and the society that used it.  Just as the spectators who see my show only have fragmentary idea of what was in my head and are left to create the story around what they see.

You also work as a fashion director for FLY DVD magazine. Has this influenced you in any way as a designer?

Styling is an interesting practical exercise for me.  It brings you back to how you would want a person to wear a garment now.  It brings the abstraction and makes it real and functional.  How would I want to see someone wear his or her clothes on the street?  How would I want her pants and jacket to fit?  It can also be a good playground to test out little ideas and play with fit a proportion.

How much consideration do you give to practicality and wearability when designing?

It depends on where it fits into the collection and what the product is. Clothing is made for the human body so it needs to respond to the body no matter if it¹s a commercial or conceptual piece.  Even if deforming the body- and perhaps more so in this case- you need to have an awareness of the human body underneath.  Clothing should make the body look more exciting,
more interesting and sexier, otherwise you might as well be naked.

Your designs do not seek to reveal the body, but to deform it. Why did you decide to cover the male form instead of flaunt it?

Something hidden is often more exciting then something reveled.

You made reference to artist Gordon Matta- Clark. Do you think there is an overlap between fashion and art?

They both attempt to create something new and both are businesses, so yes I think there is an overlap.  How much depends on the given designer, the time and the current trend.

What are you working on next?

I’m working on a new limited edition accessory collection called ‘1-100’with Miguel Villalbos. I’m also working on a women¹s ready to wear collection in collaboration with a friend.  Miguel and I will also be working on a few installations and art shows- more details about that are to follow.Š

GRAHAMTABOR.COM

ONE-ONEHUNDRED.COM

Words Kay Weston  Images Miguel Villalbos  Accessories in collaboration with Kristin Victoria Barron

thefashionistahasspoken.blogspot.com

ONE 2 WATCH – LENNY PIER RAMOS

Montreal-born designer Lenny Pier Ramos has been making waves in the fashion industry with his menswear collection Walking on New Ground and the accessory lines PowerHaus and We are PowerHaus with design partner Melissa Matos. Now living in Antwerp and a student at the Royal Academy of Fine Arts, he speaks to Agent2 about his collections and what inspires him as a designer.

Which designers, if any, would you say have influenced you?

I think I’ve reached a point where I can be influenced by almost anything because I try not to look too much at the cool-factor anymore.  I think it’s something that fashion designers inevitably develop eventually because they are forced to analyze garments in ways that fashion observers don’t necessarily have to. We look at the cut, the finishings, the techniques, the quality of the materials etcetera, not just the overall effect. There are too many people in fashion I admire to list names. I have been looking obsessively at the Serge Lutens book lately.

What factors do you take into consideration when designing?

Atmosphere, feeling, balance, purity, precision, fluidity, elegance.

Do you find it easier to design for men than women?

I have only designed menswear for now, even when I designed jewellery it was mostly for men. I think I wasn’t confident in my ability to put myself in a woman’s perspective and make clothes they would want to wear. I hate these male designers who put women in ridiculous outfits. But I also really wanted to make a men’s collection to express a certain sensibility, certain emotions that are truly more ‘male’.  I do want to do womenswear soon, it is slowly coming to me, naturally, and everyone tells me it is much easier and fun.

You have lived in Antwerp and Montreal- how have these cities influenced you?

I guess both cities have influenced me a lot. Growing up in Montreal was great, especially as a teenager, there was a lot going on, so many scenes, and I kind of just navigated from one to another, which was great. I went to shows all the time, clubs, raves, there used to be really fun parties there with a lot of crazy people. It seems like everyone there is an art student. It’s a very open-minded city and I think it’s quite safe. Most importantly, people are really un-pretentious there, unlike in other bigger cities I have been to.

Antwerp is very different. My life here is just about my work, I don’t go out much and I don’t think there is too much happening. Antwerp is the Royal Academy and the crazy people it attracts, we are a really amazing group of people from all around the world, and these people influence me because every one of them is so different from me. It is a unique experience.

You designed the Powerhaus accessory collection with Melissa Matos. What did each of you bring to the project?

PowerHaus was an important stage of my life. It’s when I first decided I might be interested in fashion as a medium to express myself. The collaboration part came completely naturally. We met and one month later we started talking about a fashion project together. It was a very new interest for me, and I was so excited to meet someone who shared so much of my visual universe. We were both very ambitious about the project and didn’t want to set any rules or limitations. If we wanted to make jewellery with a frozen octopus, we did it. Not everything was about selling a product, it was more about creating images and ideas and experimenting in a fashion meets art context. We were both art students who liked fashion a bit to much ….

In which ways is designing accessories different to designing clothes? Which do you prefer?

It’s been very different. I was being a lot more playful with my accessories. Making clothing is a lot more work.

What do you find most rewarding about designing?

Creating an image. What I love most is the final result, the moment when you capture the atmosphere around which the collection was designed. I love photo shoots and films more than the technicality of the garments. But those take so much more time… I love good fashion photography but it is very rare that I see it. When you look at a fashion image and you do not see clothes on a model anymore, but a strong credible image filled with an atmosphere. That’s good fashion photography for me.

LENNYPIERRAMOS.COM

WEAREPOWERHAUS.COM

MICHAELSMITS.EU

Words Kay Weston  Images Michael Smïts

NICK KNIGHT SETS UP SHOP

Fashion photographer Nick Knight knows better than most how important props are to a picture. So it’s only fitting that he has chosen to open a store dedicated to these forgotten yet often spectacular artefacts which have graced many iconic photoshoots and catwalk shows.

The shop itself will be part live studio, part gallery. The gallery will allow visitors the opportunity to view some truly unique pieces constructed by renowned set designers and fashion stylists. After a shoot has taken place, these pieces can’t be reused and often end up in a skip somewhere or, occasionally, in storage. Props are like celebrity outfits- they can’t be seen twice. So after they’ve served their purpose, they are disposed of. Which is pretty sad, when you consider their importance in telling the background story of a photograph and the work and craftsmanship that goes into their production.

However Knight has decided to flout this rule and has collected together props that once appeared in his legendary shots, instead presenting them to the public in his store. Amongst those on show are six giant fibreglass cherries created by Simon Costin as part of a campaign for Japanese beauty brand Albion Cosmetics, whose ad features Canadian model-of-the-moment Coco Rocha as Alice in Wonderland. Another piece attracting much attention is a two metre high wooden dollar sign designed and photographed by Knight himself and adorned with light bulbs by designer Simon Kenny. It was used as a prop in a 2003 photoshoot with model Oluchi Onweagba for W magazine.

These are just two of the props on display. Other magnificent pieces include a Union Jack customised by John Galliano for the Design Museum, a stuffed Bengal tiger shipped to the UK from Belgium for the Alexander McQueen PUMA spring/summer 2010 campaign, and a toy soldier costume put together by Shona Heath for a Vogue shoot shot by Tim Walker in 2008. The good news is that all of these pieces will be on sale to the public at the store. The bad news is that valuers at Christie’s and Phillips have helped Knight to price the items and they carry price tags from £500 up to £50,000.

The live studio is a continuation of SHOWstudio.com, the online communication portal founded and financed by Knight nine years ago to demonstrate what happens ‘behind the scenes’ in fashion. The site has also previously hosted web chats with Vivienne Westwood and Kate Moss, as well as collaborations with the likes of Gareth Pugh, John Galliano, Alexander McQueen and Comme des Garҫons, and now some of the biggest names in fashion will be creating pieces in front of webcams in the studio for viewers to watch. The finished items will then be available to purchase in the retail space and eventually on SHOWstudio.com.

The artefacts from both the photoshoots and the web will be on sale at SHOWstudio, which moved to new premises in Mayfair in April. Formerly a brothel, the studios and galleries of Francis Bacon and Lucien Freud and a retail premises for Maison Martin Margiela, the studio is certainly for the open-minded. Which is just as well, as Knight’s curious collection of props is anything other than bland.

SHOWstudio SHOP, 1-9 Bruton Place W1

shop.showstudio.com

Words Kay Weston Images SHOWstudio

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