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

LAMIJA SULJEVIC INTERVIEW

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.

lamija.se

Words Alex Jackson

CARNABY STREET CELEBRATES 50 YEARS OF FASHION AND MUSIC

CARNABY STREET IS ABOUT TO MARK ITS 50^TH 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 16^th 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 50^th Anniversary including a live music weekend in June and a unique fashion show in September.

carnaby.co.uk

Words Jennifer Butler

LADIES GET THE TAILOR’S TOUCH

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.

stowersbespoke.co.uk

Words Sarah Lloyd

ALICE TAKES A TRIP

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.”

myspace.com/alicetakesatrip

alicetakesatrip.bigcartel.com

Words Kay Weston – thefashionistahasspoken.blogspot.com

GABRIELLA MARINA GONZALEZ INTERVIEW

‘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

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

MARKOMITANOVSKI.COM

KATHERINE ELIZABETH

THERE’S NOTHING THAT OOZES CLASS AND SOPHISTICATION QUITE LIKE THE PERFECT HAT. IT’S A POINT OF COMPETITION AT EVERY WEDDING, IT’S AN OUTFIT-DECIDER FOR CHRISTENINGS AND IT DIRECTLY AFFECTS FASHION CHOICES FOR GARDEN PARTIES, GALAS, AND OF COURSE, SUMMER’S FAVOURITE, THE RACES. BUT IT SEEMS THAT HATS ARE MAKING A RETURN AS A FASHION STAPLE LONG AFTER SUMMER FESTIVITIES DRAW TO A CLOSE. AND THE PERSON WHO CAN HELP YOU MAKE THESE SEASONAL HAT DECISIONS IS NONE OTHER THAN AWARD-WINNING MILLINER, KATHERINE ELIZABETH.

The established designer offers shoppers unique, one-of-a-kind hats, fascinators and headpieces for all seasons and occasions. She handcrafts individual styles and adds her personal touch with intricate details such as delicate beading, ostrich feathers, antique lace and, most exquisitely, Swarovski crystals.

Katherine’s designs allude to eras of classical elegance. Her hats are inspired by the 1920s and ‘40s Hollywood stars with mute and monotone colours, refined arrangement and chic femininity. She bases her designs on a combination of natural elements and classic architectural buildings. Her use of neutral rose-pinks and creamy tones together with her detail to structure and sophistication exemplify these inspirations. The marriage of these two juxtaposing elements creates hats that convey both sharp lines and precision, with earthiness and fluidity. These contrasting qualities make powerful yet glamorous headpieces that sit perfectly on the heads of Dita von Teese and the SoHo Dolls, two of Katherine’s biggest fans.

Having worked with top designers including Galliano and Dior and featuring in this year’s February/March Paris Fashion Week, Katherine Elizabeth is taking the fashion world by storm, whipping up interest wherever she goes. It is not surprising then, that her hats are soon to be stocked in Fenwick, Browns, Harrods and the UK’s largest independent online fashion retailer, ASOS.com.

Everyone needs an excuse to dress up and as the summer season bids us goodbye with a gust of autumnal wind, this milliner can offer you a chance to spruce up an old outfit, revamp your wardrobe and even get a key item in time for the party season. Katherine’s AW09 collection includes neutral shades, from soft apricots to rich browns on a variety of plush materials including silks, satins and Parisian felt. Embellishments vary from delicate beads, silk ribbon and the seductive, Sinamay netting.

If you can’t wait that long for the pre-Xmas parties then Katherine Elizabeth offers shoppers their very own ‘hat parties’. Sipping champagne, this swish setup invites Katherine into your home where she teaches between five and 20 party guests how to make their own designer hat. Bringing her modish materials with her, her vintage-style hats can be replicated to fit and suit you perfectly, at the reasonable price of £25pp. The host also gets a free Katherine Elizabeth handcrafted fascinator (RRP £80) if guests buy some of her designs.

These nights are a great excuse for a girly get-together; Katherine Elizabeth herself saying, “It’s like an Ann Summers Party without the naughty bits.” There may indeed be no naughty bits but a night learning the tricks with Lily Allen and VV Brown’s favourite hat-designer is no bad thing. For the more enthusiastic student, Katherine is also doing designing lessons in Claridge’s Mayfair beginning in the late autumn.

Your creations may not turn out to be masterpieces but Katherine Elizabeth’s most certainly are. Exuding a decadent and understated glamour, these affordable pieces will most definitely give designer quality to off-the-rack dresses, standing you out from the crowds.

Summer may be over and garden parties, regattas and races done for the season, but fascinators and headpieces continue to make a steady presence on evening wear. As the days shorten and the autumnal wind turns frosty, the party season no longer seems so far away. You may not have your Christmas frock yet, but with a Katherine Elizabeth creation you’re sure to be the belle of the ball.

KATHERINEELIZABETHHATS.COM

Words Natasha Al-Atassi

NINETEEN74.COM AND SCHÖN! MAGAZINE COMPETITION

CALLING ALL TALENTED PHOTOGRAPHERS, STYLISTS, MAKE-UP ARTISTS AND HAIR STYLISTS – NINETEEN74.COM AND SCHÖN! MAGAZINE NEEDS YOU!

This pioneering, widely renowned fashion publication, backed by fashion frontrunner Nineteen74.com, has hooked up with Spectacular Studios to bring bright innovative talent to the forefront of envisioning of the future of the fashion and styling. Using the theme of the future, the competition is looking for unique individuals to create something that will set the fashion world on fire- by discovering the stars of the future in their ‘Compete. Be the future’ campaign.

The successful candidates will win a contract with the international artist representative agency for the leading fashion and media artists – Spectacular Studios in Stockholm and an exclusive four-page spread in Schön! magazine.

The Spectacular Studios head office in Stockholm consists of their own award winning salon, Studio Black which is sponsored by hair care giants TIGI. They also have two spacious photo studios in collaboration with Studio F.

Schön! Magazine’s tagline is ‘Be Intoxicated’ and is packed with previously unknown spreads from around the globe.

The magazine is looking for photographers, stylists and makeup artists. Full details of the competition are available online.

To enter simply sign up for free at www.nineteen74.com/Members.Register or if you’re already a member just log in at www.Nineteen74.com, then set up your creative online portfolio and join the Project Creative Competition 2010.

The submission deadline is 15 December 2009 and the winning entries will be featured in Schön! magazine Volume 4. The successful candidate will have showcased their work on a global scale reaching over 40,000 influential creative people internationally.

Words Almaz Ohene

INTERVIEW – LAURA THEISS

THE LITHUANIAN- BORN DESIGNER LAURA THEISS HAS BEEN BUILDING AN INTERNATIONAL PROFILE AS ONE OF THE MOST EXCITING NEW DESIGNERS ON THE SCENE RIGHT NOW, THANKS TO HER CREATIVE KNITWEAR DESIGNS. HAVING LIVED AND STUDIED IN HER HOME COUNTRY AND GERMANY, SHE IS NOW RESIDING IN LONDON FOLLOWING A STINT AT CENTRAL SAINT MARTINS. HERE SHE TALKS TO AGENT2 ABOUT HER UNEXPECTED SUCCESS.

Do you think living in three different countries has affected your approach to fashion?

Yes, very much so. In my work I mix together handcrafts from my home country, German practicality and London´s edginess.

What do you say is the biggest influences on your work?

Travelling, culture, the Far East and women of today. My last collection “The World, The Flesh and The Devil” was inspired by Samurai women from 12^th century in Japan and her similarity to today´s women. I let her travel on an imaginary journey from Tokyo to Shanghai, to Vilnius, Frankfurt, London. From each city I picked up different elements. For example, from Japan it was pleats and structure, from Shanghai it was colours and tassels. Vilnius inspired the crochet and stripes. In Frankfurt it was men’s tie fabric and with London it was tartan. The idea was to pay attention on globalization and post feminist women of today showing her girly side.

Why did you choose to focus on knitwear?

My passion for knitwear started at a very young age. I made my first piece, a crocheted tablecloth, when I was seven. In a way knitwear chose me, as it has always been around me ever since I can remember and our house was all decorated in knitted and crocheted cushions, pictures and toys. For me knitwear is comparable to my first language. It is easy to express myself through it. The best part of being knitwear designer is that I can create my own fabric just with a needle and yarn.

Do you find that concentrating on knitwear limits what you can design? Or does it make more adventurous?

Oh, it’s a big adventure! Imagine if you have 15 kg of yarn, all in different colours, and have to create a collection out of it. Knitwear is challenging as it is a slow process. I am making my own fabric and were no limits to my creativity. I can explore many new techniques and create interesting shapes.

Do you have a personal favorite piece from your collection?

The pleated cotton dress and the colourful tasseled hat. There are 700 handmade tassels in it. The hat is only catwalk accessory of course. Funnily enough it gained most attention in German press after the Createurope Academy Award 2009. There I was one of 29 finalists. It was in main online press as a photo of the day.

Does your own personal style affect what you design?

Not anymore. I learned not to design what I would wear myself. It works only for celebrity-designers. The collection has a long way to go until is ready and shown on the catwalk. From the first idea, research, sketches, garment experiments, to knitting, and finally styling. In all that process there is space for a personal taste, but there is no space for a personal style.

Would you ever consider working for the big houses, or would you prefer your own label?

During my time at St. Martins I saw myself working for a big brand. Following an exhibition after my graduation fashion show, some fashion magazines featured my work. Then I had another fashion show, was chosen for Createurope Designer Award Finals, Art-s-talkers best graduates 2009 book and some boutiques asked me to produce some of the pieces. It feels like I accidentally rolled into the fashion world. And I love it. Thanks to my degree in business, I think I could manage into the big world of fashion.

Would you say that you are obsessed with fashion?

What is obsessed with fashion? Let me think….well….I am crazy about yarn, I do crochet in the plane, and went over to Shanghai just to find the right trimmings. I am a junkie of that moment when the models walk down the catwalk, and I spend 24/7 thinking, searching, creating. Is that obsessed?

What is the best style tip you have ever been given?

Mix what can’t be mixed. In our second year we had sustainability competition at St. Martins. It was a group project. We wanted to raise awareness of child labour, as there are 158 million children engaged in child labour worldwide. Our created garments symbolized children’s need to play, toys and happiness. I have to mention that our group won the competition. During this project I researched about the sustainability issues in fashion and realized that actually even with little steps as a designer, I have the opportunity to try and change the world into a better place.

In which ways did you make your own design sustainable?

I am choosing the yarn very carefully, using most natural fibre. The quality of the production is the highest possible, and it’s made with lots of love.

Do you think the fashion industry pays enough attention to the ethical issues?

I think they do. But it is difficult not to fall into the fast and cheap production fashion cycle. Big brands have huge marketing costs to go with each collection. If there is no media presence, the consumer wouldn’t be interested in buying. It is definitely better than 10 years ago, but still there is a need to educate the consumer.

LAURATHEISS.COM or CONTACT

Words Kay Weston

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