Important Resources for the Black Lives Matter Movement

In the wake of the recent movement that has been born from the heinous murder of African American George Floyd, it is is evident that as active members of the fashion industry, we have the responsibility to play our part and make our contributions in the support of black voices and the Black Lives Matter movement. The industry itself is one that widely looks to the influence of black culture and black creatives both throughout history and present day for inspiration throughout many aspects of our work from campaigns, to shows, to music, which is why it is imperative for us all to answer the call when the community is in need of support of any kind. In doing our part we have to learn to create an industry where black voices and black talents are able to blossom and speak freely without the worries of being stereotyped or blacklisted.

It is a process that will take time as it means levelling the playing field and holding ourselves and those who came before us accountable for the systemic oppression that have existed throughout the industry for years. However, regardless of how much time it may take it’s important for us to take action first within our own industry and in supporting the community at large. In doing so, Twin has composed a list of how you we all can contribute to the cause.

Petition

  • Justice For George Floyd is a petition to sign in support of George Floyd , who was murdered in Minneapolis by police officers, signing this petition helps to gain the attention of the city’s Mayor for the arrest of the police offers.
  • Raise the Degree is a petition to sign to raise the degree for the charges of officer Derek M Chauvin —  the police officer seen kneeling on George Floyd neck — to first degree murder.
  • Ahmaud Arbery – a petition to sign in support of Ahmaud Arbery , another black man that was murdered by white supremacists in Georgia USA, only a few weeks ago, that will help in the arrests and charge for those involved.
  • Breonna Taylor was an unarmed American woman murdered by a police officer while sleeping in her home in Louisville, Kentucky USA, a few weeks ago, this petition is in aid of firing and arresting the police officers involved.

Donate

Support the family of George Floyd by donating to cover funeral costs , counselling and the creation of a memorial .

As many are out in the streets protesting , many are being arrested, here’s a list of funds that will help in the bail of protests who have been jailed. 

Donate directly to the Black Lives Matter movement. 

Donate with no money 

By watching this video, and the other videos that follow after it without skipping the ads, it supports the fundraisers for the Black Lives Matter movement as well as the funds for the bail of protesters who are arrested.  

For more information on how to help, visit Black Lives Matter Card.

Tags: , ,

Twin meets the Designer of KARA in exploration of her ongoing project “KARA You Be You”

“Now more than ever people are really looking for something that feels personal and feels human”

KARA is a brand with a human spirit at the core. Founded by Sarah Law as a reactive medium to explore her own personal identity quest, KARA – the name borne from Karaoke which in turn is Japanese for empty orchestra – looked to connect with a global community through self expression and artistic freedom. Formulating her You Be You campaign on this premise, KARA has collaborated with creatives from all over the world, from Fish Zhang in Beijing to Richie Shazam in New York to Masha Reiva in Kiev. 

“I am really trying to show all these different points of view, together”, Sarah Law states, discussing over the phone in her New York apartment the reasoning behind the breadth of talent commissioned for this 4 year photography series. Commissioning creatives from a global network, Sarah has posited her fascination with expressions of identity into her brand and subsequently in the hands of these international artists, asking them to interpret her brand and present it in their own unique way in a series of images. 

“A huge sentiment behind the brand is this aspect of community – I think it is about really trying to find people who sometimes don’t have a massive platform but have amazing work, and trying to feature them. We have commissioned different people to create pieces working from home, which has proven to be a really fun project to connect with people and learn more about them in this time.”

As COVID19 brings through isolation and subsequent yearnings for deeper connection, does KARA think that a sense of vulnerability has befallen humanity in this time?

“I think finally because of COVID19 there is more compassion – people connecting with people to see how they are doing.”

“In a world under such an intense pressure to move forward with the internet getting faster, brands are pushed to produce so much content and so many collections, we are losing sight of people’s humanness. It is interesting as in this time, I am finding people are friendlier right now, as there is this acknowledgement of what we are all going through, something that we are all experiencing.”

Delving into the four year project KARA You Be You, the breadth of talent collaborated is as wonderful as it is varied. With the initial desire to explore her own experience of being both Chinese and American at the core of the commencement of KARA, Sarah has embarked on a deep dive into our own cultivations of self, how we express ourselves, and what we choose to take from our past to define ourselves in our futures.

As the world comes to learn new ways of communicating, those with authentic voices and unique, purposeful visions will be coming out stronger; putting the creative in the hands of the people means KARA is carrying a refreshing approach through our new navigations of normal life. 

Tags: , ,

Twin Talks: Robert Wun – the Designer sculpting the silhouettes for the power women of tomorrow

There are many up and coming young fashion brands out there who are still in the process of navigating to find their brand voices within the industry. Some have found solace in RTW, others in menswear , streetwear etc. London based Designer Robert Wun, has already made himself into somewhat of a prodigy, having found his design knack for futuristic silhouettes and natural forms.

The LCF graduate who launched his namesake brand in 2013, offers a very fresh approach to the genre of womenswear by sculpting each piece with intention and attention to detail, using bold cuts and strong shapes to contrast with bright colours as a statement of feminine power. Each of his pieces hold a story, not just as an entire look, but rather every shoe, every hat , every blouse, razor cut skirt, every double stitch, all separately tell tales of a mystical futuristic world that leaves its audience so desperately yearning for more. His collections are a sight for sore eyes that makes one seriously lust and ponder over his vast creative capacity. Twin recently caught up with the man behind the grand desirable sculptures to discuss his process, SS20 collection and quarantine routines. 

What was the inspiration behind your SS20 collection?  Does the collection have a title ? 

The SS20 collection is named “ Orchid Mantis “

I continue to draw inspiration from the infamous female warrior Mulan, which I first introduced in the SS19 collection, the collection pays homage to the full spectrum of qualities celebrated about this legendary character who has paved the way for feminists of the modern day. Hua Mulan, her name 花木蘭 meaning flower, wood and orchid.

I decided to further explore the potential of the orchid as an inspiration in the SS20 collection, studying one of my favourite animals , the Orchid Mantis’ on  it forms its shape . a beautiful yet deadly camouflage. I have transformed that petal shape throughout the collection with a technique which allows the seams to reverse and extend out as the shape of flower petals, which is one of the main highlights of the collection.

What’s your design process like ? 

I normally will start with an image or a sketch of rough visuals from my mind, then illustrate the garments to be able to move forward technically, it always starts with the idea into one garment first.

Then afterwards it’s just hours and hours of placing different fabrics and swatches next to that illustration until I feel right. Pushing the range and transforming that first design into a full range of garments and into different looks. Lastly would be the execution in pattern, testing of fabrication and techniques. Once that first piece is physically done, I will get a clearer picture for the rest of the collection.

Your futuristic approach to silhouettes is really quite interesting , what is it that influences this ? Do you have a knack for architecture ?

I am actually more inspired by nature versus artificial architecture, at the end nature is somewhat of an architect too! 

My admiration towards nature will always be the core of my creative process, and I always believe nothing can be more original and timeless when it’s inspired by something so real and far from artificial, and nature offers a kind of beauty that humbles and motivates you, and something as raw and genuine as nature, everyone could interpret it differently.

Do you imagine that this type of eccentric silhouette is where womenswear will be heading in the future?

I like to believe the future of womenswear is a celebration of individuality, where designers can be celebrated by doing what they want and who they are and what they do best. I am always inspired by unapologetic individuals who embrace femininity in a bold and provocative way, never thought of on a mass market scale or creating an influential trend, just trying to pursue what I love and grateful for the audiences, no matter the size who supports it.

What’s your favourite fabric to work with ?

Not any in particular, as different fabrics and materials serve for different ideas and effects so it depends on the design. Although a good sturdy bonded fabric, or crease proof materials are something I always work with, as I tend to create things with a futuristic touch on finishing and sculpted silhouettes.

What’s been the most difficult part of your journey as a young designer? 

I was not fully aware of the business side of fashion at all when I first started, which makes pricing and the production side difficult to navigate, also completely oblivious to the marketing and sales side of the industry. 

Through time I have started to understand the need to learn it as a business, and the importance of asking for help and advice. I eventually got an investor two months after the Joyce launch of my graduate collection,  who helped me set up a proper business support, since then I have learned from every season as I carry on, 4 years ago I decided to become independent to look for better future partners to take this to the new level.

What’s been the most gratifying experience as a young designer?

To be able to have 100% creative control and being afforded the freedom to make mistakes. Also being able to define your own equation to navigate through the industry! I didn’t get a lot of sponsorships or awards as most emerging brands got when they first started, and those titles had become an essential to show the industry you are promising and have an “authorised” future. 

I learned that it is ok to not have a sponsored show and to carry on after being told no, and I’ve also learnt not to invest in expensive showcases which you can’t afford, but just focus on good work and good photography and let them speak for themselves, and I have been doing that ever since. Something we can easily forget as designers nowadays, is to just focus on delivering good designs and well made garments and let them speak for themselves.

I am quite grateful now when I look back that I didn’t get these opportunities, from my graduation to many programs that I also didn’t get selected at the beginning of my career, as they made me more focused on pushing creatively as a designer, and more ready as a business person too on building a solid foundation for longevity.

If you had to choose a woman in the public eye or a movie character who embodies the Robert Wun aesthetic , who would it be ?  

Dream character would be a sci-fiction character by the Wachowskis siblings or Ridley Scott, as Trinity from the matrix and Ripley from Aliens are some characters that have inspired me deeply. Or even if there was a modern day or futuristic interpretation of Mulan that would be great to design for!

I’d also love to dress a Bae Donna, Bjork, Lizzo, Yalitza Aparicio, Kelly Marie Tran, Noomi Rapace, Tilda Swinton, Rooney Mara and Rihanna etc in the future. Women who are authentic and shaping the future.

If you use a movie, a song, or a poem to define your work , what would it be ?

A movie would be Princess Mononoke by Studio Ghibli Hayao Miyazaki

A song would be Taro by Alt J

How’ve you been handling the quarantine? 

Keep sketching and draping and watching movies! It’s hard to stop even at home, especially considering that most business errands have to be put aside now, focusing on the positive note as it could be a brand new start for the SS21 collection in September, with hope that the pandemic will have passed by then.

Is there anything you’re hoping will change in the fashion system post COVID-19?  

Buying better on the consumer side and for the industry to put less pressure on creatives and allow them to design less product orientated collections. Which ultimately means what everyone’s been talking about; slowing down and having less collections=less waste and healthier mentality for the industry.

How / Where can one purchase/order your pieces ?

We will have a brand new distribution of stockists at the end of this year starting from SS21 collection.

Currently you can order directly from us [email protected] and the E-commerce will be live later this year as well on www.robertwun.com

Tags: , , ,

Charles & Keith x Cecile Bahnsen Launch Capsule Collection

This week footwear brand Charles & Keith joined forces with designer Cecile Bahnsen for  an exciting collaboration of a shoe line inspired by traditional school-wear. The collection features some of the most classic Charles & Keith shapes and silhouettes which are reinterpreted by Cecile and finished with her signature brooch. Four various styles are featured including three Mary Jane designs and a distinctive mule. The general palette of the collection sees a neutral scheme of black and white that’s garnished with a touch of colour with the lemon yellow Camelia mule. 

In line with Bahnsen’s commitment to sustainability, the collection revisits two of her favourite fabrics being a recycled satin and a unique patchwork that are given new life. It also includes the use of dust bags stitched from leftover cuts from previous season. For more information about the collection visit Charleskeith.co.uk 

Tags: , , , ,

“We Make You Feel Exactly What You Want To Feel,” Twin Meets Danish Eyewear Brand FLATLIST

FLATLIST is cool. Their shapes are fresh, the circle of supporters are creative, the imagery that naturally has grown around the brand doesn’t stink of hours in a daylight studio – it smells of real life living. 

Talking to the brand and taking a closer look at the provenance of this funk factor, we talk about the importance of the school of life lessons, trusting your inner feelings, and the acceptability of sunglasses indoors during lockdown. 

Tell Us How FLATLIST Came About .

The “Feeling”: Well, FLATLIST was founded way before the actual launch of any products. When we started our agency 8-years ago, we also started a global tour of socialising and networking. Working with international sales in the fashion industry, you often find yourself at trade shows, fashion shows, showrooms, launches, parties and dinners. And with 150 travel days a year in cities like Paris, Milano, London, New York, Berlin, Amsterdam you meet a lot of people that like to talk about fashion. You end up in endless of uninspired conversations and meetings. 

To avoid this, we started hosting dinners ourselves 3-4 years ago after too many nights spend on “free dinner and drinks” that didn’t give us anything beside hangovers.  We invited people we felt connected to, (that felt the same as us) and where the conversations and mutual mindset led to some unforgettable evenings, long nights and pictures. People were mentally present. Real but charming. 

It was here FLATLIST was born. We “FLATLISTED” people. It means to be yourself and feel fucking great about it. It was in this period the actual brand and products started to take form. 

We both love shades, and we both had design ideas, so the dream of running an eyewear brand was pretty mutual since day one. We didn’t have any personality or visual concept to go with it. The “Flatlisted” feeling was all we needed. We used that feeling when we started to create our brand and visual material and then we used our private collection of shades for design inspiration. Quality over quantity and eyewear designs and colour combos we thought were great and that we couldn’t find in the market at that time. No “trend analysis” but simply a look in the mirror and thumbs up to your partner when trying on our first prototype set of samples. 

The “Business Plan” :We wanted to create affordable luxury frames that we thought were excellent and that we would wear ourselves. Not trend-driven at all, but based only on personal preferences. We wanted to be the brand priced below the big fashion brands while offering a quality just as good, if not better. 

How Has It Grown Since Its Inception? 

We have had a very strict distribution strategy since day one, choosing to work only with a handful of global retailers. Not just based on their name but also if they were a good match when it came to selling our brand and products, such as Need Supply, KITH, Totokaelo, Luisa via Roma, Hybebeast, END,  Smets, LN-CC, Liberty, Matches Fashion etc.  Furthermore, our e-commerce is really starting to pick up!

How Do Your Sunglasses Differ From Others?

There are many things to be said. Whether it is our uniquely designed straight side temples for a better all-round fit and grip on the head (fits all, kinda), our carefully sourced 90’s deadstock Italian acetate or our unique colour combinations and designs. Every style and colour also has its unique style code written in gold on the outside of the left temple. Our little trademark. And maybe the fact that our collection is pretty retro-inspired. 

What Do You Think Sunglasses Impart In The Wearer? A Sense Of Mystery, Intrigue? Sexiness?

That is a very difficult question to answer – obviously some kind of Hank Moody coolness but, ultimately, we hope our eyewear makes our consumer fell exactly what he or she wants to feel. This can be a lot of things, but mainly we want them to feel themselves. 

What Changes In The Fashion Landscape Do You See Ahead?

A LOT, but it’s difficult to predict at the moment. You see quite some self-proclaimed experts trying to predict the future at the moment, but the truth is that we don’t know other than our industry needs to slow down. 

FLATLIST is cool. Their shapes are fresh, the circle of supporters are creative, the imagery that naturally has grown around the brand doesn’t stink of hours in a daylight studio – it smells of real life living.

How Do You Feel FLATLIST Will Be Adapting To These Changes? 

No need to adapt as our aim has always been to make long-lasting products instead of having to reinvent ourselves on a seasonal basis. We feel that we already created styles that have the potential of becoming icons of tomorrow (Hanky, Tishkoff, Le Bucheron, Bricktop). When we think it’s needed, we add some newness here and thereby adding new acetate colours and lenses, but that’s it. 

Your Sunglasses Have A Certain Understated Grunge Elegance About Them… Would You Agree?

Yes! But also the absolute 70’s freedom of expression vibe as well as the 90’s minimalism. 

Finally, Is It Acceptable To Wear Sunglasses Inside During Lockdown?

Of course – why not? Go for our Le Bucheron style with blue lenses if you want to add some colour to the wall you’ve been staring at for the last month or try Tishkoff with yellow lenses if you’re behind on your D-vitamins.

Tags: , ,

Reimagine, Reinvent, Rebuild: Twin Talks to Carcel Founder Veronica D’Souza as they launch their new brand model.

Carcel is proposing a new model, new methodology, and new mindset in fashion. One free from broken matrixes, the disjoint of seasons, and the hysteria of discounting.

Launched in Copenhagen in 2016, Carcel is a brand of forward thinking change. While their raised issues are nothing new to the verbalised battles currently gaining ground under the buckling pressures of the luxury fashion industry, they are set apart in that they have chosen to action what others so far have only dared to digress.

Carcel was founded on the principle of working with incarcerated women, working with the best natural fabrics, and working outside the fashion model. Carcel founder Veronica D’Souza’s decision to work with incarcerated women stemmed from her personal experiences of visiting women’s prisons in high-poverty countries and the strain on dignity, emotion, finance and family that came from the struggles these incarcerated women faced:

“The main cause of incarceration for women globally is poverty. It’s predominantly non-violent crimes that women are incarcerated for, and it’s non-violent crimes such as drug trafficking, prostitution, theft, and the main cause is most of them want to provide for their families. When they are incarcerated they have to give up their children, either to an orphanage, or if they’re lucky enough relatives, and when released they are poorer than they were before. It’s also a very big social stigma, to be a criminal or ex-criminal and particularly if you’re female, so it’s very difficult to get a job. In the prisons, all the women were all knitting, sewing, crocheting and making small crafty things, but they didn’t have access to good materials, and they didn’t have anywhere really to sell that product. You could buy a few of them in the visitor store for very little money, so it ended up being more like vocational training or a way to spend your time, but they didn’t make any money.”

Exploring these activities the women were undergoing, the thought of offering a fairly paid opportunity to these women by providing high-quality fabrications and job security felt like there could be a chance for a fashion brand to hold more than sartorial affectations at its core:

“I thought that if you could cover those three things: good materials, education, and also a market to create proper salaries, these women could keep on providing for their children, who are small when they are incarcerated so they still need a provider, save up for when they get out, and also learn new skills. This came back to the lesson I have learnt about making things desirable: if you want to create something that has a market and is sustainable, how can you make something that’s really good quality.”

A business model was emerging, that took the form of a firm new approach. “I made a challenge for myself about what could a supply chain look like if it was rethought. I made a map of the world of the countries that have the highest rates of poverty with crime for women, so where I felt there was a lot impact to be made, but also countries that have natural materials that are the best in the world and a tradition for craftsmanship amongst women. Peru was number one of that list on my map.”  

A woman’s prison in Cusco was her first partner in the launch of Carcel, with a kickstarter campaign allowing for the first knitting machines to be purchased and provided for the women who would be the fair-paid producers of the brand. “We have merged production so it can have a social impact and just harnesses natural materials from the region where we produce.”

Speaking to Veronica on the phone, the energy of her dedication twangs off every word as she rollers through the history and foundations of Carcel. When you can almost see the passion in someone’s mission just through a phone call, you can tell this is more than a business – this is a call to action.

Veronica’s background is not an expected answer for someone leading a luxury fashion label, but that is part of what makes Carcel so exciting. 

“Firstly, I think it’s important to say for me that I don’t have a background in fashion- at all. I’m really passionate about finding solutions to problems in society, but through business. And making those solutions desirable. So I think for too long we’ve had a split between like the old capitalism, that basically messes up the world, the planet, and then like a lot of do-good, which is not necessarily with the consumer in mind. Money comes through the product, or the service, or whatever is created. So, I guess that’s where my passion really lies.”

What was it about fashion that demanded her decision to create a whole new way of working?

“It doesn’t really make sense to create a fashion label that just feeds into the same way as what’s wrong with the industry today. So from the beginning I tried to write down dogmas for creating our own value chain.”

And the result of these new tenets of design practice? “We don’t have any collections or any seasons, we don’t have sales, and we are trying to rethink how to not waste anything. It goes back to Danish design tradition, to create something that is good quality, and that can last and that can stand the test of time, and just not be done with: I think that’s the main core of how we operate today.’

The way Veronica breaks down and draws comparisons with the industry and social strictures is somewhat compelling; her views of the fashion industry as we know it has certainly .

“In some ways fashion is incredibly  old-school in its thinking and the industry model. I don’t really understand, because in my mind it is divided into two very separate parts, like the body and soul. The soul is really cool – that is the identity and aspiration. It is progressive, and is a way of expressing yourself. The body of fashion, the industry, is so broken, and badly treated and rotten. I think that’s extremely regressive, because I think at the same time there’s still this tendency just to put it on a pedestal.” 

What is the purpose of a brand does she feel?

“You need to say something, how to become a story teller as a brand, what do different brands do and to think of different reactions. I think some are doing really well that really half a year ago didn’t have anything to say. So I think there’s a journey happening now which is hopefully interesting, and it also needs to happen because if not, fashion just becomes extremely irrelevant. If it’s not creative and expressive then what is it? It’s not that we need more clothes.”

And how do visuals interplay with Carcel’s brand message and purpose? With the launch of their new model further reinstating Carcel’s principles, the visual message must be as arresting as the purpose is crystalline; walking down the street, a wall of fly posters presenting a passerby with the wonderful words ’No Seasons’ and ‘Carcel’, a young man smiles as he squints through the sunshine at the camera. The images are modern, elegant, neither shouty nor shy. How important is the imagery for Veronica, and in turn Carcel?

“A lot. We’ve also been on quite a journey. So in the beginning it was very much focused on our production, but also focused on the branding element- creating a cool brand. That’s been really important for us in the beginning to like say this is not just for people who want a bit of world, and talk about fair wages, and female empowerment, and natural materials, it’s also about a relevant brand vision too. We’ve done collaborations with artists, and explored new avenues off our core narrative all the time.”

Of course, COVID19 enters our conversation, as surely it’s impossible for it to not be discussed; How does Veronica hope brands will react post COVID19?

“The whole seasonal wheel makes it impossible to create something that has value and maintains value, and that is properly made – from how people are getting paid to what’s put into the product. You need to be able to communicate on a digital platform, and say more than just ‘this is my clothes’, for more people to be interested in your brand. So that will hopefully be more of an incentive to look beyond what’s on the catwalk and what’s on the model, to what’s behind the process. I see a lot of collaborations coming up, people helping each other out. In general I see a lot of positive things happening, and I think the desire in society for solidarity, and for value beyond empty consumption I think is on the increase.”

Looping back to her analogy on the body and soul, Veronica contemplates the need for both aspects of our being to work together, to collaborate: “for the soul, we need a driving force. We need culture, we need inspiration, we need arts, you know, that part of fashion as well to create those visions and dreams of what beauty looks like in a post-consumerist society. That’s something that occupies me a lot. So I hope that this break has freed some energy to spend time on that. “

Reimagine, reinvent and rebuild are the lasting words plucked out in bold from Carcel’s relaunch – the most concise words that surmise their focus to disrupt a system that is creaking on its foundations. 

Here’s to Carcel, taking a stand, putting forth action, and allowing us all to take a leap of faith in fashion’s ability to move forward and beyond the boundaries we had previously set. 

Reimagine, reinvent and rebuild. 

Tags: ,

SAINT LAURENT RIVE DROITE : ‘NOSES ELBOWS AND KNEES’ by Mario Sorrenti & John Baldessari

Saint Laurent Rive Droite recently announced that it has exclusively launched the prestigious phonebook by Mario Sorrenti and John Baldessari “Noses Elbows and Knees.” Curated by Neville Wakefield, the book was originally published at the end of the “Noses Elbows and Knees” exhibition in 2017 ,  and explores the work of Baldessari’s signature paintings of body parts on photographs , giving a nod towards Hollywood culture with elements of bold colour, while Sorrenti’s work on the book was a reinterpretation of 90’s beauty photographs .

Together the duo question the notion of familiar representations through codes of nudity in society , fashion, collage and photography. Each copy of the book is signed by both artists and are currently available for pre-order in Saint Laurent Rive Droite’s Paris and LA stores.

Tags: , , ,

FENDI Peekaboo’s Savoir Faire

A key part of Fendi’s SS20 collection were the several versions of their Peekaboo bag that appeared on the runway. This week the brand is highlighting the savour faire of a few of those bags with video showing the workmanship techniques such as the “Laser Cut” , “Intrecciato” and the “Intarsio” known as inlay. With 3D technology , the results are featured in both male and female versions such as the Peekaboo X-Lite for Men’s which showcases the laser cut, The Peekaboo for men’s where Selleria stitching meets the Intarsio fur workmanship and the Women’s Peekaboo and it’s mini version which boasts the intricacy of the “Intrecciato” workmanship.

The video is a detailed look of the brand’s iconic techniques of the Roman Maison which gives us an a peak of the amount of work that goes into building these must-have pieces. For more info on the Peekaboo bag, visit FENDI.COM 

Tags: , , ,

Alexander McQueen – The Tread Slick

Cover image: Black Tread Slick by Lea Colombo

 One of the best aspects of Alexander McQueen’s menswear collections are the shoes. Usually they all seem to take on an entire character within themselves, proposing interesting yet sturdy new shapes, blends and colours within the genre of menswear. A particular favourite is the Tread Slick, which first appeared in the house’s SS20 pre-collection. A lighter successor of the Tread Boot from the FW18 collection , the Tread Slick features an oversized rubber sole with a canvas upper in an array of season colours .

The house recently commissioned a selection of photographers around the world to capture the iconic shoe in their current environments. Some of which included Adama Jalloh, Lea Colombo, Eddie Wrey, Alice Schillaci, Luis Alberto Rodriguez and Julia Noni. With locations ranging from Peckham to Berlin, each shot features unique styles of imagery which captures the shoes’ detailing in somewhat of a poetic manner. For more on the Tread Slick visit Alexander McQueen

Low White Tread Slick by Wing Shya
Low B&W Tread Slick by Ethan James Green

Tags: , , ,

Alexander McQueen SS20 – Endangered Flowers

Every small attribute of Sarah Burton’s Alexander McQueen collections are created with some type of story. Each piece from the share to them hems to the embroidery is built with some type of intention. A special detail from the house’s SS20 RTW collection was the implementation of endangered flowers. For the collection, a selection of endangered flowers were hand-embroidered on ivory irish linen dresses with cocoon backs and exploded sleeves and cotton silk tailoring.

The Alexander McQueen team were who contributed with drawings sketched in glass houses and filled with rare blooms which were all transformed into embroidery artworks. The process included lots of research into engendered and extinct flowers, and required an operation of several steps including painting and silk threading using several thread techniques. For more info on the SS20 collection visit Alexander McQueen.

Tags: , ,

A refreshing energy of inclusion: Marguerite – the female-focussed network for women to build likeminded connections in the arts – talks to Twin about their 5th year as a very modern arts organization.

Cover image by Dunja Opalka

Marguerite was founded in Joanna Payne’s living room after a few glasses of the bubbly stuff. Hey, who hasn’t concocted their million dollar idea on the sofa, or a brilliantly innovative concept with mates in the pub. For Joanna however – Marguerite came to be a living, breathing, invigorating association for women in the arts to come together, and share their thoughts/views/frustrations/hopes with other women that might feel the same. 

After the adage of the ‘members club’ gratefully comes to wear off – the notions of exclusivity wearing thin in a world that has never felt more isolated and alone – Joanna is shifting the dynamics and the dusty insinuations members clubs have come to imply, and has built a community across the globe that looks to if not inspire at least articulate a  universe where women can feel the confidence to advance their own interests, passions and careers.

Here we talk to Joanna about starting her own business, the importance of sharing experiences, and the art of slowing down.

David Seymour, Venice. Peggy Guggenheim in her palace on the Grand Canal, 1950

What made you want to start Marguerite?


After seven years of working in the art world, for organisations including Whitechapel Gallery and Frieze Art Fair, I wanted to do something about the fact that women often found it harder to realise their potential than men. By that, I mean that I so often found that my female colleagues and friends found it much harder to do things like ask for a pay rise than their male counterparts. Whilst there are many reasons for the pay gap in the UK, one of them is women’s confidence in comparison to men’s. If men are happy to ask for a pay rise whereas a woman isn’t, guess who’s more likely to get it?

I was very lucky in that I landed my dream job at the age of 23, working in the VIP department at Frieze Art Fair, where I was meeting collectors, artists, gallerists, museum curators.. even Jay Z and Beyonce! I found that having such a strong network in the industry really helped me in my career and I was made to feel pretty confident as a result. I wanted to share that network with my friends and peers in the hope that it would do the same for them – so in February 2015, set Marguerite up as very casual drinks in my living room. It didn’t have a name back then and the initial idea was for a different woman to host a similar sort of thing in their own home every other month. The idea was simple: to bring women in the arts together to meet, share ideas and in turn, build their careers in the industry.

Has the original purpose changed at all over the years?

The concept of Marguerite changed pretty quickly after that first event in my home. After a friend had to pull out of hosting the second event, I decided that it would be better to instead ask artists, curators, photographers and designers whether they would in fact play host to our events. This was very much drawing on my experience from Frieze and later Photo London, where I was organising special events in artist studios and collectors’ homes for some of the best known collectors, museum directors and curators in the world. From that experience, I was taught the importance of having ‘content’ at events in the form of a talk, panel discussion, workshop or some other form of entertainment. I really wanted to step away from your awful average networking event where a bunch of people are just chucked into the same room with a name badge and a glass of wine and expected to find things in common.

Our core values are still very much the same: to advance the careers of women in the arts by providing a ready-made professional network and spaces in which to hear from some of the most influential people working in the creative industries today. The caliber of our hosts has always been pretty high (two of our first events were hosted by the world renowned fashion photographer, Rankin and winners of the Turner Prize 2015, architecture collective, Assemble) but we’ve built on that hugely and have welcomed some incredible speakers including the likes of fashion designers such as: Dame Zandra Rhodes, Roksanda and Alice Temperley MBE; photographers: Miles Aldridge, Nick Knight & Juno Calypso; artists: Idris Khan OBE, Gavin Turk and Michael Craig-Martin; and museum directors: Maria Balshaw (Tate), Dr Tristram Hunt (V&A) and Tim Marlow (then the Royal Academy of Arts, now The Design Museum). 

Despite the hosts and the quality of our events (hosted everywhere from London and Somerset to Venice to New York) growing ever more magnificent, we’ve worked hard to ensure that the original energy of friends meeting over a couple of glasses of prosecco in my living room remains.

Idris Khan & Annie Morris for Marguerite by Dunja Opalko

You have turned 5 years old which is amazing: how has our definition of members clubs changed in that time?

Thank you! Whilst the concept of ‘private members’ clubs’ seemed very glam when we first started out, we now actually steer away from the term as we don’t want the network to seem too exclusive or off-limits to anyone who works in the arts. Anyone in the industry can buy a ticket to our events if they’re interested in one particular topic or want to ‘try before they buy’ a full membership. 

Unlike many private members’ clubs which operate in the way they do so that they can be strict about who they do and don’t let in, the reason we offer membership is to encourage the same group of people can come together six or more times a year. The frequency means you’re much more likely to actually make friends at our events than if you just attended a standalone talk. Marguerite’s aim is to foster friendships as opposed to make people feel left out because they’re not included.

Linder Sterling & Charlie Porter for Marguerite by Luke Fullalove

Why did you choose to build a female only members club?

I think that incredible things happen when women come together. I wanted to provide a space in which women would be made to feel more confident which would hopefully go on to have an impact in their careers and most importantly, their lives. Judging by our talks in comparison to many others I’ve been to, I’m always struck by how many questions from the audience there are at the end. I think women feel a lot more confident in the company of other women which means they get more out of the situation. Furthermore, if there’s one thing the #MeToo movement taught us, it’s that there’s a lot to be learnt from women sharing their experiences with one another. 

I should say that Marguerite is female and non binary-focussed. If a man wanted to come to one of our regular events, he would be very welcome and we host some events that are open to all. We hosted one of these with Lean In just before lockdown began on how people feel in the workplace post #MeToo – a discussion that would have been a pointless echo chamber if it was just had by a group of women!

Marguerite members at their Polly Morgan studio visit by Luke Fullalove

You have aligned your online presence to support the creative industries: tell us a little bit about this

The week before the official lockdown began, we began to see many members of our community (especially freelancers) lose their jobs. We therefore instantly shifted our attention to launch a forum where freelancers could meet potential employers. It was way more successful than we could ever had imagined and we paired our first freelancer with a paid job in under 24 hours. The following week we also launched a forum to support small businesses – where independent brands could present their products and anyone who was in the position to shop could find them! In the absence of our usual events, we wanted to pivot quickly to best suit the new needs of our community. 

We’ve also been hosting online talks and workshops on our Instagram Live focussing on the things people are most worried about right now including money, managing anxiety and parenting kids and teenagers when you’re trying to hold down your other full time job! We’re now running ‘Marguerite Creates’ every Saturday and Sunday morning where creatives are showing us how to do things like: draw our house plants; collage; make simple home improvements; and take better photographs on our phones! We wanted to provide quick, fun activities to allow people to try something new to alleviate the lockdown boredom – and maybe even get that “Oh my god! I did it!” feeling I think we all need a bit of right now!

Unlike our usual events, these new online features are all quite ‘rough and ready’. We felt it was important to act quickly to give people what they needed rather than spending lots of time (and money!) producing something really sleek that may become redundant by the time it was ready. People’s requirements and moods are changing every day at the moment and we’re very mindful of being relevant. It’s actually also been a brilliant time to test out new things and throw us out of our comfort zone! 

Marguerite Presents Snappy Salons on Women in the Arts part of the February 2017 Uniqlo Tate Lates at Tate Modern Image by Dunja Opalko

What has C19 taught you?

Professionally, the joy of slowing down. We’ve hosted 40 events a year for the past few years which is a lot and can mean up to three events taking place in one week. I think once this is all over, we’ll consider hosting fewer events but maximising the quality.

What will the most important lessons be for the creative industry post C19 do you think?

Much like many industries, I think coronavirus will force the creative industries to slow down. The hectic merry-go-round of private views, art fairs, fashion weeks and events was tiring for everyone involved and I think ultimately, unsustainable. Furthermore, the shipping and travel required for the larger international events of course had huge environmental implications. It’s been interesting to see how quickly art fairs and galleries have shifted to host their events online – I hope a lot of this will remain in place once this is all over. 

Tags: , , , ,

Marni Home Market

As a part of Milan Design Week last year, Marni presented a line of bags furniture and designs objects under what they dubbed their online Folk Market. This year, regardless of the absence of design week as a result of COVD-19, the Italian brand returns with another collection entitled MARNI HOME MARKET. The collection reflects Marni’s multifaceted universe with an exploration of colours and forms. It features a range of bags including playful hammock bags, retro-inspired crochet bags, small striped shopping bags, natural canapa bags and crochet fish bags.

Each piece from the collection is specially  handmade by Colombian artisans who have been collaborating with the brand for several years. With respect for local traditions, each item is made according to meticulous artisanal processes that require close attention to detail. The collection will is currently available for pre-order online Marni.com 

Tags: ,

Catching up with Parisian Jewellery brand Sisi Joía

As a solution to our quarantine woes, Twin recently caught up with Cécile Wallon creator behind Parisian glass jewels and beads label Sis Joía. The handmade jewellery brand has been known for its special personal touch, pieced together with glass, quartz and crystal beads collected over time on elastic wires . During these difficult times, small gestures like these matter more than anything. Keeping in mind the importance of noticing what surrounds us and how things evolves. Which is why our contributor Amanda Ballerini engaged her dear friend Wallon in conversation discussing inspiration, quarantine finds, habit and much more.

Tell me a bit about you and your Sisi Joía. How did it all begin?

So I’m 29, and after a few years in the fashion retail industry, I had a baby and suddenly a lot of time (well the first few months) to think about what I wanted for the next few years. A question that was a little to big, so the first answer was: I would like to have something beautiful to gather my curtains. I knew this lady who was selling antique beads at the flea market near my house, so I went, in search of some supplies to start making beautiful curtain tiebacks. I never made those, instead I crafted a few elastic bracelets that were easy to take on and off (with a baby…) and showed it to my friends. They were so enthusiastic with the result it convinced me to start making a small jewellery line. And here we are!

Did you ever think of creating something like this in the past?

I’ve always been keen on crafts and handmade things, but more things for the home. However, I’ve been nourished and fed by all the beautiful things and costume jewellery I was selling at my previous job at Vanessa Seward’s. She was especially good at this , from working for numerous years as an accessories designer at Chanel.

Tell me a bit about the connection you developed with the glass maker/blower. How did it happen?

Well I used to live in the neighbourhood of this old store that was never open. One day, they finally had sort of like a Christmas sale, and I bought so many beautiful things for my home. For several years, I didn’t think of it, and then I found one of their glass drops at the flea market. It fit perfectly with the necklaces I was developing, so I started to look for more… and after 2 months of calling the shop and passing by every week, I finally got in touch with Youssef, the owner.

He’s Syrian, and moved to Germany, then France, some 20 years ago. Now he works with a partner, a lady who goes every couple of month to Damascus to select the works of their glass blower (who collects glass debris and recycle it in a traditional brick oven) and have them transported back by boat to their workshop, where they assemble the pieces to make lamps and other beautiful things. They are very discreet but their lamps sell all over the world. Now they allow me to purchase some glass drops, glass blowers and beads to make my pieces.

How’s the everyday life of a creative Parisian mum like you are? Do you have some kind of daily schedule you follow?

It’s busy, as my schedule revolves around my son’s hours: daycare, going to the library, the park, etc. But I get to work following my own schedule during the day, until around 4 when I pick him up. Then the day stops and we focus on being with him. Then, at night, as soon as he’s asleep, my second day begins and I work packing my orders and crafting the pieces.

Where would you ideally be living, if it weren’t Paris?

Actually we’re in the process of moving a little further from Paris, in a suburban town near a bigger park, with more nature and a “greener” municipal area, which is super important to us.

What do you do when something makes you sad?

I try to change my mind and create anything, a little bowl with auto-hardening clay, tie dye a vintage panty .

Keep up with Cécile and her Sisi Joia ventures @sisijoia .

Tags: , , ,

GUCCI Presents, “No Space , Just A Place”

One of Gucci’s last exhibitions was their iconic collaboration in Maurizio Cattelan two years ago in Shanghai which gained much critical acclaim. Which is why we’re so excited for their latest venture. The house has returned to the content in the city of Seoul for their recently opened exhibit entitled “No Space, Just A Place.” Gucci’s Artistic director Alessandro Michele teamed up with curator Myriam Ben Salah to create a visual story which pays homage to the city’s art and culture. 

Hosted at the Daelim Museum, the showcase poses questions of cultural identity, nonconformity and belonging at the hands of several local Korean artists and institutions including d/p , the Boan1942, Hapjungjigu, OF, space illi, Tastehouse, Post Territory Ujeongguk , White Noise as well as the likes of some international artists like Meriem Bennani, Cecil B. Evans , Martine Syms, Olivia Erlanger & Kong Seung. 

Each project within the exhibit opens a door to an alternate world, as an exploration of several dimensions of utopia. Among the project titles included in the showcase are ‘Psychedelic Nature’ by Boan1942; ‘Secret of Longevity by White Noise which is a exploration of collaboration among artists and  ‘Swimming QFWFQ’ by space illi which speaks on what society deems natural through the eyes of female artists. The exhibition is one that is sure to leave it’s audience thinking for hours and even days, and as a result of the COVID outbreak m the house has managed to treat us to virtual rendition of the exhibit which can be viewed here. The physical exhibit is currently active and will run until July 12th, for more information visit No Space, Just A Place.

Tags: , ,

Motherhood & Pregnancy by Simone Steenberg

When looking at motherhood and its lineage within the canon of art history, images of Madonna and Child are at the forefront. A prevalent symbol in Christian iconography, depictions were greatly diversified by Renaissance masters such as Leonardo Da Vinci and Caravaggio. Yet it was only in the last century that motherhood emerged from the skirts of the Madonna into a space of critical and conceptual practice. During the 1970s second-wave feminism nudged a more rigorous and expanded consideration of women’s issues into the arena. Take artist Mary Kelly’s Post Partum Document 1973 – 1979; a six-year documentation of Kelly’s relationship with her newborn son that includes drawings, annotations, and recorded conversations. 

Naturally, photography became a popular medium through which to depict motherhood and to reflect the fascination and controversy it attracts. Sally Mann’s Immediate Family series from 1992, capturing her naked and roaming free children highlights a departure from the stereotypical portrayal of motherhood that dominated contemporary visual culture. 

Like photography itself, the expectations and demands of motherhood are in flux; both subject and medium grapple for new meaning in a changing world. Simone Steenberg’s series Motherhood & Pregnancy explores just this, as she records the transformation that women experience on this journey. Capturing this transitory state of the female body is simultaneously an exploration of their strengths and vulnerabilities. 

Steenberg’s subjects are observed in varied guises. Some are adorned in flamboyant and playful outfits positioned in both assertive and contrived poses within the studio setting, some proudly nurse their new-born within the familiar domestic setting, while others are immersed in water, gracefully floating in what appears to be their natural habitat. Ultimately, Steenberg’s series showcases how women navigate an experience that is both collective and deeply personal. 

Using analog film cameras, Steenberg began documenting mother and child three years ago;

I’ve always been intrigued by the different states women go through, the physical and psychological transformations, and especially the different shapes of the female body. The women I photograph are a mixture of friends, women I cast through Instagram or women who contact me directly. I shoot everything with analog so it’s a very performative and intimate process. I love shooting outdoors in nature and I feel the pregnant body relates so beautifully to mother earth, its curves, and diverse landscapes. “

With a background in fashion photography, Steenberg was sensitive to the stereotypical image of the pregnant woman; 

Maternity/ Pregnancy shoots have always been done in a certain way, very polished and not hugely sensual or empowering. I want to produce images which challenge the norms and beauty ideals inherent in society, and where women have ownership of their bodies and are allowed or free to express pleasure and desires. I want to create a special experience, an exchange between me and my subject, where we reveal things about ourselves to each other. It is very much about intimacy and trust.

The dialogue Steenberg fosters with her subjects allows for images that present the reality of motherhood; beautiful, personal, raw – matter of fact; one of the main elements in this project is that everyone involved learns and grows from working together. 

The intimate bond between photographer and subject is reflected in her documentation of various mothers breastfeeding their children; a natural and universal exchange, yet one that has forever been tainted by cultural perceptions. Steenberg wishes to celebrate this intimate bond, yet without sentimentality; “I’ve done many images of women breastfeeding where I highlight their milk leaking. I want to open up a dialogue about this phenomenon, and also celebrate this state and the natural wetness created from women’s bodies.

Acknowledging that she has yet to experience motherhood, Steenberg draws on her fascination with the relationship between women and water. We observe it in the milk that oozes from her subject’s breasts and the mouths of the naked, heavily pregnant females surrounded by water reeds, or those who flow freely in the lakes near to her hometown in Copenhagen; 

I see water as reflective, always bouncing back and forward, like an exchange. I grew up in Copenhagen, surrounded by the ocean, and have always felt very close to the water. I am fascinated by the effect it has on us, which is why I believe it has become such an essential part of my photography. 

The mother has unprecedented visibility and influence in both our cultural and political spheres. As a result, our evolution into a technological dependent and consumer-driven planet has given rise to an obsession with social platforms that host a growing number of communities.

‘The Mummy Blogger’, Twitter, Facebook, and Instagram are vessels for celebrity bumps and babies; literature and film regularly take mothering as their main storyline; and in society, debates around women’s work-life balance and childcare are in regular political focus. Instead of fetishizing the mother, Steenberg offers a reflective and safe environment where her subjects are allowed to express their connections and experiences of motherhood. Steenberg’s images are consistent in that they always manage to convey the intense power and beauty inherent to mothering. Pain and happiness are paired with the exhaustion and vulnerability of motherhood; all of which must be acknowledged as part of this collective and deeply personal journey. 

Be sure to keep up with Simone’s journey and her latest series via instagram.

Tags: , , , , , ,

Alexander McQueen SS20 ft. Dancing Girls & Mini Bags

During the creation of Alexander McQueen’s SS20 collection last year, the house enlisted a handful of students from Central Saint Martin’s MA course to join them in a life drawing class at the educational space of their London flagship store. The results of this class were what resulted in the dancing girls embroideries included in the house’s SS20 collection. During the process, The Stitch School —  a group which reconnects communities through the art of embroidery — provided special tables and looms, both in London as well as in Paris so that the entire McQueen team were also able to get involved in the hand embroidery of the ivory linen dress that was worn by British model Stella Tennant on the runway.  The team effort that was put into the dress is a symbolic commitment of Sarah Burton and the house of McQueen in their efforts of passing on valuable knowledge and honing young talents and also in regards to creating a wider sense of community. 

Another fundamental part of the SS20 collection, were also the minimalistic yet glamorous mini bags. The two main styles included in the collection were the Mini Jewelled Satchel and the Mini Skull Lock Bag. Each one carries its own story, that of the Mini Jewelled Satchel being characterised by the signature jewelled handle with the Alexander McQueen skull, which can be worn cross body or as a clutch. The Mini Skull Lock bag however carries its own skull clasp and can be hand.held using the top handle , or worn with a removable leather cross body strap . The bags are available in a range of various colours which can be discovered on AlexanderMcQueen.com

Tags: , , , ,

“Inside Helmut Newton 100″ – A Digital Initiative

Helmut Newton is known by many as one the most dexterous photographers of the 20th century. His notorious black and white work pushed the boundaries for fashion and fine-art photography, as he was one of the pioneers to explore themes such as sexuality and femininity within fashion.  The Newlands House Gallery was recently opened which is a space located in Petworth dedicated to contemporary art, photography and design. 

The space’s inaugural exhibition titled HELMUT NEWTON 100, which debuted in March was temporarily closed as a result of the current health crisis, but in response the gallery has introduced “Inside Helmut Newton 100.”

Curated by the gallery’s artistic director, auctioneer, art dealer and DJ Simon De Pury, the digital exhibition features a virtual tour of the exhibition which can be viewed via instagram and facebook as he takes the audience through the collection of iconic portraits, landscapes and fashion images, as well as glimpses of some never before seen artwork from the photographer.  The virtual initiative will also feature a section titled “friends of Helmut” which will engage some of the photographer’s friends such as Mary McCartney & Juergen Teller in discussion . Keep up with gallery’s digital endeavours by following Newlands.House.Gallery.

Jenny Capitain, Pension Dorian, Berlin, 1977’ by Helmut Newton
Neewlands House Gallery by Elizabeth Zeschin
Neewlands House Gallery by Elizabeth Zeschin

Tags: , , , , ,

The New Intimacy with Designer Nensi Dojaka

Designer Nensi Dojaka’s vision is strictly about the modern woman – and that means embracing her in all her polarities. AW20 marks the designer’s first season with Fashion East, and already it’s clear her message is as powerful as the designs it informs. A recent Central Saint Martins MA graduate, it’s her BA in Lingerie Design that serves as the underpinnings of a delicate interplay, where strength and vulnerability are held together by the finest thread, or just-concealed among collaged layers of sheer silk. Talking to Twin about subverting sensuality with a female-first mindset, the Albanian-born creative tells us just why empowerment is shaping her approach to femininity. 

How did your label begin?

After finishing my MA, SSENSE contacted me about buying the MA collection, and their trust and support pushed me towards working on my own brand. I followed with another capsule for SS20, and now AW20 with Fashion East, and things started to evolve naturally.

Where do you find inspiration?

At the beginning of each collection, I always have a ‘mood’ I want to convey. My woman is out there to stun, but she does it discreetly and this gives her a flavour of danger and fun. After that, I start to drape it all on the mannequin and it comes naturally as a result of visual research. My references of ‘90s fashion will always be there as most of my fashion research stems from ‘90s magazines, and looking a lot at designers like Ann Demeulemeester, Alessandro Dell’Acqua, Jean Colonna. 

Your designs are intimately feminine – what made you want to explore femininity through your collections?

I studied lingerie during my BA so naturally, my work is about silhouettes that complement the female body. It is about embracing the strong and the soft duality of modern womanhood. I love working in the same amount of detail and scale that lingerie has, the mini details like straps, rings, which I use a lot. 

I like the way lingerie contours the body because of the way it’s constructed; how some delicate straps can hold and create the dynamics of the whole piece. There’s always some bra elements in my work. I try to come up with unconventional shapes like the circle bra part of a top in AW20, which is held together by a contrasting elastic strap and goes across the bust in a very graphic way. 

There’s both a strength and a vulnerability to your designs. How would you describe the message behind your aesthetic? 

I think my woman is complex and her beauty stands in the fact that there is a perfect marriage between severity and delicacy in her, and I try to translate this idea onto my clothes. By distorting the perception that comes along certain materials; creating delicacy from severity, and vice versa. 

To mirror that duality of softness and severity in women, I work with different levels of transparency intermingled together in every piece; some bolder drapes against lighter bits which are placed next to each other in an asymmetric, more erratic way. The way the drapes fall onto one another in a more “unexpected” way is to distort that notion of being just pretty and give it a twist into something more aggressive. The sheer fabrics also allow for me to play around with layers, which gives a more ethereal look and also serves as an “armour” by covering up despite being sheer.

Why do you feel fashion is the best way to communicate your message?

Because it is the wearer that brings that message to life and I love the relationship between the wearer and the garment and the meanings attached to it.

How do you want women to feel when wearing your pieces?

Beautiful, strong, alluring yet mysterious. 

How has your connection to London and Albania shaped your design approach?

Both places have shaped the way I think for sure. In Albania, I had the luck to have the help of amazing tutors who contributed to my well-rounded knowledge. And when I came to UK, it opened up even more possibilities for me. Both places have a nice juxtaposition of chaos and order that really inspires me and is reflected in my work and the way I see things.

How do you see the fashion industry adapting in this time of uncertainty? 

The pace is suddenly much slower but I see brands passionately trying to move forward despite the difficulties, and of course adapting to finding ways around it without having the comfort of being at the studio with the team or the usual cash flow. 

What have you got planned for your next steps? 

I’m looking forward to showing my next collection in September, and figuring out the best way to do it to ensure safety during these tough times. 

Tags: , , , , ,

Natural and noble : Twin meets Le Kasha – The brand aiming to enunciate the spirit of clothing as companion

Decorum and value: this is where our headspace is at right now. From a tightening of ethics and a loosening of excess – we are paring things back to what we have found bestows upon us a sense of purpose, significance, worth. Le Kasha is a brand that is not about screaming, yet nor is it about ignoring either. It is quiet in its voice, and clear in its motive. As we all take soft steps into a new way of thinking, Le Kasha gives us a new way of seeing too. 


How did you come to take over Le Kasha?

Le Kasha was founded in France in 1918 and was part of my family heritage. Le Kasha was originally a revolutionary fabric that was supplied to the big fashion houses of the time (Chanel, Lanvin, Jean Patou) which they used in creating their collections.

The original logo was an illustration by the French poster artist Géo Dorival. It had always intrigued me and I’d always wanted to one day give new life to the story and heritage of the brand. Eventually, 4 years ago, I decided to rework the illustration and to make it a bit more modern and easy to read, marking a new journey for Le Kasha; creating a luxury lifestyle brand inspired by travel and adventure, to offer timeless pieces to wear anytime and anywhere, made only in natural and noble fabrics

What changes did you implement upon becoming creative director of the brand?

The brand had been dormant for more than 50 years. I went through the archives, repurposed the original logo and with these created a completely new story but keeping the essence of the spirit of the original Le Kasha.

Talk us through where you source your fabrics, and the reasoning behind each textile. We use only noble and natural fabrics at Le Kasha. For the cashmere: The fabrics are sourced in the Alashan and Arbus regions of Inner Mongolia, at our Eco Label factory farm. Those regions are acknowledged to be the foremost regions for producing the highest and finest quality cashmere fibres.

Regarding the linen collection, Le Kasha uses only organic, pure linen fabrics. We found a very specific linen which doesn’t crease and you can spend the full day or night wearing the pieces and they remain elegant and comfortable. The 100% Silk fabrics are sourced in Italy and feel incredible against your skin. Both the linen and silk collections are produced locally in our atelier in Paris.

What role does travel play in Le Kasha?

Le Kasha gets it’s inspiration from travel: for the story behind each collection, for the colours, the styles and the spirit. 

I also love the idea that Le Kasha pieces are what you chose to travel with. The sweater that you always carry in your bag and follows you everywhere. Not just a random sweater; but a travel companion that carries with it the memories of all your travels and keeps you warm and soft on all your trips.

 

What projects are on the horizon for Le Kasha?

A complete men’s collection is on it’s way.. Le Kasha is also due to open a shop «  Boutique de Voyage » in a new luxury hotel in the South of France by next year.

Is there a beauty in specialisation?

Specialisation can allow you to take time to make sure to do that thing really well and properly; release only the best possible version of products to the market. 

It’s also more sustainable as you can focus on one supplier, one factory, and avoid the waste of a high volume of shipments and working with too many fabrics.

What principles are at the heart of your brand?

Quality & authenticity

What changes do you want to see in the fashion landscape post COVID19?

I hope there will be less pressure on brands to create and produce so quickly; giving more time to designers who aren’t given the time to be creative because there is always more and more pressure to be quick.

I hope people will realise that they need less clothes and will chose to buy with more consciousness. Which in turn will also be with a respect to the environment. 

Tags: , ,

McQueen Creators NO.5 – Embroidery X Aneliya Kyurkchieva

This week, Alexander McQueen is inviting their followers to explore the art of embroidery, with a hint of inspiration from the house’s SS13 RTW collection. The challenge encourages creators to use whatever resources available at home to recreate an embroidered bee inspired by the bee dresses from the SS13 collection. The house also tapped a member of their in-house embroidery team Aneliya Kyurkchieva for a detailed tutorial on how the bees from the SS13 bee dresses were created. 

McQueen Creators is a weekly initiative brought forth in reaction to the current global quarantine, and calls on the house’s followers to artistically engage with their favourite pieces from a selection of images shared on the McQueen instagram page. A selection of final will be published across their social media platforms. Follow the house’s social media channels for updates, and to be considered in the batch of images shared on the McQueen page, be sure to tag @alexandermcqueen and include the hashtag #McQueenCreators in your caption. 

Tags: , , ,

Join the mailing list

Search