Alice Waese is not your typical fine jewellery designer. Despite founding an eponymous cult jewellery line that ranges in price from £1,900 to £6,500 – she has received critical acclaim from numerous fashion magazines including Vogue and Interview and exhibited her work at Frieze London 2015 – Alice’s propulsion of fine jewellery leaves it’s mark by revelling in the subversion and whim of all-that-glitters-isn’t gold cocktail sparkle. Her unisex gold and silver pieces, which are hand crafted in limited editions of 90, are subjects of her diverse research stimuli: birds, trees, roots, skulls, rock formations and limbs.
“The glowing and vivid palette os my Spring Summer 2016 collection is based on a series of paintings I created, they explore the visual intensity and subsequent symbolism of various stones. Alchemists consider the emerald as a symbol of hope, wisdom and as a preservation of love. The ruby is believed to be the most powerful jewel, and is associated with passion, vitality and courage—I incorporate them all in this collection,” she said.
At 20, Alice Waese moved to New York, her current base, to intern for the jeweller Maria Cornejo and was later hired as a design assistant there. She then moved to London where she studied Fine Art at Goldsmith’s College before turning to jewellery full time. Alice describes her interest in fine jewellery as in fact a fascination with “artifacts and heirlooms, the weight of an object with intrinsic value. I consider what happens to an item that is loved, given away, passed on and worn daily. I am inspired also by the materials themselves, the transformation from wax to gold is something really satisfying both on an aesthetic level and a tactile, physical level. I also work from my drawings, an internal world of fantasy and narrative”.
Drawing from life is the basis of Alice’s work, as she truly believes that knowing the dimensions and details of objects and space are key to later constructing something fine and precious out of that which was once mundane. In conjunction with research of the fine jewellery field, Alice eagerly sketches and has published her surrealist watercolour drawings in a series of hand printed hardbound books, each containing a single piece of jewellery hidden in the cutout.
For Spring Summer 2016, Alice Waese’s launches a fine jewellery and ready-to-wear collection that is available exclusively at Hostem.
Why footwear giant Dr. Martens teamed up with Norse Projects
While in the first instance the idea of a non-conformist British punk institution aligning forces with a Scandi-infused, purist brand may seem a jarring fit, the new collaboration between Dr. Martens and Norse Projects actually makes total sense. Together, their designs participate as part of a wider conversation, one that draws without end, on the study of contemporary culture and shows an avid interest that often oscillates between both modern and sub-cultural references.
The re-worked version of the Dr. Martens 3-Eye Steed is no exception. The mens shoes has been crafted for the first time in a rich suede texture, that comes in three colour ways (black, white and oxblood). It is also detailed with quiet sportswear technicalities—the added insole, the padded tongue and elasticated nylon straps, are all quite clearly traits of practicality brought forward by Dr. Martens Copenhagen-based counterpart, Norse Projects.
Staying true to heritage is a mantra that remains close to everything Dr. Martens does and this collaboration does not waver from that. Like the rest of the Steed collection, the 3-Eyed Steed has been manufactured using the original process of industrial manufacture, a technique that has been in practice from 1st April, 1960—when the first pair of Dr. Martens rolled off the production line in Wollaston, England.
The Dr. Martens x Norse Projects Steed collaboration (from £200) is available online now and in-store at END, Newcastle from May 7th.
JAEHA, founded by Korean-born New Zealander Jae Kim, is the new ready-to-wear label to know. After moving to London in 2010, Kim gained experience working in the Mary Katrantzou studio before studying at Central St Martins under the late Louise Wilson OBE. Carving out his own aesthetic, he is known for combining abstract forms with layering and texture.
Tell us about how you started designing… When I was 17, I saw all these girls sewing up their ball dresses for their end of year high school ball – pure polyester moment. They needed help – so I decided to take fashion as one of my subjects in high school back in New Zealand.
Why did you decide to move to London?
I met Peter Pilotto and Jean-Pierre Braganza at Mango El Boton competition in Barcelona. Braganza told me I should come to London – so I sent my application to Louise Wilson at Central St Martins MA, and was accepted.
How would you describe your brand?
Premium contemporary womenswear – visually striking garments that combine bold, androgynous cuts with a care free, wearable style.
What’s the story behind the AW16 collection?
Modern pre-Raphaelite women’s wardrobe meets Wes Anderson.
What’s the most valuable advice you have been given?
Collaboration is good when it’s needed.
Where do you see your brand in five years?
Kate Middleton’s wardrobe. Hopefully people can pronounce ‘JAEHA’ correctly by then.
Cancel your plans: for tomorrow, on Saturday 23rd April, Soho’s Brewer Street Carpark will play host to quite possibly the ultimate car boot sale.
Brought to us by The Store, and featuring participants such as Bay Garnet, Laura Bailey, Alex Eagle, Charlotte Olympia, Saffron Aldridge and many, many more – proceeds will be going towards the ever-deserving Women For Women International.
Rifling through the discarded treasures of some of fashion’s most elite has up until now been the stuff of fantasy – but now – it’s a reality. And all for an excellent cause.
Since its inception in 1993, Women For Women International – lead by the fearless Zainab Salbi – has tirelessly been striving to practically and morally support women who have survived the horrors and consequences of war, throughout the world.
And an event such as this, is arguably the easiest way to make a difference to those who need it most.
The event takes place between 1-5pm in Brewer Street Car Park, Brewer Street, London, W1F 0LA. Entry is £10 on the door, and £5 for concessions – cash only.
High street staple providers Uniqlo are about to unveil a brand new collaboration for SS16 with Brooklyn-based artist, KAWS.
The 25-piece collections will see the characteristically playful work of KAWS adorning everything from their line of UT (T-shirts) to totes bags and room shoes.
Due to launch in the brand’s Fifth Avenue Global Flagship store on 22nd April, and then throughout the world and online, customers will have the chance to invest in items adorned with KAWS’ iconic ‘companion’ character, as well as his beloved heart, cloud and double-cross motifs.
Described as one of the most relevant artists of his generation, KAWS studied illustration in Manhattan in the early ’90s and has now become well-versed in, and known for, his street art, graphic and product design, paintings, murals and large-scale sculptures.
Caine London is the new cult denim brand on the scene, brought to you by musician/stylist duo, Matt Allchin and Hayley Caine.
The AW16 collection, ‘Rub-A-Dub’, consists of handcrafted denim jackets and jeans as well as embroidered sweaters and shirts, and is inspired by everyone’s favourite place: the pub. As a concept, it takes you on a cheerful crawl from ‘The Rising Sun’ to ‘The Half Moon,’ where you’ll shoot some pool and try your luck on the fruit machine; which, coincidentally, is a print which features on one of their shirts.
Combining ‘ye olde pub’ references with their ’90s grunge silhouette, we want to join their party…
How did you meet?
We met in 2013 in a pub in Peckham, Matt had been up all night at a friends party and had a picture of Martin Sheen in his pocket. Hayley was so impressed she hasn’t left him alone since.
Tell us about your collection: ‘Rub-A-Dub’…
The collection, like our meeting is based around the good old-fashioned English boozer. We used some of our favourite pub signs and names as inspiration. We’re constantly being inspired by things around us that don’t seem to be there or appreciated anymore. Our last collection was based on Canal Art and this time we were drawn to the signs above old English pubs, this again seems to be a way of life that is disappearing. It’s hard to find a pub that you would recognise as a traditional pub these days, we wanted to celebrate this.
What’s in the name?
It’s cheeky really it is cockney rhyming slang for ‘pub’. Other options were ‘nuclear sub’ or ‘battle cruiser’ – boozer – but they didn’t seem appropriate or fun enough!
Which are your favourite pubs in London? Unfortunately many of them are unrecognisable or closed down but we’re always on the look out for those rare bolt holes where you can only pay cash and the duke box is free like the Man of Kent in Nunhead.
You also cite ’90s grunge as an inspiration behind this collection – who were your favourite bands/musicians?
Obviously Nirvana, Sonic youth etc, but we love all music really. During our long painting sessions at the studio we can listen to anything from Bob Marley to 1930s comedy songs about loving bananas ‘coz they have no bones’.
Which is your favourite piece in the collection and why? You can’t help but smile when you look at The Rising Sun Jacket and he came to represent a turning point in the design process. Once we had that made everything else seemed to flow more easily, we hung him like a talisman in our studio!
You’ve branched out into jeans for AW16 tell us about those… Are there any skirts/dresses etc to follow for next season? The straight and wide leg jeans are super soft and luxe with a vintage look. Next season were ramping it up a notch so expect anything and everything.
If you had to sum up your brand in three words it would be… Stylish, fun and irreverent.
J.W.Anderson doesn’t intend on going out of style any time soon. After showing fabulous mens and womenswear AW16 collections in London (the first of which was live streamed on Grindr, a PR triumph) for his eponymous label, alongside an acclaimed Loewe show in Paris, the designer has the world smitten.
Limited Edition books curated by J.W.Anderson will be on sale
Off the catwalk, his flair for innovation is similarly newsworthy. Unlike contemporaries such as Christopher Kane and Erdem, Anderson has spurned the traditional flagship store vibe, opting instead to run creative workshops at an intimate venue in Shoreditch. His most recent collaboration with image-maker Ian David Baker is the latest treat.
In this collection, the youthful, culturally poignant images from Baker’s canon are married with a range of staple items. From 23rd March, attendees will have the chance to browse scarves, T-shirts, hoodies, knitwear, tote bags, and a blanket, all with a variety of raw-edged cotton appliqué Ian David Baker photographs.
T-shirts bearing Ian David Baker prints are for sale
Additional print material by Baker, such as his Candyfloss Boy poster will also be available, as well as a limited edition book of images curated by J.W.Anderson.
J.W.Anderson Workshops, 100 Shoreditch High Street, London, E1 6JQ
You don’t have to be ‘Gregory’s Girl’ or ‘Bend It Like Beckham’ to make timeless sports classics work for you. In fact, there’s no need to reference any men at all. With the Women’s Super League preparing to embark on another astounding season – and players such as Marie Hourihan, Beth Mead, Jemma Rose and Jade Bailey fast becoming ones to watch – a kick about has never looked so good.
In another of our online stories, we bring you the work of photographer Josh Shinner, with the shoot ‘Match Day’. Working with stylist Siobhan Lyons, they spent a hectic Saturday at North London’s Emirates Stadium and produced, what we think you’ll agree, is quite a lovely study in focus, fashion and football.
Shooting outside the ground before the Tottenham vs Arsenal match – billed as the ‘biggest north London derby in a decade’ – certainly had it’s challenges. For example getting caught up in a scrum with smoke bombs and riot police was maybe a tad more than I’d anticipated… – Josh Shinner
White Wool Poloneck Jumper, Lacoste at Tick Tock Vintage
Creme Harrington Jacket, Beyond Retro
Tracksuit Bottoms, Tick Tock Vintage
Argyle Wool V-Neck Jumper, Fred Perry Archive
Tracksuit top worn underneath
Vest, Vintage Nike
Shorts, Vintage Sergio Tachini at Tick Tock Vintage
Socks, Topshop
Champion Hoodie and all Jewellery, Stylist’s Own
Hooded Anorak, Fila
Yellow Polo-Shirt, Fred Perry Archive
Anorak, Vintage Fila at Tick Tock Vintage
Blue Shirt, Vintage Burberry at Tick Tock Vintage
Scarf, Burberry at Rokit
Beanie, Fila
Tracksuit Bottoms, Ron Dorrf
Socks (as before), Topshop
Trainers, Adidas
Polo neck, Rokit
Sweatshirt and Shorts both Vintage Adidas at Tick Tock Vintage
Red Windbreaker Jacket, Vintage Adidas at Tick Tock Vintage
Red Jumper, Vintage Tommy Hilfiger at Blitz Vitage
White Wool Poloneck Jumper, Lacoste at Tick Tock Vintage
Creme Harrington Jacket, Beyond Retro
Tracksuit Bottoms, Tick Tock Vintage
Tracksuit Top, Tick Tock Vintage
Photographer: Josh Shinner
Stylist: Siobhan Lyons
Hair: Bjorn Krischker @ Frank Agency using Bumble and bumble
Makeup: Gina Blondell using Bobbi Brown
Photo assistant: Jack Somerset
Styling assistant: Emi Papanikola
Model: Martha Rose Redding @ Select
There’s a new generation of British designers making a splash on the scene with bright, bold and idiosyncratic designs. Amongst these rising stars is knitwear sensation Katie Jones. Graduating fro Central St Martins in 2013, her instantly recognisable aesthetic combines playfulness with artisan craft; breathing fresh life into a British style which has for years been dominated by homogenous items from high street chains. Each piece is hand-made in the UK too, meaning Jones is also carving a path for mainstream, ethical fashion.
Currently a part of Selfridges’ Bright New Things series, we caught up with designer Katie Jones to discuss knitting Elvis, crocheting for Craig Green and spinning yarns.
Did you always know that you wanted to be a designer?
Not really, I always liked to customise things as a kid and the obsession just grew from there.
Can you recall your first serious design? What were you doing and being influenced by at the time?
The first time I actively designed anything was a hand knitted jumper with Elvis on the back. It was supposed to be sexy young Elvis and I messed up the pattern and it became fat old Elvis, it was for a sixth form Project based on ’50s rock & roll.
Your aesthetic is very distinctive, where did it come from? And what was it about knitwear that you were drawn to?
My Gran used to embellish everything and only wore pink or bright prints I think this really influenced me as a child. All my family knitted but I think I then became really drawn to it as you can control the whole make process. As you make the whole fabric from scratch you choose colour, texture everything – that’s amazing as a designer.
You’ve worked for John Galliano, Mark Fast and Diane Von Furstenburg, what made you want to start your own label?
I never set out to run my own label. It was a small portfolio project in between seasonal crochet showpiece work I was doing for Mark Fast at the time; it just snowballed after that.
How would you describe the industry at the moment, is it a good time to be an emerging designer?
It’s exciting, there’s lots of change at the moment and it’s hard to guess how it will affect young designers with this move to instant selling after shows. But on the plus side with the growth of social media and Instagram you can really reach such a big audience as an emerging designer and control so much of your PR- it’s really cool to be able to make your brand more of an experience.
Katie’s window at Selfridges in London
How long does it take to make each piece, what’s the process?
All our pieces are handmade so they are pretty laborious taking between 10-100 hours to make. For me its all about the craftsmanship and detail. We dye our yarns and also source colours from designer surplus. I like it as it makes designing more of a puzzle and pushes our designs forward. I like to work with what is most available at the time while having control of picking and hand dying our colours.
Do you ever get halfway through a collection and wish you’d opted for something simpler, like cotton dresses?
Making a cotton dress sounds more stressful to me! I’m a knitter and crafting the collections as we do feels second nature to my design process.
What has been your most ambitious design to date?
Designing and making our Selfridges window for me was the most ambitious and fun project we have done. It was really amazing to be able to make a world to invite people into. We built it all in my tiny kitchen so it was quite a task. The donkey lived on my dining table for a month.
When you’re working, are you designing as Katie Jones or for a particular element of your personality?
I like to think when I design that it’s for myself. I think this is really great as you understand your target market. I usually create a character and a story each season and the collection embodies what they would wear but I think they are a form of alter ego of myself.
What’re the challenges of having ethical and sustainable fashion at the core of your brand?
For the brand I feel our challenges have just been the same as any new emerging designer: production and growth. The only difference is we are finding ways to grow the brand in London rather than abroad and picking our resources consciously.
What was the inspiration behind your AW16 Highland Fling collection?
It all sparked from an image of John Lennon donning an Afghan and sporran and I loved the combo. Highland Fling then became a celebration of traditional Scottish textiles like Aran and Argyle knits, Tweeds and the 60s. We wanted the pieces to empower the craft and pay homage to the babe power of the icons of the era!
You collaborated with Kit Neale how did that come about, and how was it working with a menswear designer?
Kit got in contact telling me he was a fan of my jewellery and it would work for his upcoming season and it went from there. He’s super fun to work with! I just got to play with his fabric scraps and he let me go off and come back with my creations. It was a really great project – how can dressing boys up in big dangly earrings not be fun. I love working with menswear designers, it’s such an exciting time in menswear. That season was really fun and a bit of a menswear focus for me as I was also working for Craig Green crocheting pieces.
What’s in store for the rest of 2016?
This year we are launching our online range, which I’m really excited about working with our Golden Girls Nana Knit Squad on!
Dr Martens have headed some successful collaborative projects lately, like their alliance with Supreme for an Autumn Winter 2015 special collection. This Spring, they will release another collaborative effort, in the form of a low-cut take on the brand’s high-top classic.
Towards the end of March, Dr Martens will welcome their limited edition shoe with cult Parisian fashion store colette. The design incorporates both classic design and modernity, resulting in a fresh unisex style. The design is a special take on their Dr Martens classic 1461 3-Eye boot. The simple shoe is a low-top model, made from soft black leather with an all-over glossy polka dot print and bursts of colour added with the blue dipped lace tips, blue stitching and blue detail at the back of the shoe.
The Dr Martens X colette collaboration was released exclusively in the Parisan colette store on the 27th February, and is due to become available in the UK on the 26th March. The shoe has already sold out on the colette website and is expected to do the same in the UK. The special edition shoes will be sold at £115 from selected Dr Martens outlets such as The Goodhood Store, End. and Hervia.
Paris Fashion Week is not a low key affair. It always has – and remains to be – where a large handful of historically iconic design houses show their respective wares amidst a flurry of theatrics and architectural grandeur. And one of the most memorable of AW16 was Christian Dior.
The fact that the world still awaits the name of a successor to the now departed Raf Simons was momentarily shelved, as the skill of the exemplary design foundations of the house took centre stage. This is a brand with creative and flair at its core, and although an effective ‘lead singer’ of the big fashion band is still yearned for, Serge Ruffieux and Lucie Meier – who worked in Raf’s former team – have more than proved that it’s not necessary for them to have one in place to be able to produce greatness.
This season followed on from the success of January’s couture collection, and was yet another show with a strong focus on the key ‘looks’ of the late Mr Dior, with “black silhouettes as crisp as the sheets of white paper on which they spring to life: dense, textured, embroidered and quilted.”
It also featured “hand-painted dévoré velvets, re-coloured jacquards inspired by one of Monsieur Dior’s iconic sketches” as well as, “fragments of colour, embroidered motifs atop prints, a touch of leopard.” It was a collection in which “everything lies in the mix and the compilation,” according to Dior themselves.
Image by Adrien Dirand for Dior
And the sets? Magnificent. Once again Bureau Batek made made illusion a reality, and used vast mirrors to disorientate in the entrance to the normally so familiar Musee de Louvre. Once you found your way in, it was a journey through spiraling tunnels clad in dulled metallic finishes and burgundy velvet. It’s was both reminiscent – many said it conjured the historic grandeur of a cathedral – and incredibly modern – we suppose, just like the clothes themselves.
Kent-born photographer Laura McCluskey, 29, has been living and working in and around Hackney for the past seven years, enjoying playing with the “feeling of creative freedom it brings.” Her work – which she describes as “honest and relaxed” – is a mixture of conceptual fashion imagery, documentary and pared-back freshness, with a focus on character and personality as opposed to a highly stylised ‘set’.
“I walk a lot and find the clash of cultures inspiring,” she says. “As a visual person, I think it helps to really engage in my surroundings and often ideas are sparked by people and scenarios I see on the street or stories I hear on the bus. I often do street castings for different projects and enjoy shooting portraits of people I find interesting. I enjoy the sense of community, the busy feeling often ignites my imagination.”
Here we asked Laura to chronicle some of her favourite projects to date, and explain how and why they came about.
Bronte
I photographed Bronte at Next models for a story for Pylot magazine. I found a popup restaurant with an Abigail’s Party ’70s themed event, I contacted set designer Alice Hodge who had created the scene. I was working with my stylist friend Issie Gibbons on this and we shot the story within part of the set and surrounding rooms within the community centre it was being held. I loved shooting this story as I am a big fan of finding beauty within the everyday and the location really worked well. Bronte had a really great energy and a real timeless feel that worked so nicely for this story.
Meilyr Jones
I recently shot musician Meilyr Jones. We met at the V&A and took some photos inside on the marble steps. The light was really great that day and we chatted and took some photos. I like these portraits because they feel quite peaceful.
Dreamy Days
A few years ago I was shooting a series of new faces for The Ones 2 Watch. Harry and Leomie were outside in the hallway and I found out they were a couple at the time. We shot some simple portraits of them together and it just worked.
Liam Hodges
I’ve worked with menswear designer Liam Hodges for a couple of seasons. Most recently for his AW15 campaign for his collection ‘Totally Safe Classics’ which explored the everyday reimagined, taking inspiration from the market stall traders in Walthamstow near Liam’s studio. I did a street casting for this and found Jyrrel in Shoreditch. We worked with stylist Harry Lambert and built a set within the studio with tarps and sandwich boards from the show.
Forever my Dreamland: Troy and Chaos
I’ve been shooting a series ‘Forever my Dreamland’ since 2009 in the places I grew up around Kent. I was in Margate shooting some stuff and was just heading back to the train when I walked past this guy and stopped to asked to shoot his portrait. He was walking his dog and just had a really happy face. I found out he was called Troy and his dog was called Chaos. Pretty amazing names. They had such a great connection between them and as I started shooting the dog jumped up for his portrait.
Teeth magazine: Nothing Fits
This story was a collaboration with my stylist friend Helen McGuckin. We’ve worked together on a few projects and we wanted to shoot a story that explored androgyny, shape and form. I think the starting point for this series was seeing Dilara Findikoglu’s graduate collection, we loved the carpet look. We shot Aggy at Next, she really brought a great spirit to the shoot and definitely conveyed the right feeling.
My favourite picture in the whole world
So many artists inspire me, but if I had to pick one of my photographs, then it’d be from from a series I have been working on for the past few years: My sister Grace. I started out taking some photos whenever I visited my mum and youngest sister Grace at home in Kent. After a while I kept looking at my contact sheets and could see her changing and growing up and the series just came together. I took some portraits of her last year on her 13th birthday. This is one of my most favourite and treasured photos, it says so much about her personality and of growing up.
For those perpetually in search of a little sartorial freshness, Stefanie Biggel is a designer to watch. The 31-year-old, who originally hails from Zurich, spent a year in London before deciding to live and work in Athens, and is in the midst of building a successful brand built on desirable separates that are imbued with the fluidity of youth, gender and contrasting mediums. In essence, it’s the perfect collection for ‘generation Y’ – with references spanning Kurt Cobain and Larry Clark films to political correctness and superstar celebrity; the latter a jumping board for her latest collection, ‘Hysteria’.
Here, we speak to Stefanie and showcase some exclusive, never-before-seen images of her creative process for the new season.
You trained in Basel, Switzerland – how was that? What kind of cultural stimulation does it offer?
The education at my university was really good. Also in terms of handcraft. This was always very important to me. That’s why I still make all the samples myself. It’s part oft he design process for me. On the other hand the town was very small and I wanted to leave at a certain point and move on. I can’t be in the same place for too long. This has changed a bit since last year. It was really good for me to move to Greece and slow down a bit.
Stefanie Biggel
How long did it take you define your own aesthetic? Or is it still evolving?
I feel like it’s constantly evolving in a way. It suits my personality. But after seven collections and reaching a certain age I can express myself a lot better and speak out what I don’t like. I’m more relaxed. When you’re insecure people from the industry always try to push you in a certain corner, try to form you. I know about my insecurities and they belong to me and my work. It’s okay to not be perfect.
Descriptions of your work often include the word ‘boxy’ – what is it about this silhouette that appeals to you? ‘Boxy’ ist just one of many silhouettes. They all interest me. One day I feel like wearing a unisex look, the other day I wanna show my body. It depends on the mood and can change constantly.
An exclusive preview from the ‘Hysteria’ collection
Androgyny is a continuous theme throughout your collections – why is that? And how do you think it contrasts with some of your more feminine details? I like experimenting with contrasts and don’t want to create these categories like what’s ‘feminine’ or not. To be a woman has so many different aspects that can’t be described easily. This is what interests me the most. It’s very intuitive.
Exclusive images of Stefanie’s studio
How many people work on your collections? Are you very hands-on in every aspect of the business?
Yes it’s basically just me. I like collaborating with people and share my ideas with them but when it comes to making the actual sample collection, I’ll do it myself. I used to have interns in the past but I sometimes have a very specific idea of how things should be made. I prefer having an assistant that’s evolving with me but moving cities so many times made this difficult. Since my goal is not to make huge collections it somehow works out for me. I simply love working with my hands. But I definitely need people around me like stylists, photographers, and textile artists to create that vision together.
Of course I know a lot about the proper business part too, but I prefer having a showroom agent than selling the collection myself. They’re just more experienced and the whole networking thing is massive. I wouldn’t be able to do that myself.
The ‘Homesome’ presentation in Paris
Who is the most well-dressed person you know? Basically everyone that is authentic in their wardrobe choice.
Do you wear your own pieces? Yes, a lot.
Have you been inspired by another designer over the years? If so, who and why? I wouldn’t call it inspired but there are of course brands I like a lot. Right now it’s Vetements for that new spirit they brought into the industry. I like people that want to change something and not strictly follow the rules.
The ‘Homesome’ presentation in Paris
Who would you most like to see wearing your pieces? Real women that like to change and evolve and like to have fun, are serious, have to struggle and find their way in life.
How would you describe your customer? My customer likes clothing of good quality that you can wear for any occasion and throughout the year.
Do you think that business acumen is as important as creativity in launching your own label? Yes totally. It’s a proper business in the end and you often can’t afford paying someone to do these things for you in the beginning . But I still think the most important thing is to know the right people from the industry. You also need a bit of luck.
The ‘Homesome’ look book, shot by Amanda Camenisch (and main)
If your collection was a song, what would it be?
For ‘Homesome’ probably a Punk song including some strings and techno. A wild mix of everything.
Which Larry Clark movies in particular inspired the latest collection? It was mostly Kids which transported that feeling of being connected to a group very well. You are looking for this as a teenager. You want to be part of something.
How would you like to take your work to the next level? What does the remainder of 2016 have to offer? I just finished my latest collection ‘Hysteria’ and I am getting ready for Paris Fashion Week. I don’t know yet what will come next. I need some space to let things happen naturally.
Is there anything that we’d never see in a Stefanie Biggel collection? I’m pretty much open to anything. There shouldn’t be too many rules.
The eleventh instalment in Miu Miu’s Women’s Tales series comes from Camera D’Or-winning filmmaker Naomi Kawase, and is called Seed.
To celebrate the premiere of the latest in Miu Miu’s pioneering series of films, the brand held an exclusive screening in New York’s EN Japanese Brasserie on Hudson Street last week.
Guests included actress Emma Greenwell (pictured main – who appears in the latest issue of the Twin book) as well as Miu Miu’s spring campaign girl Julia Garner, Emily Ratajkowski, Harley Viera-Newton and Zosia Mamet.
Miu Miu describe Seed as: “a sentimental portrait of Asian femininity,” adding that Kawase depicts it as “primitive, primal and erotic at the same time”.
The film is a whimsical and poetic journey of Sakura Ando’s character from Japan’s Nara to Tokyo, set to an evocative soundtrack composed by Skanknation.
The film, of course, features Miu Miu’s latest seasonal offering, but as with all of the others in this unique series, focusses on more than that. It is about a strong female narrative. It is at its core, a story told by women, and resoundingly for them.
East London clothing store Hostem has moved into a temporary space in Nichol Street for the spring, with the interior inspired by the sculptures of artist Oscar Tuazon.
Located just a minute’s walk away from their original Shoreditch location in Redchurch Street, the gallery interior at 28 Old Nichol Street has been conceived and built entirely in-house. It is an open-plan design, featuring original Chandigarth Pierre Jeanneret furniture and artwork by Lucien Smith, Kika Karadi and Graham Collins. A freestanding timber frame structure showcases men and women’s garments from the likes of Lanvin, Thom Browne, Loewe, Dries Van Noten, Comme des Garcons, Visvim, Yohji Yamamoto and Geoffrey B. Small.
The menswear boutique, which launched in 2010, has earned a World Architect Festival Award for the design of its Redchurch Street store, which over the course of five years has been expanded by five storeys. The temporary site will be used while the Redchurch Street store undergoes further expansion.
To celebrate the opening of their new space, Hostem are running their first ever Instagram competition, with a prize of £5,000. On visiting the Nichol Street store, entrants are invited to take a picture of the new space and to leave their name, email address and Instagram name in the guestbook. An Instagram user will be chosen from those who upload the picture accompanied with the hashtag #HostemSpringStoreE27HR. The competition closing date is the 9th March 2016.
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