There’s been a lot of talk about denim of late: the end of the skinny; the rise of the waist. Be it a kick flare or a crop, top stitch or a drop seam, in 2016 these threads have again moved from staple to statement. But if you find yourself unwilling to forgo your skinnies, or overwhelmed by the choices on offer – then Roger Vivier’s latest collaboration with stylist Camille Seydoux is for you.
Camille Seydoux has reworked Roger Vivier’s iconic Prismick design for SS16
For Spring Summer 2016 Camille, sister of Bond siren Léa, has taken the iconic Prismick design and reimagined accessories solely in patchwork denim. No stranger to wardrobe re-design, Seydoux has applied her red-carpet and couture expertise to the transition piece conundrum. The capsule collection is comprised of platform sandals, ankle boots and evening bags, easy to wear from the start of the day through to darkest night. Timeless and effortlessly chic, give your 501s a rest and sport this denim collection instead.
Available in Roger Vivier stores around the world from mid-Feb 2016.
They say you should never stop learning. Irrespective of age and experience, the theory is: there’s always room to grow, and subsequently, improve. And that seems to be the ethos behind the new Mastered series, which connects some of the creative industry’s biggest names with a network of knowledge-hungry self-starters.
From Tim Blanks to Nick Knight, Val Garlands and Fraser Cooke – who will mentor specific courses in writing, photography, make-up and streetwear, respectively – the Mastered initiative bills itself as an online talent program, which aims to connect those looking to take their career to the next level, with the people capable of doing just that. Thanks to its online platform, it is education on a global scale, and offers access to some of the greatest minds, mentors and all-important contacts books of some of the various industry’s superstars.
One of the most interesting courses on offer, is the aforementioned streetwear program, who recently held a series of panelled-events in London, Berlin (with New York and Tokyo next on the list) – connecting industry experts with those passionate about, and working within, streetwear. It is also one of the only programs still accepting applications for places. So, with that in mind, we had a chat and took some photos with London panelist Carri Munden – in-between her working with Skepta on his new video – to find out what streetwear means to her.
OK firstly, can you tell us exactly what your involvement in the Mastered project is?
Mastered invited me to be on the panel for the London launch alongside influencers from Cottweiler to Gary Aspden. I will also be part of the Streetwear: Mastered programme, giving feedback as an expert to the brands participating.
How would you describe the other people involved as mentors – and why are they important within the realm of streetwear? Fraser Cooke is someone who has universal respect across streetwear, fashion and creative industries. He is also someone who has been something of a mentor to me. He wisdom is incredible and he’s calm and kind.
What do you think the term streetwear means now? How has it changed – if at all – over the years? For me streetwear is style – it is connected to but not defined by fashion. It is above all connected to culture.
What is your earliest memory of streetwear? As a teenager I never fitted into a particular subculture but I was drawn to brands, whether than was Stussy (cult for me growing up), Kappa or even a Metallica logo. I don’t think I was even conscious that they were brands but I was aware of their differences and what they signified.
What was it that drew you to it? I like graphics so I was always attracted to streetwear. I also love music and streetwear is always connected to music. I didn’t listen to Hip Hop, I only learnt about streetwear’s connection to Hip Hop when I moved to London. I grew up on rave, jungle and metal. Stussy for me was part of rave culture but also connected me to the skater boys I always fancied but who thought I was too weird or too chavvy (lol).
Historically, it was considered perhaps a more democratic way of being able to express yourself – be it politically or socially – through your clothing. Do you think that holds true today?
Yes I agree and disagree. I do not care about fashion I care about human connections and style. Style – what you wear and most importantly how you wear it – will never be erased. Humans will dress themselves in whatever they can access and it will alway be about personal expression, communication and status. What has changed now is how we communicate – i.e. the internet and social media. Clothing is still crucial but is now just a part of a constructed identity of “who you are” or more importantly who you want others to think you are.
Why do you think Mastered chose you to be involved in the project? I hope because I have an individual voice. I think I’m in quite a unique position as a creative who has worked across high fashion, sportswear and streetwear; and I didn’t want to draw focus to it but other people have been mentioning it to me, but yes I am a woman…
Are there more women involved in streetwear than people realise? Or is it still a predominantly male-centric field? There are a lot of women in streetwear actually, but I would change that to there are a lot of women in sportswear, in both Nike or Adidas for example there are incredible woman at all levels right to the very top. I have noticed this less in streetwear and I not sure why but as I mentioned in the panel discussions at the London Mastered event, there is something about the very nature of streetwear that is both very formulaic and very masculine – its obsession with one up man ship, whether that is a limited edition collectable piece or a detail on a jacket or a reference in a graphic that only an insider would recognise.
Streetwear is also a culture that has been inextricably linked with music in the past…again, is it still? And if so, are there any particular artists that you feel inspired by – or can see a lot of inspiration being drawn from – right now? The last year I have been working with Skepta, his style is so British / european and so personal to him, it has been exciting for me seeing the influence of that globally. And absolutely artists like Kanye, A$AP Rocky – to be honest they have unprecedented influence when it comes to streetwear and style. It is powerful. We discussed this a lot at the panel discussion – how streetwear and fashion have changed and how they have and can influence each other. Artists like Kanye or Rocky are crucial in this discussion. But for me a lot of – at least within Hip Hop – artists’ connections with clothing or brands goes back to the one-upmanship I mentioned. I like weirdos – artists for whom style is a pure extension of the music and there are no boundaries or definitions when it comes to creativity.
How do you think something like Mastered benefits the people taking part in it? It’s absolutely unique in that you would never have access to these people outside of this program. It’s also unique in because it is online is accessible to any one in the world. This is powerful to me, as I really think to be progressive we need to think outside of these same cites and centres of culture and industry.
Do you think it still rings true – to an extent – that it’s about who you know not what you know? Yes absolutely your network is key, but it is not everything because if you have access to incredible people or connections it is nothing with out something to bring to them. Hard work and most importantly good, unique work is what will get you success.
What are you currently working on? I am not doing collections or showing seasonly with Cassette Playa – I love designing clothes but it will be for other people or I will do collaborations or limited edition drops. I am enjoying being creative in other ways – I’m currently working on creative direction, styling and graphic projects.
To find out more about Streetwear: Mastered and the other courses on offer, visit mastered.com.
For spring summer 2016, Humberto Leon and Carol Lim – creative directors of Kenzo – have chosen the medium of film to produce their wares, with the 10-minute short: Snowbird. Written and directed by Sean Baker – who is still riding the wave of his critically acclaimed Tangerine, which is described as “a dramatic slapstick slice of life of two Los Angeles trans women” – the entire film was shot in what is becoming his usual style: on an iPhone.
Set in the eclectic expanse of ‘Slab City’, in the Californian Sonoran desert, the short shows Theo (played by Lee) delivering pieces of homemade cake to different residents of the unique community. Described as “a Mecca for eccentrics living off of the grid”, Slab City is touted as “a conglomeration of domestic structures cobbled together with all manner of material.”
As opposed to a glossy, all-star ensemble cast proffering a slick and stylised fashion film, as is so often the case, Kenzo and Sean Baker’s take is an altogether real (many of the cast are genuine residents of Slab City) representation of clothes in situ, which “eschews the glitz and glamour of fashion.”
This is yet another string Abbey Lee can add to her acting bow, after a successful role in Mad Max: Fury Road saw her receive much praise last year. Watch Snowbird in its entirety below, and shop the new season collection when it drops at kenzo.com.
Haute couture isn’t something that’s typically thought of as cool. Beautiful? Yes. Incredibly intricate, ostentatiously unique and mind-blowingly accomplished? Yes. Rebellious? Absolutely. But cool? No. Well, turns out, someone didn’t give the seven-strong team behind Christian Dior‘s spring summer 2016 collection that memo.
What was presented to a predictably packed audience in Paris’s Musée Rodin on Monday was as deliciously unkempt as the bookshelves lining the Seine. Despite the departure of Raf Simons – the undoubtedly refreshing and oft-lauded face of modernity at the historic French house – this was a collection of magnificently wearable, works of art.
Starchy silhouettes were compromised with flashes of bare shoulder – not in a calculated ‘cut-out’ manner – but as if the model had been gesticulating too wildly and somehow shrugged one side of her previously ladylike look off. Because of course Dior is ladylike. Even when it’s sending punkish sheer tops layered underneath prom dresses down the catwalk, the hair remains in a perfect side part, and the cheeks delicately rouged.
Christian Dior Haute Couture SS16
In addition to this, hemlines of voluminous silk dresses cascaded messily from beneath embroidered, tobacco-hued wool coats that were just that bit too short, and the breast-plate of stiff tops exploded provocatively in a fanning wave of ruffles around models’ décolletage.
There is no denying that haute couture as a whole, has become infinitely more realistic in its approach to cut and day-to-day use in recent years. Even the handful of super rich clients who buy this stuff have some kind of ‘cost per wear’ gauge. But – that doesn’t mean it’s become boring. Far from it. In fact, the true inventiveness now is in the attitude conveyed by the most beautiful of clothes. As Christian Dior themselves echoed in their statement this week:
“The spontaneous, relaxed Parisienne of today is Couture by nature, down to the smallest details, but modern in spirit. It’s her attitude, her way of moving, her way of simply being.”
For as long as one can remember, men’s fashion has been inextricably linked – and obviously inspired by – music. So it was particularly significant that the autumn winter 2016 menswear shows that recently took over the fashion capitals of the world fell in the shadow of David Bowie’s tragic death.
David Bowie was not just a music icon, he was a cultural revolution. And it is hard, nay almost impossible, to find a single designer who has not paid reference to his work at some point in their career. From the likes of Burberry to Alessandro Michele at Gucci – this season’s AW16 shows were full of acknowledgements for the late star. The former had little time to do anything other than react to the news, and so models were sent down the runway with glitter shadowing their eyes, and even ‘Bowie’ scrawled across exposed palms. While a few days later at Gucci, a simple cardigan was emblazoned with the singer’s name, which is no surprise as it was the Italian fashion house who sponsored the V&A’s 2012 retrospective of his life and style.
But David Bowie, at heart of all the glitter, hair, disguise and self-expression, was a lad from Brixton. A south London boy who knew how to wear a skinny-cut suit. And as such, it was Paul Smith who really knew how to show his creative thanks with his AW16 offering.
Featuring a melee of those aforementioned skinny suits, ankle boots which snuggly snaked their way up trouser cuffs, paisley motifs and bold stripes which adorned both outwear and cashmere knits – it was a riot of British street style from the late ’60s and early ’70s. See how it all played out – but more importantly listen to the soundtrack which so perfectly accompanied it – below.
In spite of labels such as Moschino, Belstaff and Dunhill showing at London Collections: Men, the most talked about designers were the new kids on the block. This year saw a formidable collection of talent at the MAN catwalk. Charles Jeffrey, who runs the notorious night Loverboy in London, walked a collection reminiscent of Vivienne Westwood and John Galliano at their prime. Billowy silhouettes, Rauschenberg-esque handbags and vibrant colours which clashed against earthy browns created an overall aesthetic of dishevelled, debauched beautiful young things of the night.
Meanwhile Grace Wales Bonner set the city ablaze with her collection ‘Spirituals’. Her AW16 collection was sensitive yet full of precise cuts and intricate details, from coloured embroidery on denim knees to golden stitching. Her ’70s silhouettes ranged from red tracksuits to soft collared white shirts, and these were complimented by Swarovski adorned chokers. In all, an ethereal, truly soulful and stand out collection.
Designer Alex Mullins made meta play out of clothes, with faces of friends stamped across jackets and tee-shirts. Tailoring was obscure and architectural, with off-kilter cuts and frayed denim edges aligning to create a staunchly energetic collection, with the rhythms of the city at its core.
Outside of the MAN presentation, designer Josh Reim (pictured main) showed his first ever collection at LCM. His was a pagan inspired presentation with personal ancestry at the locus of the designs. Models were placed within a rural tableaux which highlighted the intricacy of the stitching and complimented the muted palette on show. All eyes on this new crop of talent, promising to carry the torch where McQueen & co blazed before them.
Suave, salient and immeasurably slick London Collections: Men certainly epitomized the it in British Fashion this season. Over four days, the AW16 collections unfolded to reveal a line up of bold, clever and thoughtful designs that will have sartorial hounds and innocent laymen baying for blood in the months to come. Overall there was a sense of confidence and attitude: a thoroughly British, slightly grungy and often playful aesthetic which could afford to be irreverent because it was so smart. The collections were many and the quality was high though stand-out designers included Matthew Miller, CMMN SWDN, Alex Mullins, Craig Green and J W Anderson, who’s designs managed to make gold-toothed A$AP Rocky’s attendance at the show feel underwhelming in comparison.
The Aesthetic
One noticeable trend was focus on the elements and the natural world. Craig Green delivered an acclaimed collection once again. This time he wove his signature sculptural forms closer onto the body with the theme of protection as the inspiration. Buttons and ties were used to beautiful effect, embodying a sense of vulnerability against the elements. This, combined with the natural tones of mossy greens and terracotta hues, rendered Green’s AW16 collection both romantic and ethereal. Emblazoned with a similar mandate, Christopher Raeburn turned to the wild, with a Mongolian inspired collection. Models walked with oversized bum bags, patterned sweatshirts and extreme parka coats, worn open with stand-out rucksacks. Also of note were the highly covetable and timeless bombers mixed against some gigantic shredded ponchos. At Cottweiler, the duo looked to the natural world as well. Inspired by a youtube fetish that involves wading through mud whilst fully clothed, the collection featured high waisted waterproof trousers alongside neutral bomber jackets.
A military thread also ran throughout LCM, embodying the duality of male identity. The duo at Casely-Hayford shook up standard outwear thanks to a re-imagining of military uniforms. Under the title Irregimental Youth, the collection spanned eras, from the ’60s through to skinheads and ’90s rave culture. Long, khaki jackets were adorned with patch-work denim whilst others were split at the back, creating a lizard-like tail that, though perhaps impractical for the commute, was genuinely imaginative and forward-thinking. Notable mention should also go to the vibrant colour scheme inspired by psychedelic images of the Beatles’ Sergeant Pepper album. Turquoise jackets and acid bright suits ensured that Casely-Hayford kids will always bring the party. Over at McQueen, Sarah Burton created a signaturely baroque collection, showing expertly tailored red jackets embroidered with black beads. On Monday, Xander Zhou lent a glam spin to the same theme with a wide-shouldered, cropped jacket.
Christopher Shannon AW16
The Influences
At Christopher Shannon, the designer took inspiration from suburban ’80s Liverpool, updating the aesthetic and creating a new set of local heroes for 2016. The collection was awash with bright colours. Highlights were the oversized vinyl jackets in plastic pink, crisp, pastel boxer shorts and high neck anoracks with zip detail. The design duo at CMMN SWDN, Emma Hedlund and Saif Baker, drew on feelings from the late ’70s and early ’80s to create a collection around the title Domus. Looking to the warm, comforting feelings associated with ones own home, the pair contrasted the retro influences with modern fits. Key pieces included a pony skin jacket, an orange suede jacket with a signature ‘c’ tag in tortoiseshell on the pocket, and a mid-length leather piece that had audiences weak at the knees. As ever with CMMN, the cuts were dexterous, with silhouettes spliced together in unexpected ways. The high waist, high neck combinations made a particular impression.
Matthew Miller’s much talked about collection elucidated ideas of Nouveau Riche, stripping the term of it’s old meaning and associating it with the ”cultural capital” of his generation. Cropped box jackets were layered over longer out—wear with pieces pulled together by thin straps at the waist. It was a challenging collection, one that drew on the old to traipse over it with new. The stand out design was the Caravaggio ’David and Goliath’ print jackets and shirts which not only embodied his theme but added a heightened sense of unease to the overall aesthetic. As at Agi & Sam, Miller walked both male and female models, compounding the idea that gender-less fashion is the future.
If some designers spent this season searching through history, J W Anderson bucked trends and embraced the pace and power of change. His AW16 show was a melding pot of ideas, influences and aesthetics, underpinned by a re-invention of casual-wear. Highlights included polka dot faux furs, cropped white knit trousers with button detail and silk printed suits. The recurring motif was that of a snail, a cartoonish and ironic nod to the fast-paced fashion world. A cartoon cat from the 1920s also made a recurring appearance. It was an energetic collection, both dark and playful, which will define how men dress for seasons to come.
Although still in its relative infancy when compared with some of the other international fashion weeks, London Collections: Men – or LC:M for speed and ease – is rapidly gaining momentum. And a highlight of this season was Twin favourite Paul Smith, who lived up to his iconic British status and served up a playful slice of eccentric nostalgia.
Casting his magpie eye back to 1970, when he opened his first shop, the designer presented his autumn winter 2016 wares in an exact replica of his original three metres by three metres store. In among a riot of charming bric-a-brac lay joyous prints influenced by a pile of cycling jerseys, a bold new bag inspired by the Argentine tango, as well as an array of his seasonally expected – and universally appreciated – tailoring. He even smacked the detailing from the facade of his Mayfair outpost on a selection of leather goods.
This season’s offering was staged at none other than the Pace London gallery, which has continuously served as inspiration for Paul throughout the years. Currently home to work from the like of British triumvirate John Hoyland, Anthony Caro and Kenneth Noland – it was yet another source for the acclaimed British designer to draw inspiration from.
Fashion is a business that can very often take itself a tad too seriously, so thank the stars for people like Paul Smith, who know that a sense of humour – and the ability to find inspiration in absolutely anything – are the ultimate palette cleanser.
You don’t have to have Instagrammed Corrine Day’s iconic Kate Moss shoot for The Face to know that youth culture has shimmied around fashion’s dance-floor since time began, throwing shapes and intoxicating every wisened creative as it went. Whilst Joan Didion for Celine may have piqued an interest for a mature, savvy model, really it’s the arresting, intangible power of youth that continues to enthrall the industry. From Friday, London College of Fashion will celebrate this preoccupation in an all-star exhibition Mad About The Boy at the Fashion Space Gallery.
With a timely opening on the first day of London Collections: Men, Mad About The Boy promises to cast a discerning spotlight on the relationship between fashion and beautiful males. If the subject alone didn’t have you intrigued, the fact that it’s curated by SHOWstudio’s Lou Stoppard definitely will.
Thanks to contributions from game-changing designers and creatives such as Raf Simons, J W Anderson, Nick Knight, Meadham Kirchhoff and Larry Clark, the exhibition is set to continue last year’s legacy of mixing fashion and art (did you already forget about McQueen mania?), to great effect. Attendees can expect a sensory experience thanks to audio recordings of designers and photographers discussing their memories alongside editorials, films and select looks from seminal collections.
To mark the drop of their Resort collection this week, Etre Cecile have released a series of tongue-in-cheek 15 second mini films, playing on the label’s French (or lack thereof) heritage. Featuring a number of the brand’s key faces – from Tallulah Harlech to Laura Bailey and Pandora Skykes – as well as bright young things brought in through street casting, it is a playful way to celebrate yet more of their cool girl clothes hitting the shelves.
Founded by Yasmin Sewell, Jemma Dyas and Kyle Robinson, Etre Cecile has fast become a staple for women seeking a little je ne sais quois on a daily basis, thanks to their witty T-shirts, riotous prints and general fashion tomfoolery. And here, Yasmin tells Twin a little about this latest project:
“We wanted to bring together our diverse mix of Cecile girls in this film series, the french language theme thing is just our ongoing joke that well….we’re not really french at all! We street cast most of the girls mixed in with some well known faces who have been amazing ambassadors since Day One. We’ve never wanted to take ourselves too seriously as Etre Cecile was created so we could have easy fashion pieces you can feel unpretentious…but impactful in. Just like all our girls…” – Yasmin Sewell
Watch Tallulah Harlech flex her French skills in one of the videos below, and check out this link to see more. The best news of all? All of these pieces are out just in time for Christmas, and have gone straight to the top of our wish lists.
Ever since Roksanda burst onto the scene in 1999, the CSM graduate has been making a name for herself with bold, sleek and playful designs. This season she received particular attention for her effervescent jumpsuits and perfect cropped flares and we’re counting down the days until we can start sporting her SS16 collection. But to stop the gap until next summer the Serbian born designer has launched her debut jewellery collection, out today.
A covetable piece from Roksanda’s debut jewellery line
This is the latest in a range of RTW offshoots which includes blossom, her children’s line and a swimwear range. The collection is classically Roksanda, with surprising and thoughtful pairings of geometric and organic forms that clearly pay homage to her architectural training.
Available exclusively in her Mount Street store, the collection consists of earrings, brooches, necklaces and bracelets, all of which are gold plated. Dropping just in time for Christmas, we’re adding them to our dream wish list.
Prices start from £510. Roksanda, 9 Mount St, London W1K 3NG.
“This is a challenge to where fashion is currently—a new feminine ideal,” says Kanye West, as his first adidas Originals collection – Yeezy Season 1 – launches around the world on 29th October.
Comprised of both voluminous and second-skin like proportions – the former generally on top, and the latter below – West reiterates the practicality he had in mind with these pieces, describing the easily interchangeable capsule collection as “solutions-based” and akin to Lego. Ultimately, he has, quite literally, aimed to create a series of uniform building blocks, from which his customers can construct a daily identity. “I don’t want the clothes to be the life,” he stresses. “I want the clothes to help the life.”
So what of the garments themselves? They are undoubtedly useful, bar perhaps the aforementioned body-suits, which although editorially striking, may be a little more tricksy to work into any typical circumstance that initially springs to mind. The inky, generously hooded shearling parkas are instantly desirable, as are the gnarled army surplus knits and cotton tanks in that perfect shade of smokey anthracite. But it’s the unisex, outsized sweaters, beautifully constructed yet rough around the edges, that you could really see yourself wearing forever.
West has been clever. He has put just enough of himself into this collaboration – hero pieces such as the camo separates and drop shouldered bomber jackets smack of recognition with “West: the brand” – to make it aspirational, yet left the collection canvas-like in it’s quality, so that customers can see themselves in it too, without having to try too hard.
The decision to have a mass release of the collaboration, as opposed to a staggered global drop seems an obvious one, especially when you consider the transient purposes West had in mind when designing. “I wanted something that felt like New York or Paris or Tokyo or Santa Barbara or Chicago—a worldliness and an ease.”
Rounding off the collection are a number of new footwear releases, the highly anticipated Yeezy Boosts 750 and 350 as well as the Yeezy 950 boots for men and platform snow boots for women. Roll on winter.
adidas Originals by Kanye West – Yeezy Season 1 is in stores now. Prices start from $130.
If the draw of Roksanda and Celine wasn’t already pulling you by the coat hem towards London’s Mount Street, then perhaps the irresistible lure of fleeting fancy might do the trick. Last week, Christian Dior opened a rather permanent-looking pop-up on the well-heeled avenue, to satisfy and intrigue both regular and window shoppers alike, while work is completed on their Bond Street London flagship.
As one would expect, Raf Simons riffed on the lineage of the great fashion house for the aesthetic of the premises. While nodding to their historic 30 Avenue Montaigne with the shop’s clean, grand Victorian exterior, inside he thrusts customers into a forward thinking, contemporary space of mirrors (by Hubert Le Gall), floor to ceiling digital screens and eye wateringly cool furniture, such as the Nuage table by Guy De Rougemont and a beautiful sofa by Vladimir Kagan.
On said digital screens, is a recurring loop of Simons’ a/w 2015 twisting and distorting animal print – more abstract camouflage than straight-up cheetah. Again, it is a fitting tribute to the past – Dior is said to have ‘invented’ animal print in 1947 – with the smart touch of the brand’s new, new look.
With autumn/winter’s ready-to-wear, accessories, footwear and leather goods linings shelves and hanging deliciously from racks, eager to be slipped on in the pink (of course) changing rooms at the centre of the store – this is a temporary treasure trove worth pillaging. And despite the abundance of camo, when strolling through Mayfair you’ve little chance of overlooking this momentary gem. Please ensure sure that you don’t.
20-year-old, London-based photographer Ash Kingston recently went on his first trip to New York, returning with a bounty of photographs that have seen him likened to Juergen Teller and David Bailey. Juxtaposing dynamic pictures of up-and-coming models with snapshots of his time with them, the resulting work speaks of youth, energy and, above all, fun.
Citing Hedi Slimane, Robert Mapplethorp and Twin’s own Matteo Montanari as his main influences, Kingston is entirely self-taught. When his dreams to become a chef didn’t work out, he started shooting using his mother’s camera, photographing friends whose aesthetics appealed to him. Having spent the summer behind the camera, he ended up dropping out of Sixth Form to pursue his new-found passion.
‘I choose subjects because of their personality, particularly if I can have a laugh with them. I try to shoot people I’ve already met. It’s boring but I’d love to shoot Kate Moss – I’d have to meet her first though in case I couldn’t stand her,’ Kingston says.
Working with digital – it’s much more efficient – Kingston prides himself on treating it the same way as the film, taking only a few shots for each look. The perfectionist approach will soon be translated into a book featuring photos from his travels. In the meantime, look out for more images from Ash here on the Twin blog and Instagram.
The Female Frontier: Hats On with Tasya van Ree and Stetson
The late Louise Wilson (course director of Central Saint Martin’s Fashion MA) once said in relation to her students, “They should be bringing me a book or something that I haven’t seen, not like some obscure chant book by Dominican monks, but an image of the way they see the world.”
For LA based artist and photographer Tasya van Ree, the way in which she sees the world is something every young dreamer could draw inspiration from – with a vision which explores the inner workings of the human spirit, the human form, landscapes, nature and animals – her work is a visual and emotional journey translating deeper connections with the intelligence and beauty that exists all around us.
With such an engaging creative sensibility, it’s no surprise she’s been propelled into the public eye as everyone’s latest art crush, resulting in solo exhibitions in LA, New York, and Paris – Girl power yet again challenging the exclusionary structures which frame the industry for female artists.
With her unique and often sartorial style, her affinity for hats has also not gone unnoticed, which is why iconic US brand Stetson invited her to collaborate with them for their 150th-anniversary.
“Tasya van Ree is an ideal collaborator for Stetson”, says Izumi Kajimoto, the brand’s Chief Executive Officer. “She looks strong, empowered, and captivating in her hats, which is something that also comes across in her extensive body of work. Stetson has always been a part of contemporary culture and we’re excited to continue to work with artists whose visions relate to our brand.”
Taking one of Stetson’s vintage felted styles as a blank canvas, van Ree called upon her artistic flair to create a unique design for the brand – dubbed “The Signature”, the hat is an effortlessly stylish and structured piece of modern minimalism – in itself, a work of art.
We caught up with van Ree to find out more about the collaboration with one of fashion’s most enduring brands, and her plans for the future.
So tell me how you got involved with Stetson for this project?
I’ve worn a vintage Stetson for years and have been photographed in it quite a few times in the social media realm. Through that exposure we began a dialogue and soon after, the collaboration was born.
And what was the inspiration behind your hat design?
Horses. I wanted to design a piece of art that reflected their intelligence and also that captured the beauty of their philosophical language of power, their sensuous lines and their majestic sense of spirituality and danger.
What was the creative process like for you?
Combining the world of fashion and the natural world was quite seamless. They both operate on the same level. It was just a matter of finding the moment through sketches where the influence of an emotional state of mind connected to an image of artistic appeal. It was a process, and after a good amount of time “The Signature” hat was drawn out and created.
So does it feel like you’re officially an ambassador for hats now?
“Ambassador” sounds really formal, I just really like wearing hats!
Hats are an extension of ones self, the minute you put one on, it becomes a living part of you – what is the quality that makes the hat come to life for you?
There is a harmony between my physical appearance and my internal existence. My hat is the conductor that creates this relationship.
So would you ever go all out and do an ‘Isabella Blow’ then, and wear something outlandish, just to move away from your signature comfort zone?
I’ll do anything once!
The English have an inbuilt understanding of the peculiarities of life and that’s often expressed through fashion – living in LA, how would you describe the dress codes there?
Objective.
What about defining your own style?
Half Japanese / half Dutch.
Yes, I can see how you’ve shifted towards a more conceptual approach in your style vocabulary. So do you think you’ll move on to other fashion collaborations in the future? Absolutely. I’ve fallen in love with the collaboration process. I’m open and would love to join forces with other creative minds in all forms, whether it’s in fashion, art, music, etc.
Let’s talk more about art and photography – I read recently that over 50 new galleries have opened in the last two years in LA. It’s always been a cultural mecca for creativity, but it must be cool to see the city now really embracing and shaping art?
Art is elemental in the progression of a culture’s evolution. I’m really interested to see what profound changes LA will make as the art world becomes more and more pronounced here.
And has there also been a shift towards those galleries supporting and exhibiting work by more female artists?
I feel as if they have. I’ve been going to more openings and shows that are exhibiting female artists. Much more than in the past.
Are you planning any new exhibitions of your own work?
Yes, I have a photo exhibition with The Curator LA next month and also in Paris at the beginning of November. And later in the year / early next year, an artist residency show in Mexico.
So talking of exhibitions, Annie Leibovitz is returning to her project ‘Women’ and is now going to tour a show documenting portraits of 21st century females, to present how women’s roles are changing in a new feminist society.
Who would you personally like to see in that roll call?
Every woman in the world should be photographed for this project. Every one of them has a voice that is changing the world in which we live in on a daily basis.
“The Signature” by Tasya van Ree for Stetson style will be available from October 2015 at stetson.com. Photo credit: Anais & Dax anaisdax.com
Many brands have attempted to fuse fashion with technology, almost always resulting in clumpy items that feel redundant. However, when we were introduced to the recently launched handbag label, Gianoi, we knew we had something truly different on our hands.
Design duo Enrico and Raffaele Caroli, have taken their respective skills – one in design and one in technology – and created a line of luxury bags that fit into our modern lives in a way no other accessory has to date. The main feature not only allows us to charge our phones, a struggle of contemporary life, but by using the Gianoi app, the bag acts as one big notification center, alerting us when we have an email, phone call and even an Instagram comment, like or message. Each bag features a gold-plated logo which discreetly lights up and gently pulsates to keep you connected in a chic and colourful way. Through the app you are able to allocate different shades for every social media channel, making it effortless to use and understand.
The current collection is available to pre-order now, however, Twin was lucky enough to road test one of their prototypes for a week. Not only did the elegant design and flawless finish complement each outfit daily, but the lifestyle element became something we found hard to part with. Being able to charge our phones on the go was a commodity we became very accustomed to. We were able to fully charge our phones twice before the bag itself ran out of juice. To keep the bag functionality, we simply placed the bag on a thin, flat branded unit that magnetically attached to the bottom and charges wirelessly, making the whole process seamless. Having a bag that told us when we had an incoming phone call or email, made keeping up with modern life that much easier. We’d even go as far to say our Nadia (pictured above), aided our productivity that week.
When speaking to Raffaele Caroli, the former Design Director for Jean Paul Gaultier, he stated “Our offering is very unique because we have combined fashion and technology, creating high quality beautiful accessories that are also functional without compromising on the aesthetics. We are different from wearable technology companies because we have been focusing on designing pieces that women want to wear and use and look good with, rather than an item that just serves a technology purpose.”
The word Gianoi itself, as well as the logo, was inspired by Janus, the ancient Roman God of transitions, referenced in history with two faces – looking to the past and the future. The designers “believe that in the future wearable technology will become part of our every day lives, integrated into almost every aspect of the way we live.” Gianoi is just the beginning.
Talking to Mayan Toledano and Julia Baylis, the best friends behind Me and You
What started as two design students connecting over their love of everything girly, and their dislike of the elitism and limits imposed by fashion school, led to the creation of Me and You—a fashion label with a cult following. Mayan Toledano and Julia Baylis are the best friends behind the label known for its beautifully simple underwear emblazoned with ‘feminist’ in pastel pink lettering, floaty tulle dresses, and fitted T-shirts covered in lipstick kisses.
Me and You began while Baylis and Toledano were studying at Parsons School of Design in New York. “We started collaborating on art pieces because we really liked the print studio at our school and it was a good getaway for us from regular class—because we hated it,” says Toledano. “It was very business oriented,” adds Baylis. “It was either become an assistant designer or become the next big thing, but we really wanted to design stuff that is accessible.”
“We always say that Me and You is about going to that place when you’re a young girl and you’re sitting in your room, where you feel safe and comfortable and creative.”
Snatching time between classes and assignments, their collaboration continued to develop. But it was the response they received on social media that really pushed the best friends to take it from escapist pastime to an actual business. “We didn’t sit down and decide to start a clothing label together, it was very organic,” says Baylis. “We began to print pieces and then our friend Petra [Collins] photographed some of our stuff, we put some of it on Instagram and people were commenting on our work and getting excited about it.”
The internet has been a critical space for the fourth wave of feminism, and Me and You has found a dedicated fanbase among young females who aren’t afraid to call themselves part of the movement. While some brands have tried to use feminism in cynical, attention-seeking ways at a time when it’s getting renewed interest, for Toledano and Baylis it is instinctive. “The idea of feminism was always so natural to me, I don’t even remember first becoming aware of the word,” says Baylis. “The perception of the word has changed so much, it has and morphed through each wave of feminism.” This is what lead the duo to incorporate the word ‘feminist’ into their designs in the way that they have. “We decided to take that word, which is so loaded, and use it in a fun, accessible way, in a pretty way, making it something that girls can relate to,” says Toledano.
Those tired of homogenous fashion imagery so far from a representation of themselves are turning to a new era of creatives unafraid to offer up a different vision—like Baylis, Toledano and their collaborators, who include Barbara Ferreira, Petra Collins, Arvida Byström. The imagery created for Me and You, which is as much a part of the brand as the clothing, stands out for the diversity of girls—and occasional boy—featured. “Who we photograph is never calculated, it’s just people we see in real life or on Instagram,” says Toledano, “We would never airbrush our images, we show cellulite and whatever.” They have no qualms about body hair either, but point out that they see shaving as just as valid—what’s important is knowing that it’s a choice.
‘The idea of feminism was always so natural to me, I don’t even remember first becoming aware of the word.”
With Me and You, Baylis and Toledano have created a world of comfort, vulnerability and the freedom that comes with having total support from a community of like-minded individuals. That is perfectly encompassed by how they describe their label: “We always say that Me and You is about going to that place when you’re a young girl and you’re sitting in your room, where you feel safe and comfortable and creative. We always reference that place because we think that exists within everyone. It’s that place where you feel uninhibited, you feel yourself.”
Falling/ Floating/ Drowning/ Dying by Phoebe English
The brilliant designer and Twin favourite Phoebe English debuts her book, Falling/ Floating/ Drowning/ Flying today to accompany the exhibition of the same name, on at Now Gallery on the Greenwich Peninsula.
English is known for her intricate, meticulous creations and the exhibition provides a fascinating insight into her design process, featuring sketches, photos and fragments from her previous collections.
With such painstaking attention to detail, the book is sure to be beautiful—but only 100 copies have been made, so make sure you get your hands on one.
We’ve already declared our love for Matt & Nat’s über chic, eco-friendly designs here on the Twin blog, but the brand is now going one step further and producing bags with a double dose of goodness.
100 % of the purchase price of its limited-edition Hope bag (£50, pictured) will go to a charity of your choice, although Matt & Nat has conveniently curated an extensive selection of environmental, humanitarian, and animal welfare organisations that it feels best represent its values of social responsibility, inclusiveness, integrity and love. Head to their website to find out more.
As ever, the bag is created from an entirely recycled, sustainable material that mimics leather. What’s not to like?
22-year-old Tabea Weyrauch was born in Hamburg but moved to Northern Ireland at age 6 – she describes herself as slightly culturally confused. Scouted at 17, she appeared on ‘The Model Scouts’ TV show and has never looked back. Photography by Sophia Aerts.
On London
My favourite place is Regent’s Park. But London has so many beautiful parks that it’s hard to choose! I prefer green spaces over concrete; I love how people change their behavior and relax in the presence of nature. I try to walk as much as possible, and will always try to detour through a park.
On style
My style is sporadic. One day I’ll dress like a teenage boy, the next I’ll put on a classy dress. I just follow my mood. I have a beautiful silver ring that my mum gave me that I am never without. I’d feel naked! I usually head to vintage shops or Zara, but the big name designers that I admire the most are Nicolas Ghesquiere and Karl Lagerfeld.
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