INFINITE Trends Spring Summer 2019 by 2g2lparis

inirfiatinoniste insp spring summer 2019

ear actors of the textile industry, by crosschecking groups of thoughts, aesthetic currents, social influences, anthropological and artistic events, our intention at present is to offer you our current vision of future synergies. Fashion’s influences of the society-to-be. For us, the artist is the center of creation, he crystallizes the doubts and hopes of our civilizations. This is why it appears that the artist holds the truth. Not the absolute truth, which probably does not exist, but the truth regarding a view of the world. There are many visionaries in this world; it’s up to each person to read them in his own way… Let us name some of them to you. Professional expertise on image, style, authors and the cross view of creative personalities, proposes an overall vision of the world of tomorrow here: our trends. We wish you happy reading.

hers acteurs de l’industrie textile,à travers le recoupement de groupes de pensées, de courants esthétiques, d’influences sociales, de manifestations anthropologiques et artistiques, notre intention présente est de vous offrir notre vision actuelle des synergies futures, influences de mode de la société en devenir. Pour nous, l’artiste est le centre de la création, il cristallise les doutes et les espoirs de nos civilisations. A ce titre, il apparaît que l’artiste détient la vérité. Pas la vérité absolue, qui n’existe probablement pas, mais la vérité d’un regard sur le monde. Nombreux sont les visionnaires en ce monde ; à chacun de les lire à sa manière… Laissez nous vous en citer quelques uns. L’expertise professionnelle de l’image, du style, d’auteurs et la vision croisée de personnalités créatives, propose ici une vision synthétique du monde de demain : nos tendances. Nous vous en souhaitons une bonne lecture. Louis Gérin & Grégory Lamaud Texworld Art Directors

editorial édito

general’s introduction

introduction générale

Too different for universalism. Too similar for individualism. What will our identity be tomorrow? The old codes die from their rigidity. Nations, religions, sexualities, ethnic groups no longer reflect our personalities which have become multiple, moving, adaptable. The latest conflicts arise in archaic forms. Like a desperate cry. A last mobilizing groan before disappearing for good. Because we have become the contact point of a thousand tribes. Abolishing time and space, we redefine ourselves one hundred times per day. From now on the communities take shape with each of our gestures. What we eat, how we move, what we look at… each moment binds us to a new family. The bubble of our identity stretches and becomes deformed at will. It binds and unties those next to it in a snap of the fingers. The world has become too multiple to be rigid. A Mormon and a transhumanist do not live in the same era, but share the same moment. The age of demands is bygone. So is that of conflict. Too many possibilities, too many entanglements. We are witnessing the birth of the era of coexistence. Hence, each human being bears its own universe. It is neither the same, nor really that different from its neighbor’s. Parallel universes exist. They are called Humanity. And its possibilities are infinite…

Trop différents pour l’universalisme. Trop semblables pour l’individualisme. Quelle sera notre identité de demain ? Les vieux codes meurent de leur rigidité. Les nations, les religions, les sexualités, les ethnies ne sont plus le miroir de nos personnalités devenues multiples, mouvantes, adaptables. Les derniers conflits éclatent sous des formes archaïques. Comme un cri désespéré. Un dernier râle mobilisateur avant de disparaître définitivement. Parce que nous sommes devenus le point de contact de mille tribus. Abolissant le temps et l’espace, nous nous redéfinissons cent fois par jour. Désormais les communautés se dessinent à chacun de nos gestes. Ce que nous mangeons, comment nous nous déplaçons, ce que nous regardons... chaque instant nous lie à une nouvelle famille. La bulle de notre identité s’étire et se déforme à volonté. Elle se lie et se délie de ses voisines en un claquement de doigts. Le monde est devenu trop multiple pour être rigide. Un mormon et un transhumaniste ne vivent pas la même époque, mais partagent le même instant. Le temps des revendications est révolu. Celui des conflits aussi. Trop de possibilités, trop d’intrications. L’époque de la coexistence est en train de naître sous nos yeux. Chaque humain porte désormais son propre univers. Ni tout à fait le même, ni vraiment différent de celui du voisin. Les univers parallèles existent. Ils s’appellent Humanité. Et ses possibilités sont infinies...

sets of thematics sets of trend’s concepts star colors

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thématiques 4 trend concepts

star colors

general’s introduction introduction générale

general’s introduction

introduction générale

sets of thematics sets of trend’s concepts star colors

4 18 53

thématiques 4 trend concepts

star colors

general’s introduction introduction générale

den

…We are leaving Plato’s cave and see the light for the first time. We leave the creations of the past behind. Rock remains. Remnant of man eager to leave his imprint on his territory. Animal instinct. This piece of land by which it was formerly entirely defined…

tanière

... Nous quittons la caverne de Platon et voyons la lumière pour la première fois. Nous laissons derrière nous les créations d’antan. La roche persiste. Vestige d’un humain désireux de laisser son empreinte sur son territoire. Instinct animal. Ce bout de terre qui le définissait jadis entièrement... 2

abyss

To turn back is to contemplate that black hole from which we stem. Centuries, millennia of an evolution consisting of merely one combat: that of emancipation. That of the species initially, then nations, communities and finally of individuals. And when each and every one is entitled to be what it wants, it is humanity in its entirety that redraws itself and leaves the old world at the bottom of its abyss…

abîme

Se retourner, c’est contempler ce trou noir d’où nous venons. Des siècles, des millénaires d’une évolution faite d’un seul combat : celui de l’émancipation. Celle des espèces d’abord, puis des nations, des communautés et enfin celle des individus. Et quand chacun a le droit d’être qui il veut, c’est l’humanité entière qui se redessine et laisse l’ancien monde au fond de son abîme...

1. Kristina Dam Studio kristinadamstudio.dk 2. Miguel Marquez Outside serie « Suspended text » miguelmarquezoutside.com 3. Photo by Devin Rajaram on Unsplash

1. Photo by Annie Spratt on Unsplash

2. Photo by Friso Baaij on Unsplash

4. Viktor Popović Untitled, 2008 iron, used motor oil 92.5 x 150 x 175 cm (photo: Zoran Alajbeg) viktorpopovic.com

3. Photo by Daniel Drewniak on Unsplash 4. © iStock

infinite infini

abyss - den abîme - tanière

den

tanière

abyss

abîme

1. Kristina Dam Studio kristinadamstudio.dk 2. Miguel Marquez Outside serie « Suspended text » miguelmarquezoutside.com 3. Photo by Devin Rajaram on Unsplash

1. Photo by Annie Spratt on Unsplash

2. Photo by Friso Baaij on Unsplash

4. Viktor Popović Untitled, 2008 iron, used motor oil 92.5 x 150 x 175 cm (photo: Zoran Alajbeg) viktorpopovic.com

3. Photo by Daniel Drewniak on Unsplash 4. © iStock

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abyss - den abîme - tanière

crimped

…Today, stone becomes lighter. We no longer need to establish ourselves. Because we are here and over there. At home everywhere. More ubiquitous than nomadic. We no longer travel, we reside in the world. Concrete is like a modern fossil. An attractive curiosity because it is outdated…

serti

... Aujourd’hui, la pierre s’allège. Nous n’avons plus besoin de nous établir. Parce que nous sommes ici et là-bas. Partout chez nous. Plus ubiquiste que nomade. Nous ne voyageons plus, nous habitons le monde. Le béton est comme un fossile moderne. Une curiosité attirante parce que désuète...

3 2

assembly

…We will not add any lasting construction. But we play with the ruins of this old world. Rebuild without taking anything away from this earth, that is tired of us. We tend to dematerialize. The only possible expression of our need for flexibility. The game has replaced the stakes. We toy with what is hard and build using what is unstable…

assemblage

…Nous n’ajouterons pas de construction pérenne. Mais nous jouons avec les ruines de ce vieux monde. Reconstruire sans rien prélever à cette terre fatiguée de nous. Nous tendons à la dématérialisation. Seule expression possible de notre besoin de souplesse. Le jeu a remplacé l’enjeu. Nous nous amusons avec le dur et construisons avec l’instable...

1. E. Bertho -TOPLEST- Béton, fer, fer bombé en jaune 66 x 55 x 90 cm 2015 cargocollective.com/ erwanbertho 2. Erika Hock Wall Breaking erikahock.de

1. AMA = Aires Mateus 2. Studio WooJai PaperBricks Sculpt series 2017 © WooJai Lee woojai.com

3. Photo by Pierre ChâtelInnocenti on Unsplash 4. design : Lovisa Hansson photo : Jens Nordström jensnordstrom.com

3. © iStock 4. © iStock

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crimped - assembly serti - assemblage

crimped

serti

3 2

assembly

assemblage

1. E. Bertho -TOPLEST- Béton, fer, fer bombé en jaune 66 x 55 x 90 cm 2015 cargocollective.com/ erwanbertho 2. Erika Hock Wall Breaking erikahock.de

1. AMA = Aires Mateus 2. Studio WooJai PaperBricks Sculpt series 2017 © WooJai Lee woojai.com

3. Photo by Pierre ChâtelInnocenti on Unsplash 4. design : Lovisa Hansson photo : Jens Nordström jensnordstrom.com

3. © iStock 4. © iStock

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crimped - assembly serti - assemblage

Nouvelle AOM / Luxigon

Symbol of the old world’s urban planning, the Montparnasse Tower in Paris is getting ready to shine in a new light thanks to the group of architects Nouvelle AOM. The French team will revitalize this transparent tower, enhanced with a greenhouse of 18 meters, with a great number of winter gardens in offices and a bioclimatic façade that will bring the highest Parisian skyscraper closer to being energetically autonomous. Kicking off at the end of 2019, the tower should be completed in time for the Olympic Games of 2024. Then becoming the Parisian flagship. The symbol, henceforth, of intimacy between urbanism and nature. Symbole de l’urbanisme du vieux monde, la tour Montparnasse à Paris va entrer dans son époque grâce au groupement d’architectes Nouvelle AOM. L’équipe française va revitaliser cette tour transparente, rehaussée d’une serre de 18 mètres, avec de nombreux jardins d’hiver dans les bureaux et une façade bioclimatique qui rapprochera le plus haut gratte-ciel parisien de l’autonomie énergétique. Débutée fin 2019, la tour devrait être terminée pour les Jeux Olympiques de 2024. Elle sera alors le phare des Parisiens. Le symbole, désormais, de la cohabitation entre urbanisme et nature.

fossilization

…Even common objects are no longer considered contemporary by us. Recent creations are already fossilized. In our need to adapt our world to our new identities, we give up the witnesses of the past. Transfixed, they let themselves be overpowered by the stiffness of their time. Through our fickle lives, we finally see these objects that we believe we see for what they really are: anchors we must aweigh…

breathing

…Nature does not need long to feel that man has left. His smell has hardly faded when the first shoots reclaim their rights. Gently for the moment. Discrete forays that everyone perceives as the first steps of a jungle to come. The ground is no longer our territory…

fossilisation ...Même les objets usuels ne nous sont plus contemporains. Jeunes créations, elles sont déjà fossilisées. Dans notre besoin d’adapter notre monde à nos nouvelles identités, nous abandonnons les témoins du passé. Figés, ils se sont laissés gagner par la rigidité de leur époque. De nos vies volages, nous voyons enfin ces objets que nous croyions connaître pour ce qu’ils sont réellement : des ancres dont il faut se délester... 4

respiration

... Il ne faut pas longtemps à la nature pour sentir que l’humain est parti. À peine son odeur dissipée que les premières pousses reprennent leurs droits. Doucement pour le moment. De discrètes incursions que chacun perçoit comme les prémices d’une jungle à venir. Le sol n’est plus notre domaine...

1. Photo by Olia Gozha on Unsplash

1. Nouvelle AOM / Luxigon The new Montparnasse tower in Paris shows a bright, transparent double skin facade. Architects: Nouvelle AOM.

2. Concrete photo-book Conception and design: Gábor Kasza Graphic design: Dániel Kozma gaborkasza.com

2. Goula / Figuera Studio Viride goulafiguera.com

3. AnZa in concrete by Montaag; anzacoffee.com

3. photo by Egle Cekanaviciute, dress by Egle Cekanaviciute, project «Seed»

4. © iStock

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fossilization - breathing fossilisation - respiration

Nouvelle AOM / Luxigon

fossilization

breathing

respiration

1. Photo by Olia Gozha on Unsplash

1. Nouvelle AOM / Luxigon The new Montparnasse tower in Paris shows a bright, transparent double skin facade. Architects: Nouvelle AOM.

2. Concrete photo-book Conception and design: Gábor Kasza Graphic design: Dániel Kozma gaborkasza.com

2. Goula / Figuera Studio Viride goulafiguera.com

3. AnZa in concrete by Montaag; anzacoffee.com

3. photo by Egle Cekanaviciute, dress by Egle Cekanaviciute, project «Seed»

4. © iStock

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fossilization - breathing fossilisation - respiration

Phabit

Nature is to be preserved. And we are part of nature. Jen-Hsien Chiu, a graduate of the Royal College of Art, imagined Phabit. A connection between man and plant well established in its time. Thanks to his application, the plant, well insulated, receives light and water only if its owner seeks to achieve the wellness goals (diet, sleep, exercise) that he has set for himself. An emphasis on the link between nature’s and men’s health. La nature est à préserver. Et nous faisons partie de la nature. Jen-Hsien Chiu, diplômé du Royal College of Art, a donc imaginé Phabit. Une connexion entre l’homme et la plante bien implantée dans son époque. Grâce à son application, la plante, bien isolée, reçoit lumière et eau seulement si son propriétaire suit les objectifs bien-être (alimentation, sommeil, sport) qu’il s’est fixé. Une mise en exergue du lien entre la santé de la nature et celle des hommes.

safeguarding

…But conscious of the harm we have done, we still try to save what can be salvaged. Scarcity has our undivided attention. Through our various personalities, the infinite number of our communities, we feel the world with far too much acuity to let it die. So, we lock it up to protect it from our contagious contact…

préservation ... Mais conscients du mal que nous avons fait, nous tentons encore de sauver ce qui peut l’être. La rareté

a toute notre attention. Par nos personnalités multiples, par le nombre infini de nos communautés, nous ressentons le monde avec beaucoup trop d’acuité pour le laisser mourir. Alors, nous l’enfermons pour le protéger de notre contact infectieux...

block

…Building permanent structures is but a game now. What is genuine must not stand in the way of our perpetual movement. Solid elements are repurposed, redone, modeled. They nourish our imagination. They shed their insignificance…

bloc

… Construire en dur n’est plus qu’un jeu. Ce qui est sérieux ne doit pas entraver notre mouvement permanent. Les éléments massifs sont détournés, rhabillés, modelés. Ils nourrissent notre imagination. Ils s’allègent de leur futilité... 3

1. OP-Vase by Bilge Nur Saltik bilgenursaltik.com 2. Jen-Hsien Chiu Phabit ggchiu.com 3. Photo by chuttersnap on Unsplash 4. Min Jeong Seo seo-minjeong.com installation, infusionsbags, roses. 2005 The stalks of these flowres are already dried up but their blossoms are preserved and kept fresh inside the infusion bags. As medical accessoires the infusion bags can point to death or to life. In this installation they by all means represent an intervention altering the natural aging process of roses

1. Photo by Samuel Zeller on Unsplash 2. Nynke Koster Photography by David in den Bosch 2014 nynkekoster.com 3. Photo by Samuel Zeller on Unsplash 4. © iStock / Digital work 2G2L Paris

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safeguarding - block préservation - bloc

Phabit

safeguarding

préservation ... Mais conscients du mal que nous avons fait, nous tentons encore de sauver ce qui peut l’être. La rareté

block

bloc

1. Photo by Samuel Zeller on Unsplash 2. Nynke Koster Photography by David in den Bosch 2014 nynkekoster.com 3. Photo by Samuel Zeller on Unsplash 4. © iStock / Digital work 2G2L Paris

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safeguarding - block préservation - bloc

Mima Workshop

Directed in collaboration with the German forester Daniel Jack for the Art Rocket 02 festival, Cocons was a host to art students for three days. In their bubbles, every person is close to nature, but also to his/her neighbor. The other person is there, just behind a diaphanous canvas. And yet, it is a cocoon. Security and well-being no longer rhyme with isolation. We live in promiscuity, because our identities deceive space and our body no longer yearns for freedom, all the while the mind wanders constantly. Réalisée en collaboration avec le forestier allemand Daniel Jack pour le festival Art Rocket 02, Cocons a accueilli, trois jours durant, des élèves en école d’art. Dans leurs bulles, chacun côtoie la nature, mais aussi son prochain. L’autre est là, juste derrière une toile diaphane. Et pourtant, c’est bien un cocon. La sécurité et le bien-être ne riment plus avec l’isolement. Nous vivons en promiscuité, parce que nos identités se jouent de l’espace et notre corps ne crie plus à la liberté, alors que l’esprit est en évasion permanente.

1. © iStock 2. Photo by Stephen Crowley on Unsplash 3. Pierre Vivant Traffic light tree London 4. Thomas Dambo thomasdambo.com 5. Atelier MIMA ateliermima.com

Baptiste Debombourg

An exploded windshield. This absolute symbol of demonstrations. This paving stone thrown into the street and ending up in a showcase. Rigidity groans, ready to explode under the pressure of anger. Baptiste Debombourg forces us to face up to this confrontation. At first, an act of vandalism. An aggressive expression. And then come the questions. What if it were a liberating act? The birth of a new world always occurs at the expense of the old one. And today this old world is desired by noone. Un pare-brise explosé. Ce symbole absolu de la manifestation. Ce pavé lancé dans la rue qui s’enfonce dans une vitrine. La rigidité ploie, prête à exploser sous la pression de la colère. Baptiste Debombourg nous met le nez dans cette confrontation. Au départ, un acte de vandalisme. Une expression agressive. Et puis viennent les questions. S’il s’agissait d’un acte libérateur ? La naissance d’un nouveau monde se fait toujours au détriment de l’ancien. Et cet ancien monde, aujourd’hui, plus personne n’en veut.

coexistence …In the meanwhile, we adapt our habitat. Melted in with nature, we no longer

explosion

cohabitation

… Arriver à une telle mobilité ne se sera pas fait sans heurt. Il aura fallu briser les vieilles frontières. La rigidité a explosé entre nos mains. Elle a plié sous le poids d’une humanité en mouvement. La liberté ne fait pas dans la douceur quand elle prend son envol...

flee promiscuity. Space no longer has any meaning. Hence, able to ignore our neighbor, and to embrace the antipodes. It is no longer our flesh which determines our place of living. Our spirit inhabits the whole world…

…Pendant ce temps, nous adaptons notre habitat. Fondus dans la nature, nous ne fuyons plus la promiscuité. L’espace ne veut plus rien dire. Capable désormais d’ignorer le voisin, et d’embrasser les antipodes. Ce n’est plus notre chair qui détermine le lieu de notre vie. Notre esprit habite le monde entier...

…Achieving such mobility will not have been done seamlessly. The old borders will have had to be broken. Rigidity exploded in our hands. It folded under the weight of a humanity in motion. Freedom is not kind and patient when it takes off…

explosion

1. VOLTE FACE - Baptiste Debombourg, contextual installation, windshield, nails, wood, 4,2x2,7x1,5m 2010 Courtesy Art Center Duplex100m2, Sarajevo Studio Baptiste Debombourg 2. Fabio Lattanzi Antinori New evidence II 2016 fabiolattanziantinori.com 3. © iStock 4. © iStock

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coexistence - explosion cohabitation - explosion

Mima Workshop

1. © iStock 2. Photo by Stephen Crowley on Unsplash 3. Pierre Vivant Traffic light tree London 4. Thomas Dambo thomasdambo.com 5. Atelier MIMA ateliermima.com

Baptiste Debombourg

coexistence …In the meanwhile, we adapt our habitat. Melted in with nature, we no longer

explosion

cohabitation

explosion

infinite infini

coexistence - explosion cohabitation - explosion

polymer

…Because we still need to build, we seek to alleviate ourselves. Not to close off anything. The walls are porous, and nothing may block the journey. It is no longer necessary to hide or protect oneself. One needs an opening to flail in the wind. Whether it is plastic…

polymère

... Parce qu’il nous faut bien encore construire, nous cherchons à nous alléger. À ne rien fermer. Les murs sont poreux et rien ne doit entraver le voyage. Se cacher ou se protéger n’est plus nécessaire. Il faut une ouverture pour se laisser porter par le vent. Que ce soit de plastique...

1. Borgman | Lenk REKONSTRUKTION Facade of Aquabit Gallery Berlin

mesh …or metal. Even daily objects become

lighter, open to all influences. Never carry ballast, so as never to restrain a departure. Symbol of our old separations, the grids are today integrated into our interiors to cut down their partitions…

maillage

… ou de métal. Même les objets du quotidien s’allègent, s’ouvrent à tous les vents. Ne jamais traîner de lest avec soi, pour ne jamais freiner un départ. Symbole de nos vieilles séparations, les grilles sont aujourd’hui intégrées à nos intérieurs pour en abattre les cloisons...

2. Camille Léage « Bus 60 » series Porte de la Chapelle camilleleage.com 3. © iStock

1. FURCH Gestaltung + Produktion Weinhandlung Kreis furch.tv 2. Photo by Peter Clarkson on Unsplash 3. 3D rendering study for Swarovski Crystal Sails 2009 Greg Lynn FORM 4. Photo by Gili Benita on Unsplash 5. Photo by Jason Briscoe on Unsplash

4. © iStock

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polymer - mesh polymère - maillage

polymer

polymère

1. Borgman | Lenk REKONSTRUKTION Facade of Aquabit Gallery Berlin

mesh …or metal. Even daily objects become

maillage

2. Camille Léage « Bus 60 » series Porte de la Chapelle camilleleage.com 3. © iStock

4. © iStock

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polymer - mesh polymère - maillage

4 1

1. Design Amaury Poudray TELAIO / 2016 amaurypoudray.com éditeur THE GALLERY BRUSSELS © Laure Mélone lauremelone.com

folding screen …Quickly, the plastic

2. Akane Moriyama Azorean Spectrum Range © Sara Pinheiro akanemoriyama.com 3. Design: Co-created by Baranowitz & Goldberg Architects and Pitsou Kedem Architects baranowitz-goldberg.com pitsou.com Lighting Design: Orly Avron Alkabes orlyalkabes.com Photography: Amit Geron amitgeron.com 4. Puck Verkade Dutch, b. 1987, The Hague, Netherlands, based in London, United Kingdom puckverkade.com Bias Hides (Honey), 2017 Welded steel, spray paint, bespoke aluminium, latex rubber 78 7/10 × 43 3/10 in 200 × 110 cm Unique

and metal are still too rigid for us. Not malleable enough. Hence, drapery equips our homes. It seems one could cross them in one step. A border more symbolic than real. Nomad tents are the new Eldorado…

paravent

... Rapidement, le plastique et le métal sont encore trop rigides pour nous. Trop peu malléables. Des drapés habillent désormais nos maisons. Ils semblent pouvoir se traverser d’un pas. Frontière plus symbolique que réelle. Les tentes nomades sont un nouvel eldorado...

adaptation

…The world meets our requirement of freedom. Space and time are curved. We created our own gravitational waves, imposing a flexibility on the world which it did not suspect. We thought our environment to be irremovable. We rediscover it as malleable and subjected…

adaptation

…Le monde se plie à notre exigence de liberté. L’espace et le temps se courbent. Nous avons créé nos propres ondes gravitationnelles, imposant au monde une souplesse qu’il ne soupçonnait pas. Nous pensions notre environnement inamovible. Nous le redécouvrons malléable et soumis...

1. siège radiateur Boris Dennler 2008 © Francesco Ragusa 2. BOLA Carol Gay © Marcos Cimardi 3. Marija Puipaitè Embracing touch Jewellery marijapuipaite.com 4. LRNCE (Laurence Leenaert) EndFragment StartFragment Fatimaa.a blanket, handwoven, 100% wool, hand embroidery lrnce.com 5. ARCHSTUDIO Twisting Courtyard 2017 archstudio.cn

5. Photo by Yonghyun Lee on Unsplash

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folding screen - adaptation paravent - adaptation

4 1

1. Design Amaury Poudray TELAIO / 2016 amaurypoudray.com éditeur THE GALLERY BRUSSELS © Laure Mélone lauremelone.com

folding screen …Quickly, the plastic

paravent

adaptation

5. Photo by Yonghyun Lee on Unsplash

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folding screen - adaptation paravent - adaptation

curtain

…During this time, drapery makes room for fringes. Increasingly lighter, ever less constraining. Not even a border anymore, just a caress. Sometimes even, a simple cascade of light, the result of the only element without mass. A goal of tomorrow…

rideau

...Pendant ce temps-là, les drapés laissent place aux franges. Toujours plus légers, toujours moins contraignants. Même plus une frontière, tout juste une caresse. Parfois même, une simple cascade de lumière, l’aboutissement du seul élément sans masse. Un objectif pour demain...

Regina Dahmen-Ingenhoven

The designer is already one step into the future. Walls are made light, translucent, almost nonexistent. Borders seek to be forgotten. So, we keep alleviating. Drape, fringe, veil ... And tomorrow? Tomorrow, our walls will be made of the lightest material in the universe. Light. Regina DahmenIngenhoven already paints her veils of lights, like seeds. The name of her installation, Heaven is a place on earth, says it all. How can one imagine paradise otherwise than made of light, flexibility and lightness? And above all, why wish to create something other than Paradise for our future? La designer a déjà un pied dans l’avenir. Les parois se font légères, diaphanes, presque inexistantes. Les frontières veulent se faire oublier. Alors, on allège toujours plus. Drapé, frange, voile... Et demain ? Demain, nos murs seront faits de la plus légère des matières de l’univers. La lumière. Regina Dahmen-Ingenhoven peint déjà ses voiles de lumières, comme des prémices. Le nom de son installation, Heaven is a place on earth, dit tout. Comment imaginer le Paradis autrement que fait de lumières, de souplesse et de légèreté ? Et surtout, pourquoi vouloir construire autre chose que le Paradis pour notre avenir ? 4

curve

1. VV. AA., Space is the Place 2014, published by NERO, 2015, Rome, Italy Edition of 100 copies, numbered neroeditions.com 2. Cini Boeri Architetti archive 3. © iStock 4. Nico Kok curved picture

…The straight line no longer has its place in this era. Nor does opacity. Everything is no longer anything but transparency and curves. To approach the circle, the cycle, the eternal and infinite loop. To no longer accept finitude, because nothing imposes it…

1. ASTRID KROGH astridkrogh.com 2. NOMAN studio

courbure

3. Sabela Tobar Photographer : Valentina Vos

… La ligne droite n’a plus sa place dans cette époque. L’opacité non plus. Tout n’est plus que transparence et courbes. Se rapprocher du cercle, du cycle, de la boucle éternelle et infinie. Ne plus accepter la finitude, parce que rien ne l’impose...

infinite infini

4. Studio Regina Dahmen– Ingenhoven Swarovski Schleier, Wattens, Österreich drdi.de

curve - curtain courbure - rideau

curtain

rideau

Regina Dahmen-Ingenhoven

curve

1. VV. AA., Space is the Place 2014, published by NERO, 2015, Rome, Italy Edition of 100 copies, numbered neroeditions.com 2. Cini Boeri Architetti archive 3. © iStock 4. Nico Kok curved picture

1. ASTRID KROGH astridkrogh.com 2. NOMAN studio

courbure

3. Sabela Tobar Photographer : Valentina Vos

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4. Studio Regina Dahmen– Ingenhoven Swarovski Schleier, Wattens, Österreich drdi.de

curve - curtain courbure - rideau

Lucy Glendinning

pilosity

…We try to create this lightness all around us. So that nothing is fixed. So that a simple draft changes everything. One gust and our environment is renewed, shaken up. This era is one of permanent change…

pilosité

... Nous tentons d’apporter cette légèreté partout autour de nous. Pour que rien ne soit fixe. Pour qu’un simple courant d’air modifie tout. Un souffle et voilà notre environnement renouvelé, bouleversé. L’époque est au changement permanent... 2

At the core of her work, Lucy revolves around one single obsession: the human body is a semiotic media. A tool to access a symbolic understanding of the universe. The body is no longer our interface to the world, the contact point, but a direct expression of an underlying truth. We no longer need to use our bodies to understand the world, but to observe it. We no longer inhabit it, but use it as a vehicle. Au cœur de son travail, Lucy tourne autour d’une seule obsession : le corps humain est un média sémiotique. Un outil permettant d’accéder à une compréhension symbolique de l’univers. Le corps n’est plus notre interface au monde, le point de contact, mais une expression directe d’une vérité sous-jacente. Nous n’avons plus besoin d’utiliser nos corps pour comprendre le monde, mais de l’observer. Nous ne l’habitons plus, mais l’utilisons comme un véhicule.

1. The brushes are hand carved bleached maple and walnut, with natural vegetable fiber bristles. © Ariele Alasko 2. Fernando and Humberto Campana ANHANGUERA SOFA 2012 Sofa Gilded bronze and Mongolia fur H 90 / L 230 / W 90 Cm Edition & Courtesy : 3 +1 AP Edited by Giustini / Stagetti Galleria O. Roma

envelope …And what about us in all this? Well, we become lighter too. This overly heavy, too limited body, must be given up. A gentle molt. Our envelope has also become a remnant. That of a time when it determined our life. The body is a cocoon and we have become butterflies…

3. Studio Damien Gernay 4. “Massâcre” choreographed for “Les Ballets de Monte Carlo” by Jeroen Verbruggen, with costumes by Charlie le Mindu. Photo by Alice Blangero

enveloppe ... Et nous dans tout ça ? Et bien, nous nous allégeons aussi. Il faut abandonner ce

corps trop lourd, trop limité. Une mue tout en douceur. Notre enveloppe aussi est devenue un vestige. Celui d’une époque où il déterminait notre vie. Le corps est un cocon et nous sommes devenus papillon...

5. Photos and project are by bold-design bold-design.fr @bold_designers

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pilosity - envelope pilosité - enveloppe

1. A foam sculpture by the artist Etienne Gros etiennegros.com © Canelle’K 2. Sarah Maloney, Skin detail, 2003-2012, 42 x 23 x 170 cm Approx. 400,000 glass beads, nylon thread, acrylic armature smaloney.com photo: Steve Farmer 3. Illustration by Polly Nor Cba 2 Pretend No More 2015 pollynor.com 4. Lucy Glendinning Skins lucyglendinning.co.uk

Lucy Glendinning

pilosity

pilosité

3. Studio Damien Gernay 4. “Massâcre” choreographed for “Les Ballets de Monte Carlo” by Jeroen Verbruggen, with costumes by Charlie le Mindu. Photo by Alice Blangero

enveloppe ... Et nous dans tout ça ? Et bien, nous nous allégeons aussi. Il faut abandonner ce

5. Photos and project are by bold-design bold-design.fr @bold_designers

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pilosity - envelope pilosité - enveloppe

1 2

attitude

…A little flexibility goddammit. One has to be here and there. Contort oneself, stretch. To not remain rooted like a fixed oak tree, but to move freely like water. To undulate and run, adapt to one’s environment painlessly, without weakening…

attitude

… Un peu de souplesse que diable. Il faut être ici et làbas. Se contorsionner, s’étirer. Ne pas rester enraciné comme un chêne immuable, mais se mouvoir comme une eau. Onduler et couler, s’adapter à son environnement sans douleur, sans faiblir... 3

dermis

…The skin is a game. Our primary identity. That which is obvious to the eye. Which leaves no chance of freedom. Too narrow for our new multiple personality. Melanin has reigned for too long. We no longer listen to this tyrant chosen by no one. We inhabit the entire color spectrum. Humanity is a rainbow shining in all of us…

derme … La peau est un jeu. Notre première 1. ADIDAS ORIGINALS by Hender Scheme adidasoriginalsbyhenderscheme. com

identité. Celle qui s’impose au regard. Qui ne laisse aucune chance de liberté. Trop étroite pour notre nouvelle personnalité multiple. La mélanine a trop longtemps régné. Nous n’écoutons plus ce tyran que personne n’a choisi. Nous habitons tout le spectre des couleurs. L’humanité est un arc-en-ciel qui nous traverse tous...

2. Photo by Sam Burriss on Unsplash 3. Christian Louboutin Les Nudes @LouboutinWorld 4. © iStock

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Fabiano Rodrigues

Next to Fabiano Rodrigues, the paintings of Penrose’s staircases are havens of stability. No optical illusion nevertheless. Just a game. Of architecture. Of posture. Of point of view. If the body is deceiving space, it becomes a malleable piece of it. Flowing water ready to adapt. The environment fluctuates and we follow it. Rigidity is not even possible anymore. The artist prefers playing to contorsions. As if, in one unique snapshot, he simultaneously offered the point of view of all actors in his photo. À côté de Fabiano Rodrigues, les peintures d’escaliers de Penrose sont des havres de stabilité. Pas d’illusion d’optique pourtant. Juste un jeu. D’architecture. De posture. De point de vue. Si le corps se joue de l’espace, il en devient une pièce malléable. Une eau mouvante prête à s’adapter. L’environnement fluctue et nous le suivons. La rigidité n’est même plus envisageable. Aux contorsions, l’artiste préfère le jeu. Comme si, en un seul cliché, il offrait simultanément le point de vue de tous les acteurs de sa photo.

dermis - attitude derme - attitude

1. Luca Piras untitled photography lucapiras.com pirasluca.tumblr.com instagram.com/lucapirasphotographer 2. Arielle Bobb-Willis New Jersey, 2016 ariellebobbwillis.com 3. Fabiano Rodrigues Autocollage fabianorodriguesphotography.tumblr. com 4. Photo by Davon King on Unsplash 5. Photo by Pim Chu on Unsplash

1 2

attitude

dermis

derme … La peau est un jeu. Notre première 1. ADIDAS ORIGINALS by Hender Scheme adidasoriginalsbyhenderscheme. com

2. Photo by Sam Burriss on Unsplash 3. Christian Louboutin Les Nudes @LouboutinWorld 4. © iStock

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Fabiano Rodrigues

dermis - attitude derme - attitude

key-thread

…Our communities are no longer rigid. They move incessantly. Adapt. Overlap and interpenetrate. While no longer holding up a single banner, but by becoming the flag bearer of the crowd, we do not isolate ourselves. On the contrary, the weave connecting us becomes more visible. We share reality with more and more people. And here we are more connected than ever…

camouflage

…To detach oneself from one’s body, to be everywhere, all the time, without ties, follow one’s path as sleekly as a river. In short, to disappear. To melt into the environment embracing its forms and contours. To be one with the world…

camouflage …Se défaire de son corps,

fil-rouge

... Nos communautés ne sont plus rigides. Elles bougent sans cesse. S’adaptent. Se recoupent et s’interpénètrent. En ne brandissant plus un seul étendard, mais en devenant le portedrapeau de la multitude, nous ne nous isolons pas. Au contraire, la trame qui nous relie devient plus visible. Nous partageons la réalité avec de plus en plus de monde. Nous voilà plus reliés que jamais... 2

être partout, tout le temps, ne pas avoir d’attaches, suivre son chemin avec la fluidité d’une rivière. Bref, disparaître. Se fondre dans l’environnement pour en épouser les formes et les contours. Ne faire qu’un avec le monde... 4

3. Harley Lafarrah Eaves Non Sequitur harleylafarraheaves.com

2. Measure Sculpture by Fabrice Le Nezet fabricelenezet.com

4. Ragamuf Chair Rug (Brand/product) Designer: Tuula Pöyhönen ragamuf.com

5. © iStock

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camouflage - key-thread camouflage - fil-rouge

key-thread

camouflage

camouflage …Se défaire de son corps,

fil-rouge

3. Harley Lafarrah Eaves Non Sequitur harleylafarraheaves.com

2. Measure Sculpture by Fabrice Le Nezet fabricelenezet.com

4. Ragamuf Chair Rug (Brand/product) Designer: Tuula Pöyhönen ragamuf.com

5. © iStock

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camouflage - key-thread camouflage - fil-rouge

1 1

3 5

weave

…Connected to a point where humanity organizes itself like a piece of fabric. Each thread, flexible and independent, gives life to a global pattern. The organization is no longer endured. The head weaver is no longer, the threads act for themselves. The result is more chaotic, but also freer and thus more beautiful…

1. Photo by Dmitri Popov on Unsplash 2. Photo by Etienne Boulanger on Unsplash 3. Photo by Lance Anderson on Unsplash 4. Matthew Palladino Private Pleasures 1’’, 49’’ X 37’’, Acrylic and Watercolor on Paper, 2010 matthewpalladino.com

trame

… Reliés au point que l’humanité s’organise comme un tissu. Chaque fil, souple et indépendant, donne vie à un dessin global. L’organisation n’est plus subie. Le grand tisseur n’est plus, les fils agissent d’eux-même. Le rendu est plus chaotique, mais aussi plus libre et donc plus beau...

1. Kim Joon party - louis vuitton, 120cm x 120cm, digital print, 2007 kimjoon.net

blend

…The world has become a living organ. It no longer has the morbid immobility of the big reassuring groups. It swarms. Unceasingly reorganizing itself. As if alive. Finally. Each party contributes its richness and the big picture does not resemble anything ever seen. For the moment…

amalgame

… Le monde est devenu un organe vivant. Il n’a plus l’immobilité morbide des grands groupes rassurants. Il grouille. Sans cesse en réorganisation. Comme s’il prenait vie. Enfin. Chaque partie apporte sa richesse et le tableau global ne ressemble à rien de connu. Pour le moment...

5. Photo by Maranatha Pizarras on Unsplash

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weave - blend trame - amalgame

2. Elena Gileva Drippy Pebble. Hand built earthenware, glaze. 25 x 15 cm. 2016. Image courtesy Matan Ashkenazy 3. Gino Saccone Corridori in Fuga (Vento), 2016 Organic cotton jacquard tapestry Courtesy Mieke Van Schaijk Gallery, ’sHertogenbsch (NL) miekevanschaijk.nl 4. Mark Lovejoy - #8598 ; 2013 ello.co/marklovejoy marklovejoydotcom.tumblr. com

1 1

3 5

weave

trame

1. Kim Joon party - louis vuitton, 120cm x 120cm, digital print, 2007 kimjoon.net

blend

amalgame

5. Photo by Maranatha Pizarras on Unsplash

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weave - blend trame - amalgame

protection

…Into this meander of identities, we each slip into our bubble. An extensible and evolutionary bubble. Transparent and flexible. A case which is not there to protect us but as a means of transport. A border is not a wall, it is a meeting point. Limits are made to be crossed, that is why we create them…

protection

… Dans ce méandre d’identités, nous nous glissons chacun dans notre bulle. Une bulle extensible et évolutive. Transparente et souple. Un étui qui n’est pas là pour nous protéger mais pour nous transporter. Une frontière n’est pas un mur, c’est un point de rencontre. Les limites sont faites pour être franchies, c’est pour ça que nous les bâtissons...

constraint

…But our bubbles still bump into the residue of the old world. Executives, structures, constraints still resisting. A swan song. But bubbles are overflowing, coming from everywhere. Covering and exceeding. The remaining understructures which have not blown to pieces, will quite simply be absorbed…

1. © Penique productions El Claustro Querétaro, México. 2011 Art Installation peniqueproductions.com

contrainte

2. Arabeschi di Latte The Fruit Shop photo Ania Wawrzkowicz arabeschidilatte.org

... Mais nos bulles se heurtent encore aux résidus de l’ancien monde. Des cadres, des structures, des contraintes qui résistent encore. Un chant du cygne. Mais de partout, les bulles débordent. Enveloppent et dépassent. Les dernières ossatures qui n’ont pas volé en éclats, seront tout simplement absorbées...

1. © iStock 2. Matthew Palladino Sprinkles», 30’’ X 24’’ X 4’’, Enamel on Plastic Resin and Wood, 2017 3. Communication breakdown vinyle, fibre de polyester 2012 David Gouny davidgouny.com

3. Semai Vistosi Valerio Sommella & Alberto Saggia Images: Valerio Sommella Design Studio 4. Pawel Grunert Photographer – Marek Fijalkowski 5. Jorge Carreira Prisao London design fair’s 2017 / offportugal exhibition © Diogo Alves and João Valente cargocollective.com/jorgecarreira

4. © Penique productions El Claustro Querétaro, México. 2011 Art Installation peniqueproductions.com

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protection - constraint protection - contrainte

protection

constraint

1. © Penique productions El Claustro Querétaro, México. 2011 Art Installation peniqueproductions.com

contrainte

2. Arabeschi di Latte The Fruit Shop photo Ania Wawrzkowicz arabeschidilatte.org

4. © Penique productions El Claustro Querétaro, México. 2011 Art Installation peniqueproductions.com

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protection - constraint protection - contrainte

expansion

…Here it finally is, the world of tomorrow. Of today. Transparent. Flexible. Extensible. As varied as we have become. Adapting to its contents, incessantly. Light. Soaring above worn-out ground. More than an air ballet, a new breath. Unconstrained, nor retained. Infinite. 6

expansion

... Le voilà enfin le monde de demain. D’aujourd’hui. Transparent. Souple. Extensible. Aussi multiple que nous le sommes devenus. S’adaptant à son contenu, sans cesse. Léger. Planant au-dessus d’un sol usé. Plus qu’un ballet aérien, un nouveau souffle. Sans contrainte, ni retenue. Infini.

1. Byeongjun Kim - AIRBAG PVC Vinyl Plastic Bag Concept design. 2017 behance.net/ByeongjunKim 2. “Blow Me Up” Theo Möller, Ingo Maurer and Team 2017 Photos: Tom Vack, Munich. ingo-maurer.com 3. Daniel Zamarbide with Leopold Banchini The Shelter. 2016 Photographer @Dylan Perrenoud leopoldbanchini.com - bureau.ac 4. Glass-blown dome with balloon string. Designer: Cristina Dias/Fabrica 5. Cheryl Pope courtesy of the artist and Monique Meloche Gallery 6. Tadao Cern «Black Balloons», 2016 tadaocern.com

Tadaocern

So simple and so unreal. By entering the rooms designed by Tadaocern, like a desire to touch to ensure that we are not evolving in fully augmented reality. These symbols of childhood, wearing adult black, inhabit the space with an almost absurd presence: unexpected and yet in such perfect order. The soil of reality that man does not want to impact is opposed to the air which is now the domain of the human without borders. But both spaces, of course separate, mix and maintain their interdependence. Tellement simple et tellement irréel. En entrant dans les pièces aménagées par Tadaocern, comme une envie de toucher pour s’assurer que nous n’évoluons pas en pleine réalité augmentée. Ces symboles de l’enfance, portant le noir de l’adulte, habitent l’espace avec une présence presque absurde : inattendus et pourtant si bien ordonnés. Le sol de la réalité que l’homme ne veut plus impacter s’oppose à l’aérien qui est désormais le domaine de l’humain sans frontière. Mais les deux espaces, bien sûr séparés, se côtoient et maintiennent leur interdépendance.

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expansion expansion

expansion

Tadaocern

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expansion expansion

trend concepts’ introduction

introduction trend concepts

It is a tectonic movement. Slow. Dull. Invisible and powerful. Today, resistance is out of breath. The first cracks can be heard. Noisy. Violent. And especially final. The caesura is irremediable. The rigidity of the established order will not have survived this growth. The continents are realigning. New territories take shape. New joints appear. Fixity is not for them. They remain mobile, changing. There will be no more great tectonic upheavals like this one. Tensions no longer accumulate. They permanently run, slip and redefine the landscape. The movement even increases its scope. It tastes like freedom. No partition, no ban. “Tonight, I am different from this morning and tomorrow.” So many identities to be discovered, appetite is voracious. Everything mixes, embraces, binds and unties. No more fixtures, no future prospects. Identity is tasted in the present. It commits to nothing but discovery. The movement snowballs into excess. Almost into infinite.

C’est un mouvement tectonique. Lent. Sourd. Invisible et puissant. Aujourd’hui, les résistances arrivent à bout. Les premiers craquements se font entendre. Bruyants. Violents. Et surtout définitifs. La césure est irrémédiable. La rigidité de l’ordre établi n’aura pas survécu à cette poussée. Les continents se réorganisent. De nouveaux territoires se dessinent. Des jointures inédites apparaissent. La fixité n’est pas de leur monde. Ils restent mouvants, changeants. Plus question de vivre ces grands bouleversements tectoniques. Les tensions ne s’accumulent plus. Elles coulent, glissent et redéfinissent le paysage en permanence. Le mouvement prend même de l’envergure. Il a un goût de liberté. Aucune cloison, aucun interdit. « Je suis ce soir différent de ce matin et de demain. » Tant d’identités à découvrir, l’appétit est vorace. Tout se mélange, s’embrasse, se lie et se délie. Plus de fixation, plus de projection dans l’avenir. L’identité se déguste au présent. Elle n’engage à rien qu’à la découverte. Le mouvement prend l’ampleur de la démesure. Presque de l’infini..

caesura 19 joint 27

césure 19

scope 35

jointure 27

excess 43

envergure 35 démesure 43

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trend concept’s introduction introduction trend concept

trend concepts’ introduction

introduction trend concepts

caesura 19 joint 27

césure 19

scope 35

jointure 27

excess 43

envergure 35 démesure 43

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trend concept’s introduction introduction trend concept

caesura It was first necessary to break. Blow up the walls. No violence, no animosity in the gesture. But rigidity does not bend, it yields. Everything starts with a simple observation. The same as Andre Gide: «This roof was placed on our heads from then on; has sheltered us from rain, it is true, but has hidden the sun from us. The roof came off. Freedom is preferred to security. We have understood that danger was inevitable. The protections are shattered. Before us, the horizon looks like a landscape of the apocalypse. But it’s just a blank page. A range of possibilities that we had not exploited. We are dandelions, fragile and volatile. We built a world to protect ourselves, while our only goal is to spread with the wind.

césure Il a d’abord fallu casser. Faire sauter les murs. Pas de violence, pas d’animosité dans le geste. Mais la rigidité ne ploie pas, elle cède. Tout part d’une simple constatation. La même qu’André Gide : « Ce toit s’est placé dès lors sur nos têtes ; nous a préservé de la pluie, il est vrai, mais nous a caché le soleil. » Le toit a sauté. La liberté est préférée à la sécurité. Nous avons compris que le danger était inévitable. Les protections volent en éclats. Devant nous, l’horizon ressemble à un paysage d’apocalypse. Mais c’est juste une page blanche. Une étendue de possibles que nous n’avions pas exploitée. Nous sommes des pissenlits, fragiles et volatiles. Nous avions bâti un monde pour nous protéger, alors que notre seul but est de nous répandre au gré des vents.

Photo by Ethan Robertson on Unsplash

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caesura - introduction introduction - césure

Photo by Ethan Robertson on Unsplash

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caesura - introduction introduction - césure

nce esce me d n a r pê inc me ence su e r p sc su 1. ncande i t egre ante ling virevolt r i w t 2. igrette a e dun e ping oppant o l e vel env 3. une en d

caesura césure

1. ‘Orauro’ designed by Emanuele Magini for JCP Universe. Limited edition of 33 pieces. Ph. Silvio Macchi jcpuniverse.com

e azur shy timide . 4 azur rore g au tante n i m iroi glea 5. urore m a

s iris seou eux a g 6. ris gaz i

ing eath ée r b ed issip ipat diss iration d . 7 resp

2. KAMINER kaminerdesign.com 3. Youki Hirakawa Vanished Forest / 2014 Photo by Kioku Keizo 4. «CRYSTAL PALACE» It’s a urban sculpture : a Bus stop. It seems that something violent happened to this bus stop, but actually the broken glass is showing something more precious. The situation is over – the attention is grabbed from the aesthetic, not from the act of destruction. The intention is to provoke some emotion or empathy. Glass, uv Glue, plexiglass, 2,4x5,5x1,6m, (prototype view) 2008, Pantin -France - 2008 baptistedebombourg.com Courtesy galerie Patricia Dorfmann Paris

yss t ab uce e e o sw 8. bîme d a

5. Taumascopio 2014 © Mattia Paco Rizzi

e sidu s re rreux u o r fe fer 9. eliquat r

6. Photo by Miguel Sousa on Unsplash 7. Jessica Lloyd-Jones 8. Photo by Samuel Zeller on Unsplash 9. MVRDV’s Glass Farm project © Persbureau van Eijndhoven 10. Photo by Rob Potter on Unsplash

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caesura - mood & colors césure - mood & couleurs

nce esce me d n a r pê inc me ence su e r p sc su 1. ncande i t egre ante ling virevolt r i w t 2. igrette a e dun e ping oppant o l e vel env 3. une en d

caesura césure

1. ‘Orauro’ designed by Emanuele Magini for JCP Universe. Limited edition of 33 pieces. Ph. Silvio Macchi jcpuniverse.com

e azur shy timide . 4 azur rore g au tante n i m iroi glea 5. urore m a

s iris seou eux a g 6. ris gaz i

ing eath ée r b ed issip ipat diss iration d . 7 resp

yss t ab uce e e o sw 8. bîme d a

5. Taumascopio 2014 © Mattia Paco Rizzi

e sidu s re rreux u o r fe fer 9. eliquat r

6. Photo by Miguel Sousa on Unsplash 7. Jessica Lloyd-Jones 8. Photo by Samuel Zeller on Unsplash 9. MVRDV’s Glass Farm project © Persbureau van Eijndhoven 10. Photo by Rob Potter on Unsplash

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caesura - mood & colors césure - mood & couleurs

Abolished Rigidity Rigidité Abolie aspects Parallel Upheaval - Narrow Passage Fragile Connection aspects Bouleversement Parallèle - Passage Étroit Connexion Fragile fibers Resounding Tube - Common Thread Dissolute Connection fibres Tube Retentissant -Fil Conducteur Liaison Dissolue 6

1. SANTANA TEKSTIL SA. TIC. LTD. STI. Turkey – Hall 4 U410 Ref: 7687 Cotton 55% Polyester 43% Polyamid 2% 2. SHANGHAI PLUS TEXTILE CO., LTD. China – Hall 4 ZZ422 Ref: PU-17091213 Polyurethan 100% 3. MJ YOUNA CO., LTD. Korea, Republic of – Hall 4 R417 Ref: MJ-121192 Polyester 100% 4. FRONTIER TEXTILE CO., LTD. Korea, Republic of – Hall 4 X412 Ref: FR-19709 Cotton 82% Nylon 18% 5. COMTEX ENTERPRISE CO., LTD. Taiwan – Hall 4 R411 Ref: M22940 Polyester 100%

“Blow Me Up” Theo Möller, Ingo Maurer and Team 2017 Photos: Tom Vack, Munich. ingo-maurer.com

6. ADELE TEKSTIL DIS TIC LTD., STI. Turkey – Hall 4 Q410 Ref: STONE Polyester 100%

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caesura - fabrics - look 1 césure - tissus - look 1

“Blow Me Up” Theo Möller, Ingo Maurer and Team 2017 Photos: Tom Vack, Munich. ingo-maurer.com

6. ADELE TEKSTIL DIS TIC LTD., STI. Turkey – Hall 4 Q410 Ref: STONE Polyester 100%

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caesura - fabrics - look 1 césure - tissus - look 1

2 1. HUAJIN TEXTILE PRINTING & DYEING CO., LTD. China – Hall 2 F124 Ref: Lyocell® 100% 2. YOUNGWON CORPORATION Korea, Republic of – Hall 4 E410 Ref: JQ-95919ESU Polyester 100% 3. MJ YOUNA CO., LTD. Korea, Republic of – Hall 4 R417 Ref: MJPolyester 100% 4. ADELE TEKSTIL DIS TIC LTD., STI. Turkey – Hall 4 Q410 Ref: 4138 ANAH Polyester 100%

5. KÜKRER TEKSTIL SAN.VE TIC. A.S. Turkey – Hall 4 O439 Ref: KL1972 ISABEL Viscose 67% Polyamid 23% Polyester 10%

Photo by Paul Talbot on Unsplash

6. SAHSA TEKSTIL KONFEKSIYON SAN. VE TIC. LTD. STI. Turkey – Hall 4 P426 Ref: 30412 RITA-001 Polyester 85% Metallic 15%

Spontaneous Emergence Émergence Spontanée aspects Sweet Flowering - Silky Projection - Geometric Perfection aspects Floraison Douce - Projection Soyeuse - Perfection Géométrique fibers Light Strand - Inspiring Seed - Ephemeral Fibril fibres Brin Léger - Graine Exaltante - Fibrille Éphémère

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caesura - fabrics - look 2 césure - tissus - look 2

5. KÜKRER TEKSTIL SAN.VE TIC. A.S. Turkey – Hall 4 O439 Ref: KL1972 ISABEL Viscose 67% Polyamid 23% Polyester 10%

Photo by Paul Talbot on Unsplash

6. SAHSA TEKSTIL KONFEKSIYON SAN. VE TIC. LTD. STI. Turkey – Hall 4 P426 Ref: 30412 RITA-001 Polyester 85% Metallic 15%

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caesura - fabrics - look 2 césure - tissus - look 2

Delicate Skeleton Squelette Délicat

Photo by Pana Vasquez on Unsplash

aspects Ambiguous Frame - Convoluted Scission Lost Funds aspects Charpente Ambiguë - Cission Alambiquée Fond perdu fibers Ethereal Lamination - Disturbed Smoothing Disintegrated Core fibres Laminage Éthéré - Lissage Perturbé Noyau Désintégré

5 1. KOLUNSAG MUFLON SAN. LTD. STI. Turkey – Hall 2 G186 Ref: ANGEL P2.23.KK.9027 Acrylic 100% 2. YOUNGWON CORPORATION Korea, Republic of – Hall 4 E410 Ref: YW-21228 Polyester 100%

3. JK TEX CO., LTD. Korea, Republic of – Hall 4 V427 Ref: JK 9752 DOBBY Polyester 67% Viscose 33% 4. TEXMILL CO., LTD. Korea, Republic of – Hall 4 T418 Ref: TN448 Polyester 96% Elasthan® 4% 5. GUANGDONG JIANYE TEXTILE GROUP CO., LTD. China – Hall 4 R426 Ref: 12006250 Polyester 95% Spandex 5% 6. KUZENLER TEKSTIL SANAYI VE TICARET LDT. STI Turkey – Hall 2 E178 Ref: 12920/02 Cotton 100%

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caesura - fabrics - look 3 césure - tissus - look 3

Delicate Skeleton Squelette Délicat

Photo by Pana Vasquez on Unsplash

5 1. KOLUNSAG MUFLON SAN. LTD. STI. Turkey – Hall 2 G186 Ref: ANGEL P2.23.KK.9027 Acrylic 100% 2. YOUNGWON CORPORATION Korea, Republic of – Hall 4 E410 Ref: YW-21228 Polyester 100%

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caesura - fabrics - look 3 césure - tissus - look 3

1 2

3 4

Instinctive Genesis Genèse Instinctive

2. HUNAN DONGYI INDUSTRIAL & TRADING CO., LTD. China – Hall 2 D123 Ref: DY17-LC803YD Linen 62% BCI cotton 38%

aspects Brute Origin - Pyramidal Reverberation Shattered Vastness aspects Origine Brute - Réverbération Pyramidale Étendue Brisée fibers Sanded Devastation -Empirical Arrangement Apparent Fragility fibres Dévastation Sablée - Arrangement Empirique Fragilité Apparente

1. ASY TEKSTIL SAN. VE TIC. VE PAZ. LTD., STI. Turkey – Hall 2 A220 Ref: 8514 Polyester 75% Viscose 25%

3. HMK TEKSTIL SAN. VE TIC. LTD. Turkey – Hall 4 M410 Ref: N82524 Viscose 59% Cotton 41% 4. DIVA KUMASCILIK TEKSTIL SAN. TIC. LTD. STI. Turkey – Hall 2 A206 Ref: 4565 Cotton 86% Polyester 13% Elasthan® 1% 5. ERSAT TEKSTIL KONF. SAN. VE TIC. LTD. STI. Turkey – Hall 2 A198 Ref: 09900-441-00 Polyester 47% Viscose 53%

6. JK TEX CO., LTD. Korea, Republic of – Hall 4 V427 Ref: JK 9628 SB CREPE Polyester 45% Viscose 55%

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1 2

3 4

Instinctive Genesis Genèse Instinctive

2. HUNAN DONGYI INDUSTRIAL & TRADING CO., LTD. China – Hall 2 D123 Ref: DY17-LC803YD Linen 62% BCI cotton 38%

1. ASY TEKSTIL SAN. VE TIC. VE PAZ. LTD., STI. Turkey – Hall 2 A220 Ref: 8514 Polyester 75% Viscose 25%

6. JK TEX CO., LTD. Korea, Republic of – Hall 4 V427 Ref: JK 9628 SB CREPE Polyester 45% Viscose 55%

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denim focus

nce esce me d n a rê c e in ce sup m e n r e sc sup 1. ncande i

e dun ing ppante p o l velo enve 3. une en d

g thin brea ipée d e t ipa on diss diss 7. espirati r

1. Eyal Burstein, Pyramid Chair, Taxing Art Project 2013. eyalburstein.com 2. Photo by Martin Reisch on Unsplash 3. Tadao Cern «Initiations», 2017 tadaocern.com

ue resid ux s u e o ferr ferr 9. eliquat r

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denim focus

nce esce me d n a rê c e in ce sup m e n r e sc sup 1. ncande i

e dun ing ppante p o l velo enve 3. une en d

g thin brea ipée d e t ipa on diss diss 7. espirati r

1. Eyal Burstein, Pyramid Chair, Taxing Art Project 2013. eyalburstein.com 2. Photo by Martin Reisch on Unsplash 3. Tadao Cern «Initiations», 2017 tadaocern.com

ue resid ux s u e o ferr ferr 9. eliquat r

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Multiple Coherence Cohérence Multiple Reasoned Deconstruction Déconstruction Raisonnée

Chaotic Contribution Post Chaotique

Promised Land Terre Promise

color affinity 1. Photo by Daniel Hansen on Unsplash 2. Photo by Ricardo Gomez Angel on Unsplash 3. © iStock / Digital work 2G2L Paris 4. Julie Krakowski Coffee and Cigarettes Linen, lurex juliekrakowski.com

Marc Bijl, Broken Love, 2009 courtesy The Breeder Gallery, Athens

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Multiple Coherence Cohérence Multiple Reasoned Deconstruction Déconstruction Raisonnée

Chaotic Contribution Post Chaotique

Promised Land Terre Promise

Marc Bijl, Broken Love, 2009 courtesy The Breeder Gallery, Athens

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joint We must stay in place to build. But space is no longer frozen. We are only passing, waiting for the next squall. No time to build. We exploit the existing. If the distances change, time stops. The present is an archive. Humanity is now advancing less quickly than man. We do not have time to wait for History anymore. Yesterday’s cathedrals are today’s caves. No more glorification of the human. Become too multiple. Too complex. Too changeable, too elusive to be celebrated. Around us, the ephemeral is frozen so as not to disappear. The durable is shaped to fit. Our world is finally ready for the first contacts.

jointure Il faut rester en place pour bâtir. Mais l’espace n’est plus figé. Nous ne sommes que de passage, attendant la prochaine bourrasque. Pas le temps de bâtir. Nous exploitons l’existant. Si les distances bougent, le temps lui s’arrête. Le présent est une archive. L’humanité avance désormais moins vite que l’homme. Nous n’avons plus le temps d’attendre l’Histoire. Les cathédrales d’hier sont les cavernes d’aujourd’hui. Plus de glorification de l’humain. Devenu trop multiple. Trop complexe. Trop changeant, trop insaisissable pour être célébré. Autour de nous, l’éphémère est figé pour ne pas disparaître. Le durable est modelé pour s’adapter. Notre monde est enfin prêt pour les premiers contacts.

Photo by Antti Pajari on Unsplash

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Photo by Antti Pajari on Unsplash

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10. fluffy e enve nvelope loppe du veteuse 11. mod ell derm ed skin e modelé 9

12. claye y peau skin argileuse

13. malle a coco ble cocoon n malléa ble 3

14. celes ti flux c al flow éleste

15. ancie n gran t granite ite sécula ire 16. misty plâtr plaster e brume ux

17. calca re mou ous foam sse calca ire

1. Photo by Valentin Lacoste on Unsplash 2. Photo by Kelvyn Ornettte Sol Marte on Unsplash

18. sedim e cime ntary cement nt sédim entaire

3. Daan Botlek - Primitive practice 4. Lucy Glendinning - Skins lucyglendinning.co.uk 5. Ali Cha’aban & Ryan Nawawi Summer of white Collaboration Nike X Vice magazine alichaaban.com 6. Fabiano Rodrigues Autocollage fabianorodriguesphotography. tumblr.com 7. Puck Verkade Dutch, b. 1987, The Hague, Netherlands, based in London, United Kingdom puckverkade.com Bias Hides (XX), 2017 Welded steel, spray paint, bespoke aluminium, latex rubber 47 1/5 × 39 2/5 in 120 × 100 cm Unique

8. Thomas Ballouhey Ways of Altering - Legged Stools 2016. Design Academy Eindhoven Photographs Ronald Smits thomasballouhey.com

joint jointure infinite infini

9. Milena Naef ‘Fleeting Parts’, 2016, Cristallina Marble Photo’s by Lisa-Marie Vlietstra 10. Lee Architectural & Engineering Design Group 1978 creative park office lad.com.hk

joint - mood & colors jointure - mood & couleurs

10. fluffy e enve nvelope loppe du veteuse 11. mod ell derm ed skin e modelé 9

12. claye y peau skin argileuse

13. malle a coco ble cocoon n malléa ble 3

14. celes ti flux c al flow éleste

15. ancie n gran t granite ite sécula ire 16. misty plâtr plaster e brume ux

17. calca re mou ous foam sse calca ire

1. Photo by Valentin Lacoste on Unsplash 2. Photo by Kelvyn Ornettte Sol Marte on Unsplash

18. sedim e cime ntary cement nt sédim entaire

8. Thomas Ballouhey Ways of Altering - Legged Stools 2016. Design Academy Eindhoven Photographs Ronald Smits thomasballouhey.com

joint jointure infinite infini

9. Milena Naef ‘Fleeting Parts’, 2016, Cristallina Marble Photo’s by Lisa-Marie Vlietstra 10. Lee Architectural & Engineering Design Group 1978 creative park office lad.com.hk

joint - mood & colors jointure - mood & couleurs

Fixed Molt Mue Figée aspects Creased Imprint - Exemplary Change Careful Intervention aspects Empreinte Froissée - Altération Exemplaire Intervention Soignée

fibers Dressed Plissé - Late Consolidation Protective Concealment fibres Plissé Encollé - Consolidation Tardive Dissimulation Protectrice

4 1. SUZHOU BUCHAO TEXTILE CO., LTD. China – Hall 4 Z424 Ref: BC-114400031-1 Cotton 81% Polyester 19% 2. YOUNGWON CORPORATION Korea, Republic of – Hall 4 E410 Ref: YW-20368 Viscose 100%

3. JIANGYIN BLOSSOM TEXTILES INC China – Hall 2 G161 Ref: B1576 Polyester 84% Viscose 14% Elasthan® 2% 4. FOSHAN CHICLEY TEXTILE CO., LTD. China – Hall 4 V431 Ref: V7093B Viscose 53% Ecovero 47% 5. SHAOXING NEW VOICE IMPORT & EXPORT CO., LTD. China – Hall 4 S405 Ref: JSL6244 Polyurethan 100% 6. DAEWOONG GLOBAL Korea, Republic of – Hall 4 U420 Ref: DWO-096 Nylon 86% Elasthan® 14%

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Fixed Molt Mue Figée aspects Creased Imprint - Exemplary Change Careful Intervention aspects Empreinte Froissée - Altération Exemplaire Intervention Soignée

fibers Dressed Plissé - Late Consolidation Protective Concealment fibres Plissé Encollé - Consolidation Tardive Dissimulation Protectrice

4 1. SUZHOU BUCHAO TEXTILE CO., LTD. China – Hall 4 Z424 Ref: BC-114400031-1 Cotton 81% Polyester 19% 2. YOUNGWON CORPORATION Korea, Republic of – Hall 4 E410 Ref: YW-20368 Viscose 100%

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Modern Fossil Fossile Moderne aspects Urban Residue - Amorphous Debris - Free Movement aspects Résidu Urbain - Débris Amorphe - Mouvance Libre

fibers Chronic Angle - Frank Margin Unseizable Irregularity fibres Angle Chronique - Marge Franche Dénivelé Impalpable 6

1. HANGZHOU NEWDESIGNSOURCE TEXTILE CO., LTD. China – Hall 2 H170 Ref: TR12568 Polyester 73% Viscose 25% Elasthan® 2% 2. ER-EZ DOKUMA KUMAS TEKSTIL SAN. VE TIC. LTD. STI. Turkey – Hall 4 M412 Ref: 75796 Viscose 100% 3. HN TWO INC Korea, Republic of – Hall 4 T419 Ref: HN71617 Polyester 95% Spandex 5% 4. YOUNGWON CORPORATION Korea, Republic of – Hall 4 E410 Ref: JQ-391099PT Polyester 100% 5. HUAJIN TEXTILE PRINTING & DYEING CO., LTD. China – Hall 2 F124 Ref: Cotton 100% 6. HARRY TEXTILES CO., LTD. Korea, Republic of – Hall 4 W424 Ref: HW-342089 Polyester 59% Cotton 39% Other 2%

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Modern Fossil Fossile Moderne aspects Urban Residue - Amorphous Debris - Free Movement aspects Résidu Urbain - Débris Amorphe - Mouvance Libre

fibers Chronic Angle - Frank Margin Unseizable Irregularity fibres Angle Chronique - Marge Franche Dénivelé Impalpable 6

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Contemporary Vestige Vestige Contemporain aspects Monochrome Conservation - Sanitized Organization Nascent Framework aspects Conservation Monochrome - Organisation Aseptisée Cadre Naissant

fibers Sequenced Cell - Unstable Case - Exemplary Layout fibres Cellule Séquencée - Écrin Instable Agencement Exemplaire 2

REFUGE

1. RED TEXTILE Korea, Republic of – Hall 4 W418 Ref: KR30192 Viscose 55% Polyester 45%

2. HANA TEXTILE CO., LTD. Korea, Republic of – Hall 4 W423 Ref: HN 5202 Polyester 100% 3. SHANGHAI PLUS TEXTILE CO., LTD. China – Hall 4 ZZ422 Ref: PA-17050504 Polyamid 100% 4. SAMCHANG TEXTILE CO., LTD. Korea, Republic of – Hall 4 Y419 Ref: Polyamid 80% Elasthan® 20%

5. SAECHANG COMMERCIAL CO., LTD. Korea, Republic of – Hall 4 V425 Ref: SP-5087 B/OUT Modal® 78% Polyester 18% Elasthan® 4% Lauren D Zbarsky Superbaba Restaurant by Studio Roslyn studioroslyn.com laurendzbarsky.com

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6. HARRY TEXTILES CO., LTD. Korea, Republic of – Hall 4 W424 Ref: HP-114660 Polyester 100%

joint - fabrics - look 3 jointure - tissus - look 3

Contemporary Vestige Vestige Contemporain aspects Monochrome Conservation - Sanitized Organization Nascent Framework aspects Conservation Monochrome - Organisation Aseptisée Cadre Naissant

fibers Sequenced Cell - Unstable Case - Exemplary Layout fibres Cellule Séquencée - Écrin Instable Agencement Exemplaire 2

REFUGE

1. RED TEXTILE Korea, Republic of – Hall 4 W418 Ref: KR30192 Viscose 55% Polyester 45%

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6. HARRY TEXTILES CO., LTD. Korea, Republic of – Hall 4 W424 Ref: HP-114660 Polyester 100%

joint - fabrics - look 3 jointure - tissus - look 3

Cemented Obsolescence Obsolescence Cimentée

aspects Alternative Mosaic - Clashing Addition - Sparkling Reflection aspects Mosaïque Alternative - Adjonction Discordante - Reflet Chatoyant fibers Metal Smoothing - Intense Graining - Contrasted Relief fibres Lissage Métallique - Grainage Intense - Relief Contrasté Photo by Mike Wilson on Unsplash

5 1. TEXMILL CO., LTD. Korea, Republic of – Hall 4 T418 Ref: TN505 Polyester 95% Elasthan® 5% 2. SK TEX CO., LTD. Korea, Republic of – Hall 4 V420 Ref: SK5965B Polyester 100% 3. FOSHAN CHICLEY TEXTILE CO., LTD. China – Hall 4 V431 Ref: CA3183A Organic cotton 100% 6

4. MIGIBOY TEKSTIL SAN. VE TIC. A.S. Turkey – Hall 4 R424 Ref: ROMA Polyester 90% Elasthan® 10% 5. SHANGHAI ENJOY TEXTILE SCIENCE & TECHNOLOGY DEVELOPMENT CO., LTD. China – Hall 4 Z412 Ref: 6580 Cotton 97% Spandex 3% 6. SHANGHAI PLUS TEXTILE CO., LTD. China – Hall 4 ZZ422 Ref: PL-17082302 Polyester 100%

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Cemented Obsolescence Obsolescence Cimentée

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11. mod ell derm ed skin e modelé

denim focus

13. malle a coco ble cocoon n malléa ble

16. misty plâtr plaster e brume ux

1. Koln Yonoh Mobliberica Ángel segura

18. sedim e cime ntary cement nt sédim entaire

2. Fondaco dei Tedeschi by OMA Photograph by Delfino Sisto Legnani and Marco Cappelletti, Courtesy of OMA Office for Metropolitan Architecture (OMA) Heer Bokelweg 149, 3032 AD Rotterdam, The Netherlands oma.com 3. Thirza Schaap Plastic Ocean plastic-ocean.net 4. Arvida Byström Peaches @arvidabystrom 5. iBar, Royal abbey of Fontevraud, Loire Valley, France fontevraud.fr © Nicolas Mathéus 6. Studio WooJai PaperBricks Sculpt series 2017 © WooJai Lee woojai.com

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11. mod ell derm ed skin e modelé

denim focus

13. malle a coco ble cocoon n malléa ble

16. misty plâtr plaster e brume ux

1. Koln Yonoh Mobliberica Ángel segura

18. sedim e cime ntary cement nt sédim entaire

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color affinity

Nomad Block Bloc Nomade 1

Mineral Archive Archive Minérale 2

Protective Case Étui Protecteur

4 1. Photo by Luca Bravo on Unsplash 2. Thirza Schaap Plastic Ocean plastic-ocean.net 3. Crosby Studios NGRS Office, Moscow, Russia 2014 crosby-studios.com

Ephemeral Nesting Imbrication Éphémère

4. Arvida Byström Peaches @arvidabystrom

One Plus Partnership Limited photographer : Ajax Law onepluspartnership.com

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color affinity

Nomad Block Bloc Nomade 1

Mineral Archive Archive Minérale 2

Protective Case Étui Protecteur

4 1. Photo by Luca Bravo on Unsplash 2. Thirza Schaap Plastic Ocean plastic-ocean.net 3. Crosby Studios NGRS Office, Moscow, Russia 2014 crosby-studios.com

Ephemeral Nesting Imbrication Éphémère

4. Arvida Byström Peaches @arvidabystrom

One Plus Partnership Limited photographer : Ajax Law onepluspartnership.com

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scope We became water. Sometimes a downpour, sometimes a stream. Ice or steam. Unified torrent or drop of water alone. Adapting to the form it is given. But what would the water do if it could choose its own shape? Today we provide the answer. We are this ceaseless current able to go up its course, as if to suspend it. To stretch out, to swell, as if to tighten around itself. We are an ocean that has discovered freedom. We define our own territories. Sometimes still constrained by some rigid vestiges of the past. We overflow and encompass them. Our identities come together and separate, bind and untie. Without violence. Because the other person, like me, has a thousand facets. Too many to love them all. Too many to hate them all. Good enough, for all to accept.

envergure Nous sommes devenus de l’eau. Tantôt déluge, tantôt ruisseau. Glace ou vapeur. Torrent unifié ou goutte d’eau esseulée. Épousant la forme qu’on lui donne. Mais que ferait l’eau si elle pouvait choisir sa propre forme ? Nous apportons la réponse aujourd’hui. Nous sommes ce courant incessant capable de remonter son cours, comme de le suspendre. De s’étendre au loin, de se gonfler, comme de se resserrer sur lui-même. Nous sommes un océan qui aurait découvert la liberté. Nous définissons nos propres territoires. Parfois encore contraint par quelques vestiges rigides du passé. Nous les débordons et les englobons. Nos identités se regroupent et se séparent, se lient et se délient. Sans violence. Parce que l’autre, comme moi, a mille facettes. Trop pour toutes les aimer. Trop pour toutes les détester. Bien assez, pour toutes les accepter.

Photo by Jakob Owens on Unsplash

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Photo by Jakob Owens on Unsplash

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scope envergure

er olym ble p gétal a t e é eg 19. v lymère v o p uster ted l oli s o r f 20. lat dép c é nt torre d e fi i n fié 21. u rrent uni o t

ubbl ed b t a n i hlor ée 22. c lle chlor u b

scum eless essante s a e 23. c ume inc c é flood oxic toxique t . 4 2 éluge d

oil turm ssal byssal y b a 25. mous a e r

1. Lonneke van der Palen

oose lion mlon i m r e l 26. v an vermi l é

2. ARIELLE BOBB-WILLIS New Orleans, 2015 ariellebobbwillis.com 3. Photo by Matese Fields on Unsplash

ignal rial s ural o t c i 27. p gnal pict i s

4. © Penique productions El Claustro Querétaro, México. 2011 Art Installation peniqueproductions.com 9

5. Tadao Cern «Hanging Paintings», 2017 tadaocern.com 6. Photo by Jorge Mallo on Unsplash 7. Micro Macro 30 by Alessandro Mendini cletomunari.com 8. Mathias Hahn Design Studio ‚Preserves‘ Installation of experimental Jars mathiashahn.com photo: Sylvain Deleu 9. Photo by McDobbie Hu on Unsplash

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scope envergure

er olym ble p gétal a t e é eg 19. v lymère v o p uster ted l oli s o r f 20. lat dép c é nt torre d e fi i n fié 21. u rrent uni o t

ubbl ed b t a n i hlor ée 22. c lle chlor u b

scum eless essante s a e 23. c ume inc c é flood oxic toxique t . 4 2 éluge d

oil turm ssal byssal y b a 25. mous a e r

1. Lonneke van der Palen

oose lion mlon i m r e l 26. v an vermi l é

2. ARIELLE BOBB-WILLIS New Orleans, 2015 ariellebobbwillis.com 3. Photo by Matese Fields on Unsplash

ignal rial s ural o t c i 27. p gnal pict i s

4. © Penique productions El Claustro Querétaro, México. 2011 Art Installation peniqueproductions.com 9

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3 4

Vollebak/ Sun Lee Solar Charged Jacket 2017 vollebak.com

Malleable Particle Particule Malléable

aspects Distinguished Iridescence Protective Phosphorescence Shining Plan aspects Iridescence Distinguée Phosphorescence Protectrice Plan Luisant fibers Flagrant Flexibility - Modular Affinity Indirect Clarity fibres Souplesse Flagrante - Affinité Modulable Clarté Indirecte

1. SEÇEN TEKSTIL SAN. VE TIC. LTD. STI. Turkey – Hall 2 G150 Ref: 6549-50068 MARBLE Viscose 83% Polyamid 17% 2. ASLI TEKSTIL GIYIM SAN. VE TIC. A.S. Turkey – Hall 4 R412 Ref: 1146 3. GUANGZHOU GRANDLONG TEXTILE CO., LTD. China – Hall 4 Q421 Ref: A4094B-4# Polyester 97% Elasthan® 3% 4. SEONG AN CO., LTD. Korea, Republic of – Hall 4 X424 Ref: HMC601 Polyester 100% 5. SHINILTEX CO., LTD. Korea, Republic of – Hall 4 T416 Ref: SL-1634A Polyester 97% Elasthan® 3% 6. SHANGHAI FLYING-FASHION TEXTILE AND TECHNOLOGY CO., LTD. China – Hall 4 Z405 Ref: FS-WTK17516 Polyester 100%

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1 2

3 4

Vollebak/ Sun Lee Solar Charged Jacket 2017 vollebak.com

Malleable Particle Particule Malléable

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Polymorphic Curvature Courbure Polymorphe 6

aspects Differentiating Stacking - Underlined Architecture Vaulted Projection aspects Empilement Nuancé - Architecture Soulignée Projection Voûtée fibers Gross Curvature - Air Beam - Volatile Connection fibres Courbure Brute - Faisceau Aérien - Liaison Volatile

1. SHENZHEN AUDE INT’L CO., LTD. China – Hall 4 H413 Ref: AE21126SV B/OUT LUREX VELVET Viscose 82% Silk 18% 2. BAEKSAN JACQUARD CO., LTD. Korea, Republic of – Hall 4 W425 Ref: BSJ-20537 Polyester 100% 3. SHANGHAI ENJOY TEXTILE SCIENCE & TECHNOLOGY DEVELOPMENT CO., LTD. China – Hall 4 Z412 Ref: 9001-86 Cotton 60% Nylon 40% 4. SHINJINTEX CO., LTD. Korea, Republic of – Hall 4 O419 Ref: SJ-1279 Modal® 97% Elasthan® 3% 5. ZHANGJIAGANG ORTEX CORPORATION China – Hall 4 ZZ407 Ref: OT9742 Eco. Polyester 89% Elasthan® 11% 6. ACAR IHR ITL TEKSTIL TIC., VE SAN. A.S. Turkey – Hall 2 C193 Ref: 61270 CALAMA Tencel® 87% Polyester 13%

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Polymorphic Curvature Courbure Polymorphe 6

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Aqueous Expansion Expansion Aqueuse aspects Defragmented Print - Coupled Run-Out - Nonchalant Overflow aspects Imprimé Défragmenté - Coulure Accolée - Débordement Nonchalant

fibers Flexible Sleeving - Coated Fragment - Hampered Uniqueness fibres Gainage Flexible - Fragment Enrobé - Unicité Entravée 3

1. FILETUL TEKSTIL SAN. VE TIC. A.S. Turkey – Hall 4 H426 Ref: 6239-PLS Polyester 100% 2. DUCKWOO CORPORATION (W-TEX) Korea, Republic of – Hall 4 V437 Ref: 7154HC/AW Viscose 59% Polyester 41% 3. LANHUA INT’L TRADE CO., LTD. China – Hall 2 G198 Ref: LH-17090 Viscose 58% Nylon 42%

4. GUANGDONG JIANYE TEXTILE GROUP CO., LTD. China – Hall 4 R426 Ref: 11963448 Polyester 92% Spandex 8% 5. RED TEXTILE Korea, Republic of – Hall 4 W418 Ref: TWINS-PK CLY 60% Cotton 37% Elasthan® 3% 6. NAZ ORME KUMAS VE TEKSTIL SAN. A.S. Turkey – Hall 4 Q426 Ref: F18-6210V2 Cotton 95% Elasthan® 5%

Tim Lahan The hot seat

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Aqueous Expansion Expansion Aqueuse aspects Defragmented Print - Coupled Run-Out - Nonchalant Overflow aspects Imprimé Défragmenté - Coulure Accolée - Débordement Nonchalant

fibers Flexible Sleeving - Coated Fragment - Hampered Uniqueness fibres Gainage Flexible - Fragment Enrobé - Unicité Entravée 3

Tim Lahan The hot seat

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Binding Framework Encadrement Liant

aspects Broken Stripe - Evasive Element - Ethereal Stack aspects Rayure Accidentée - Élément Évasif Empilement Éthéré

1. DAEYEON CO., LTD. Korea, Republic of – Hall 2 G181 Ref: ESPA-GK10(#3-2) Polyester 80% Polyurethan 20% 2. WUJIANG FEIXIANG WARP KNITTING TEXTILES CO., LTD. China – Hall 2 H141 Ref: ITR280 Polyester 100%

fibers Sequenced Coloring - Authentic Duality Obvious Adaptability fibres Coloration Séquencée - Dualité Authentique Adaptabilité Évidente

3. 6 DIAS - TEXTEIS INTERNACIONAIS LDA. Portugal – Hall 4 D416 Ref: PA1928/150.1294 Polyamid 100% 6

4. BGT TEKSTIL ITHALAT IHRACAT TIC. LTD. STI. Turkey – Hall 2 E191 Ref: Cotton 100% 5. SHANGHAI PLUS TEXTILE CO., LTD. China – Hall 4 ZZ422 Ref: PU-15072316P3 Polyurethan 100% 6. KOTONTEKS TEXTILE INDUSTRY Turkey – Hall 2 B223 Ref: 20399 Polyester 29% Cotton 71%

Photo by Samuel Zeller on Unsplash

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Binding Framework Encadrement Liant

aspects Broken Stripe - Evasive Element - Ethereal Stack aspects Rayure Accidentée - Élément Évasif Empilement Éthéré

fibers Sequenced Coloring - Authentic Duality Obvious Adaptability fibres Coloration Séquencée - Dualité Authentique Adaptabilité Évidente

3. 6 DIAS - TEXTEIS INTERNACIONAIS LDA. Portugal – Hall 4 D416 Ref: PA1928/150.1294 Polyamid 100% 6

Photo by Samuel Zeller on Unsplash

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denim focus rrent ed to ifié fi i n u 21. rrent un o t

moil al tur ssal s s y y b 25. a mous ab e r

se moo ilion llon m r e 26. v an vermi l é ignal rial s ural o t c i 27. p gnal pict i s

1. Vollebak/ Sun Lee Solar Charged Jacket 2017 vollebak.com

2. Lonneke van der Palen 3. © Louis Gérin / 2G2L Paris 4. Photo by Lance Anderson on Unsplash 5. Photo by Pierre Châtel- Innocenti on Unsplash 6. Photo by Simone Hutsch on Unsplash

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denim focus rrent ed to ifié fi i n u 21. rrent un o t

moil al tur ssal s s y y b 25. a mous ab e r

se moo ilion llon m r e 26. v an vermi l é ignal rial s ural o t c i 27. p gnal pict i s

1. Vollebak/ Sun Lee Solar Charged Jacket 2017 vollebak.com

2. Lonneke van der Palen 3. © Louis Gérin / 2G2L Paris 4. Photo by Lance Anderson on Unsplash 5. Photo by Pierre Châtel- Innocenti on Unsplash 6. Photo by Simone Hutsch on Unsplash

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Subjected Alliance Alliance Soumise Forced Overflow Débordement Contraint

Striated Swelling Gonflement Strié 2

Flexible Globality Globalité Souple 3

color affinity 1. Photo by chuttersnap on Unsplash 2. © iStock 3. © iStock 4. Adrian & Gidi adrian-gidi.com commissioned by Stylist Magazine

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Subjected Alliance Alliance Soumise Forced Overflow Débordement Contraint

Striated Swelling Gonflement Strié 2

Flexible Globality Globalité Souple 3

color affinity 1. Photo by chuttersnap on Unsplash 2. © iStock 3. © iStock 4. Adrian & Gidi adrian-gidi.com commissioned by Stylist Magazine

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scope - color affinity - conclusion envergure - color affinity - conclusion

excess Like air particles or water particles. From a distance, we form a whole. From a distance only. A stream of independent but related particles. We no longer seek to think of humanity as a whole. Our ancestors all wanted to shape the world. But no one found the right answer. We do not have it either. So, we draw a dynamic picture. A constantly changing drawing. A puzzle that recomposes itself forever. With one aim: that each piece enjoy its freedom. 2,500 years separate the «know yourself» from the temple of Delphi, from Nietzsche’s «become what you are». Nearly three millennia, and we finally discovered the key to the riddle. While we were looking for a single identity, we were invited to take a step back to observe our being. See its richness, its multiplicity. Discover its magnitude and its infinite possibilities. And to finally understand that to be oneself is to be everything at once.

démesure Comme des particules d’air, des particules d’eau. De loin, nous formons un tout. De loin seulement. Un flot de particules indépendantes, mais liées. Nous ne cherchons plus à penser l’humanité dans sa globalité. Nos ancêtres ont tous voulu modeler le monde. Mais aucun n’a trouvé la bonne réponse. Nous ne l’avons pas non plus. Alors nous dessinons un tableau mouvant. Un dessin sans cesse changeant. Un puzzle qui se recompose éternellement. Avec un seul objectif : que chaque pièce jouisse de sa liberté. 2 500 ans séparent le « connais-toi toi-même » sur le temple de Delphes, du « deviens ce que tu es » de Nietzsche. Près de trois millénaires, et nous avons enfin découvert la clé de l’énigme. Alors que nous cherchions à nous arrêter sur une seule identité, nous étions en fait invités à prendre du recul pour observer notre être. Voir sa richesse, sa multiplicité. Découvrir son ampleur et ses infinies possibilités. Et comprendre enfin qu’être soi, c’est être tout à la fois.

Creative direction: Six N. Five + Sebastián Baptista + SPACE10 Exploring Spaces of Tomorrow, SPACE10 Pop Up, London space10.io

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Creative direction: Six N. Five + Sebastián Baptista + SPACE10 Exploring Spaces of Tomorrow, SPACE10 Pop Up, London space10.io

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excess démesure 9

ging han ée d e od ann utm re surr o . 28 tentu ic abr on f une m mm com 29. toile co

lay ile c ocile c o d d 30. glaise d see e fed soufflé f u p . e 31 grain

5 6

y enc urg loutée y t e e ve velv 33. urgenc

1. «Elemental Cabinet» Kostas Lambridis Photographer Yen-An Chen kostaslambridis.com 2. Concrete Cat Octavia concretecat.com

on fusi ge e g a a vint vint 34. fusion

3. Photo by Jason Leung on Unsplash

t wee er s amère t t i b 35. douce

4. Creative direction: Six N. Five + Sebastián Baptista + SPACE10 Exploring Spaces of Tomorrow, SPACE10 Pop Up, London space10.io 5. Teratoma Productions Plug a seat @teratomaproductions teratomaproductions.com

lion

e and d d re l o r i -yea léna and on mil s u tho e-li 32. dent-d

flow den simulé d i h 36. flot dis

6. Elena-Gileva-The Big drip. Hand built earthenware, glaze. 150 x 36 cm. 2016. Image courtesy Sylvian Deleu 7. Photo by Alisa Mulder on Unsplash 8. Hansje van Halem Studio 2017 – Poster design for Galerie Block C presents Joachim Schmid (A2,riso print). hansje.net 9. Bluarch Time square diner (NYC) bluarch.com 10. all rights reserved

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excess démesure 9

ging han ée d e od ann utm re surr o . 28 tentu ic abr on f une m mm com 29. toile co

lay ile c ocile c o d d 30. glaise d see e fed soufflé f u p . e 31 grain

5 6

y enc urg loutée y t e e ve velv 33. urgenc

1. «Elemental Cabinet» Kostas Lambridis Photographer Yen-An Chen kostaslambridis.com 2. Concrete Cat Octavia concretecat.com

on fusi ge e g a a vint vint 34. fusion

3. Photo by Jason Leung on Unsplash

t wee er s amère t t i b 35. douce

lion

e and d d re l o r i -yea léna and on mil s u tho e-li 32. dent-d

flow den simulé d i h 36. flot dis

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Enigmatic Union Union Énigmatique aspects Dissonant Patchwork - Multi Emotional Delicate Agglomerate aspects Patchwork Dissonant - Multi Émotionnel Agglomérat Délicat fibers Reflector Sheet - Hazardous Sequence Alternative Encounter fibres Lame Réfléchissante - Enchaînement Hasardeux Rencontre Alternative

1. BRAVOWORLD CO., LTD. Korea, Republic of – Hall 4 T436 Ref: BR7882 Viscose 86% Polyamid 14%

2. DAEYEON CO., LTD. Korea, Republic of – Hall 2 G181 Ref: ESPA-DY800 Polyester 85% Polyurethan 15% 3. RED TEXTILE Korea, Republic of – Hall 4 W418 Ref: NRW05-11261 Polyester 100% 4. KOTTEX INDUSTRIES PVT. LTD. India – Hall 2 H210 Ref: 40046 Organic linen 100%

5. MANIFATTURA FODERAMI CIMMINO SRL Italy – Hall 4 D410 Ref: TESS SUGHERO CORK Cotton 100% 6. HYOCHANG CORPORATION Korea, Republic of – Hall 4 V416 Ref: H170450 Polyester 90% Spandex 10%

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excess - fabrics - look 1 démesure - tissus - look 1

1. BRAVOWORLD CO., LTD. Korea, Republic of – Hall 4 T436 Ref: BR7882 Viscose 86% Polyamid 14%

5. MANIFATTURA FODERAMI CIMMINO SRL Italy – Hall 4 D410 Ref: TESS SUGHERO CORK Cotton 100% 6. HYOCHANG CORPORATION Korea, Republic of – Hall 4 V416 Ref: H170450 Polyester 90% Spandex 10%

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Latent Flexibility Souplesse Latente aspects Velvety Relief - Polished Surface - Repetitive Sequence aspects Relief Velouté - Surface Arasée - Séquence Répétitive

fibers Parallel Undulation - Successive Link - Variegated Shading fibres Ondulation Parallèle - Lien Successif - Ombrage Bigarré

1. MINGLEURN CO., LTD. Taiwan – Hall 4 I421 Ref: M501338PR-2 Nylon 50% Polyester 25% Viscose 15% Cotton 10% 2. KWANG JIN TEXTILE CORP. Korea, Republic of – Hall 4 W417 Ref: KJ-9153 Polyester 100% 3. SHENZHEN AUDE INT’L CO., LTD. China – Hall 4 H413 Ref: AG22558PV P/D VELVET Polyester 80% Metallic 20%

4. SHANGHAI SAITE SILK IMPORT & EXPORT CO., LTD. China – Hall 4 G424 Ref: STK170057 Silk 88% Metallic 12% 5. QINGDAO MAX VOGUE IMPORT & EXPORT CO., LTD. China – Hall 4 L434 Ref: JQ3039 Polyester 90% Metallic 10% 6. MARSALA DOKUMA BOYA SAN. VE TIC. A.S. Turkey – Hall 4 D426 Ref: KM04371 Viscose 83% Polyester 18%

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excess - fabrics - look 2 démesure - tissus - look 2

Latent Flexibility Souplesse Latente aspects Velvety Relief - Polished Surface - Repetitive Sequence aspects Relief Velouté - Surface Arasée - Séquence Répétitive

fibers Parallel Undulation - Successive Link - Variegated Shading fibres Ondulation Parallèle - Lien Successif - Ombrage Bigarré

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excess - fabrics - look 2 démesure - tissus - look 2

Discontinuous Camouflage Camouflage Discontinu aspects Polymorphic Transparency - Dissonant Harmony - Uneven Weaving aspects Transparence Polymorphe - Harmonie Dissonante - Tissage Accidenté fibers Degraded Connection - Intertwined Rhythm - Bright Awakening fibres Liaison Dégradée - Rythme Enlacé - Réveil Lumineux

5 1. HAN GANG FABRIC CO., LTD. Korea, Republic of – Hall 4 X416 Ref: HR-50697 Polyester 100% 2. SHAFI TEXCEL LIMITED Pakistan – Hall 2 A197 Ref: TW-529-RAMSY Cotton 97% Spandex 3% 3. REISOGLU IPLIK MENSUCAT SAN. TIC. A.S. Turkey – Hall 2 B197 Ref: NS-2308 BRIGHT Polyester 56% Nylon 28% Lurex 14% Elasthan® 2%

4. SHENZHEN AUDE INT’L CO., LTD. China – Hall 4 H413 Ref: AF22119NV P/D B/O VELVET (LONG PILE) Viscose 82% Polyamid 18% 5. COMTEX ENTERPRISE CO., LTD. Taiwan – Hall 4 R411 Ref: M23858 Polyester 100%

Photo by Melissa Mjoen on Unsplash

6. F-HOUSE CO., LTD. China – Hall 2 G204 Ref: JH17-3497 Wool 30% Acrylic 20% Polyester 50%

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Photo by Melissa Mjoen on Unsplash

6. F-HOUSE CO., LTD. China – Hall 2 G204 Ref: JH17-3497 Wool 30% Acrylic 20% Polyester 50%

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Empirical Puzzle Puzzle Empirique aspects Openwork Geometry - Disposed Tile Devoured Volume aspects Géométrie Ajourée - Carreau Disposé Volume Dévoré fibers Perennial Assembly - Narrative Entanglement Tumultuous Stacking fibres Assemblage Pérenne - Enchevêtrement Narratif Empilement Tumultueux

Concrete Cat Infinite unit concretecat.com

1. SEÇEN TEKSTIL SAN. VE TIC. LTD. STI. Turkey – Hall 2 G150 Ref: 6525 CITY Viscose 59% Polyester 41% 2. DIVA KUMASCILIK TEKSTIL SAN. TIC. LTD. STI. Turkey – Hall 2 A206 Ref: 4532 Polyester 98% Elasthan® 2%

3. ER-EZ DOKUMA KUMAS TEKSTIL SAN. VE TIC. LTD. STI. Turkey – Hall 4 M412 Ref: 61302 Viscose 92% Spandex 8% 4. DIVA KUMASCILIK TEKSTIL SAN. TIC. LTD. STI. Turkey – Hall 2 A206 Ref: 4572 Polyester 69% Viscose 23% Metallic 6% Elasthan® 2% 5. HMK TEKSTIL SAN. VE TIC. LTD. Turkey – Hall 4 M410 Ref: J2763 Viscose 85% Polyamid 15% 6. ERSAT TEKSTIL KONF. SAN. VE TIC. LTD. STI. Turkey – Hall 2 A198 Ref: 011028-01-00 Polyester 47% Viscose 53%

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Concrete Cat Infinite unit concretecat.com

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denim focus 5

ing ang e h d é ode ann utm re surr o . 28 tentu

d see e fed soufflé f u p . e 31 grain

1. Photo by John Jennings on Unsplash

y enc urg loutée y t e e ve velv 33. urgenc

2. Stuhlhockerbank Kraud Yvonne Fehling and Jennie Peiz Photo credits: Horst Bernhard, Hartheim 3. Hansje van Halem Studio 2016 – Illustration for Wired Germany issue #02 2016. hansje.net 4. Photo by Samuel Zeller on Unsplash

t wee er s amère t t i b 35. douce

5. Matt Blease for The Art of Ping Pong. Photograph by Paul Thompson. 6. ΣΕΡΑΠΙΣ/Serapis ‘Shark’ Scarf 100% Silk, Made in Soufli, Greece © Elena Sarantopoulou serapisworks.com

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denim focus 5

ing ang e h d é ode ann utm re surr o . 28 tentu

d see e fed soufflé f u p . e 31 grain

1. Photo by John Jennings on Unsplash

y enc urg loutée y t e e ve velv 33. urgenc

t wee er s amère t t i b 35. douce

5. Matt Blease for The Art of Ping Pong. Photograph by Paul Thompson. 6. ΣΕΡΑΠΙΣ/Serapis ‘Shark’ Scarf 100% Silk, Made in Soufli, Greece © Elena Sarantopoulou serapisworks.com

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color affinity Moving Table Tableau Mouvant 1

Immoderate Rooting Enracinement Immodéré 2

Complicit Multiplicity Multiplicité Complice 3

Immutable Distortion Distorsion Immuable 4

1. Mira Mikati SS18 collection. Leather think less sneaker 2. Photo by Adithya Reza on Unsplash 3. © iStock 4. Photo by Chris Barbalis on Unsplash

Photo by Tom Fejér on Unsplash

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color affinity Moving Table Tableau Mouvant 1

Immoderate Rooting Enracinement Immodéré 2

Complicit Multiplicity Multiplicité Complice 3

Immutable Distortion Distorsion Immuable 4

1. Mira Mikati SS18 collection. Leather think less sneaker 2. Photo by Adithya Reza on Unsplash 3. © iStock 4. Photo by Chris Barbalis on Unsplash

Photo by Tom Fejér on Unsplash

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general’s conclusion We all have in common that we are unique, unusual. We are multiple. We redefine ourselves permanently. All unique, thereby all the same. We are freeing ourselves from millennial communities. Eternal borders. Neither time nor space seem to hinder us. The present is a delicious moment of freedom. And we do not know where we are going to stop. Are we going to rid ourselves of our ultimate brake: our biological reality? Do we wish to become ethereal beings? The physical laws of the universe no longer correspond to the aspirations of humanity. Will we have to bend the universe to our desires, or will we discover that our world is less rigid than it seems? That the Universe was hiding a reality that we were not ready to take on? And what if the Universe has always been waiting for us?

conclusion générale Nous avons tous en commun d’être singulier, insolite. D’être multiples. De se redéfinir en permanence. Tous uniques, donc tous pareils. Nous nous affranchissons de communautés millénaires. De frontières éternelles. Ni le temps, ni l’espace ne semblent nous faire obstacle. Le présent est un délicieux moment de liberté. Et nous ne savons pas où nous allons nous arrêter. Irons-nous jusqu’à nous débarrasser de notre ultime frein : notre réalité biologique ? Souhaitons-nous devenir des êtres éthérés ? Les lois physiques de l’univers ne correspondent plus aux aspirations de l’humanité. Faudra-t-il plier l’univers à nos désirs, ou allonsnous découvrir que notre monde est moins rigide qu’il n’y paraît ? Que l’Univers nous cachait une réalité que nous n’étions pas prêts à assumer ? Et si depuis toujours, l’Univers nous attendait ?

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star colors 4. shy azure azur timide 12-4306 TPX - 7541C 17. calcareous foam mousse calcaire 13-6107 TPX - 622C 7. dissipated breathing respiration dissipée 16-5106 TPX - 5507C 13. malleable cocoon cocon malléable 13-1406 TPX - 698C 26. vermilion moose élan vermillon 17-1558 TPX - 2033C 34. vintage fusion fusion vintage 16-1362 TPX - 2026C 31. puffed seed graine soufflée 15-0955 TPX - 124C 20. frosted luster éclat dépoli 17-5130 TPX - 2243C 25. abyssal turmoil remous abyssal 19-3864 TPX - 3584C

star colors star colors

caesura césure

joint jointure

scope envergure

excess démesure

1. 12-0643TPX 102C supreme incandescence incandescence suprême

10. 15-1621TPX 176C fluffy envelope enveloppe duveteuse

19. 16-5815TPX 624C vegetable polymer polymère végétal

28. 19-1532TPX 697C outmoded hanging tenture surannée

2. 12-0910TPX 7506C twirling egret aigrette virevoltante

11. 16-1329TPX 486C modelled skin derme modellé

20. 17-5130TPX 2243C frosted luster éclat dépoli

29. 12-0715TPX 7499C common fabric toile commune

3. 14-1107TPX 7534C enveloping dune dune enveloppante

12. 16-1516TPX 7613C clayey skin peau argileuse

21. 17-4336TPX 7689C unified torrent torrent unifié

30. 17-1048TPX 7511C docile clay glaise docile

4. 12-4306TPX 7541C shy azure azur timide

13. 13-1406TPX 698C malleable cocoon cocon malléable

22. 17-4540TPX 2393C chlorinated bubble bulle chlorée

31. 15-0955TPX 124C puffed seed graine soufflée

5. 13-4308TPX 5445C gleaming aurore aurore miroitante

14. 13-2806TPX 2365C celestial flow flux céleste

23. 11-0105TPX off white ceaseless scum écume incessante

32. 13-0758TPX 116C thousand-year-old dandelion dent-de-lion millénaire

6. 17-4328TPX 2209C gaseous iris iris gazeux

15. 13-0401TPX 7527C ancient granite granite séculaire

24. 18-3718TPX 667C toxic flood déluge toxique

33. 16-1452TPX 1635C velvety urgency urgence veloutée

7. 16-5106TPX 5507C dissipated breathing respiration dissipée

16. 12-0607TPX 621C misty plaster plâtre brumeux

25. 19-3864TPX 3584C abyssal turmoil remous abyssal

34. 16-1362TPX 2026C vintage fusion fusion vintage

8. 19-4006TPX 426C sweet abyss abîme douce

17. 13-6107TPX 622C calcareous foam mousse calcaire

26. 17-1558TPX 2033C vermilion moose élan vermillon

35. 12-0426TPX 585C bitter sweet douce amère

9. 14-5002TPX metallised ferrous residue reliquat ferreux

18. 16-4702TPX cool gray 7C sedimentary cement ciment sédimentaire

27. 17-1462TPX 2027C pictorial signal signal pictural

36. 19-5408TPX 2466C hidden flow flot dissimulé

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caesura césure

joint jointure

scope envergure

excess démesure

1. 12-0643TPX 102C supreme incandescence incandescence suprême

10. 15-1621TPX 176C fluffy envelope enveloppe duveteuse

19. 16-5815TPX 624C vegetable polymer polymère végétal

28. 19-1532TPX 697C outmoded hanging tenture surannée

2. 12-0910TPX 7506C twirling egret aigrette virevoltante

11. 16-1329TPX 486C modelled skin derme modellé

20. 17-5130TPX 2243C frosted luster éclat dépoli

29. 12-0715TPX 7499C common fabric toile commune

3. 14-1107TPX 7534C enveloping dune dune enveloppante

12. 16-1516TPX 7613C clayey skin peau argileuse

21. 17-4336TPX 7689C unified torrent torrent unifié

30. 17-1048TPX 7511C docile clay glaise docile

4. 12-4306TPX 7541C shy azure azur timide

13. 13-1406TPX 698C malleable cocoon cocon malléable

22. 17-4540TPX 2393C chlorinated bubble bulle chlorée

31. 15-0955TPX 124C puffed seed graine soufflée

5. 13-4308TPX 5445C gleaming aurore aurore miroitante

14. 13-2806TPX 2365C celestial flow flux céleste

23. 11-0105TPX off white ceaseless scum écume incessante

32. 13-0758TPX 116C thousand-year-old dandelion dent-de-lion millénaire

6. 17-4328TPX 2209C gaseous iris iris gazeux

15. 13-0401TPX 7527C ancient granite granite séculaire

24. 18-3718TPX 667C toxic flood déluge toxique

33. 16-1452TPX 1635C velvety urgency urgence veloutée

7. 16-5106TPX 5507C dissipated breathing respiration dissipée

16. 12-0607TPX 621C misty plaster plâtre brumeux

25. 19-3864TPX 3584C abyssal turmoil remous abyssal

34. 16-1362TPX 2026C vintage fusion fusion vintage

8. 19-4006TPX 426C sweet abyss abîme douce

17. 13-6107TPX 622C calcareous foam mousse calcaire

26. 17-1558TPX 2033C vermilion moose élan vermillon

35. 12-0426TPX 585C bitter sweet douce amère

9. 14-5002TPX metallised ferrous residue reliquat ferreux

18. 16-4702TPX cool gray 7C sedimentary cement ciment sédimentaire

27. 17-1462TPX 2027C pictorial signal signal pictural

36. 19-5408TPX 2466C hidden flow flot dissimulé

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texworld trends team Under the artistic direction of Louis Gérin and Grégory Lamaud, Texworld Art Directors, Texworld’s trends table creates the trends of the future. Their trends team, composed of stylists, designers, graphic designers, and writers offers each season an authentic and original overview, of tomorrow’s inspirational currents. With wide opened eyes, they detect and bring in the starlight the moods of the future Sous la direction de Louis Gérin et Grégory Lamaud, les Directeurs Artistiques de Texworld, la Trends table de Texworld élabore les tendances du futur. Leur concertation, composée de stylistes, designers, graphistes, auteurs, propose chaque saison une présentation authentique et originale des courants d’inspiration pour demain. Leur méthode exclusive combine études sociologiques, approches marketing et développement créatif. Les sens en éveil, ils dévoilent l’air du temps. Leurs yeux grands ouverts repèrent et portent aux nues les humeurs de demain. Editors & Trendsetters Louis Gérin & Grégory Lamaud Artistic designer & Trendsetter Héloïse Joneaux Text & Trendsetter Simon Antony Graphic designer & Trendsetter Olympe Albert Creative Project Manager & Trendsetter Marion Espiau Translation Julia @Piatraduction Trendsetter Grégoire Willerval

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