MIN Magazine by Emily Gilbert

MIN Spring Summer 2015 Issue 1

MIN w w w. m i n m a g a z i n e . c o . u k

Parla SS15 Lookbook

MIN w w w. m i n m a g a z i n e . c o . u k

Parla SS15 Lookbook

WITH SPECIAL THANKS TO

FROM THE EDITOR

DANIELLE FOWLER

Hello, welcome to MIN.

K AT I E V I C T O R I A H O LT

I’d like to introduce myself as Emily Charlotte Gilbert, founder and editor of MIN. Being born from my initial love for the minimalist image, MIN has developed into being the first publication to direct their sole content of fashion and design to a strictly minimalist aesthetic.

KIRSTYN BRYNE I S A B E L U L AT O W S K I FIONA BARRY H E AT H L AT T E R ERIC MORALES FRANCESCA THORNTON L AT I F U L A O Y E

For me, minimalism regards the process of reduction. Reducing all aspects of life and design to their fundamental basics and necessary elements. In fashion, minimalism is present in the form of neutral colour palettes, sharp lines and clean surfaces; a culmination of which I believe creates a timeless style, void of trends. In interior and product design, my approach to m i n i m a l i s m i s a l s o s i m i l a r, w i t h f o c u s d i r e c t e d s o l e l y a t t h e n e c e s s a r y. I b e l e i v e s t r o n g l y i n t h e m a n t r a o f ‘ b u y less, live more’ and am very concerned with sustainable futures.

E M M A W E AT H E R L E Y

For this first issue, I am keen to showcase new and worthy talent and provide them a platform in which to shine. I hope you get to love our profiled designers and brands as much as I do and most of all, I hope you enjoy issue 1!

TENIOLA SOBOYEJO

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AKRIS Page 8 M E L I T TA B A U M E I S T E R Page 9 CAOMIHE MAC NEICE Page 10 T I TA N I A I N G L I S Page 16 PHO.LONDON Page 22 READY TO NOT WEAR Page 26 THE RISE OF SCANDIMANIA Page 30 PA R L A Page 34 PA R L A S S 1 5 Page 38 UNISEX SELLS Page 50 ANNA GROSSI MILADA Page 54 CHANGING PERCEPTIONS Page 60 MIN SS15 Page 62 TRASH IS FOR TOSSERS Page 74 YES STORE Page 78

M E L I T TA B A U M E I S T E R

When looking at the collection, the paintings reference is no surprise. Cotton squares embossed upon sheer white represents the 10

basic geometrics of Malevich’s piece, whilst strictly monochromatic colours highlights his harsh use of black ink. Leather visors again illustrates the designers abstract interpretation of the square, giving a slight nod to the women of Wimbledon in a multiple of all white looks. The fashion houses’ St. Gallen roots were not forgotten with an evident focus on textiles and texture. Sheer fabrics were wrapped around the body whilst a delicate silk patch was embellished upon matte trousers. Hem lines adhered to Akris’ well known and respectable lengths with the introduction of a tailored trouser or two. Kreimler grounded the collection with a sturdy, flat brogue providing a masculine edge to the dress heavy offering. Similarly to Malveichs Black Square, Kreimlers collection is also representative of a transition to simpler design. This collection has secured Akris as a fashion house defiant of trends and focused on high quality, timeless design.

TEXT: EMILY GILBERT

Albert Kreimler, creative director at Akris, has proved once again how seamlessly the worlds of fashion and art can collide for Spring Summer 2015. Whilst previous collections have seen the tarmac of Monoco’s Grand Prix and the work of architect Burle Marx as inspiration, Kreimler’s latest offering looks to Russian painter and pioneer of the the avant garde suprematist movement, Kaimir Malevich. The particular painting of which Kreimler focused on was Malevich’s famous Black Square. The hyper minimalist painting consists of a singular black square upon a white backdrop and whilst it received relative critique at the time, it has since been hailed as one of the most extreme artistic statements today since. Supposedly painted in 1923, the painting is representative of the era that Kreimler’s great grandfather founded the family owned fashion house 90 years ago.

IMAGES: STYLE.COM

AKRIS

Since graduating last year from Parsons with her critically acclaimed White Collection, Melitta Baumeister has yet again hit the headlines with her newest offering, Spring Summer 2015. With its precursor collection casting high expectations, the 28 year old German designer has not only managed to establish her name so early on in her career, but concrete a recognisable and truly unique design style. For Baumeister and second time round photographer, Paul Jung, the future is certainly one filled with watching eyes. Unlike the self explanatory White Collection, SS15 also toys with blacks and the palest of nudes but as to be expected with Baumeisters signature style, the focus is far more centered on form rather than colour. The contradiction of skin tight bralettes teamed with exaggerated trapeze-style trousers results in a somewhat perplexed silhouette; combining hyper feminine forms with Baumeisters evident passion for geometric structures. Her choice of materials also creates an interesting vision; cot-

ton bonded with jersey provides a rigid form whilst sponge filled rings featured on crop tops, perspex accents on shoes and patent finishes give an edgy vibe, possibly representative of her time spent studying in New York. Whilst architectural inspiration is still evident, this collection has a far more approachable style than her previous, something curators at Dover Street Market also thought considering the collection is readily available on their London and New York shelves. Baumeisters ability to create wearable designs in an avant grade style is most definitely admirable, especially in an age where quality craftsmanship and couture techniques are dying trades.

‘Warped’, photographed by Kirstyn Bryne

TEXT: EMILY GILBERT

IMAGES: KIRSTYN BYRNE

CAOMIHE MAC NEICE

Entitled Warped, Caomihe Mac Neices’ graduation collection is the epitome of true minimalist design. Amongst the strict colour palette of whites and nudes lies a hyper feminine silhouette and evident focus on exceptional quality. With a precedent like this, Caomihe is certainly one to watch and we’re excited to be the first printed publication to feature her. We caught up with up and coming Irish designer from London Fashion Week’s International Showcase to discuss taking risks, online identities and her shapeshifting collection.

MIN: When did you decide fashion design was something you wanted to pursue? Caomihe: I think it was always something I had my eye on but I’d never thought i’d be cut out for how fast paced it was. I just liked making things and always thought I would go into other areas of design but I ended up here, and i’m so happy about it. In my first year of design college, we did an area course in different sections of the college, I ended up in fashion and I soon

realised how much I enjoyed designing and making clothes. I learned quickly that it was more than just making things and using your hands, I really enjoyed everything fashion design had to offer and still do. You cite misleading online personas and digital identity, especially that of your sisters, as inspiration behind your collection ‘Warped’, tell us a bit more about this? It’s a strange thing but with any project I do, family members are always the inspiration. The starting point for Warped wasn’t necessarily misleading online personas, but instead my sister. I looked to her initially then began to notice how different we are when it comes to how we present ourselves online. We are so similar in so many ways but online, we’re so different and have a completely different attitudes. I just thought it was so interesting to grow up with someone my whole life and know them so well, but then go on her Facebook profile see such a distinct difference between the girl I know in real life and the girl online. When we go online, everything is airbrushed, metaphor13

ically, and we only show the best parts of ourselves; this distortion of reality is what Warped was based on. When laid flat, the collection holds a completely geometrical flat print but when worn, it unveils an entirely new dimension by adapting to the individuals body, talk to us a bit more about this? Before, I was really interested in tailored garments and classic menswear; shirts, jackets, trousers. I was conscious with my degree collection it was kind of going to be the last chance to do exactly what I wanted to do and not have to compromise with anyone or anything because it was only for me. I wanted to do a bit of an experiment, to really push myself out of my comfort zone and design in a completely different way. When thinking of how to do that, I thought of how people say ‘creativity comes when you restrict yourself’ so I thought if I really restricted myself with certain things, it would push me to be more creative, design wise. So taking just squares and rectangles, which were inspired by warped pixels on the screen, I created the collection completely flat >

‘Warped’, photographed by Kirstyn Bryne

so the garments complete aesthetic are not determined until they are on the body. Was it a daunting transposition out of your comfort zone of tailoring? Yes and No. This collection was my graduate collection so I was still in that famous ‘college bubble’. I wasn’t too much but some of my tutors were concerned about this project because it was nothing like I had done before and in their eyes, I was taking a big risk. The college I went to, the National College of Art and Design in Dublin, tailored garments are something that they love and appreciate. So yeah, there was a lot concerns by others that I was trying something so new for something so big, at the end of the day it’s what my entire degree depended on so it was justified but I hoped I proved them wrong. The only thing I found daunting was having to stand up to them, but in a way it was the best thing to happen to me because to be challenged by such important people that had guided you for years, but then stick to your guns and say ‘no, I’m doing this’ is really something I’m proud of. The colour palette shies away from any form of colour and sticks to whites and a touch of nude, is this a specific design trait we should expect to see from you in the future or was it just something you felt appropriate for Warped? It was definitely something I felt most appropriate for this collection. I do love white, and I use it a lot, but never as strictly as what I did for this collection. I wanted the focus to be on how it moves and how it sits with no distractions whatsoever. I thought white was the best way to do that. You’ve described Warped as having an element of reduction to its design process by limiting interference with the fabric, could you explain a bit more about why that was important to this collection? That came from looking at the online personas and the idea of putting everything out there and hiding nothing so with these garments, I wanted everything out on display with no hidden seams or shapes. In tailoring, of which I had always worked, you have so many little tricks to make things fit better, like shoulder pads to make the shape more streamline so it was

refreshing to take a break and do something different. I wanted honest garments. It was actually really scary because if I did mess it up, there was nothing to hide behind - it is all on show!

or was ever even out there. It was great that there has been so much recognition around this collection off the back of this whole minimalist ‘movement’, but it was never something I intended to tap into;

“It was actually really scary because if I did mess it up, there was nothing to hide behind it is all on show!” What would you say your favourite part of the design process is, from first initial thoughts to the end result?

there was never any minimalist designers I looked to for inspiration but it just so happened to fall that way.

My favourite part is definitely when you get on the stand, so in the middle of research and making the final garments is all stand work. I don’t really design too much from drawing at all, I can only manage stick figures so when I work on paper it’s literally the jotting of an idea. I just love getting on the stand making full scale garments because for me it’s really important how the fabric dictates design so I just like to let that speak for itself. I’d much rather let something develop naturally as opposed to really trying to recreate an image you have on paper or in your head.

How would you describe you own personal style?

Are there any other designers which have been important in inspiring or constructing your design style? There are designers that I definitely like and admire, but I wouldn’t ever look to anyone else to shape something I’m making myself. I feel if you start to look too closely you do get influenced by other people subconsciously and you end up loosing some of your own style. What I found really interesting is that when I left college and the collection attracted so much attention, that attention was from this super cool minimalist crowd, something I didn’t even know existed 16

Casual, comfortable. Obviously I really love clothes and there is nothing better than feeling and owning something beautiful and well made but I’m not that interested in dressing well myself. My hearts with designing. Will we see more menswear collections in the future? I absolutely love menswear and love designing it. I would love to release a full menswear collection to coincide with my womenswear in the future but maybe quite far ahead in the future. Right now I’m just trying to pin down what my own aesthetic is and trying to establish my name as a womenswear designer. Once that is set, I’ll definitely consider it if the time is right. What does the future hold for you? I’m working on a Spring Summer ’16 currently as we speak, so hopefully many more collections to come! www.caoimhemacneice.com 17

‘Warped’, photographed by Kirstyn Bryne

T I TA N I A LEUNG INGLIS Pioneering an ethos of fashionable anti fashion, Titania Inglis is a designer with a mission. We explore her heritage and her eponymous fashion label.

at one point I couldn’t have imagined doing anything different,” she explains, “but the newspaper industry was in such a state of flux when I started out that it soon rendered any sort of success impossible.”

From half Chinese, half Scots-Irish origin, Titania Inglis is a designer grounded in culture and tradition. Growing up among the scenic woodlands and waterfalls of Ithaca, New York, a young Titania established a deep routed respect and admiration for the natural world - a trait she proudly portrays and keenly presents in herself and her work today.

She cites this particular spout of demise for American journalism as the moment a career in design, especially that of graphics, became appealing. “Not only did I notice a tremendous market in graphic design, but I was overcome with a drive towards something more visual and creative,” she explains.

However, despite her Fathers artistic advances, Titania soon found a love for the written word and pursued a career in San Francisco as a writer. “I enjoyed writing,

Titania enrolled into the graphic design course at California College of the Arts in a bid to quench her thirst for creativity. “Not long into the course I discovered that although design was most certainly a prosperous direction, graphics wasn’t quite doing it for me,” she reminisces. “I quickly found that I enjoyed working with tactile materials instead, and became instantly fascinated with the intricacies of designing wearable pieces.” Although fashion design was secured in 18

She talks of her time in The Netherlands with the upmost admiration. “My time there is where I truly found and refined my aesthetic,” she explains. “They focus highly on sustainable futures and always emphasised the importance of functionality within design, something that I have undeniably carried into my own paths.” After graduating her BA degree, Titania made the decision to move back to the Big Apple to study her MA at The Fashion Institute Technology. Now choosing to specialise solely in Fashion Design, Titania combined all her knowledge from her previous studies to produce her acclaimed graduate collection - a collection of which would end up being the first of many. Titania speaks highly of education

TEXT: EMILY GILBERT IMAGES: ERIC MORALES

As a daughter to a successful architect, Titania thanks her creative upbringing as to the reason of her success. “I’ve always been a visual person,” she shares, “but from childhood, my father was always keen to see me express my imagination, ensuring that I had plenty of drawing and painting lessons.”

her mind, the designer went on to finish the year long foundation course and decided to enrol on the Man & Living course at The Design Academy Eindhoven, The Netherlands. “Although the course wasn’t strictly fashion, it allowed me to understand products and design whilst playing out wearable projects,” she shares.

Titania Inglis wearing her own Sprng Summer 2015 collection.

Spring Summer 2015 collection photographed by Julia Comita.

and even admits to hopefully making a return someday. “I’d love to do urban planning or economics,” she gleefully shares. “I’m a generalist at heart, and I’m keen on any field where I get to learn something new and help change this world for the better.” After graduating her MA, Titania went on to work under the name of several cult New York designers such as Jean Yu, Stærk and Threeasfour’s. After building up what she describes as “enough courage,” Titania decided to launch her own Ready To Wear label, Titania Inglis. Her first collection of androgynous womenswear was released in the Summer of 2010. “It was daunting at first, of course,” she shares, “but it wasn’t a decision that I took lightly. Just like with every big transition in my life, I had to feel it was right for me and my situation. Thankfully, It paid off.” It wasn’t long before her name started to make serious movements throughout the industry. In 2012, she was honoured with the Ecco Damani Fashion Foundation Award for her outstanding efforts in Sustainable Design. The award itself boasts a plethora of distinguished alumni and current fashion royalty - Derek Lam, Zac Posen, Alexander Wang and Proenza Schouler to name a few. When asked exactly how the label expends sustainable actions, Titania isn’t shy in rolling out an extensive list of answers. “It ranges from turning off lights and machinery when they’re not in use, to bicycling and taking the subway around the city,” she shares. “We source the highest-quality, lowest-impact fabrics and also maintain personal relationships with our suppliers” she adds. She even shares her attempts and hopes in being zero waste producer. “Whilst we’re not yet zero waste, we reduce waste by cutting to order and design in ways to use up scrap material,” she explains. She also goes on to appropriate the idea of sustainability to her minimalist aesthetic saying, “our efforts in sustainability are strengthened through our timeless styles as it encourages long use, void of trends.” The title of Sustainable Designer of the year not only provides extensive media coverage for the winner, but also their own New York Fashion Week slot. With the $25,000 prize grant from the Ecco Domani wine company, Titania made her

NY runway debut later on that year with her grunge inspired Autumn Winter 2012 collection. “People always ask me if I felt pressured to conforming to expectations after winning, but I struggle to see how,” she ponders. “My designs were always a product and extension of myself, whether that was stylistically or morally, and nothings has changed from when I first started to now, five years later.”

“I want to seperate the idea of a good life from the idea of consumption.” However, although Titania and her designs might not have changed, her following most certainly has. Today, her designs can be found in boutiques situated across US, Australia and Europe. They have also been featured in some of the most established American and International press, including Elle, Women’s Wear Daily, Vogue and the New York Times. Looking at her designs, it’s no wonder she’s received such worldwide praise. Quality craftsmanship and extreme eye for detail are most certainly this designers forte. Her Spring Summer 2015 collection envisions a modern twist on simplicity, with subtle grungy accents in the form of leather harness cuffs and ink dipped hems featured. The collection also fluctuates from casual to smart, with hyper tailored 22

evening wear contrasted with subtle, cotton teddy rompers. The label itself has also ventured far beyond the realms of clothing and has also engendered multidisciplinary collaborations with an assortment of NYC creatives. Members of the Merce Cunningham Dance Company, jewellery designer Bliss Lau, and Zola Jesus to name but a few. When talking about her own design style, Titania is often noted encapsulating it as the term “lush minimalism”. She tells us that it’s not so much a visual aesthetic, but rather an appropriation with the term “the luxury of less.” Considering the fashion industry is driven solely from societies unrealistic desires of product ownership, her aim to “separate the idea of a good life from the idea of consumption” is admirable. “I believe in the idea that simple pleasures, like the wind through your hair while riding a bike, or biting into a justpicked peach from the farmers’ market, or owning fewer but more comfortable and more versatile clothes, are in themselves a form of freedom,” she poetically explains. She further advocates this ethos into her own personal life as well, claiming to no longer toy with the idea of a personal wardrobe. “I wear-test my own samples instead,” she shares, “usually styled with black boots, all sorts of hats, and jewellery by my friends Nettie Kent, W-Wake, and Alicia Hannah Naomi.” However, the designer does admit to enjoying the rare excuse to dress up. “Ultimately, I love clothes so I love getting dressed up for special occasions, but I’ve developed more of a uniform for everyday - the less creative energy I expend on my own outfits, the more I have to put into the collection,” she explains. Looking towards to the future, Titania is optimistic. Whilst she still hopes to still be designing for her own line, she also hopes to get back into writing. “There are so many good stories waiting to be told,” she shares, “and I’m excited to tell them…”

www.titaniainglis.com 23

Spring Summer 2015 collection photographed by Julia Comita.

PHO LONDON Being born from a love of the minimalist aesthetic, PHO. LONDON perfectly encapsulates the needs and wants of todays modern women. We speak to 21 year old founder, Pheobe Whiston, to discuss all things PHO.

TEXT: EMILY GILBERT

IMAGES: LATIFU LAOYE

MIN: What was the inspiration behind starting PHO. LONDON?

PHO.LONDON SS15

Phoebe: I noticed that there wasn’t a store that focused on the minimalist aesthetic while being wearable and timeless as well as supporting and promoting the incredible young designers based in London. I could see that the minimalist aesthetic was massively growing in popularity but there wasn’t a UK store that was instantly recognisable as offering it. I was also very aware that there was a really talented group of young, female designers based in London who didn’t have a collective outlet for their pieces. Who are your personal favourite designers? Apart from the brands on the store, my personal favourites are 3.1 Phillip Lim, Celine

and Acne Studios. I’m constantly looking for brands that would work at PHO. LONDON and I have recently discovered Toteme, the pieces are beautifully simple but timeless, and that is my ultimate wish list in a brand.

about PHO. LONDON is it can evolve and experiment so who knows what could happen!

How would you describe your personal style? Does this differ at all from PHO. LONDON’s identifiable aesthetic?

I’m firstly looking for a connection to that brand that makes them relevant and interesting to me, whether it’s that they are based in London, that the pieces are made close to home or that they are offering something that no other brand seem to be doing. Throughout this process I have learnt that the relationship you have with designer or the people behind the brand is incredibly important, I only wish to work with people I believe in and I want to feel like we are collaborating rather than simply buying and selling. The main qualities I am looking for though is wearability and quality, with the main goal being that the woman buying the piece will wear it and cherish it for years to come.

My personal style is exactly the same as the PHO. LONDON aesthetic and I hope that gives the store a sense of unifying identity, because it’s not trying to be something it isn’t. When buying pieces for the store, I only choose pieces I would enjoy wearing myself. I’ve always felt this huge sense of responsibility not to offer women anything that is in reality, hideous! Where would you like to see the label in ten years time? I would really hope that the store has grown in size and popularity and that we were creating something really special. I really want to collaborate with the people I admire and work on some really interesting projects. The best thing 25

What qualities are you looking for in the garments/items that you’re stocking?

Some people argue that the minimalist aesthetic is just a ‘trend’, how do you feel about that? I don’t think what is going on at the moment >

with minimalism is simply a trend but an actual shift in the way that people are thinking; not just about fashion but all areas of our lives. I think people, especially the young generation, are resisting against the mass consumerism culture that we are all a part of. The concept of ‘buy less, choose well’ isn’t a new one but it seems more relevant than ever. I think people are genuinely looking to choose high quality, investment pieces over throwaway items and this doesn’t just apply to fashion but so many other areas too. Minimalism is a way of thinking, fed by so many other factors (crucially the environment), and I really think it’s here to stay. Have you ever thought about designing a collection yourself? I would love to design a collection myself and it is something I have really thought about, but at the moment all my attention is on PHO. LONDON and building it up to where I’d like it to be. I think the store has so much potential and I’ll always give it everything I’ve got. How would you describe the typical PHO. LONDON customer/follower? I would describe the typical PHO. LONDON customer as in her twenties and with a very keen interest in design, not just in fashion but in many different areas. I think she has a strong sense of personal style but doesn’t need to be told what to wear and dresses for herself. I don’t actually think there is a typical PHO. LONDON follower as they seem to be of all ages, men and women, and from all over the world. I appreciate that so much though, that such a massively broad range of people appreciate what I am doing. What’s been your most rememberable moment since starting up the label? Starting PHO. LONDON really has been an incredible experience and every stage has been incredibly enjoyable. Meeting my brands for the first time and choosing the first pieces has been a massive highlight, as it made the whole project come to life. The best moment however, after over a year of hard work, was seeing the website finally go live. Considering PHO is still in it’s early days, are you currently working on any other projects of is this your only venture? Do you find juggling multiple projects hard? At the moment all my attention is on PHO. LONDON and I will continue to work hard to get it to where I believe it can go. More than anything though, I am completely in love with it and it really is all I ever want to do. PHO. LONDON has already taken over my life and I don’t see it leaving any time soon.

www.pho-london.com

“I THINK PEOPLE, ESPECIALLY THE YOUNG GENERATION, ARE RESISTING AGAINT THE MASS CONSUMERIST CULTURE THAT WE ARE ALL A PART OF.” 26

PHO.LONDON SS15

READY TO NOT WEAR We address the plus size debate and the new minimalist brand trying to change things.

Speaking with founder, Ayanna Wu Celestin, she speaks of her female family members emotional turmoil as the reason behind starting the label. “My mother, where the Mei comes from, is my main source of inspiration,” she shares. “Her, my younger sister, my best friend, and a 28

READY TO NOT WEAR

Ayanna, despite being a standard size 10, also personally cites feelings of anxiety and exclusive restriction imposed by the fashion industry. “Why am I still picking up designer jackets to find out that I can’t buy it because it only go up to a size 12?” she questions. “If I struggle, can you imagine how unfairly treated these larger women are?” However, despite her distress, the young entrepreneur attempts to acknowledge the reason why designers might misrepresent the true desires of plus size market. “Most of the time, the minimalist aesthetic features loose, boxy shapes that have a tendency to swamp figures. Culottes and wide leg trousers,

IMAGES: HEATH LATTER

A style of which is most notably absent from the darkened corners of the plus size sectors is that of the understated minimalist. COS, the Swedish pioneer of High Street minimalism provides beautifully designed, simplistic womenswear to everyone below a UK 18. Similarly can be said for their sister brand, & Other Stories, of whom’s largest size of curated garments fits a 18 - 20. However, in comparison, the high street is still sizes ahead of higher sectors of fashion when it comes to

Mei Smith, a new online concept store, has most certainly found and addressed this niche. Their edit of minimalist Ready To Wear garments have been sourced from a collection of standard sized brands, Carmakoma, Benjamin Jay and Hackwith Design House to name a few, and have been envisioned by the designers into a larger silhouette exclusively for the Mei Smith customer. With items priced between £40 and £250, the luxury label provides the formally under-represented bracket of sizes UK 14 to 28 with the pared-back style they have previously been denied.

few of my cousins all wear a size larger than a UK 14. Growing up, this is what was normal to me,” she explains. “When your younger sister wonders why she can’t wear the same clothes as her friends, when your best friend wonders why they don’t have her size in that new collaboration she’s been eyeing up, when your mother has to buy pants from the mens section, or when your cousins have to go to a dress makers because they can’t find a dress they like in their size, you have to really question the industry. It is this single question that made me want to provide an answer.” TEXT: EMILY GILBERT

Recently named as one of Business of Fashion’s ‘biggest issues facing fashion right now’, the under representation of the plus size women in retail is an argument of relative size. Whilst the UK scarcely provides plus sizes in the form of Arcadia’s Evans and catalogue Simply Be, both undeniably offering some sort of service for a larger women, their aesthetics are unfairly restrictive. The resounding voice amongst plus size females is now not only that they’re still not yet proportionally catered for in terms of options, but that even when they are, it’s simply not up to scratch.

the availability of minimalist aesthetic. Acne Studios, the Stockholm born Ready To Wear label are exclusive to those size UK 16 and below and Rad Hourani is seemingly even more restrictive, with size ‘L’ (a UK 14) being the largest size produced. It seems that for any one of whom doesn’t fit societies definition of ‘normal’ sizing is left with little to play with until now.

Hackwith Design House Vest, Benjamin Jay Ender Top, Shaina Mote Vela Pant

“The majority of women wear a larger size, so why wouldnt you want to cater to them in order to continue to have a sustainable business?” a style of which is synonymous with the minimalist aesthetic due to designers such as Celine, are nigh on impossible to find in larger sizes,” she says. “People and designers simply presume these women wouldn’t wear this style because the last thing they would want is to appear larger. However, it’s all a myth. These women can wear anything they want and look damn good in it.” She also goes to some length to criticise retailers also, saying the neglect of the market comes from presumptuous and money inclined executives. “Many don’t want to fill that need because they think that the women won’t spend the money. They look at plus size as an unwanted stepchild, they simply don’t want to spend the time developing and nurturing it,” she shares. “The majority of women wear a larger size, so wouldn’t you want to cater to them in order to continue to have a sustainable business?” Ayanna is highlighting an established and well backed argument put forward by plus size

campaigners for years; why, if the market is visibly there, are these women still continually being ignored? According to research released by Mintel, over a quarter of women in the UK are now a size 18 and above. Additionally, according to the same 2013 report, 38% of women questioned would like retailers to offer a greater range of sizes to fashionably accommodate more women. It seems not only is there a desire, but there’s a physical need for such stock. Speaking with Alison Rapsey, course director of Fashion Business and Promotion at Birmingham City University, she shares how well Mei Smith have done in backing the plus size fight. “It’s a much larger risk that smaller, start up fashion business’ take when they delve into the world of plus size fashion - an immensely greater risk than that of the powerful and mighty mainstream retailers,” she explains. “Not only does it take time but it takes money also, a luxury that smaller business’ simply don’t have. What Mei Smith have done is not only break the mould in terms of image and 30

style, but also shown to consumers that there are people out there willing to take these risks in an effort to change opinion of plus sizes.” One particular women of whom is in no doubt impressed with Mei Smiths risk taking is Aisha Fairclough, editor and co-founder of successful Toronto based blog, Fat in the City. “When you think of plus size, minimalist isn’t exactly what comes to mind. For too long, plus size fashion has been plagued with glorified sack style tops, inappropriately placed rhinestones and the infamous moo-moo,” she shares. “With Mei Smith, we’ve got proof that it doesn’t have to be that way. It’s been received well with everyone in the plus size blogging community. They’ve even been written about by BuzzFeed and I’m so glad they’re managing to reach such a wide audience now. I really wish them the best.”

www.meismith.com 31

Left to right: Shaina Mote Mandela Dress, Carmakoma US Dress

Renowned for its no-nonsense aesthetic and unisex design, Swedish fashion is instantaneously recognisable to the British eye. The Ikea-esque functionality and structure behind Stockholm-grown garments is what sets Sweden apart from other fashion capitals’ national pieces. Over the past few years, Swedish fashion aesthetic has had a wave of influence upon London’s fashion scene in particular. With the expansion of Swedish brands to British shores, Swedish fashion has become more than just a new trend. Yet it leads one to question as to how Stockholm, a city small in scale and population, can have such a strong influence upon the British fashion industry.

IMAGES: SUSIE BUBBLE

The turn of the millennium saw the birth of Scandinavian fashion design. Whilst international companies hung on to ostentatious branding in the nineties, the Swedish fashion industry looked to its national roots for inspiration. Renowned for their socialist heritage, it came as no surprise that Sweden listened to their people and created affordable fashion staples for the younger generation. Opting for functional design to take Swedes from bicycle to club, Swedish fashion rapidly gained status for its practicality.

TEXT: DANIELLE FOWLER

THE RISE OF ‘SCANDIM A N I A’

London is often hailed as one of the most multicultural cities in the world. We take a look at it’s newest obsession, Sweden.

With the traditional Swedish design ethos well received by the fashion industry, Swedish brands looked to expand upon an international scale, leading many to open concept stores in London. Dover Street Market welcomed Jonny Johansson’s Stockholm-based Acne Studios in 2010. Monki followed shortly afterwards in 2012, bringing Scandinavian street wear to Carnaby Street. Before H&M’s cooler sister & Other Stories set up shop on Regent Street in 2013. The Swedish brands successfully turned British fashion consumers into advocates of Swedish fashion history and ingenuity through a domino effect. The Swedish bred companies expanded not only to London but also in terms of their brand identity. Originally specialising in denim, Acne Studios extended their brand to include more fashion products and a biannual publication, Acne Paper. This expansion from denim thrust Swedish fashion onto the international map leading other brands to soon follow suit. Cheap Monday and Filippa K were also renowned to be pioneers in jean making, before expanding to provide further fashion lines. It proved to be a success as Fillipa K, first launched in 2004,

now has more than seven hundred stores in seventeen countries whilst Cheap Monday holds over 1,800 stores in thirty-five countries. Both brands have also expanded to London, with Cheap Monday settling on Carnaby Street and Filippa K selling concessions in Liberty London. Swedish born, London-based fashion blogger Rohma Malik, believes that the companies’ ability to expand is the secret to their success with British fashion consumers. “I believe the style has become popular as Swedish brands such as H&M are expanding on a global scale resulting in many consumers becoming more and more aware of Swedish aesthetic,” Malik said. “With these expansions come stores such as COS, & Other Stories, Monki and MTWTFSS Weekday. As more and more people become aware, the more they want to know about Swedish fashion.” Yet the inter-

“Furthermore, there is a huge Swedish community particularly in London and this in my opinion is another reason for the recent popularity of Scandinavian style,” Malik adds. “London is also the home to Scandinavian PR companies such as Varg and wonderful Swedish cafes like Scandic Kitchen.” Malik suggests that the Scandinavian fashion influence is sourced from Swedish subcultures of which gather on London’s fashion circuit. Swedish fashion is not merely another trend to emerge from within the industry but instead denotes a lifestyle choice. This is something of which London-based fashion student and Swedish enthusiast Rebecca Cartwright also agrees with. “There’s something about Swedish fashion that I identify with or perhaps aspire to identify with. I definitely aspire to have that lifestyle,” Cartwright states. ‘Visiting Sweden and going to Stockholm, and seeing the lifestyle first hand, that came across to me like a dream. The

“I went to Stockholm to investigate the places and the fashion trends that they have and I brought all of this inspiration back to the UK with me.” national expansion of the companies is not the only reason behind their success. “I also believe collaborations are leading to an increase,” Malik said. “London is a fashion capital and to be able to get Karl Lagerfeld and Versace from a retailer that mainly aims at the high street consumer has also led to an increase.” The twenty-one year old fashion blogger is referencing the past successful collaborations H&M have had with high-end designers. London-based Swedish fashion brands are renowned for their sell-out collaborations. Only recently & Other Stories joined heads with Swedish singer-songwriter Lykke Li to produce a line of clothing and accessories. 33

people there just seemed so happy, it was so tranquil and naturally beautiful and that’s how it’s shown in the magazines and stores.” Through purchasing clothing from Swedish brands, British consumers are buying into the Swedish lifestyle. The stores are not only selling garments but in turn, Swedish ideals and national identity. Many of the concept stores such as, Acne Studios or & Other Stories, are hybrids of art and fashion: offering books, plants and magazines to the British consumer. This Scandinavian dream is further shared through digital platforms and travel. “Swedish fashion is most definitely international. In the digital world it is so much easier to >

“SWEDISH STYLE IS PROMINENT IN OUR ARCHITECTURE, ART & Other Stories pioneering Swedish ideals

AND FASHION. EVEN SWEDISH MUSICIANS L I K E LY K K E L I A R E BECOMING MORE AND

share things and so much quicker to use the Internet. Everyone is sharing images worldwide through social media accounts and blogs so everyone can tap into what someone in Sweden is saying about fashion,” Cartwright states. “With more and more people taking gap years or going travelling to experience other cultures, you bring it back home with you. That definitely happened to me when I went travelling across Scandinavia last summer. I went to Stockholm to investigate the places and the fashion trends that they have and I brought all of this inspiration back to the UK with me.” Through Instagram in particular, fashion bloggers share their minimalist styles, leading others to imitate the nonchalant charm of Swedish fashion. Cartwright agrees,“The Internet allows others to buy into the Swedish aesthetic too with online brands. With Swedish

fashion brands being readily available in the UK, particularly London, everyone can buy into this idea of Swedishness.” This increased interest in Swedish fashion on an international level has contributed further to Sweden’s already thriving economy. Sophea Bailey, who works full-time at & Other Stories on Regent Street, believes the country’s wealth and economic position is a particular reason why the country’s national aesthetic has become so popular. “I think that the interest in this style has increased because cities like Stockholm and Berlin are becoming style hotspots in Europe. They have a lot of political and financial power at the moment,” Bailey says. “The companies are able to reinvest and grow faster than companies going through a recession. Being able to expand at the speed they are, the style has a knock on effect on style in Britain.” 34

This has of course resulted in the spread of minimalist design aesthetic through popular culture. “Swedish style is prominent in our architecture, art and fashion. Musicians like Lykke Li are becoming more and more popular in the British music industry,” Bailey continues. “Ikea is again Scandinavian and has become one of the most popular stores in the UK. I think this is just the beginning of the Swedish aesthetic in Britain. Whilst their economy is up, we will continue to enjoy the minimalist style that Scandinavia has to offer.”

MORE POPULAR IN THE BRITISH MUSIC I N D U S T R Y. ”

Through the continued expansion of Swedish stores on an international scale and the invasion of Swedish subcultures settling on London’s fashion scene, Britain will, for now, remain in a state of Scandimania.

PÄRLA

IMAGES: ERIN O’CONNER

Scandinavian design is in high demand in London right now and it seems no-one is doing it better than independent jewellery retailer, Pärla. Run singlehandedly by founder and creative director, Erin O’Conner, the shop offers affordable designs with a keen focus on aesthetics and quality. We met up with Erin in her Boxpark residency to discuss her award winning business and London’s obsession with Scandinavia.

Erin O’Conner Standing outside her Boxpark Shop

TEXT: EMILY GILBERT

CFConcept X Rings

ground? Have you always worked with jewellery? My background is fashion. I did an MA at London College of Fashion a few years ago and worked at a couple of boutiques and bigger brands whilst I was studying. I knew that I always wanted to have my own business and I always had a keen interest in jewellery. I love the sentimental meaning that so many of us place on the pieces we own and also the way in which jewellery can completely change a look and bring an outfit to life.

MIN: Tell us a little about Pärla and how you got into owning your own boutique?

Is there a story behind the name ‘Pärla’?

Erin: Pärla is a contemporary design boutique, carrying nine designers. Most of them are London-based but there is definitely a Scandinavian influence with the appearance Bjorg (Norweigan) and Smith/Grey and CFConcept (both Danish but London-based). I have always wanted my own fashion boutique but decided to focus on jewellery. I felt there was a gap in the market for affordable, considered jewellery design and so that’s why I decided to go with the Pärla edit.

Pärla is the Swedish word for Pearl. Despite the obvious reflection in the Scandinavian aesthetic and design of the store, “Pärla” also works well as it can also be translated to mean gem, stone or bead. I love that the name can be mean a number of things as I feel this portrays the way customers interpret and style pieces in store in their own individual way. I also enjoy the connotations that it has with the french word “parler” (to speak), as I often use the jewellery I wear to express my style or mood.

What about yourself, what’s your back-

You stock some exquisite pieces, what is 37

the criteria you’re looking for in terms of aesthetics, originality and concept when looking for potential items? Most of the pieces I have in store are minimal in their design and an affordable price. A lot of the collections are handmade here in London by the designers themselves and produced in the most sustainable way. I choose designers that understand and appreciate the Pärla aesthetic and good quality in design. The edit has a minimalist aesthetic to it, what is it about this particular style you like? Minimalist design is so wearable and versatile. I love that you can use the same piece that you have for that special occasion and team it with a simple everyday look to give it that understated focal point. There’s definitely a rise in appeal amongst British consumers for Scandinavian design, why do you think this is? I think that there has been a shift in taste over recent years. Consumers are looking beyond the high street for good quality and well considered design and nowhere does this >

Left: Jessie Harris London, Right: Jenny Sweetman

better than the Scandi’ nations. What was the appeal to choosing Boxpark as your residency? What do you think the advantages are of the Shoreditch/London location? Shoreditch is the perfect location for Pärla. It’s situated in London’s most creative and engaged district, and home to those who crave and appreciate art, design and culture; elements that I have tried to reflect in the pieces selected and presentation of the store. The first Thursday of each month I hold an event in store which can be anything from meeting the designers to giving an exclusive preview of new collections. There is always a great turn out from those living and working in the local area which you just wouldn’t get anywhere else in London.

year and I have been named one of the ‘Top 30 Under 30’ from Retail Jeweller. I’m so pleased with both of these awards considering the store only opened last July! Each day is pretty exciting though. There’s nothing better than hearing the kind words of customers who really love the space and the pieces in store. What are your future plans for Pärla? Would you ever be interested in designing items yourself/venturing out into more accessories/clothing/lifestyle? We have a couple of exciting new designers joining Pärla over the next few months, a Workbench where you can make your own ring and a few exciting exclusive pieces for Pärla’s first birthday in July! I want the focus to stay with jewellery in Pärla. I’m a strong believer in doing one thing well.

What is the most exciting thing to date to come from Pärla’s success?

What are your favourite brands and designers?

Pärla was awarded best independent retailer from The Retail Practise in September last

Of course, my favourite designers are those I stock in store at Pärla... It’s too difficult to pick 38

a favourite as I really do love them all! The new collection from Jessie Harris is definitely worth checking out though. Who’s brands would you most love to stock? I love the jewellery designs from Celine, Loewe and Acne. They definitely fit the Pärla design aesthetic! How would you describe your personal style? I have a love for streamline shapes and muted colour pallets and try to reflect this in my wardrobe choices. I see what I wear as a blank canvas to show off the clean lines and elegant shapes of the jewellery I have in store. This instantly transforms the look and brings the outfit alive.

The Boxpark store.

. www.parlaonline.com 39

PÄRLA SS15

P H O T O G R A P H Y : K AT I E V I C T O R I A H O LT ST Y L I N G : I S A B E L U L AT O W S K I MAKE UP : FIONA BARRY MODELS : LAUREN WRIGHT (STORM MODELS) 40

Jacket: Acne Studios 42

Jumper: COS Trousers: Charlie May 44

Jumper & Trousers both Zara 46

Top: & Other Stories 48

Jumper: COS 50

UNISEX SELLS

Considering Selfridges has been voted the ‘Worlds Best Department Store’ by IGDS (The Intercontinental Group of Department Stores) for the past three years, it suggests fellow retailers might definitely be looking to them for inspiration. However, the department store certainly isn’t the first to take a genderless approach, and it surely wont be the last. Unisex clothing was first acknowledged as early as the 1950’s as a reaction to perplexing new roles imposed on men and women alike by World War II. Hollywood Cinema added to the democratisation of clothing, with the seductive charm of young actors like Marlon Brando and James Dean popularising the simple pairing of denim jeans and white T-shirts. The 60’s and 70’s, however, were truly the decades in which ‘unisex’ become a popular design choice. Designers such as Pierre Cardin and Paco Rabanne were hailed the ‘inventors’ of unisex fashion whilst Yves Saint Laurent’s, Le Smoking pioneered minimalist masculinity to a formerly rigid 52

sector of womenswear. It wasn’t just the higher tiers of fashion that appreciated a bit of gender play either. The underground subcultures of the punks and glam rockers were also seen to idolise a gender irrelevant style in the form of oversized leather jackets and ripped jeans. Speaking with Jo Palotti, fashion historian and author of ‘Sex and Unisex: Fashion, Feminism, and the Sexual Revolution’, she shares of how welcomed unisex apparel was in the era. “The 70’s was the epitome of unisex fashion,” she explains, “all T-shirts were unisex, for example, with chest measurements or S, M, L used for sizes. Some T-shirts are still sized this way but not with the same premise that they were back then,” she shares. “Personally, I think of that use of the term ‘unisex’ as pragmatic, rather than stylistic. It refers mainly to sizing and cut rather than appearance like how we view it today.” Despite Palotti’s recognition of unisex appeal in the 70’s, the style most certainly took a step back into the shadows to make way for the more lurid aesthetic of the late century. It seemed like popularity and mass market appeal for unisex apparel

was most definitely being phased out, or so it seemed… Today we’re seeing similar, if not arguably greater, levels of hysteria around the genderless style to that witnessed in Jo’s recollection. Whether it’s the designs of minimalist JW Anderson, unisex couture by Rad Hourani, the aforementioned Agender collection or simply 16 year old Jaden Smith sporting a tunic to Coachella Festival, media frenzy and todays pioneers of unisex design has anchored the style as most certainly something to watch. IMAGE: ID.COM & ADYN

This March, Selfridges launched Agender; their unisex retail space. Devised by acclaimed designer Faye Toogood, the space is a shopping environment void of the traditional ’his’ and ‘hers’ boundaries. The area allows shoppers to find designs based truly on the products style, fit and colour rather than the typical social constraints of gender ideals. The complete edit of which features products from designers such as Commes Des Garcons, Dries Van Noten and Yohji Yamamoto has a notable minimalist aesthetic; simple designs, pared down to a neutral colour palette to appeal to the genderless shopper. Whether it’s a successful marketing tool or not, Agender marks a significant turning point in the way shoppers think about their clothes

and societies gender differences, but does this mean unisex could soon be a bonafide retail category?

TEXT: EMILY GILBERT

Fashion is often hailed as the first and most successful signifiers when it comes to identifying gender, but with unisex slowly becoming a popular venture, will we have to find something else? Our editor, Emily Gilbert, looks at the history of unisex fashion and investigates if a goodbye to the titles ‘womenswear’ and ‘menswear’ might finally be due.

Most interestingly about this whole revival is, despite any lack of evidence yet available in terms of mass market profit, smaller brands seem to be the ones most embracing the unisex ‘trend’. ADYN, a New York based clothing company, stock an extensive range of minimalist, unbiased designs targeted toward both genders. Literally standing for the word ‘androgynous’, they shy away from any form of colour and embellishment and stick to neutral designs such as jumpers, T-shirts, jeans and jackets. The models they use are also androgynous in themselves, with all editorials showing designs moving seamlessly and successfully from model

to model, defiant of gender. Speaking with creative director, Matthew Moore, he shares his thoughts on why unisex might be so prevalent amongst smaller brands. “Unisex is especially great for underground and smaller labels as it’s more cost effective to produce. It appeals to a wide audience whilst not spending more money on separate design teams,” he shares. He goes on to add how unisex is an easy gateway into the industry for start up brands as it allows a better understanding of the market. “Most street wear brands you know start of as unisex, producing t-shirts and hoodies with their brand label on or something along those lines, and then it leads to more thought out designs as they grow and have the money in which to afford to do that with.” Moore’s idea of developing from unisex into a more refined style seems particularly true with a fellow successful unisex brand, Nicce. The London-based label begun primarily selling printed t-shirts online and have since gone on to own their own store in Shoreditch’s prestigious pioneer of underground brands, Boxpark. Speaking with co-founder and designer Jimmy Wright, he shares that whilst their 53

intentions were never to aim directly towards a genderless audience, it was something that was necessary for the start up brand. “When we started in 2012, marketing ourselves as ‘unisex’ wasn’t really anything lead by a trend of which we’ve seen brands cotton onto more recently, it was more what felt right for it,” he shares. “Unisex and street wear are so compatible together anyway that it would have been stupid not to.” Wright goes on to mention that despite the recent introduction of womenswear designer Laura Bankcroft and therefore the subsequent release of female swimsuits, underwear and so forth, unisex design is still at the forefront of their brand. “Although we might have now introduced our separate collections, we still stay true to our routes and update and revive our unisex range of basics all the time. They’re our best sellers in fact.” Although ADYN and Nicce have most certainly shown that unisex sells, it’s still undeniably miles behind the current retail options of gender biased clothing. Speaking with student fashion designer, Kiev Veeldvoorde, he suggests that this might be due to up and coming designers>

“THERES A SPECIFIC TYPE OF PERSON WHO WEARS UNISEX.”

not even considering unisex as an option. “The titles womenswear and menswear are so engrained into what is considered as ‘normal’ that some designers might not even think about it as a direction. I’ve never known anyone to study ‘unisex design’ but womenswear and menswear is available to study everywhere,” he shares. However, he goes on to argue that unisex is more a play on existing design sectors rather then a new field, suggesting the transition between might not be so hard for the more experimental designer. “Designing unisex isn’t too different to designing casual menswear, I think unisex is usually just typical menswear softened to a more feminine and neutral stance.” Veeldvoorde goes onto question if economics might also play a part in unisex’s future. “The money is in womenswear and menswear and I have a feeling people know that,” he states. “Theres a specific type of person that wears unisex, they’re androgynous and they’re fashionable, and whilst that’s all well and good, there’s certainly more people and more money in what society considers most normal.” However, whilst he acknowledges that the unisex aesthetic appeals to only a minority, he still highlights a desire for the design style, albeit somewhat small. Umairah Miah, stylist and long time androgynous wearer, would be the exact consumer the Keiv would be envisioning. Speaking with Miah, she goes to some length to explain how social acceptance plays a role in unisex’s future. “As a girl, I can wear a t-shirt or jumper made for a man and it’ll just be seen as a baggy loose top and I’ll still be accepted as a girl,” she shares. “A lot of men feel restricted to clothes that are only made for men, purely because of the social stigma surrounding it.” Miah goes on to say that because of this, unisex has the potential to be a successful marketing tool. “It’s a sexist issue that men face, so maybe if clothes were marketed as ‘unisex’ rather than them shopping for masculine womenswear, the pressure they face will be decreased.” Although, whilst Miah imagines that the future of unisex is dependant on societies imposing threat upon masculinity, could she be under the false illusion that men might be far less uptight regarding clothing than she thinks? Research released by Harvey Nichols in 2014 showed that,

in fact, 34% of men polled admitted to intentionally styling womenswear for their own use. Whilst the percentage was unsurprisingly less than the result of 40% of women, it still highlights that maybe men are more open to choosing clothing based on style rather than gender, even if they might be more socially secretive about it. A male of whom is most certainly not secretive about the origins of his fashion is Ryan Smith, a professional London-based drag queen. Speaking with Smith, he hails the plausibility of unisex becoming a more widely acknowledged category. “When I’m not in drag, I’m just dressed as a casual man. Unisex wouldn’t appeal to me because of the name, I’m clearly more than happy to wear females clothing, it’s more the style that I’d like to see more readily available,” he shares. The creative also goes on to add that it’s somewhat 54

disillusioned to believe that males would be adverse to unisex clothing, and instead it’s something quite common for males to casually sport females clothing. “More men than you think wear girls clothes anyway, especially jeans, but I think that comes from the Joey Essex influence, so I don’t really think unisex would stop anyone buying things.” From speaking to Miah, Smith and the concepts prevalent designers, it seems obvious to say that there are willing consumers and creators that are welcoming unisex into becoming a bonafide retail option. Whilst we don’t expect to see mainstream, high street appeal immediately, we don’t predict its long until the overwhelming demand of the genderless dressers becomes hard to ignore.

ADYN’S Essentials Collection.

ANNA GROSSI MILADA

TEXT: EMILY GILBERT

IMAGES: ANNA MILADA

Anna Milada, the designer behind the impeccable Stairs & Water collection, is a pioneer in proving that sustainable fashion doesn’t have to come at the price of aesthetics. We met up with the young creative to discuss her enriched heritage, her acclaimed graduate collection and her inspiring zero-waste approach to design.

Stairs & Water

There’s a famous saying; whilst one might be a jack of all trades, it does not qualify them to be a master of all. However, in the case of 24 year old Anna Milada, this couldn’t seem further from the truth. Whether she’s taking her hand in knitwear design, body contour, accessory design, photography, fashion illustration or a simple strum of the ukulele, the young creative is seemingly able to adapt and grow with any given project, whilst seamlessly fluctuating between all. Meeting early evening in Notting Hill’s answer to a Scandinavian coffee shop, Talkhouse, Anna takes a seat in her strict and understated uniform of all black. Having just spent the day handling luxury fabrics at her current internship with cashmere specialists, Oyuna, she unwinds with the coffee houses’ infamous milky

espresso. “I’ve never professionally handled such beautiful materials before,” she shares. “I don’t even think I have 100% cashmere in my personal wardrobe so it really is very exciting to be surrounded by it all day.” The young creative is currently two weeks into not only her internship with Oyuna, but also her residency in London. “Travel and culture has always been a big part of my life,” she shares. “I moved to London only two weeks ago, but I had lived in the UK previously in Nottingham,” she explains. “Between Nottingham and London, I was soldering solar cells in The Netherlands for my internship with Pauline Van Dongen, a wearable tech company.”

new countries as she’s grown older, but also as the reason behind her ventures into the realms of fashion design. “I was always very attracted towards creatively and physically constructing objects, but my progression into fashion came more from family practices,” she shares. “My mother’s mother made her clothes, and my mother made my clothes so it ended up being this sort of chain. As I got older, their values lead to me to making my own clothes as I couldn’t find anything I liked better in the shops. It must be the Czech women in me!” she jokes.

Her nomad like lifestyle and thirst for growth and discovery is unsurprising considering her youthful experiences with traveling. Having being born and spending the early stages of her life in the US, the half Czech Republic, half Italian-American designer, then aged 7, migrated with her family to her Fathers motherland, Italy; “I was adopted by the Venetian town we moved to, a culture of which still inspires me in my work today,” she shares.

Whilst fashion came naturally to her, when it came to deciding on a specialised educational path, her passion for the wide range of creative arts proved it to be a tricky task. “I was undecided, I knew fashion was something that I definitely wanted to do but I had architecture, art and illustration all fighting to in my head to be heard,” she shares. “I had to end up thinking logically about where I would most easily find a job. I knew that fashion allowed the opportunity to delve into the other areas that I loved also so it ended up being a good decision,” she shares.

She thanks her enriched and cultured heritage as not only giving her the inspiration to explore

The enthusiastic creative went on to choose > Milan’s Politecnico di Milano as the

Zero-waste bags

establishment in which to study for her BA in Fashion Design. Whilst there, she specialised in body contour and produced her graduate collection, Daisies; a full collection of black, swimwear esque body suits. Having loved the university experience, Anna immediately furthered her education straight into the form of a Masters, choosing the more refined degree option of Knitwear Design at Nottingham Trent University. She graduated a year later from NTU with her final and most recent collection, Stairs and Water. Discussing inspiration behind her MA offering, Anna tells us of how it acted as a nod to her adopted homeland. “My previous BA inspiration came from the works of a Czech new wave film director, Věra Chytilová, a famous director from where my mum originates from,”

well, especially in the world of sustainable design for Annas adoption of the seemingly popular ‘zero-waste’ approach. “Zero-waste is simply zero fabric ending up in landfill,” she tells us. “I didn’t cut into any of the yarn, I draped instead, so there wasn’t any trimmings for waste at all,” she shares. “However, the collection did include accessories where I had to cut handles (as seen in the bags pictured), but I ensured that whatever was the negative of one item, became the positive of another so thats where I worked on the smaller items such as bracelets and rings” she explains. Whilst Anna hints that her zero waste initiative made the concept behind each design more tricky, she shares that it was something she felt necessary considering her previous waste filled experience with her BA collection. “Daisies, as

million tonnes of water is wasted annually by the UK’s clothing and textile industry (research released by the University of Cambridge’s Well Dress Report). Anna goes on to explain how her sustainable efforts extend into her personal life also. “I try to shop vintage as much as possible and stick to a minimal wardrobe. I believe in not producing more textiles if it’s not necessary, that’s why I never choose organic cotton or anything like that for the collection because I want to re-use instead of re-make,” she shares. “Living sustainable is hard, and I try, I really do but I’m not yet perfect but who is really?” As the conversation leads away from her design work and more into her personal life, Anna is keen to talk about her passion for

“He was a kindered spirit that loved the Orient and had a keen focus for quality materials, something I felt a personal connection to myself.” she shares. “So when it come to my Masters, I felt addressing the other half of my heritage, Italy and specifically Venice, was the perfect direction to go in.” The specific Italian reference Anna took inspiration from for her masters collection was Carlo Scarpa, a famous Venetian architect. “He and his work had always really resided with me since my move to Italy all those years ago. He was a kindred spirit that loved the Orient and had a keen focus for quality materials, something I felt a personal connection to myself,” she shares. From looking at her collection (some pictured), Scarpa’s architectural influence is most certainly evident. The fine attention to detail and use of exquisite fabrics reigns true with his design ideals whilst the look book is particularly representative of his love for Japanese works. The designer, of whom also photographed as well as styled the collection, describes her work as “minimalist yet intricate”, a perfectly suited description considering the toned down yet highly detailed elements that make up the array of dresses, bags and jewellery. The collection itself was received particularly Zero-waste Stairs & Water

it was body contour, saw me throw unbelievable amounts of fabric away. When I saw how much waste was produced from six tiny garments, it amazed and scared me to think of what the rest of the industry must be doing - I didn’t want to add to it with my MA so zero-waste felt right.” Her sustainable approach to design didn’t stop with waste either. Whilst it may seem that the colour palette of strictly white was an intentional design choice, she shares that it was more a defiance against the excessive amounts of water needed to colour fabrics. “I was sponsored by two sustainable yarn companies, Lenzing and Nilit, so I was sent batches of undyed yarns to work with,” she tells us. “The fibres themselves were made from recycled nylon and tencel, a cellulosic form of recycled wood, so considering they’re not natural fibres they couldn’t even be touched with any natural dyes,” she explains. “Whilst I would have normally chosen some colour, I wanted the entire project to be sustainable so I had to consider how much water I would have needed and how that would have undone all my hard, zero-waste work.” The designers consideration of water consumption is most certainly admirable, especially considering that over 70 61

illustration. “Although I’m working professionally in fashion design at the minute, I’m working freelance as an illustrator,” she expresses. “I was actually published for the first time recently in Fucking Young magazine. I designed some images of which were printed on to helmets for a fashion shoot they did for their last issue,” she explains. “I love illustration and I love how well it compliments the world of fashion.” Since the release of Stairs and Water, Anna has been working hard trying to gain invaluable experience in European design houses. Our conversation ends with a look towards the future, and a question regarding the plausibility of an eponymous fashion label. “I would love my own label,” she tells us, “but I think everyone who studies design aims for their own label so there’s a lot of competition. Currently, I want to work at freelancing as an illustrator some more, work professionally under some more design houses and then eventually, well, you never know!” One things for sure, with a precedent like this, Anna Milada is certainly a designer to watch. www.annamilada.com

CHANGING PERCEPTIONS Pinatex collaboration with Puma

Some might argue quite substantially, however, whilst sustainable fashion has never been so celebrated, neither has the darker side of industry; ‘fast’ fashion. With the ability to churn out designs at a pace far more advanced in comparison to the conscious market, fast fashion has the capacity to provide consumers with their exact desired aesthetic, exactly when they want it. This exact point goes to some length to explain why sustainable may have always seemed so behind in terms of appearances, as it’s simply not able to compete within the same realms of it’s competitive peers. Someone of whom most certainly agrees is

we didn’t think there was a niche or a market,” she shares. “I think the main reason sustainable fashion has been able to change so substantially is due to whats available to designers nowadays. Before, sustainable had to mean ‘hemp’ because that’s all there was on offer, now we’re seeing a lot more and therefore a capacity for change.”

However, whilst Daghers points may be proportionally true when comparing sustainable sectors with the works of fast fashion, it seems uninformed to completely rule out some of the praiseworthy offerings seen from sustainable designers. Someone of whom might be arguable biased within the aesthetics debate is designer Heidi Carneau, one half of eco accessory label Heidi and Adele. She shares of her experiences within the industry and how this proves sustainability’s transition towards a more fashionable style. “When Heidi and Adele was first founded two years ago, our research regarding the sustainable sector of fashion was extensive to say the least. We had to be sure it was the right time to go forward with the label and we wouldn’t have done so if

Another pioneering innovation doing the same in changing the appearance of sustainability is the discovery of the use of pineapple leaves in making a high quality substitute to leather. One particular textile manufacturer who seems to be working best in this newly founded venture is Piñatex, founded by inventor, Carmen Hijosa. The unsurprising source is seemingly perfect in creating the ideal alternative to leather, at a fraction of the price. The cost of the newly discovered material, which was launched in December last year, is currently £18 per square metre while leather is between £20 and £30. Speaking to The Guardian, Hijosa explains his discovered niche. “Leather is becoming a luxury, placing itself in the higher price point of the market. There is a gap between

petroleum-based textiles and leather, which is the middle price point, and that is the gap that Piñatex is really seeking.”

Carneus’s reference to innovative materials is in no doubt a mention of her own commendable efforts. Her label, of which she co-founded, produce an array of accessories using what they call ‘eco-exotic’ leathers. According to the designer, “eco-exotic is an eco-friendly alternative to more traditional exotic skins which often use endangered species.” Her ethical considerations prove that not only does sustainability not have to come at the price of aesthetics, but that quality is not compromised either.

IMAGES: PINATEX

Due to a misinformed appropriation, sustainable fashion has for years been typecast with a rather unfair aesthetic. Conjuring up the idea of beige knits and hemp bags, ‘eco’ as it’s most commonly called, is not seen as the most visually appealing sector of fashion. However, since the turn of the decade, sustainable innovations within the textiles industry has brought forward a plethora of designers offering to change this opinion. Whether it’s out of a desire to profit from a conscious consumer, or out of genuine sustainable efforts, there is no denying a surge in popularity towards a greener ethos, but have these designers yet been successful in changing societies perceptions of sustainable?

fashion business expert Zuleyma Dagher. She speaks of fast fashions ability to always come out on top. “Whilst it doesn’t deserve it, sustainable fashion has unfortunately been stereotyped with this itchy, beige and scratchy image that it’s struggling to shake off. Whilst it’s definitely making progress, the efforts of the fast fashion industry are always ten steps ahead, therefore making it challenging for anyone from the sustainable sector to compete.” She mentions a particular store in which she says makes it notably harder for sustainability to keep up. “Zara, for example, can have an imitation of a designers collection out within just a few weeks of seeing it, giving the consumers exactly what they want and straight away. Sustainable sectors unfortunately don’t have this luxury as their work is more time consuming, so therefore their aesthetics are always going to seem miles behind everyone else because in reality, they are.”

TEXT: EMILY GILBERT

It’s hard to deny that sustainable fashion has most certainly come distances in recent years, however, has the stereotype of hemp, beige coloured garment truly shifted?

A particular designer of whom is working with Hijosa’s newly found material is Katrin Cosmos, founder of sustainable accessories label Halleluyeah. For her Spring Summer 2015 collection, the young designer is using dyed Piñatex as the outer casing of her bags whilst the inside is being lined with a bamboo fibre. “I think its great that there are products coming out like Pinatex as it gives the opportunity for designers to at least attempt to change the stereotypes of sustainability without spending too much.” She continues, “Although I think it’s doing great at the minute, I don’t think eco fashion will be on par with lesser sustainable options until there are more resources available in which to produce sustainably without incurring such high costs.” However, for the change that has most certainly already happened in terms of sustainable style, the young designer goes to some extent to thank fashion education as the reason. She cites Central Saint Martins, the college in which she is acclaimed alumni of, as being the main driving forces behind her, and many young designers alike, sustainable ethos. “With CSM, there always was and there still is an air of sustainability around everything they produce,” she shares. “I still go to talks, discussions, debates and week long eco fairs put

on by the staff and students of CSM, all about the world of sustainable design,” she explains. Cosmos also highlights the renowned London college as being the key to future renovations in sustainable design. “The incredible designers they pump out into the world have this air of consciousness about them from their time spent there. If it can influence their behaviours right from the get go, then it can, and is, able to change our futures.” A particular fellow alumni of whom Cosmos claims as one of the reasons as to why the appearance of sustainability has developed into a more fashionable style recently is designer and environmentalist, Stella McCartney. “Her brand in itself is proof alone that sustainable fashion no longer means hemp bags,” she shares. “High end fashion labels often have this aura about them that everything is untouchable and fairytale like, but we all know that it’s not so it’s refreshing to see Stella pushing this idea of sustainable and ethical fashion.” Cosmos is most certainly not wrong in highlighting McCartney’s fantastic efforts. Whether it’s lining every one of their bags with fabric made from recycled plastic water bottles, or being the first luxury brand to join the Natural Resource Defence Council’s (NRDC) Clean by Design programme, or stopping over 77 tonnes of waste going to landfill in the year 2014; the eponymous fashion house of Stella McCartney 63

is most certainly doing good - whilst looking good. In an exclusive Q&A on the labels website, McCartney herself addressed the industries change in opinion over sustainable fashion. “I don’t think that ‘eco’ should be a word that immediately conjures up images of oatmeal-coloured garments or garments that are oversized or lacking in any sort of luxury, beauty, detailing or desirability,” she shares. “I don’t think that things have to look ugly because they’re organic; why can’t they be beautiful as well?” McCartney interestingly highlights that whilst the “biggest challenge” lies in “having people not notice,” she loves that people find it hard to distinguish between her sustainable products and other non sustainable items. “We do great knitwear, which is where organic is most successful – you can get very delicate natural dyes,” she shares. “So many friends turn up in my knitwear and say how much they love it, and when I say it’s organic it’s a little added bonus to them, rather than a choice. I prefer it that way.” Designers like McCartney, Cosmos, Hijosa and Carneu are certainly proving that sustainable fashion has a wreath of potential with surprising benefits. Whilst the unanimous vote is that it still has a long way to go in terms of aesthetics, it seems we will continue to celebrate and admire those of whom pioneer the change.

SPRING SUMMER 2015

P H O T O G R A P H Y : K AT I E V I C T O R I A H O LT S T Y L I N G : E M I LY C H A R L O T T E G I L B E R T MAKE UP : FRANCHESCA THORNTON H A I R : E M M A W E AT H E R L E Y SHOOT ASSISTENT : TENIOLA SOBOJEYO MODELS : DAGNA KOLODYNSKA & FLOSSIE LANCASTER (SAPPHIRE MODELS)

Jumper: £75 Shorts: £60 Both COS

Playsuit: £120 & Other Stories Necklace: £24 Cheap Monday Bracelet: £12 PHO. LONDON Shoes: £24.99 Charlie May

Bracelets: £12 Cheap Monday Dress: £120 Charlie May

All Dresses: PHO. LONDON

Shoes: £29.99 Zara Bag: £100 Charlie May

TRASH IS FOR TOSSERS

Queen of zero-waste, Lauren Singer

TEXT: EMILY GILBERT

IMAGES: ERIC MORALES

From first impressions, Lauren Singer doesn’t look like your typical eco-friendly entrepreneur. With glossy hair, sparkling teeth and impeccable style, it’s hard to believe that this young 23 year old not only lives a waste free life, but creates all her beauty and cleaning products, including toothpaste, herself! Talking from an ethical Brooklyn coffee shop, we chat to Lauren to discuss her ambitions with her new business, The Simply Co, and why she believes trash is for tossers.

MIN: Where do you cite your journey to a sustainable lifestyle as beginning? Lauren: It all started at when I was studying at New York University. It was my senior year and I was sitting in my environmental studies class and I was looking at this girl in sheer amazement. Every day she would come in with this big plastic bag, full up with tonnes of plastic; plastic food packaging, a plastic fork and knife, plastic water bottles and every day I would just watch her throw everything straight in the trash without a care in the world. It got me quite upset thinking, you know, we’re sitting here as environmental studies majors studying sustainability, and there she is throwing all this stuff in the trash - it didn’t make any sense to me. That day after class I

went home to make dinner, opened my fridge and realised that every single thing I had in there was packaged in plastic and I didn’t even realise. I felt like such a hypocrite; there I was getting angry at her for her plastic consumption and there I was doing exactly the same, if not worse! From that moment in particular, I decided to cut plastic out of my life completely. That meant not only reducing the amount of plastic I consumed, but finding alternatives to things that are conventionally packaged in plastic, things like toothpaste and cleaning products and certain food products. When I was researching all these things and what I could do to combat this plastic issue I had, I found a blog called ‘Zero-Waste Homes’ run by a women, Bea Johnson, who has a husband and two kids and lives out in California. What really struck me was that they all lived completely waste free life, including the children! I was so inspired that it was possible for a family of four to live without making any trash what so ever, so I just I just decided that there was nothing at all stopping me either. Since that day, my life pretty much completely changed and now I can fit two years worth of trash in a 16 ounce mason jar. Impressive! You have pictures on your blog that document what a month of your trash looks like, some measly apple stickers, but what does a month of your recycling look like? Surely it must be huge? 77

No, actually, not at all. When I first begun, I used to recycle loads but now I hardly have any recycling at all because I simply avoid buying anything that’s packaged. The only thing I do have to put in my recycling is paper such as business documents and things that are sent to me that I have no control over. Another thing I actually recycle loads of is compost. I produce a lot and that’s because of how raw and natural my diet. I’ll bring a couple of bags of peels and stems to the farmers market every week for it to be recycled. You mentioned you make your own toothpaste now to avoid excessive packaging. Do you enjoy making your home products and what’s your favourite to make? I love making all of the things I use. I probably love making the body lotion the most because it amazes me every time that I can make lotion that not only smells amazing but actually works really, really well. I wouldn’t believe it if someone was to give it to me and tell me it was homemade, it’s that good! My next YouTube video will actually be the body lotion tutorial. Speaking of your YouTube tutorials, they are frequently filmed in your stunning and spotless appartment. Has it always been that way or does that come as part of the >

package of being zero-waste? No, not at all! It’s definitly part of the package. The day I decided to become zero-waste was also the day I become a minimalist. When I was in the tenth or eleventh grade, so roughly sixteen or seventeen years old, I used to stand in front of my closet, stare at all of my clothes and just moan that I had nothing at all to wear. I’d obviously be lying because staring back at me would be a wardrobe packed full to the brim with tonnes and tonnes of clothes. I would seriously stand there and be depressed about it, it was genuinely affecting my happiness. After years of torture, I got fed up and made the decision to do something about it and started transitioning all my items into being black. When I did that I realised that everything I had actually matched; I could wear the same thing two days in a row and nobody would know. It also made me realise that I could not only have fewer things and wear them more often because they all went together, but it was also easy, simple and I felt confident in them. I soon applied that mentality to everything and begun to have and want fewer things. I thought if I had less in my apartment, it was less to clean, less things to get stressed out about, less clutter. It was a snowball effect, the less things I had the better I felt. What does your clothing collection look like now? It’s pretty much all black aside from a few dresses and a couple pairs of blue jeans. It’s really practical and minimal. I have my staple core items like a black cashmere jumper, a black leather jacket, a black pair of jeans, a black pair of ankle boots, and then if I want to be a little more exciting, I’ll just find things with more interesting cuts but keeping to that classic minimal aesthetic and colour palette. Some people say it’s boring but I can wear the same black shirt two nights in a row but change the necklace and it will look totally different. I don’t envy people who spend hours trying to plan outfits, all I have to worry about is New York’s weather. What has been the hardest part of your journey so far, if at all? People ask me that all the time and I try and tell them that it hasn’t been, at all. I have done this for me and for no one else and I think when you do things for yourself, although it might be a little bit more challenging, it’s never negative challenges, its more just personal demons you have to overcome. You have hardships, of course, but it’s your hardships and there easier to combat when it’s your own

because even though you can set yourself deadlines, you’re not restricted to other peoples deadlines or expectations. The hardest thing for me really was getting past my own ego; I was always saying, ‘I care about sustainability’ and I thought I was doing the best I can by studying it but then I realised that in fact, I wasn’t sustainable at all and I produced a hell of a lot of garbage. I had to really take a step back and look at myself critically to go any further, something that everyone finds hard because you don’t want to think about negative impacts your actions might be incurring, but I’m so happy that I did because it’s opened up this amazing opportunity to make myself and the world so much better. So you have recently embarked on your own product line, ‘The Simply Co’, funded by an amazing Kickstarter page. If money was no option, what would be the next product you’d like to do next? I want a complete line of home cleaning products. Currently we have just the laundry detergent in unscented and lavender but I’d love to grow that a lot bigger. I want everyone to be able to completely swap the products they use in their house everyday with my simple, natural and ethical products that are as clean as the ones you can hand make yourself. With that, we can transition out all the toxic chemicals and synthetic fragrance products to ones that are natural and handmade. Would you like to do anything other than cleaning products? As of right now, I’m focusing on this business but there are definitely things in my horizon that I want to tackle, the entire disposable economy being one. Plastic bags, plastic forks and knives; I want there to be not only alternatives available but for the plastic options to not even exist in the first place.

“ S I N C E T H AT D A Y, M Y L I F E C O M P L E AT LY CHANGED AND NOW I CAN FIT TWO YEARS WORTH OF TRASH IN A 16 OUNCE MASON JAR.”

Will we ever be able to see the products in Europe? I would love to be able to ship internationally, but at the minute it’s just a little cost prohibited. The burden of the shipping cost would have to be placed on the customer and I’d be more than happy to offer the service but I cant imagine the customers would want to pay as much as it would unfortunately cost. I never realised how expensive shipping was before I started this company! But I offer plenty of tutorials on my website and youtube, Trash is for Tossers, that show a variety of recipes to make these at home yourself. www.trashisfortossers.com 78

JUST SAY YES

Talk to us a little about the name ‘Yes’? The names Yes started as an answer to a question. Despite always wanting to open a store, we never really thought that there would be a day, especially not for many, many years! Neither of us were happy with our jobs and our work and life balance was not working out in our favour. We decided that if we were going to work late into the night for something, that something should be ourselves and our future. Once we decided that, we then just started to say ‘yes’ to more personal opportunities which then let to us opening our own store! Everyone

always thinks that you have to separate work and life to find happiness in both. For us, it is blending the two into the same category. Do you believe a minimalist aesthetic and a minimalist lifestyle go hand in hand? Yes, of course. Our products envision the aesthetic whilst tapping into the lifestyle of less. However, minimalism sometimes gets confused with nothingness. Sometimes when people try and be too minimal they strip away the thing that makes a product useful. Minimalism shouldn’t replace functionality. What is it about the minimalist aesthetic that appeals to you guys? It’s appealing to us because it finds the problems in design and solves them with very little waste. Think more, show less. I like to think our designs have the perfect balance between looks and function, without one overcrowding the other. What are important factors to you when selecting products and designers to stock? Oh man, this is the most fun. It’s been a couple different steps. We are still new and making a name for ourselves so we haven’t been able to 80

get everything we want but we are most certainly getting there. Some of the products and designers I’ve personally idolised for an entire decade and I’m over the moon to be having my name associated with them. I’ve always wanted to be able to share those stories and influences and products with people, and what better way than my own store! The way some of these past designers approached design universally is something we are striving for. Do either of you ever design yourself? Everyday. I started out as a graphic designer. Turning that back into a hobby and less of a job has been so rewarding. Lately we’ve moved into designing the store build out which has been so much fun seeing it come into fruition. Your opening your first store in LA soon, but what can we expect in the future from Yes? The future of Yes is to have our hand in the design of every product we carry.

www.itsjustyes.com

TEXT: EMILY GILBERT

Owned by husband and wife duo, Brad and Jenner Holgrafer, Yes is a store for those who want to buy less, but better. Offering an assortment of lifestyle necessities, Yes pioneers the perfect blend of aesthetics and function whilst keeping exceptional quality always in mind. Featuring designers such as Boskke, Menu and Hasami Porcelain, the store ensures every persons needs are met, whether their after something decorative for the home or a simple read from their publication selection. We chat with Brad as he prepares to take Yes from an online platform to their first concept space in LA.

Ceiling Planter: £60

Anna Milada Page 54

Parla SS15

£5.95