Beneath & Beyond Embracing upcoming creative movers and lifestyle ent husiasts Autumn and Winter 2015, 1 st Issue
Bring you the
Connect you to the
Reveal the local
Provide meaning to
edge designs.
visual practitioners.
brands
life .
latest cutting-
incredibly talented
unique shops and
your aesthetic-driven
Beneath & Beyond
With the changing patterns of consumer lifestyles and trends in design and aesthetics, Beneath & Beyond is born as a definition of the new contemporary independent magazine designed for creative individuals in their early professional careers in the industry. Focusing on new talents niche brands and unique products, Beneath & Beyond encapsulates precious people, places and objects “beneath” the surface and exposes them “beyond” the ground. We are also here to challenge the creative, young talents to move beyond the boundary and embrace the best of what they could be. www.beneathandbeyond.org
Building Block ____________
M A S THE AD
BENEATH & BEYOND Issue no. 1 Autumn & Winter 2015
On the cover: Photography by Clara Giaminardi THE OFFICE OF BENEATH & BEYOND For any inquiries beneathandbeyond@aol.co.uk Follow us on: Facebook.com/beneathandbeyond instagram @beneath.and.beyond www.beneathandbeyond.org EDITORIAL BOARD Dan Cao Ka Ying Kai Bening Amadea Kevala GRAPHIC DESIGNERS Melissa Bradbury, Nadia Hudiana, Dan Cao EDITORIAL JOURNALISTS Clarise Carrington, Kaycia Ainsworth, Stephanie Bain, Federica Caiazzo, Carly Florentine, Amadea Kevala, Ka Ying Kai PHOTOGRAPHERS Fitria Tjandra, Vasilisa Forbes, Tom Medwell, Tadas Baliutavicius, Irina Chira Special thanks to: Gabija, Yilin Zhao, Mia Smyth FCM Model Management Monica V Tarunadjaja, Francesca Milano, Poppy Micklem, Harriet Robertson, Tienamayra Oetojo, Phebe Wu
Building Block ____________
WELCOME Enormous passion, contribution of time, and
Flipping through the pages, you are direct-
persistent endeavor are the sources of momen-
ed to deliberate the primitive building blocks
tum that drives the whole creative industry. It
of creativeness, through our emphasis on the
is fascinating to see how our visual practition-
process of design, personal stories and life phi-
ers are putting efforts to weave the threads of
losophies of the emerging makers and shakers.
creativity together.
We are thrilled by the shoe designer Simonetta Alejandra, when she talks us through her
The evolution of the creative community is a
delicate craftsmanship. Also notable is the ex-
collective formation that intersects with hu-
ceptional fashion designer Jamie Wei Huang,
man’s dynamic lifestyle, which requires new-
explains how she gets through her design
comers every now and then to keep driving the
process; and the accessories designer Georgia
wheel forward. Embedded with such philoso-
Case, shows us how to blend simplicity, sus-
phy, we are bringing up new, talented “Makers
tainability and fashion together. Eric Landon,
and Shakers” in every issue to fulfill your wild
the owner of a Danish ceramic studio Tortus,
interest in fashion, art and design.
and Poul Madsen, one of the founders of the remarkable Scandinavian homeware seller
For the first issue, Beneath & Beyond resonates
Normann Copenhagen, lead us to the stories of
the echo on the concept of Slow Fashion, which
their aesthetics-driven creations.
advocates a shift from quantity to quality, and the diversity of society and cultures with the
Attached with the magazine is ‘On the Move’,
respect of mankind and environment. It ac-
the handy collection of the inspirational places
knowledges human needs and addresses the
that we preciously picked and dedicated to all
emotional attachments to the artwork in var-
of you. This issue compiles the places that can
ious forms – garments, accessories, fine arts,
add excitements to your trip in London and Co-
home decors, you name it. Timeless beauty,
penhagen. While enjoying a cup of latte in the
quality and human sentiments are the values
corner, don’t forget to bring this as your coffee
embraced.
table magazine. We hope you enjoy this issue.
BENEATH & BEYOND Niche design & lifestyle magazine
BENEATH & BEYOND 1 Issue Autumn & Winter 2015 st
Makers & Shakers The global media today provides platform for new emerging creatives to expose their stellar creations and outwork. From a handcraft artisan to an outstanding fashion designer, there are plenty of insights and inspirations behind their work and their process of attaining their goals.
CONSTRUCTORS: Simonetta Alejandra Jamie Wei Huang 10
PLAYERS: Dan Cao Shimo Zhou Clara Giaminardi Georgia Case 30
STUDIO & SPACE: Tortus Normann Copenhagen Nendo 60
Mood Board
On The Move
This season is filled with inspiring work and
Traveling from one place to another, one should
outlook from our lifestyle instagrammers,
know where to go and what to do in order to make
from fashion to culture and food, everything
the trip worthwhile. From shopping for some lo-
is displayed in an order that makes life easier,
cal unique products to trying new cafes and even
aesthetic-driven and modern.
smelling fresh flowers, there are various things to try and choose from.
LIFESTYLE:
LONDON:
urbanxkoi
Home decor
underdog_h
6,22
kyon_taro cahmun
Flower shop
local_milk
14
monbraee 82
CafĂŠs 18
FASHION:
Bookshop
desiresbyus
26
joycecroonen bronte__p
Clothing
styleodo.se
30,34
thedreslyn peterxdo 84
COPENHAGEN: Restaurant 49
MOOD: jonpauldouglass
Concept stores
elo_____
52
amandakusai illusorysuperiority
CafĂŠs
robert.bowers
58
fakeken 86
Fashion retail 60
Interview KA YING KAI
Words KA YING KAI
Argentinian Designer, Simonetta Alejandra creates sculpturally designed shoes by exploring novel shapes and unconventional materials. All her collections have played with the juxtaposition of either soft and rigid, plain and vibrant or natural and artifice. Originally graduating in BA Fashion and Textile Design in her home country, during a holiday in London that the capital’s energy, the variety of materials and the availability of production prompted her to make the move and continue her design career in this multi-cultural city. Realising her preference for shoes over pattern making, she enrolled on the MA Fashion Footwear course at LCF and focused on formulating pieces that could be properly referred to as art. As she progressed through her training, she was able to marry the artistic merits of her shoes with the more commercial aspects and succeeded in creating more wearable conceptual characteristics in her shoe designs.
Opposite: Shoes from External Bones designed by Simonetta Alejandra. Next spread on the left: portrait of Alejandra. Both photographed by John Mc Grath. Page 13&16, Shoes from External Bones designed by Simonetta Alejandra, photographed by Riccado Nieddu. Page 15, the assembling process of the shoe-making by Simonetta Alejandra. Page 18, shoe from External Bones photographed by John Mc Grath.
The Unconventional Heel Constructor:
Simonetta Alejandra
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K: What brought you here in London? Why did you choose London instead of Argentina?
K: What made you choose shoe design rather than clothing design?
S: I was in a holiday and I found this place so inspiring. I have the design of the shoes in my mind since 2009. I always had a desire to make something like this (External Bones collection) for my final work during my study in London College of Fashion. To realize what I want to do, I need the environment and tools to make it happen. London was an ideal choice. Back in Argentina, my school was mainly
S: Initially I was thinking to study fashion design but I was admitted to product design instead. I did not go for product design, but later I turned into footwear specialism and studied with shoes. I just love it in comparison to pattern making.
teaching design and pattern making. I found it difficult to make what I want because I couldn’t find the material I need, such as suitable leather. On the other hand, in London, we can actually produce the products, instead of just drawing patterns.
K: How did you find studying here in London? Was it competitive in a way? S: To be honest, there is a lot of pressure during my study here. When you first started the year, you saw the collections done by the previous students and you know this is the standard you’re expected to reach by the time you finished the course. And you need to work really hard to achieve that level. My classmates and I work from Monday to Saturday, from 9 to 7, everyday. We only have a 10 minutes lunch before we continue what we’re doing. Especially when everything was handmade, we need to put a lot of time into making the shoes, so basically it feels like we live in our school studio during that time. It was hard but I really enjoyed it. I come from a commercial background, therefore doing this let me feels like I have gone back to my old days when I could create anything I like. I used to play around with painting and mixing with materials. When I studied fashion design, I was also making my own clothes. Afterwards, I work for a commercial women’s shoes brand.
K:You won the Jimmy Choo award in 2014 with your collection External Bones. Can you describe the process of competition?
S: Actually it’s a sponsorship. They have two awards annually and I got the first one of the External Bones collection. Jimmy Choo studied in my college (London College of Fashion) and he has been so supportive to the students. The judge panel preselected some designs and we needed to prepare line-up for pre-screening. It’s like a proposal; you don’t have to produce the final product. They would fund you to make the final product. K: You have an edgy, conceptual and innovative shoe design. Do you want your shoes to be considered as an art piece or as footwear of the women’s wardrobe? S: I would consider my shoes to be placed in the luxury market. It might be placed in the gallery environment for appreciation. It is in between conceptual and commercial design. For example, for External Bones, my philosophy was to turn sculptures into shoes, then shoes into art. These collections are more of art pieces rather than commercial shoes that women can wear daily. I tried to develop new aesthetics by turning the shank (which is the internal bone of the shoes) into external bones, while providing the same functions of support, protection and balance. But I wouldn’t mind transferring them into commercial pieces in the future. These shoes are more about
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the combinations of materials and the development of new boundaries of shoe design. For the next fashion week, I might be doing the commercial version for it. K: How would you describe your aesthetic viewpoint? What is your aesthetic taste and prefrence? For my collection of External Bones, I tried to look into the hidden beauty of stainless steel. A traditional pair of high heels assembles the insole, the shank and the heel together. Using stainless steel as the shank of the shoes is a traditional thing in the market, as normally, manufacturer uses steel to make the shank. Externalizing the shank of the shoe to create new heels can be the new thing. Even in the recent years, they are trying to develop new materials such as carbon fibre as the shank. And so exploring the possibility of using stainless steel as the shank is an interesting take for me. K: What type of personality would you expect from the people that use or like your shoes?
S: I think these shoes are favoured by people who like high quality materials, novelty shapes, and minimalistic style. K: Where does your inspiration usually come from? S: My source of inspirations has always come from the architects, including Santiago Calatraba, Frank Ghery, Oscar Niemeyer, and Mies van der Rohe. Some other inspirations come from various fashion artist, product and industrial designers, jewelry artist, painters and other people or things around me. Architecture such as the construction of the building and its contemporary design inspire me a lot. For “External Bones”, they are inspired by the relationship between skeletons in nature and architecture. The mood of External Bones was the concept of “cosy versus cold-rigid”, which was achieved by combining soft and hard materials, making a contrast between two layers of the shoe. K: What kind of materials do you usually mix together? Can you briefly describe the process of shoes making? S: For the external part of the shoes (the external bones), I mixed thermoplastic, stainless steel, translucent resin, sole bend and cork. For the inner part of the shoe, I mixed the ecological salmon fish skin from Chile, suede and cowhide together. I first selected the colours and materials, then I decided the shape and went through testing before production. During the process, I had to do a lot of testing of different techniques such as moulding the thermoplastics and laser cut. The whole process was quite long and I devoted a lot of time into it. K: How do you usually move onto the next collection? It happens to a lot of designers where their collections will appear to be repetitive and similar to their past collections. How do you avoid such similarity?
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S: Sometimes you have references, like me they could be some architects. Sometimes it is not about how they work. I look into different materials because different combination of them gives a different feel. Another way is to look into different people, such as inspirational painters. To me, learning is to create something different and my strength to innovate is to manipulate the materials and not just playing with the same stuffs that have been used. After I did research on unconventional materials and leather, I always take a look of the people that have used similar concept I’m interested in. I will make sure to distinguish my design from what’s already out there in the market. In the beginning of design, I isolated myself and went right away to developing my idea of design and then I did research on what’s out there before conducting the final outcome. K: I can see a lot of hard work inside your shoes! How long do you usually take on making your shoes? S: I almost took one year! From February to June, it has been 4 months doing the textile and trend research, testing and arranging the materials. From June to November or December, it has been 5-6 months doing the production. I worked with the laser cut and the stainless steel, which is the hardest material to deal with. They are all handmade and I need to polish them by hand. K: You have three collections in total - External Bones, Warm and Cold, and Umbra, which one is your favourite? What are the differences between them? S: Well, I don’t have a favourite one. They are all unique conceptual work. For the past collections, the use of the materials mark the differences. My first collection Umbra uses wood and aluminium as the main materials; while my second work Warm and Cold uses wood, stainless steel and fibre glass.
K: So, what’s next will you move onto? S: Currently, I am doing some collaborations, some shoots with a photographer. I am waiting for the next exhibition to confirm if I am going to expose the shoes in another place. I might open my own studio but I would like to get more industry experiences beforehand, maybe designing something for high street fashion. After finishing with all these, I might start my new lines.
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Interview KA YING KAI
Words AMADEA KEVALA
The Self-driven Dressmaker:
JAMIE WEI HUANG “ B e i n g s e l f - m o t i va t e d h e l p s t o d r i ve yo u i n t h e right direction. Not just in sc hool, designers in the industr y today are doing more and more t h i n g s . A n d t h a t ’ s n o t s i m p l y b e c a u s e t h ey a r e r u n n i n g o u t o f m o n ey b u t b e c a u s e t h ey ’r e p a s s i o n a t e a n d s e l f - d r i ve n t o d o i t .”
Connie wears a jacket and loose trousers from Jamie Wei Huang, shoes from Jamie Wei Huang. Next page on the left Connie wears a top and strip skirt from Jamie Wei Huang, shoes from Jamie Wei Huang. Next page on the right Coonie wears a top and a sideopen skirt from Jamie Wei Huang, clutch from Jamie Wei Huang. Page 24 design processing board from Jamie Wei Huang. Page 18 Connie wears a coat and a dress from Jamie Wei Huang, shoes from Jamie Wei Huang.
K: So Jamie, tell me your story. What drives you all the way here from Taiwan to London and how did you find it? J: I think there are various reasons for that, but mainly it’s for me to study at Central Saint Martins. I was doing fine art before studying fashion design. Since both have the same basic concept, I simply have to play around more with different materials in a different format. So to be honest, there’s not that much difference between what I have been doing in Taiwan and what I’m doing here. K: What would you say about the system of your Fine Art study in Taiwan? How do you adapt with what you’re doing now? J: I was always in the fine art programme since as long as I can remember. Fine Art in Taiwan includes a wide range of subjects, including product design, graphic design, sculptures, oil paintings, and textiles. For me, Fine Art in Taiwan is about creating anything 2D or 3D in order to express an idea. Now I am still doing what I have been doing before, just using an easier way to approach people (through fashion). K: What did you specialise in Central Saint Martins? J: I specialised in Fashion Design Womenswear. However, I am still very active with my fine art life. I was still doing fine art in my first year in London. I had a painting exhibition at the Louvre. But since then, I focus more into fashion and then I had another exhibition at the Louvre, but this time it was for my collection. K: How long have you been here? Based on your experience, what is the difference between Taiwan and London fashion industry?
That could be the technical aspect or simple encouragement to do what you want to do. Central Saint Martins is a very good place for me to continue. I think the difference is affected more by the institution rather than the country. Just like how some people choose to go to Antwerp, I choose to come here due to the area and the environment in this university that best suit with what I wanted to do. Before I left to London, Taiwan was at the state where there was not that much emphasis on the culture of birthing new, original designers. But now, more and more people in Taiwan appreciate new designers, believing some would last longer and are doing something more than just producing a fashion piece. Fashion in Taiwan has now started catching up with cities like London and New York. K: During your study here, was there any changes in your design philosophy or anything new that inspire your design? J: I think philosophy comes from oneself. Based on that philosophy, you then choose where you want to study, where you want to work, or even where you want to live. I never expect the teachers to teach me about everything. I think that’s why Central Saint Martins is different from other fashion institutions. They simply provide the machines and technicians whenever you need help but they give you complete freedom to express on what you want to do. This however can be a good thing or a bad thing depending on how people respond toward it. K: Do you consider yourself as highly self-motivated? J: Yes and I would say everyone who is continuing to do what he is doing in this industry should be self-motivated. Being self-motivated helps to drive you in the right direction. Not just in school, designers in the industry today are doing more and more things. And that’s not simply because they are
J: Six years. I think it depends on what kind of creation that you want to have and also the environment and support you need to do that. 24
running out of money but because they’re passionate and self-driven to do it. In creative industries like fashion and fine art, there is a huge difference from what you can do and what you actually do. You can do one thing a day to call yourself a designer or artist, or you can do the same task for 24 hours a day. This is because in this industry, there is no rule on the amount of time you should work. So it really depends. K: How would you describe your style? What would you want people to see behind your products? J: I think I will leave that for the viewers to decide because that is one of the purposes of my creations.
Obviously, how I become who I am now is part of an element that builds up my creation. But then that is translated to how you look at it. If ten people look at one drawing, ten people are going to have ten different ideas and reflections on what they think it is about. What I would want to say is to face yourself, study your inner self, and choose the thing that best presents you. I want people to reflect at themselves and choose the piece that best presents who they are and what they want to say. In this industry, things come out very fast, season by season. But I don’t want to create fast fashion. I sort of avoid looking into the trend because as a designer or an artist, my responsibility is to deliver my message. K: Where do you get most of your inspiration? J: If you talk about my project inspiration, I will say it is to bring out the things that are forgotten by the society or some issues or some objects that you wanted to say to people. For me, this is my duty as a designer – not simply relying on trends but on what people need the most. That’s why for most of my collections, almost every season has similar concept. The difference is more on the use of materials. My first and second seasons are futurism and pianist.
Both are still about expressing oneself, yet reflecting their stories into different objects and materials. K: Do you think you subconsciously incorporate your inner self into the clothes? J: It’s a very tricky part. Because in order to renown what I am trying to say, I create environment, I create a collection, I create a story to put this in front of you. And I need the audience to absorb the story subjectively. This is how I pick up things. Personally, in order to create, I need to feel something, like a flower on your hair, a shape or a film, or even when you hear a story from your friend or a sentence from someone that triggers something out of you. Then I will present what I feel through my collection. The whole education and the whole training on sewing is just to prepare so that you have enough technique to present this idea properly in your collection. So far, ideas bring me more inspiration than physical objects. K: What kind of personality or characteristic would you expect from your audience? J: I think my design is for everyone. There is no particular group of people I was focusing on. I don’t really like to define people. The concept of “fashion-forward” for example is something you heard from other people before or is defined by this society. But you yourself may have a different definition of what it means. So I give freedom for people to define themselves based on my collection. K: With your Fine Art background, do you think it influence on how you see things? J: I think what I am looking at is more of an idea. Fine art, teacher, paper cutting - they are just the techniques. Technique is kind of a language to tell your stories. Language is a technique as well. Learning is a way that you can express yourself better in every area. Today, I may use pattern making as my language this season.But next season I may use print or sculpture combined into acrylic shape.
I think a lot of students or young people don’t think that traditional learning process like materials is more important than mere creativity. The ability to sell does not define your creativity. You do need to spend time to practise your languages. When you are ready to say something, it will make more sense. K: During your design process, do you usually develop a very different theme from the past season, or will you try to link the collections by specific element? J: You probably want to wear different things everyday. But there are certain things that will always bring out who you are, even when you change your hair-style or make up. That is the same to how designers do. For me, the collection comes out by something that inspired me, but in a way that is presented, I always want to come out with something fresh or unexpected. There is something that people will always recognise as your signature because of my personality or brand DNA. Everything is just unplanned and happens naturally.
K: How have you got through from education, interning to developing your own brand? J: Initially, I didn’t intend to have my own brand when I graduated because I don’t think I was ready. But I think everyone has that mindset. No one thinks they are ready. I was working at Olympic when I graduated and then I went back to Christopher Kane to help as well, and I worked for EUDON Choi as a studio manager six months after I graduated. And I worked for him for almost one year. And then Designer for Tomorrow contacted me
telling me that I was chosen as the finalist. And so I went to Berlin. At that time, I had to create a new seasonal graduate collection to work with Stella McCartney. We had a show after two months in Berlin Fashion Week. That’s how I quit my full time job to start kind of “my first season”. Initially, it was just a competition, but the press treated you as a brand. The people contact you and the things just happened themselves. Then I just carry on. K: In your opinion, what constitutes a good fashion design? J: I think it has to be first original, and it could be anything. It could be commercial or really creative. It does not even have to be in the form of garment. For me, as long as it is telling something, then it is a good piece of design.
K: What do you learn from your previous internships at Alexander McQueen and Christopher Kane? Could you describe your experience? J: I think there’s so much to learn in this industry because we are trained as a designer, but in this industry you just spend 30% time on design, doing what you’re supposed to be doing, and 70% of your time, are jobs that you have never done. You need to learn how to be an accountant, shipping assistant, PR. You can’t learn them in school. You learn about them from your working experience.
It’s good to experience how things work in different parts of the company. It’s good to learn in companies like Alexander McQueen because you got to develop a lot of techniques that you have never thought of reaching in that level. I was at pattern department in Christopher kane that time, so I learned a lot of sewing technique, seeing how the real pattern cutters work to prepare for my final year. W--e are having a good relationship until now. I went back to help in the Paris showroom up to 5-6 times since they always have show in London and Paris. Before I started my own brand, I always went back to help for the showroom, where I learned about sales and how showroom should look like. That experience prepared me to see a bigger environment. Then I also worked for an independent designer (Eudon Choi), just me and him. So I have been through the big one, the medium-sized one, and the small one. So I think internship is really quite important if you want to know more about the industry. K: Have you considered finding some third parties such as consulting companies on business strategies, so as to reduce your workload? J: No, I don’t think anyone should tell anyone of what and how they need to do for the company. If you are not good enough, you should go and learn it. Only you know yourself well and so you are the one who is able to do what you have envisioned yourself. If I got to spend money on agencies, I would rather spend money on training my own employee because I am still learning as well and I value the importance of learning. K: So what are you currently doing? J: I am currently working on the Muse Project, with other 2-3 new collaborations. K: All right. Good luck with your project and collaborations. We wish you the very best!
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Words FEDERICA CAIAZZO
Styling DAN CAO
‘Paradox’:
D a n C ao
Born in 1992, Dan Cao is currently based in London, where she is attending her MA in Fashion Design Management at the University of the Arts. However, her fashion academic career began a few years ago, when she successfully graduated in Fashion Design at the University of Brighton. As a talented emerging designer, she obtained an internship at Erdem, the working experience that helped her to specialize in different sides of fashion industry, such as visual merchandising, fashion marketing and fashion business.
As far as her first collection is concerned, the starting point of Dan Cao’s research is exploring the body through its natural curves, as well as the mind or the move-
Exploring the concept of paradox by combining different elements is Dan Cao’s main purpose to produce asymmetry and contrast. ‘Paradox’, the name of her six-outfits collection, is created to highlight an “alternative femininity”.
ments involved in a random dance. In order to achieve this result, the designer has combined straight angles together with curves to emphasise the design. Pablo Picasso, Juan Gris and Diego Rivera’s cubism inspired the collection, where plain graphic and clean lines garments are combined in different colours and textures. Furthermore, the paradox is expressed through the art of wrapping, recalling Christo’s work and using different widths of belts and straps to wrap the body. Finally, the dominant mood of simplicity and modernity as well as the contrast between lightweight and heavyweight textiles are another expressions of the paradox. Talking about dreams, Dan Cao’s number one ambition is to open her
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own shop to sell her designs. However, she does not want to be in haste. “I want to gain more work and life experience before I work on my dream and the possibility of doing a menswear collection.” In the same way, even if times are becoming more and more challenging, Dan Cao is particularly positive about today’s opportu-
nities in fashion industry. “Trends are changing all the time. The only way to stand out is to create your own style, which is the hardest thing to do during the whole processing. Fashion is like a circle to me, it never ends and you never know when you are back to the beginning again”, has affirmed the young emerging designer in the end.
Previous spread: Megan wears a dress by Dan Cao, This page From left: Megan wears a half-jacket and trousers by Dan Cao. Opposite: Megan wears a half-jacket and trousers by Dan Cao.
This page Megan wears a dress and a coat by Dan Cao. Opposite: Megan wears a dress and a coat by Dan Cao. Next spread On the left: Megan wears a vest, trousers and a coat by Dan Cao. On the right: Megan wears a dress by Dan Cao.
Words CLARISE CARRINGTON
Photographs SEBASTIAN BOTTCHER
Make-up EMMA YE
“ The Abstract Mereologist:
Shimo Zhou Fresh out of London College of Fashion with a Master’s degree in Menswear Design, 25 years old Shimo Zhou is an emerging talent within the design industry. Having been a print freelancer for leading fashion brands such as Tom Ford, Alexander McQueen and Givenchy, Shimo has worked and learned from the best.
She has now turned her attention into creating her own collections, with the first being ‘Symphentality’. Shimo shared with Beneath & Beyond the concepts and techniques that went into creating it: “Symphentality is a menswear collection; a mental symphony of digital manufacturing and the craftsmanship of classical tailoring created by the analysis of memory structures and an individual understanding of mereology. We see, we hear, we touch, and have been touched and we
feel all kind of sensations. We can perceive objects and knowledge with an unclogged consciousness. We know nothing other than that which we can feel and remember. In a way, memory shaped us. In this collection, we focus for the first time more on the structure of our memories, than on the specific feelings. We created forms, colours and textures according to these analysis. Abstract concept has been visualised into actual elements and details upon sartorial basis.”
After creating such a successful first collection, Shimo is currently working on her next project, which is based around the idea of balancing objects. Although she is faced with the difficulties of being a young designer in such a highly competitive and evolving industry, her dedication to creating unique, thought-provoking designs is remarkable. Shimo Zhou is undeniably an upcoming talent to look out for.
Oxford wears a brain hat, a wool top, a weave jacket and wool trousers by Shimo Zhou, shoes from Y-3. Alex wears a brain hat, a printed shirt, a stripe coat and wool trousers by Shimo Zhou, shoes from Y-3.
Previous spread
On the left: Oxford wears a brain hat, a printed shirt, a weave jacket and wool trousers by Shimo Zhou.
On the right: Oxford wears a brain hat, a tailoring suit by Shimo Zhou.
Alex wears a brain hat, a jersey top, a string coat and wool trousers by Shimo Zhou.
Opposite: Alex wears a brain hat, a jersey top, a wool vest and wool trousers by Shimo Zhou.
Alex wears a brain hat, a jersey top, a stripe wool coat and wool trousers by Shimo Zhou, shoes from Y-3. Opposite: Oxford wears a brain hat, a wool top, a weave jacket and wool trousers by Shimo Zhou, shoes from Y-3.
Words FEDERICA CAIAZZO
Styling HAEUN BAE
Photographer CLARA GIAMINARDI
Magic beyond photography:
CL ARA GIAMINARDI
Exploring the boundaries between art and fashion through the use of photography is Clara Giaminardi’s main purpose. Born in Italy and based in London and Milan, Clara is an emerging 23 years old Italian talent. As she stated, “Art and fashion are two related worlds that create moments of beauty when explored through the eye of the camera.” Talking about her educational background, Clara studied photography at the European Institute in Milan, where she graduated with distinction in 2014. Afterwards, she moved to London, the city where she is currently attending her MA in Fashion Photography at the London College of Fashion. However, her strong passion started long time ago, when she was only a little girl. Her grandfather, as she has remembered, was fascinated by the media in general and, after turning 16, she started. It was a few years later that she definitely realized photography would soon become her obsession. 46
As far as her personal photographic style is concerned, Clara discloses a veiled magic. “There is magic in the moment in which you witness the abstract turning into material. I love exploring the possibility to sculpt the human forms, moulding flesh into shapes that go beyond the obvious. I hope this fascination is exactly what I express”, has explained the photographer. Furthermore, since 2013 she has been contributing to several international magazines, such as: Flofferz Magazine, Push It Magazine (UK), Nicotine Magazine (USA), Dreck Magazine (UK), Van Der Love (Spain), Nasty Magazine (Italy) and many others. Last but not least, Clara is incredibly determined about her future expectations: her biggest ambition is contributing the best images to the fashion industry. Of course, her dream is creating perfect images that reveal impeccable and pure beauty, to be completely satisfied with her work.
Previous spread
From the left:
On the right: Blythe Kaye wears the outďŹ t from Moon Lee. Makeup by Yumi Noh.
Blythe Kaye wears a beading top and skirt from Moon Lee. Make-up by Yumi Noh. Blythe Kaye wears a embroidery dress from Moon Lee. Make-up by Yumi Noh.
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Interview DAN CAO
Words CLARISE CARRINGTON
At the age of twenty-two, Georgia Case has graduated from the University of Brighton with a BA in Fashion Design and Business Studies, and created her very own luxury women’s accessories brand. Her company, known as CASE, specialises in the use of leather and cowherds to create new and dynamic accessories, each with an individual twist. The pieces focus on simplicity, creativity and originality, whilst all still maintaining a beautifully designed exterior. Georgia also has a love for highlighting a woman’s provocative side but still keeping their elegance and dignity intact. This has led to the emergence of her new womenswear collection which focuses on suggestiveness and gives power to the wearer. Beneath and Beyond exclusively interviewed Georgia Case to find out the inspirations behind her latest collection, investigating on what makes her brand unique, and discovering her hopes for the future.
Photographer FLORA MACLEAN
Styling GEORGINA CASE
Opposite Desiree Laidler wears a fishnet chain dress by Georgia Case. Next page on the left Desiree wears a full length silk dress by Georgia Case. On page 54 Desiree wears a jersey dress by Georgia Case. On page 55 Desiree wears a silk dress and a jersey dress by Georgia Case. On page 56 clutch by Georgia Case.
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D: What previous work/internships have you done that have helped you get to where you are today? G: I worked for a small womenswear label in London as well as a large high street brand. They were very different but for both I got to view the whole process. I watched the designers come up with designs starting from the manufacturing process up to seeing the garments on the shop floor.
D: Talk us through your collection; concepts, materials, inspirations and techniques. G: I want my collection to send out two signals; one is a woman who is comfortable, elegant, and effortless; who doesn’t want or need to stand out, and the other one is a sexy, provocative side of her that she wants to show discreetly. The aesthetic for this collection is very minimal, stripping back the designs to functional details, provoking viewers and giving control to the wearer. The pieces will be long and cover up the wearer; but through suggestive details, the admirer’s eye will be drawn around the body and into the dress. I am also going to make a range of shoes that will loosely take inspiration from my main collection. I want to create a balance of strength and elegance, with details that are purely functional. D: How would you describe your current brand?
G: Last year I started a brand called CASE. CASE is a luxury accessories label specialising in beautiful cowhides. CASE started so that everyone can enjoy beautiful accessories that have an individual and more exclusive feel. With a simple design and luxurious fabric, we are creating handmade pieces, where no two are the same. D: Do you have any future projects or dreams that you wish to achieve? G: I am not fond of being a struggling designer with no money and working in a cold studio yet. So I’m currently being paid to work as a design assistant for a high street brand, which I am really enjoying. It’s also nice to have a break from working so hard. Eventually I would like to have my own studio, and work on my own ideas along with my friends but for now I’m happy being a design assistant. D: What do you think are the possibilities or difficulties faced by a young designer to emerge today? G: I think that young designers in 2014 are very lucky in that we have social media, you don’t even need to leave the house, to get hundreds of people to see your work. And with all the online market shops, it is easy to sell your work worldwide and for your work to been seen by a whole new market. You can contact blogs and they can also advertise your work. Although the fashion market is saturated with ‘up and coming’ designers, we still have a great platform to work from.
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I want to create a balance of strength and elegance, with details that are purely functional.�
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Interview DAN CAO
Words AMADEA KEVALA
Studio of Minimalism:
TORTUS COPENHAGEN
ERIC L ANDON The Clay Hand-crafter
Opposite: Tortus Copenhagen Studio outside view
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ERIC LANDON It’s the 21st Century, everyone seems to be leaning on technology and the digital world. This however is not the case for a master potter and designer, Eric Landon. His love for hand craftsmanship in wheel thrown pottery was embedded in him since the age of 16. It has evolved into a way of life, his vocation. For Eric, shaping objects by hand is not a look back at the past. He firmly believes that hand-crafting objects of a timeless value is a way forward. Eric is a graduate of the Danish school of Design in Copenhagen and has been awarded with a number of grants, international exhibition selections, and other distinguishes for the quality of his work. This is reflected in his century-old tradition of Danish ceramics studio, TORTUS. Tortus is about the love of making and passion for materials. Like the noble creature from which the brand name derives from, it moves at its own humble pace. The brand is dedicated to the modern adaptation of traditional and time-tested making methods with the goal of creating vessels of a timeless quality and beauty. Its production, which is based on a seamless dialogue between design and hand-work, drives an ever-evolving production of ceramics rich in form, color and texture, making a unique encounter with each of its objects. 60
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When people look at my work, I want them to sense a little bit of my excitement in the making process. And that’s something I want to maintain in the company. I don’t just want to maintain the quality of my work but also my intended purpose of work as an artist.”
What drives you into the world of ceramics craftsmanship? I’ve been making pottery for over 23 years since I was 16. This project is however only 2.5 years old. The thing that fascinates me about craftsmanship is that in this digitally dependent world where everything can be copied easily, I can produce unique things. It’s about expressing the freedom I have: the freedom to make the color, the design and shape. If you’re working in a factory, you can’t do these things because they have already determined the design, colour and everything else in between. The other thing I like about craftsmanship is that it takes time, it is unique and it does not go out of fashion. It becomes something that you value later on. I don’t make so many reproductions. I only make one for most of my pieces. And people fall in love into something that is completely unique. I believe that this keeps the work fresh. If I start making too many, it’s no longer very sincere of a work and it loses its uniqueness. How do you maintain your value as an artist as you sell your products? We work with a lot of retailers worldwide but we keep it at a level that we can manage. I’m trying to have an artistic approach in order to have a commercial product.
What is the challenge you face as a potter? Well, as you can see, each product requires a very intensive hardworking process. We need to find customers that have the money and the ability to see the work we put in. 95% of the work I made comes out of handwork. The other thing is that sometimes you can’t weigh time or cost in order to make a piece because it’s just a long process for me to learn how to do it. It’s like you paying to see ballet dance for 15 minutes. You don’t only pay for the 15 minutes dance. You pay for the long years of hard work for the dancers to be able to dance like that. You seem to have a minimalistic approach to your design? Is this more of your design aesthetic style? Yeah, I tend to minimise the colours using either white or the original clay shades because I want people to focus more on the shape. You seem to really love what you do and be where you are. What makes you love your studio? My studio is very wonderful, yet at the same time it’s very private and calm. I have separate studios, the one where I usually meet with customers and the other one where I really do my work.
How long does it take for you to finish each piece? It takes around 2.5 months for me to finish each piece. But despite the similar nature of the pieces I made, I made each of them unique. It takes time to create new shapes, new glazes. Each of them is a little bit different than the other; therefore, it might have a different timing. Each has a unique character. There is a real relationship between me and the object. I started it using hand-made expression and finished it using digital technique.
In the spring, I will be working with some potters based in Germany who will help me to do some functional series but still using the same technique I’m using. How do you work with your retailers?
In a way, the piece tells a story about how it was made, how it was expanded and twisted. There are 10 different ways of doing the same process and you can see the process just by looking at the object.
We are a small company. We have authentic craftsmanship and a lot of big companies want to attach themselves with the image that we have. They want my products in their store because they usually have mass products, but they want to add something to their store that no one else has, and that’s when the brand comes in. Our products help expand their PR and our story is a good story for their brand. Good stories have a lot of value.
How did your brand get widely known as it is today?
What do you think is the thing that differentiates you from other potters?
A lot of small companies had to go to trade shows to promote their brands. We didn’t do that. We are invited to many high-profile exhibitions and one of the exhibitors built my studio in Paris. Because we promote ourselves in a way that is endearing, people want to participate in it. Social Media is definitely amazing in helping our brand known worldwide. People love our story and they are the ones that share about us instead of the other way around.
Every potter has a secret. My secret is in the formulation of the glaze. I’m the only one who has the recipe to make this glaze. And I think that is one of the most beautiful things about handcrafts.
What is your next plan in this business?
Every handcraft man has his own story and his own approach and style to handcrafts. To me, that’s what makes my products unique. I have my customers in mind when I make these pieces. It’s a good illustration of me as the artist and the personality I see from my customers.
Close-up detail texture of Ceramic by Eric Landon.
Ceramic work by Eric Landon
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We may not have a lot of money but we have big story.�
Tortus Copenhagen Studio space
Interview DAN CAO
Words CLARISE CARRINGTON
Defining Danish Aesthetic:
NORMANN COPENHAGEN
PAUL MADSEN The Ingenious Forward-thinker
The Danish home decor brand, Normann Copenhagen, was created by Poul Madsen and Jan Anderson because of their mutual passion for design. Established in 1999, the brand focuses on producing contemporary interiors, furniture and lighting inspired by traditional Scandinavian designs. Never straying from its roots, Normann Copenhagen prides itself on its minimalistic furniture with clean lines and a less-is-more approach. Bold and innovative, the brand challenges conventional design rules and incorporates worldwide fashion trends, giving it a stylish edge. Their flagship store in Copenhagen is not only aesthetically pleasing, but also has exquisite attention to detail, just
like the furniture it houses. For customers that step foot indoors, it creates a captivating experience, both physically and visually. It is impossible to leave such a unique retail environment without feeling inspired and fascinated by their extraordinary designs. What first began with the creation of a single lamp, has now developed into thousands of design products sold worldwide in over 70 countries, all still maintaining their original expression. Beneath & Beyond interviewed the man behind Normann Copenhagen, Poul Madsen, to gain an insight into the brand’s origins, its beliefs and its future goals. 68
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Is there any particular meaning behind the name “NORMANN”? Normann is actually Jan’s middle name. It came up when we were brainstorming for names for our company and we thought it was a great name. We added ‘Copenhagen’ because that’s where our company is based. What were the origins of the brand and what was its intent? Alongside this, what is the ethos behind your brand? Jan and I created Normann Copenhagen in 1999. We kept running into each other at trade shows and we quickly realised that we didn’t just share a passion for design, but we also had similar interests and values and shared a vision of bringing something new and unexpected into the world of design. We became friends and decided to team up to create a joint business. Our mission is to create original, bold and eye-catching products in a simple and contemporary design that withstands the test of time. Or in other words, to challenge conventional thinking and make the ordinary extraordinary through great and innovative design. Can you tell us a little more about the designers in the store? From the very beginning, Normann Copenhagen has collaborated with established designers as well as up-and-coming talents from around the world, and we continue to do so today. We also recently started our own design studio with a team of young talented designers. Besides our own products, the flagship store holds a wide variety of products within fashion, furniture and accessories. We visit international fairs to find the latest trends and select products that fit the Normann Copenhagen universe. Generally, we carry brands that we are fond of ourselves. The role of living style has been increasingly important with lifestyle magazines, lifestyle restaurant and cafes, etc. How do you identify the word “Life-style” under the brand? We believe it is important to today’s consumer to be
able identify himself with the product as well as the identity of the brand. It must be in tune with the person’s lifestyle, or the lifestyle of his/hers dreams. Therefore design products must not only be practical also need to speak to the feelings of the user. We select our products based on intuition and what we fall in love with ourselves, and then we hope others will feel the same way too. With our wide product range we find our designs play a role in many different aspects and scenarios of a person’s life, and we love the thought of our products being part of people’s everyday moments. In the flagship store, we are able to extend the Normann Copenhagen universe even further by complementing our own range with various products within fashion, furniture and accessories. This creates a more complete experience which can inspire people. Today’s consumers are confronted with endless possibilities and have a lot of choices to make. The biggest challenge and mission of stores and brands today is to help consumers make these choices. We must make it easy for them. We must make critical choices and curate our mix of products in new and surprising ways that in the end hopefully will inspire our customers and make them want to come back. The flagship store’s display and the brand’s E-market present the brand image to its audience. Is the store having bi-annual changes or more frequently? And how does your team decide on the themes for each change? With our flagship store, we aim to create a dynamic, inspirational space with changing exhibitions, pop-up shops and events. For example, the store’s window display changes every day, creating an upto-date exhibition space that opens 24 hours a day. The ambition is to bring new inspiration to anybody walking by the window each day. Around every second month, the entire shop is restyled. Furthermore, the shop frequently hosts events in cooperation with international fashion and lifestyle brands. The front page of our online shop changes regularly and the shop is promoted via our social media channels. We seek inspiration at fairs and pay attention to trends within both the design and fashion industry. We are not afraid to take chances, and if we get an idea it does not take us long before we decide to
carry it into action. Who is your target audience? Our target audience shares our passion for great design. They are confident, quality-conscious, modern consumers who at the same time do not take themselves too seriously. Fans of Normann Copenhagen love clean lines and have a sense of humor. What do you think is the distinctive feature of the brand? What makes it unique compared to other brands? Compared to other Scandinavian brands, Normann Copenhagen is more playful, daring and colourful. Normann Copenhagen products have a minimalistic idiom characteristic of Scandinavian design, but at the same time they ooze with personality and character. Minimalism with attitude, you could call it. We are not afraid to do things differently. We don’t just launch a product according to its type or what we think is missing in our collection. It has to be the right product. Something that we look at and think “this is special”, something that we haven’t seen before. This approach means that the products in our collection reflects designs that we very much believe in our personal tastes and views. So far, we have had success with this approach. I think that whether customers like or dislike our products, this is one of the key elements that distinguishes us from other brands.
seek to create a cohesive experience that can represent the Normann Copenhagen brand. Where does NORMANN go from here and what can we expect in the near future? Any upcoming events or goals? We are always ambitious and we constantly strive to do things better, challenge ourselves and explore new areas within design. Through the past years our company has established itself as an important player within furniture and accessory design. We aim to build on this position internationally over the coming years. As part of this, Normann Copenhagen will develop existing partnerships and markets as well as establish new ones. In January the store will house an exhibition of our latest furniture venture - a series of chairs and tables called Form. The exhibition offers a glimpse into the process leading to this ambitious furniture design. Subjects like the designer´s thoughts behind the concept, the design itself, as well as Normann Copenhagen´s uncompromising approach to the development of Form, are unfolded through text, furniture setups and inspirational images.
What is your opinion about the relationship between sensory concept and store environment? We want to create an inviting space where our customers will feel comfortable but also stimulated - a space that will surprise and thrill. This is reflected in the products we select and how we arrange them as well as the music we play etc. We pay attention to the details and 72
View of Normann Copenhagen store
Words CARLY FLORENTINE
Nendo/ Oki Sato The Prolific, Multi-award Winning Designer
Nendo is the brand of Oki Sato, a Canadian born creative who studied in Tokyo. He is a prolific, multi-award winning, multi-discipline designer. He has designed window displays for Hermès and some innovative original products including furniture, lighting, installation, which contribute to his accomplishment as an architect and well-established interior designer.
design world. Established in 2002, Nendo is the Japanese word for modeling clay. His style is characterised by the surprising and delightfully playful detailing in his products, such as collaboration with Walt Disney Japan where he created a series of tables, based on the characters from Winnie the Pooh. There is also the youthfully nostalgic Chocolate Paint, which is a set of chocolate packaged in paint tubes, which indicate the flavour of the chocolate syr-
He likes to afford people with exquisite small moments that are hidden in the everyday as he believes they are what make life so interesting and rich. And so he creates his pieces so that they can experience them intuitively from his work. He is based in Tokyo and has also established an office in Milan and is a well-known talented figure for his high concept work in the
up inside. He enjoys the childhood excitement it evokes by combining the thrill of opening paints with the joy of opening chocolates. He shows us what you can achieve with a unique vision, a sense of wonder and a hard work ethic.
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Chocolates looking like a set of oil paints. Tubes in a box of paints contain a variety of colours, filled with various flavoured syrups.
Opposite: Chocolate-pencils.
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Mood Board:
The Theme of the Season from the Best Visual Curators
Lifestyle . Fashion . Mood
Piece of Today: LIFESTYLE
Instagram @ urbanxkoi
Instagram @ underdog_h
Instagram @ kyon_taro
Instagram @ cahmun
Instagram @ local_milk
Instagram @ monbraee
Piece of Today: FASHION
Instagram @ desiresbyus
Instagram @ joycecroonen
Instagram @ BRONTE__P
Instagram @ STYLEDO.SE
Instagram @ thedreslyn
Instagram @ peterxdo
Piece of Today: MOOD
Instagram @ jonpauldouglass
Instagram @ elo_____
Instagram @ amandakusai
Instagram @ illusorysuperiority
Instagram @ robert.bowers
Instagram @ fakeken
Building Block ____________