Oslo Fashion Week no. 18 by bergstar

Ray Ban brille: 1.800,-

Ray-Ban I Chanel I Oakley I PeRsOl I RalPh lauRen I POlO I RalPh lauRen I Paul smIth I PRada I RalPh I CaRReRa I GIORGIO aRmanI I dIOR emPORIO aRmanI I GuCCI I BOss I huGO BOss I BOss ORanGe I maRC JaCOBs I maRC By maRC JaCOBs I max maRa I max & CO I yves saInt lauRent I BRuuns BazaaR I CheaP mOnday I vendela I elIzaBeth aRden I PROdesIGn I veRsaCe I tOm FORd I alaIn mIklI I staRCk I PeRRy ellIs I eCO I lyle & sCOtt I COnveRse

010...Editorials 014...A Modern Classic 020...Reinventing Made in Italy 023...A designer’s diary: In the making/Italy 024...Studying The Italian Way 029...Prada and Schiparelli Talking Past Time 032...Punk Royale 042...Erle 056...Other Rays 068...The Italian Fairs in a Nut-shell 069...A White Experience 070...On The Catwalk 077...OFW Program 078...OFW Sponsors 080...OFW Showroom Network 081...OFW Official Schedule 082...Newcomer of The Season 090...NICE Forging Ahead 092...Small Talk 096...Pandora COVER Photo and styling: Tommy Løland Make-up: Victoria Pernille Walderstøen Hair: Ann Kristin Nilsen, Adam&Eva/Redken Cover Model: Torkel/Heartbreak Publisher Oslo Fashion Week AS p.b. 1064 Sentrum 0104 Oslo www.oslofashionweek.com Editor in Chief Tone S. Tobiasson Guest Editor Ane-Marte Grønstad Liane Assistant Editor Annikken Vear Editorial Assistant Katinka Tobiasson Art Director Annikken Vear Print Zoom Grafisk AS No part of this publication may be reproduced, copied or transmitted in any form or by anymeans without the Publisher’s written permission.

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”DET ER IKKE EN ØYENSKYGGE, DET ER MIN COLOR RICHE LUMINOUS P3.” Claudia Schiffer.

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Claudia bruker Color Riche Le Vernis 702 Black Swan neglelakk.

Luminous

NYHET! 4 HARMONISERENDE FARGER I ÉN PALETT.

DIREKTE FRA CATWALKEN. VÅGALE, STERKE FARGER. FOR EN INTENS LOOK. SILKEMYK TEKSTUR, LETT Å PÅFØRE.

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Nye

AMPERA

FØLG STRØMMEN El-hybriden Ampera. Årets bil 2012. 8

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www.opel.no - Følg oss på

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Drivstofforbruk (kombinert og belastet) 1,2 l / 100 km; CO 2 -utslipp (kombinert og belastet) 27 g/km; elektrisk energiforbruk (batterimodus) 16,9 kWt / 100 km (i henhold til R (EF) nr. 715/2007). Bilen kan være avbildet med tilleggsutstyr. Importør Opel Norge AS.

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Photo: Martin Tosterud

I remember visiting Venice once as a guest of Calvin Klein jewelry and finding a store in a foggy sidestreet off the main shopping-area that sold the most exquisite handmade sunglasses. How Italian! In Florence I found a store selling only pens, and the wonderful pen I bought there is still with me, my most trusted friend. All important thoughts are noted down with this pen and this pen only. Somehow the very elegant design of the writinginstrument adds some sort of magic to the words. Milano is Italy’s fashion capital, but I have had some of my best design-moments in Florence and Rome, visiting the hallowed halls (or offices) of Pucci and Valentino. Visiting Peter Dundas in the Palazzo Pucci is one of those experiences where you feel the real need to pinch yourself to make sure you are not in a dream. How can someone NOT be creative in such surroundings? The history entrenched in the walls and art-work bounces off the modernity of contemporary design – in a way that only Italians know how to fuse. Visiting the couture-studio and offices of Valentino in Rome was just as much of a rush. Seeing the many women working on a lace wedding-dress for an Arabian princess where the veil filled the entire studio, being shown the rolls of fabrics and other red-carpet dresses and ball-gowns under-ways was rather breath-taking. Here craftsmanship really was the DNA of the fashion house, along with the superb design. But visiting shoe-factories and optical factories in the vicinity of Venice, I saw much of the same dedication and eye for detail. Be it a fatherand-son factory where designs were still drawn by hand or a state-of the art operation where everything was programmed in a computer in 3D. In this issue of Oslo Fashion Week magazine we explore the way Italians do business – how they work in clusters ensuring that knowledge is transferred and companies cooperate for the best of business. We also take a look at how Norwegian designers can use this unique focus if they wish to produce in Italy, how the clusters function- and also how important sourcing at certain fairs in Italy can be. Pitti Filatti to mention one. For Norwegian brands wanting to break in to the Italian market or for buyers wanting to import Italian brands, we have something for you too; as well as those who want to explore studying anything from luxury to fashion (or both) in Italy. While I am sure I have been Italian in a previous life (living off a foggy canal in Venice), some of you may want to explore what Italy has to offer today. Ciao!

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Many Norwegians go abroad for studies within fashion, myself included. An education in Italy provides an education with understanding of the huge industry, though often specializing on one part of the process. I returned to Milan this spring to interview Vaishali, a former student specializing in brand building. Wandering around the streets of Milan I have walked countless times before, the dynamics of this city strike me more than ever. I try to keep count on how many Norwegians I knew that studied fashion during my Milan-years. Where did they all end up? Some have stayed in Italy, some have chosen to work abroad. Others roll up their sleeves and start individual fashion projects. I admire their courage and determination. However, to do everything on your own could turn out being a mission impossible. It seems rather that successful Norwegian brands in recent years are a result of collaboration. In order to understand the complexity of the Italian fashion industry, the schools in Milan offer a variety of courses. During my four years of studies in fashion and textile design at NABA (Nuova Accademia Di Belle Arti) we were encouraged to collaborate from the very first day. We had lectures with students from other design-areas. Courses like Semantics, History of Cinema, Photography and Art History are examples of courses that were obligatory. Mandatory workshops and seminars forced us out of the fashion building, and forced us to team up with students from Interior, Graphic or Media design. Working on a project, we could ask for assistance on a photo shoot and we would collaborate within the fashion department. One of my classmates, was great at pattern construction. When he helped me, I would return the favour by giving my opinion on his choice of colours and materials. We had to count on the fact that someone else would help take your project to the next level. All the steps have to be equally monitored and controlled to maintain high quality and achieve the best result. I learned that from the Italians. After the vibrant and never-ending creative process in Milan, it could feel like a void returning to Oslo. Even with work-experience from abroad, many find it difficult to channel their knowledge. These students could be valuable assets for the future of Norwegian fashion. I must admit that living in Milan wasn’t always easy. Understanding the cultural codex, learning Italian and adapting could at times be hard. People have asked me if I would do things differently, or actually encourage others to pursue their dream of working with fashion. I wouldn’t hesitate a second doing it all again. Go! Study or work abroad and learn a new language. Widen your horizon.

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FOTO: MORTEN QVALE - DESIGN: BAJASEN.NO

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Our story begins in 1936 in a small Norwegian town surrounded by spectacular fjords, mountains and glaciers. Here, for three generations, our family has designed and produced high quality tailoring with dedication, skill and p a s s i o n . To d a y , o u r c l o t h e s a r e i n s p i r e d b y t h e e f f o r t l e s s , r e l a x e d s t y l e t h a t t h e I t a l i a n s a r e f a m o u s f o r. W e w i l l c o n t i n u e t o s t r i v e f o r e x c e l l e n c e i n s t y l e a n d q u a l i t y, building on our strong design heritage.

W W W.RICCOVE RO.CO M

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MASSIMO – NATURALLY THE PHOTOGRAPHS ARE REMINISCENT OF LONG LIGHT SCANDINAVIAN SUMMER NIGHTS. BUT BEHIND THE LENSE IS A FIERY ITALIAN. Text: Sissel Hoffengh

Photo: Massimo Leardini

Judging from his art Massimo Leardini could easily be mistaken for being born and bred Scandinavian. His love affair with nature and absence of fashion photography clichés have artistically more in common with the visual tradition of northern artists like Ingmar Bergman and Sven Nyquist than those highly stylized glam shots so favoured by editors of international fashion bibles like VOGUE Italia. We meet him at Villa Paradiso in Oslo over a cappuccino – of course – and Massimo has brought a book with some of his photographs that he gallantly gives me as a gift. – I love the outdoors and going for long walks in the woods or mountains. Taking photos in that environment is a way for me to combine the two things I like most: Photography and nature, he explains, while we leaf through page after page with black and whites – woodlands, beautiful girls and yes, even a few boys. Somehow I feel this man is more Scandinavian than me, and I am a native. It obviously takes a fresh eye to see the beauty in everyday things that surround us. That he has made a big splash in the world of fashion photography is a reminder of how open minded that world is for personal style and creativity. – I think the most talented photographers today work in fashion, because fashion allows you to be extremely creative. Look at Bruce Weber, an enormously talented guy. It’s people like him who take the time to cultivate a signature style who survive in this business, not those who choose to follow every trend, says Massimo and adds: – Fashion is fickle, it keeps changing while true style lives on. But fashion magazines are a great way to gain exposure, everyone looks in them to find inspiration. I think people who know my work know it because they have seen my name in magazines. Indeed they have. Massimo Leardini had only been in Norway for a very short time back in 1987 when he started doing the rounds to the magazine editors. Hilde Pettersen, then fashion editor of Tique magazine, was one of the people who fell for his work. - I think it took a while before people understood me, my way of seeing and taking photos, they expected something that was

more “fashion”, more artificial. People either loved what I did or they didn’t get it at all. But Hilde saw me, she saw what I tried to do and liked it. Fashion photography is an edgy and competitive field. There’s a lot of artificial over the top posing and opulent styling going on, it seems people are trying to outdo one another with shocking visuals. And whereas some shooters like Jean-Baptiste Mondino have made their mark by breaking every rule, one of the biggest pitfalls is reverting to the multitude of fashion clichés. Then along comes this guy who hails from the land of VOGUE Italia and paints the human body in harmony with nature, using hardly much more than natural lights, no crazy props or imposing couture – his models are most frequently naked without even a trace of make-up on their freckled sphinx-like faces. There’s no hard posing, no typical model-pouts or artfully tousled manes of hair, no heels, furs or fancy trimmings. The people in Leardini’s photos look less like models and more like ordinary people caught in private - often candid moments that give the pictures an air of innocent voyeurism. For anyone who’s grown up in Scandinavia the photos are a strong reminder of childish play, coming of age, falling in love, the eroticism of your first kiss camping and playing in what seems like endless summer nights. – I don’t know where it all stems from but my sense of esthetics is the foundation, and I draw my inspiration mostly from nature. I am totally antiglamour. Whether it’s a famous model or just a private person I think it begins with trust, a way of communicating and understanding each other well enough so that she may come along on the trip I‘m suggesting. – I dislike painted women. When a model shows up at a shoot I often think wow yes! She’s gorgeous! And then I always tell stylists and make-up artists to hold it and not wreck the beauty. Unfortunately when you shoot for magazines you have to consider what editors want - but then again, they know my style now, why hire me if they want something different than what I do? This is why he doesn’t work as much for the mainstream fashion magazines anymore. He much

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prefers niche magazines where he can shoot - often for free – and have more artistic freedom. - This is also why I do a lot of my own projects with books and exhibitions; I need to keep cultivating my own way of thinking. – Fashion photography is very creative? – Today every other young photographer I meet wants to become a fashion photographer, it seems to be THE thing to be. They think our life is like what they have seen in the movie “Blow Up”, he laughs. – With the social media young people today have so many more creative outlets than we had. And you see how they take photos of themselves, their friends and load them up on Facebook and blogs, they have access to magazines and webzines and internet sites and are able to explore and develop a visual language that is way more sophisticated than we could 25 years ago. – I myself didn’t start taking pictures until I was around 25-26 years old. I wasn’t ready before. And even when I started I did still life for a long time before I started working with models. Fashion was never what he had in mind when he was growing up in Catolica, a small town south of Rimini. In fact his plans were far more mundane than shooting photos of beautiful girls. After college he enrolled at the University of Bologna to study economics. Then one day he discovered the art of posing. - It was the 80ies, I had big permed hair, an open shirt and gold chains around my neck. You know I went to the hairdresser regularly to have my hair permed and highlighted. We all tried to look like the guys from “Saturday Night Fever”, he muses. He met a young Norwegian girl who was in Italy with a friend to work. He claims it was love at first sight. – I still remember that day we

met. It’s strange to think back, where was I in life before that day?? They soon got married and lived in Italy for four years before moving to Oslo. They are still very much married and in love. In fact she may have been what started his love affair with Nordic beauty. – Yes! Yes! Yes!! he says enthusiastically. Natural, pale, no makeup! It’s very exotic to me. Just like Norwegian men are fascinated with dark sultry Latinas, Italian men adores Nordic blondes. – But were you always artistic, even when you slaved over your school work? – My father is a carpenter and I have inherited his way of thinking and I guess I have his eye for proportions and a strong work ethic. And like most Italians I have always been interested in art and design. Ever since I was a small child I loved drawing and reading things to fire my imagination. My mum always thought I would end up in the art field. – So all Italians are creative, like the cliché? – Well everyone expects Italians to be creative, good singers and even better cooks . I don’t know. But I know I always had a keen eye for beauty. Once he discovered fashion, Massimo Leardini would study magazines, the works of other photographers. – There were a lot of great magazines in Italy in the 80’s, like Louis. I remember Pål Vasbotten was photographed for them by Steven Meisel. I was very fascinated with the photos in those magazines. I studied perfume adverts and things like that. But when I started shooting nature, I soon realized I also wanted to photograph people. I was never nervous about that. I can work totally focused with a 100 people watching, I just shut everything out. It’s my way. I am normally a quiet guy but on a photo-shoot it’s me who’s boss. And yes, I can be very strict.

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In 1987 they decided it was time to move. To Oslo. – It’s impossible to work as a photographer and live in such a small place as Catolica. So then my wife suggested we move to Oslo. I came here with no contacts, I couldn’t speak the language – my break in professional photography was no doubt meeting Hilde Pettersen in Tique. – But Oslo, why not Rome or Paris? – I’m not the sort of person who can live in New York or Paris where the pulse is high and people are always rushing. That’s not how my creativity works. Oslo is a nice size city for me. It’s perfect. He often goes for long walks in the woods, both with and without camera and sometimes the impressions are so great it pains him. - I think I have been so privileged and lucky to have found the right place, a place that appeals to me artistically. I do shoot in Italy too but I feel most at home in the Nordic landscape. This is where I have found my voice. I feel so strongly about nature I sometimes stop and cry, simply because the sheer beauty of it. Particularly breathtaking are his portraits of young actress Viktoria Winge – Leardini’s muse for several years – a collaboration that later became a book just about her. In fact this is how he loves to work, with people who are relaxed and understands his concept. – I plan my shoot, but I never tell people beforehand exactly what’s going to happen. It’s like I’m telling my own stories or making a short movie. I find that very challenging. It’s documentary in its form. – I don’t think you should have to smile in every photo, but if you do it should be natural. Both crying and laughter looks pleasant if it’s natural. – What was it with Viktoria Winge? – Well sometimes you meet someone, he says and stops and thinks for a moment. – I think she was the ultimate muse for me. It started with a single photo-shoot, and we hit it off so well so after that we met up every summer for 5-6 years and took photos. She gave me complete freedom and trust. I think she was perfect in every way, both her looks – her eyes especially. She is a natural in front of the camera, extremely good at what she does. – Some of the first photos I took of her I haven’t felt I could show because she looks so young. But she was actually 21. Her mum came to the book launch and that could easily have been awkward. But she hugged me and whispered in my ear: “I wish it was me you’d made a book with”. Then I could relax. Two of his other favourite models are Iselin Steiro and Marianne Schröder. – Taking a picture is something you do together, and the best models are those who you never have to tell what to do. I prefer to work with people I know, and I always take time to get to know them before we start taking photos. I have worked with Iselin since she was 16, before she became famous. I would love to do a book with her as well. – And Marianne just oozes nature, all the things I love photographing, he says and shows me a photo of the model reclining naked on the bed, her arms stretched above her head. – Like Munchs’s “Madonna”? Massimo Leardini laughs. – I am always intrigued about what people see. Some would just scream about the fact that she’s so thin. – But the way she looks, so natural – is that what you fell for when you met your wife as well?

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– Yes! he says enthusiastically. OK, the wife. Massimo assures me she has no issues at all with him shooting so many intimate photos of beautiful young girls. He tells me she is happy if she can stay away from the camera. And so are his two children. – But Massimo, how do you tell a model that you want her to pose nude? It is after all what every young girl is warned against. – Well it is what it is, I have to be upfront about it. We always meet before a shoot so I can explain what I want from the model and they get a chance to decide if this is something they can do or not. It’s not something you just pull out of the hat at the actual shoot, he says and adds: – A lot of women actually contact me and offer to pose, and I can’t shoot them all he laughs. – Have there ever been times when it didn’t work between you and a model? – Yes I remember once when the model didn’t do anything I asked. I got grumpier and grumpier, and finally the stylist Pauline Naerholm whispered in my ear: “Massimo, she doesn’t understand what you’re saying, I will translate”. After that it was ok. On a shoot the stylists gets told beforehand that he doesn’t want interferences. – It can be a nightmare. I prefer to work alone with the model, no makeup artists or hair stylists. I remember once I was

commissioned to take portraits of all the actresses at Nationaltheatret for Tique. The stylist had arranged everything down to how the women should pose and started telling me what to do. “Massimo now you can snap your pics”. I said “No! That’s not how I work. This is not a picture!” It was a nightmare. I contacted the editor next day and refused to do the shoot that way. Then I got it my way, he smiles. – What are fashion editors like?

– Editors are interested in fashion, and not so much in photography. But the best way to get good photos is letting the photographer work in peace. I mean why ask me and pay me to take a photo if all you want me to do is push a button? He had one stint working as press photographer for Dagens Næringsliv. – Hahaha, they call close-ups mugshots. And they had to be small, he laughs. That’s his sole comment on that. – What’s the biggest difference between working in Norway and Italy? – Well it’s easier to get to see people here, people are less formal. In Italy you have to book appointments and people will only meet with you if you are a “somebody”. They have extreme respect for

authorities, people who are famous. When I was new here in Norway I just called editors and they agreed to meet with me – that would never have happened in Italy. There they won’t see you unless they know your work. This is actually the entire international fashion business in a nutshell – it’s more complicated than it needs to be. I remember I visited a photo agent in Italy once. We had a meeting at 3 o’clock in the afternoon and I was there smack on time. I like being precise, although I know my wife won’t agree, he laughs. – But the man I was there to meet had gone out for the day. They treated me like dirt. But then I managed to grab a hold of the assistant and my portfolio. When they saw I had actually done a lot of professional jobs the tone changed completely, I was offered a coffee and apologies. But like that it is hard to get a foot in the door, he says and adds: – Italians – if I may say so, are strange.

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FOR CENTURIES TAILOR-MADE APPAREL AND SHOES HAVE BEEN THE CORNERSTONE OF WHAT ITALIAN ELEGANCE IS ALL ABOUT. BUT WILL THE COUNTRY’S FASHION INDUSTRY MAKE IT THROUGH ONE OF THE MOST DIFFICULT TIMES IN THE EUROPEAN ECONOMY? Text and photo by Hilde Palladino Ask anyone you know what the term ’Made in Italy’ means to him or her and you’ll most likely get the answer: Quality. Years of handing down the art of craftsmanship, often from father to son has been the way of life in Italy. It was pride, as well as philosophy. Being faithful to this philosophy is the challenge for the present and the future. ”80 percent of everything produced in Italy comes from a factory like this,” says Vittorio Forato, marketing manager at the sports footwear brand AKU, directing focus both on how important traditional business is in Italy and how vulnerable the country is to the difficulties it is now facing. The factory is situated in Montebelluna, a few hour’s drive from Venice, a district known for production of sports and mountain shoes. The majority of Italian industry has for generations been built up around districts like Montebelluna. Factories, often with less than 20 employees, produce their goods in cooperation with nearby sub-contractors and suppliers. Italian firms in these clusters work together with qualified workers - most of them coming from a long tradition of creating handicraft goods backed by a solid education that allowed them to innovate - and with state institutions to achieve their maximum of potential. In line with Michael Porter’s teachings, a guru on clusters at Harvard Business School, these clusters help productivity, boost innovation and encourage new firms. Their geographical proximity, their close competition with each other, the growth of specialized suppliers and production networks around them is their claim to fame and the making of a winning combination.

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At least it has been, for a long time. Globalization has, however, made the premises far less certain. In 2009 Emma Marcegaglia, president of Confindustria, Italy’s main business lobby, said that more than 90 of Italy’s 104 officially recognized clusters are in difficulty. It is still early to say if this will continue, but the trend doesn’t appear to have decreased. Still, Vittorio Forato at AKU says: “Production has declined a bit, and we are not expecting much growth in 2012 - but then I’m confident that we will see an increase again, mainly due to our expansion in new markets.” He does see the competition from Asian, low-cost producers but doesn’t think it will affect their niche much. ”We make shoes for people that work and spend a considerable amount of time in nature and in this segment the quality has to be the very best. Also, people love being outdoors even in difficult times, the only obstacle we see is teaching Italians to be as outdoor-loving as the Norwegians,” he smiles and reminds us that the name AKU is inspired by Thor Heyerdal and named after the spiritual guide of the Easter Island. When we talk about fashion branding no one beats the Italians in branding their products as the very ultimate of excellence. ’Made in Italy’ signalizes the best of the best, but some in the business are

now afraid that this will all perish. Cutting costs has forced several brands to move their production to low cost countries in Asia and other brands employ a big part of the Chinese immigrants in cities like Prato, Tuscany. The back-ground for this is that there is no law in Italy stating that the entire product has to be produced in Italy in order to get the `Made in Italy’ label. They’re based on the final point of production, or what percent of a goods value is added where. As long as the company is Italian, and at least the finishing part has been done in Italy, they can label their product with this as its country of origin.

Italy is a place where tradition and craftsmanship are still protected and nurtured, although it’s becoming more and more difficult to shelter these beautiful forms of art – and commerce. Luca Pedrotti, CEO of the footwear brand Lizard, shakes his head. ”It’s about time we focus on our pride again,” he says. ”We have to ask ourselves if we can work by

Peter Dundas, Creative Director, Pucci: ”Italy has such a long tradition of crafts and apparel which is the whole soul behind Italian fashion. To create fashion here is a continuation of the existing industry and the possibilities present through industry, crafts and knowledge.” Orsola de Castro, Ecodesigner, From Somewhere and Esthetica: “Prato, where there has been a lot of controversy because of the many Chinese underpaid workers, is going through a bit of revival as a cluster. Some companies are doing very well. But as far as I am concerned, Italy is in a bad way all over.” Linne Røsstad Sharpe, designer and partner, L&J of Norway: “Italians really have a superb sense of quality, but they are also a little slow. The costs have also spiraled, and in spite of the economic crisis they haven’t been willing to negotiate. On yarns and textiles they really are way ahead of the rest of the market, and the factories we’ve worked with are able to understand what we want – just from our sketches. In other countries we have to give them an actual proto-type in order for them to really understand. And when it comes to knits, they rule the world.”

these standards? Are they ethically right? Are we investing enough in our own people?” Pointing out an underlying fact he continues: “Yes, we do need to focus on costs and this tempts many brands to move production to eastern Europe for instance, but there are also hidden costs you have to take into consideration, like controlling the production line as well as the time aspect of the production – which makes it a whole different story.” Traditionally, Italian factories controlled their production on a made-to-order basis, never producing more than what the actual order gave room for. With factory-production in China, this is next to impossible as the quantities have to take into consideration demand being bigger than anticipated, with more often than not, over-stocking being a major problem – also in an environmental perspective. When the recession hit a few years back, this became much more evident and a potential undetonated economic bomb. ”I believe there needs to be better efficiency in the production line,” Pedrotti continues. ”We need to find other methods to compete on price in some areas and also be well aware of the areas where we shall not compete on price at all.” ”Also, we need to be attractive again” he says. And this statement seems to be the very key to still keeping the traditions as a core value and to be able to compete with low-cost countries. Despite its strengths and the fact that the ’Made in Italy’ label is still alive and kicking, with a value to global consumer, it needs to be rekindled and updated. Fortunately, this is something we know the Italians have always been very good at. Tom Ford re-created the then near-deceased Gucci to an iconic brand

Livia Firth, Creative Director of Eco-Age.com and founder of the Green Carpet Challenge: “What is most important to me is the quality and craftsmanship which is ‘Made in Italy’, the artisan traditions that have been around for so long and the pride we take in making things properly – in a way that is just not done any more. If you buy a product that is so beautifully crafted down to every last stitch and element, you are investing in sustainability just because it will last for a long time.” Guisy Bettoni, CEO of the eco-platform and textile library C.L.A.S.S.: “It has really surprised me, but most people don’t know that there is still a lot of production going on in Italy and Europe, and this is production with a high technical level and with focus on sustainability – because the governing bodies in the EU have been so strict on all sorts of waste. The focus on quality and the environment really needs to get more attention, so that both designers and consumers understand that this is actually very much part of the European way of doing things. Choosing lowcost countries immediately makes this much more of a challenge.” Siri Willoch, designer Cherry Blossom: “The main advantage with production in Italy is that one can still find small, family-run factories and laboratories with low minimums and short lead-times. This is important for those with small volumes. Flexibility is a key word. It is also a lot easier to deal with someone who has the same time-zone. In addition Italians know how to think themselves and make your designs look even better, because they have such good taste and years of design-experience. This makes communicating with pattern-makers so much easier. The level of experience makes things easier all around, and you get superb quality workmanship – and it’s sustainable! It helps to speak Italian, of course, but it is not a ‘must’.”

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name and Muiccia Prada reinvented her family’s company with high-end sportswear and minimalism in the early 1990s. Peter Dundas has also done wonders with Pucci. Though someone who either was from an outside country (US/ Norway) or from outside of the industry (Muiccia Prada was put in charge of her family-company more or less kicking and screaming) were those who had a vision to create the resurgence – the successes were all based on Italian know-how and superior handicrafts – along with production and design savvy.

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”We obviously need to follow trends, but we also have to be better at telling the market what we already do,” says Pedrotti. ”To be ethically and environmentally conscious is something that we have always lived by, but now we see companies using this as a sales point. Being eco-friendly and having an ethical production line has always been a focus to us, working in family businesses and living and operating close to nature. We just need to be better at letting everyone know what our standards are.” The ’Made in Italy’ brand is the result of a long process, and there is no doubt that the term will always be around, but several initiatives have been started to fight the watering down of the brand. ’Produced in Italy’ is one label that has emerged and ’100% Made in Italy’ ensures you that even the sewing thread has Italian origin. So how will ‘Made in Italy’ retain its emi-

nent position in world manufacturing? It is after all the Italian standards Luca Pedrotti is talking about which carry the aura and elegance we know, and that makes us love Italian design and craftsmanship. Measured against other manufacturing trends, the ‘Made in Italy’ concept proves to be the most durable and adaptable of all. Maybe because at the very cornerstone of Italian design lies the ability to work with raw materials in a traditional way, to enrich the quality of products by adding new design as well as to present them in an attractive way for customers. Which should give Norwegian designers a lot to think about in relation to their own production-possibilities – both in Italy and in Norway.

WE ASKED SHOE DESIGNER HELENE WESTBYE TO WRITE ABOUT HER JOURNEY TO MANUFACTURE IN ITALY AND THE TRAVEL TO THE SHOE FACTORY BEHIND HER COLLECTIONS. THIS IS HER DIARY.

After sitting up all night designing the final part of the new S/S 13 collection, I arrive in Milan, quite tired, at two in the afternoon to meet my new product manager. We have a six-hour car ride ahead of us before we arrive at what will be my new production location. As I know that some of the big time shoe designers have productions facilities right here, I am very excited about what awaits me. Makes for heritage… Having lived in Italy for some years, I’ve never been particularly thrilled to ride in a car in Italy. The average speed limit seems to be about 100 MPH, and it doesn’t help much when the trailer in front of us loses a wheel, and seems on the verge of a minor collision. Upon arrival, we’re off to a fantastic design-firm who design and develop footwear last-forms. I am very impressed when I hear that the designers of one of the absolutely best brands in the world, and one of my personal favorites, was here ust yesterday to complete his collection. Sorry – but I can’t tell you who it is however much it is burning me inside! My new producer drops by with the final production samples of the winter collection – and the materials, the soles and the craftsmanship all look fantastic. I realize that I am already quite satisfied with everything, and after an extremely long day, it’s good to finally call it a day.

We start the day going over the design and the technical aspects of the new summer collection. We have to decide shapes, heels and soles first as these are the most important part of the construction of a shoe. We therefore go straight to the factory that will produce the heels, and I make the final decision on the design. The opportunity to see this plant from the inside is a dream come true for any shoe lover. In a showroom with heels as far as the eye can see, I have to really focus on what I need for the new collection. Although one should actually be able to walk in shoes, it is difficult to steer myself away from those 13-cm-high needle thin heels cast in metal. Then it’s straight to Betty, a shoe stylist who develops the style concept. Betty has worked with shoes for some 20 years and I feel that I am in good hands with her expertise and long experience. We go through the entire collection and agree upon the silhouettes, and develop the lasts we have to have made so we can begin production. We have a lovely lunch at the beach with good wine and seafood. After having my production in Istanbul for almost four years, where I was inside the factory 12 hours straight every day, it’s fantastic to get such a break at the beach in the middle of the workday. Finishing lunch, taking with me some shoe samples for inspection, I decide to do this on a chaise lounge in the sun. This may well become my new office…

Wake up to find a note under the door saying the hotel will be shutting off the water, so we will have to move. I think this is a bit of a hassle, but quickly change my mind when I hear we are moving to a small villa on the beach with a garden. Today we have to select materials and colors. Having more or less pulled out every leather sample the supplier has on the shelves, I have to make some very important choices. Everything I have chosen is absolutely beautiful, but I cannot have it all. This is always the hardest part of putting together the collection for me. I want it all, but can only pick a few themes. My production manager, Claudio, finally puts his foot down and informs me that I have enough leather and colors for two collections and we have to move on. After a tour of the factory that will be producing the new collection, it’s time to head home to lay out all the leather samples, colors and details on the table.

The last day has come to finish the new collection and it’s back to Betty again to decide on the final color combinations, materials and production techniques. The leatherwork I have developed for the new collection is quite complicated, so it will be interesting to see how it looks on the finished product. It is far into the night before I have made all the decisions and am able to say that I have put the finishing touches on my new S /S 2013 collection.

Back in Milan again, it’s time for a party to celebrate the fact that that the many months of intense work on the new collection are finally over. I go shopping with some good friends and end up buying – of all things! – a pair of shoes. Last to last! After a relaxing Sunday, it’s back to Oslo again. In about a month, the samples from the collection will be completed and I can’t wait to see the final result. Sooo very excited!

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STUDYING FASHION IN ITALY DOESN’T HAVE TO BE ABOUT SEAMS AND SILHOUETTES; IT COULD JUST AS WELL BE ABOUT BUSINESS OR THE LUXURY SEGMENT. THE ITALIANS KNOW THAT FASHION NEEDS TO SELL MORE THAN JUST THE PRODUCT, BUT AT THE SAME TIME THE PRODUCT NEEDS TO BE IMPECCABLE. MEET THREE STUDENTS WHO LEARNED THE LESSON. Text: Tone S. Tobiasson, Line Jacobsen and Ane-Marte Liane Photo: Espen Grønli, Simen Øvergaard and Ane-Marte Liane

Gunn-Helen Øye Current position: Marketing Director for Interiors, Buildings and Textiles, EcoLabel Norway Studied: Master of Luxury Management Istituto Internazionale Polimoda in Florence, Italy Also: Anthropologist and trend expert Together with 11 other students from all over the world, Gunn-Helen Øye chose a study that would never be available in Norway, it would be un-fathomable even at a Norwegian Business School: Luxury Management. – We visited the most iconic Italian brands as part of our field-studies, explains Gunn-Helen and ticks them off one by one: Gucci, Riva, Prada, Ferragamo, Bulgari, Tod’s… – I even had an exam in luxury threads, she adds. The school, which is in Florence, close to the Prato cluster, offers bachelor and master studies in shoes, fashion, fashion management as well as luxury management; the latter includes all the above-mentioned sectors as well as wines, china, hotels, boats, cars and leather. – My master thesis was on developing a rating-system for the luxury segment, like the Michelin stars, looking at what variables need to be taken into account to define luxury. According to Gunn-Helen, most luxury firms have many things in common: - It starts with a founder and a product based on quality and craftsmanship. The Ferragamo label is a very good example; where shoes were the basis of a now global family-empire who even have their own museum and have branched into many areas. Visiting the many factories in the area here, I was

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struck by how much is actually hand-crafted. There is also a deep respect for knowledge and competence, which is why they can charge what they do for these luxury items. Italians really have an eye for design and beauty almost internalized. As part of the curriculum the students were given access to the inner sanctum in at least one luxury-brand, given sensitive information in order to help the company plan for future marketstrategizing. The students who hailed from Germany, Sweden, Austria, China, Thailand, US, Bosnia and Russia could give valuable input from their prospective markets. – And for all of us it has been fantastic to build our international network. The last three months we all had internships in local companies, and one of my fellow-students ended up with a permanent job in Gucci. So this is a great stepping-stone for those with ambitions in this area. Gunn-Helen explains how this industry is at the same time very local – very much present in the local communities in Italy and their clusters – and at the same time global. – There is still a lot of production going on in Italy, they have so much of the savoir-faire in their finger-tips – and even though there are sides to this with immigrant workers that are not so nice – we got to see much of the whole process through the school. It really opens up unique access to understanding how one can go from home-spun to luxury brand, something Norwegian brands really need to get a handle on.

Ingrid Bredholt

Current position: Designer and co-owner Mardou&Dean Studied: Fashion Design at Istituto Marangoni (Industrial Design at IED) Milan, Italy – I wanted to be in the center of fashion, Ingrid Bredholt explains and found that Milan was a good option, as the fashion permeates the entire city. When browsing for schools she was recommended Istituto Marangoni, a well-known fashion school with roots in the Italian system. Marangoni’s Italian headquarters are located in the middle of the fashion district in Milan, where most Italian and international high-end brands are well represented. The school has expanded over the past years, offering everything from shorter, preparatory courses and full three-year courses in Fashion Design, Fashion Styling and Fashion Business, to more specialized, one-year post-graduate courses in Paris and London, as well as at the Milan campus. Ingrid’s main goal was to absorb as much knowledge as possible, and therefore it was important for her to learn Italian, so she could be a part of the culture she was studying. –There are a lot of people from all over the world who think coming to Milan to study fashion is glamorous and fun, but the reality is that most of those people drop out as soon as they understand that fashion is not only about aesthetics, and when they’ve experienced the pressure of the school and the fashion business. Ingrid, having completed all of her courses in Italian, explains that you are taken more serious if you speak the language. It is the best way to show them that you mean business. And Istituto Marangoni really is business. After having finished her studies several years ago, Ingrid looks back on her time at Marangoni with a mature out-look: – Marangoni is more industrial than individual. The emphasis is on understanding the fashion tradition, culture and industry. They leave little room for the development of the designers’ artistic styles. However, Ingrid realizes that she has benefited from her understanding of the fashion system when building Mardou&Dean. – I took for granted that everyone working in fashion should have this kind of historical overview and understanding, but I’ve realized that I owe it to my days at Marangoni. As a student she already aspired to start a brand of her own some day, but missed out on experience on the production level. – I graduated feeling that I still lacked in tailoring skills so I interned with a tailor to learn more before starting Mardou&Dean. It seems like Istituto Marangoni’s strength is equipping their students with the ability to understand and work in the fashion system, more than making their own way. You also learn how to push yourself to follow the guidelines you are given, to perform and deliver under pressure. Maybe not such a bad idea, as this is also how most of the professionals in the fashion business operate.

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Vaishali Lara Kathuria

Current position: Project coordinator at Gambit Hill & Knowlton Studied: Master in Economics and Business Administration at NHH and Bocconi University, with a major in Marketing and Brand Management Last year, Vaishali was attending a master’s program in Economics and Business Administration at NHH in Bergen. When she discovered that NHH had an exchange program with Bocconi University in Milan, she didn`t hesitate applying. Bocconi is rated as one of the top business schools in Europe. – Exchange students are lucky to be able to choose their courses from a list of subjects and thereby tailor their studies according to their main interests. For me it was natural to specialize in fashion, since the knowledge of fashion here supersedes any school back home. Vaishali describes how Milan as a city of aesthetics: Not beautiful like Rome, but everyone and everything simply breathes fashion and design. – They take great pride in the fashion industry. There’s no gap between fashion and business. Fashion is business, she explains. – You find yourself surrounded by an amazing number of famous companies and brands, and it has been intriguing to discover how marketing and branding have been significant for their success. Vaishali had many professors active in this sector and the courses provided a great understanding for the relation between fashion and business in Italy. After graduating this summer, Vaishali is eager to start a new chapter, working for the communication and PR-company Gambit Hill & Knowlton, with a clear vision of what she can contribute. – I know knowledge of economics and business, and believe I can contribute to the Norwegian fashion industry to build good brands. It would be great to be the’ missing link’ and tie things together. She stresses the need for investments, collaborations and communication within the industry in Norway. Designers put in a lot of skill and effort in creating a line of apparel or accessories. – Creativity is a great gift, but when the collection is finished, the job isn’t done by a long shot. Important questions must be addressed: How should the brand communicate? What is the philosophy and DNA of the brand? – Designers definitely need to lose the fear of selling themselves short and step up as the superstars of their own brand. Take pride in your work, Vaishali says. An example is a designer from her hometown Bergen: – T-Michael has always looked so smart and classy in his tailored menswear. He’s been noticed for many years by young guys across the city and made them long for the day when they can afford to buy his suits.

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Vaishali tells us how her interest in fashion increased after co-working with Norwegian brand Cala & Jade. - They were amongst the first of the Norwegian brands to use a colored model in their campaign. This immediately caught my attention. Vaishali emphasizes on the lack of a common Norwegian fashion identity as being a part of the problem why most Norwegian designers don`t make it in the long run. While Italians have a clear idea of what Swedish and Danish fashion represent, – I still haven’t met anyone in Italy who’s heard about Norwegian designers or who have any idea about what`s happening on the Norwegian Fashion scene. It’s sad. Norwegian designers are not less talented than designers from our neighboring countries. The new approach to Nordic food lead by René Redzepi, the chef at NOMA in Copenhagen, is a good example of how the whole Scandinavian food scene has been revolutionized. – I think that the industry needs someone that is willing to take risks and lead in the same way, Vaishali claims. – We need more dialogue and cooperation between designers and a discussion what our approach to fashion should be based on our cultural references. – In spite of all the negativity around Norwegian fashion, I choose to be optimistic, Vaishali says.

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www.sandcopenhagen.com 路 facebook.com/sandcopenhagen 路 Customer Service 22 00 16 20

13. - 19. AUGUST 2012 inkluderer OFW Offisielle Åpning for publikum, mandag 13. august Billett gjelder publikumsvisning inkludert OFW goodie bag Sted: Samfunnssalen, Arbeidersamfunnets plass 1 Dørene åpner kl. 20:00 Visninger på OFW arena tirsdag 14. august Se program i OFW magasinet og på www.oslofashionweek.com Sted: Samfunnssalen, Arbeidersamfunnets plass 1, Oslo De første 150 med OFW Ukespass er garantert sitteplass. After Parties på Stratos 13. - 17.august Registrert billett på gjesteliste i døren. Se party DJ set-up i OFW magasinet og på www.oslofashionweek.com Åpningstid: man. - fre. kl. 14.00 - 03.00, tors. 22.00 - 03.00 Aldersgrense: 20 år Moods of Norway etterfest fredag 17. august De 150 første med OFW Ukespass er garantert å komme inn på etterfesten. Sted: Oslo Konserthus Dørene åpner kl. 23:30 Aldersgrense: 20 år OFW Offisielle Party, lørdag 18. august 2012 Sted: Stratos, Youngstorget Dørene åpner kl. 22:00 NOK 1.500,Aldersgrense: 20 år OFW WEEK UKESPASS KJØPES PÅ WWW.BILLETTSERVICE.NO

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PRADA AND SCHIPARELLI TALKING PAST TIME TWO WOMEN – BOTH ITALIAN, BOTH BOLDLY CONFRONTED CONVENTION AND EXPECTATIONS, FOLLOWING THEIR OWN INSTINCTS IN A WAY THAT SHOULD APPEAL TO THE NORDIC SENSIBILITY: THEY WERE WOMEN WITH A KEEN SENSE FOR EQUALITY AND CHALLENGING STATUS QUO. YET THEY REVOLUTIONIZED FASHION IN THEIR OWN WAY, THEN AND NOW. A seemingly impossible conversation, this is what the Metropolitan Museum of Art has arranged with the help of film-director Baz Luhrmann, curator Harold Koda and an evoking exhibit that juxtaposes the two Italian designers’ very quirky and actually surprisingly similar thinking. As a back-drop to the exquisite designs, the walls play the “impossible” conversation, which turns out to be very possible: Muiccia Prada as herself talks to Elsa Schiparelli (acted out by the Australian actress Judy Davis) – they discourse on topics that are as diverse as life and love, women’s equality and society’s expectations. But at the center stage: The many ideas that seem to have transcended time with their pure genius. The exhibit lasts until August 19th 2012. Here are the images that will inspire generations to come. P.S: Schiaparelli is set to relaunch – so her designs will again become known to a new generation.

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Photo: B책rd Lunde Fashion: Margrethe Gilboe/Pudder Hair and makeup: Sissel Fylling/Pudder/shu uemura AOH/Armani 1st photo assistant: Mikael Fakhri 2nd photo assistant: Lucas Zimmermann Styling assistant: Alexandra Mahrberg Model: Silje/Heartbreak

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Navy blue jacket: vintage Alexander McQueen. Black lace top: vintage Chloe. Black leggings: vintage Sass and Bide. Shoes: vintage Alexander McQueen. Earrings from India.

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Black bodycon dress: vintage Givenchy. Tulle skirt/Ma Vintage. Boots Acne/Ma Vintage. Jewellery from India.

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Black jacket: vintage PauleKa. Lace top/Ma Vintage. Skirt in tulle and lace: Georges Rech/ Ma Vintage. Dr. Martens from DNA. Jewellery from India.

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Black jacket Prada/Ma Vintage. Black big ribbon/Ma Vintage. Jewellery from India.

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black coat: vintage Alexander McQueen. Lace body: vintage Patrizia Pepe. Headpiece made of bag and draped lace.

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Navy blue jacket: Valentino/Ma Vintage. Black skirt: Prada/Ma Vintage. Navy blue cap: Reinhard Plank/Ma Vintage. Cap draped in tulle. Â Shoes: vintage Alexander McQueen.

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Lace top: Â Anna Sui/Ma Vintage. Navy blue skirt: vintage Miu Miu. Belt: Tiger of Sweden/Ma Vintage. Tights: Wolford. Cape in rubber to order at Christina Ledang/Pudder. Boots Acne/Ma Vintage. Jewellery from India.

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Black top: vintage Batlak og Selvig. Collar in Rubber to order from Christina Ledang/Pudder. Black pants: vintage Acne stuffed with tulle for volume. Over the knee boots : Prada/Ma Vintage. Jewellery from India.

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Photo: Isabel Watson Styling, make-up and hair: Linda Wickmann/PUDDER/BEKK by Linda Wickmann/GHD Styling, make-up and hair assistant: Tomas Erdis Model: Erle Kyllingmark

T-shirt from Velouria Vintage, Jacket by YSL from Velouria Vintage, Bracelet by Bjørg from Voga, Ring by Susanne Friis Bjørner

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Shirt by Velouria Vintage, jeans from Bik Bok, vintage boots by Voga, necklace by Bjørg and anchor by Susanne Friis Bjørner 46

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Shirt from Urban Outfitters, t-shirt from Velouria Vintage 48

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Jacket from Velouria Vintage, dress by Christina Ledang/Minou, necklace by BjĂ¸rg and anchor by Susanne Friis BjĂ¸rner OFW

T-Shirt by Bik Bok, blouse by L&J, jacket from Velouria Vintage 52

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T-shirt from Velouria Vintage, dress by Tina Steffenakk Hermansen 54

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Neck piece by Tina Steffenakk Hermansen 56

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Photo and styling: Tommy LĂ¸land Styling Assitant: Stian Molteskred Pin Yang Make-up: Victoria Pernille WalderstĂ¸en Hair: Ann Kristin Nilsen, Adam&Eva/Redken Models: Torkel and Martine D/Heartbreak

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Black leather dress by Thea Dyring/Esmod, shoes by United Nude

Draped dress by Nanette Ericksen/Esmod OFW

Bracelets by Avelon/ Voga 62

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Rubber shorts (left) and top (right) by Ingvild Abrahamsen KHIO

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Jacket and skirt by Thea Dyring/ Esmod

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Jacket and hat by Giorgio Armani

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Draped dress by Nanette Ericksen/Esmod

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Photo: MIlano Unika

PITTI IMMAGINE Fortezza Da Basso, Florence

MIPEL-THE BAGSHOW Fieramilano, Milan

This is where it all started: February 12th 1951 marked the kick off for Pitti Immagine with a fashion show held in the private home of Giovanni Battista Giorgini in Florence. Bista worked abroad exporting goods ‘Made in Italy’. The evening wa a great success and marked the beginning of what would be an on-going success-story. In the 30 years that followed, Palazzo Pitti has become the starting point for many Italian labels; Ferragamo, Pucci, Cavalli and Gucci. In 1982, the show-case was moved across the river Arno to central Florence.

Mipel has since the beginning in 1962 been an important international showcase for leather goods, and the twice-yearly show is known as the most important accessory show.

Pitti Immagine Filati (Knitwear/yarns) Pitti Immagine Uomo (Men’s wear) Pitti Immagine W (Women’s wear) Pitti Immagine Bimbo (Infant/children) Modaprima (Fast fashion) Pitti also includes other tradeshows www.pittimmagine.com MILANO UNICA Fieramilano, Milan Trade-fair presenting top-end fabrics from both Italian and European textile producers, uniting four Italian trade fairs with 30 years of experience. Idea Biella: Prestigious men’s- and women’s-wear fabric collections Idea Como: Presentations of medium to high- end fabric collections for women, mainly silk Moda In : Avant-garde materials for trendy markets Shirt Avenue: Traditional and novelty shirt fabrics Twice a year/February and September Main focus: Fabrics/textiles www.milanounica.it www.ideabiella.it www.ideacomo.it www.modain.it www.shirt-avenue.com MICAM SHOEVENT Fieramilano, Milan

Photo: Pitti Immagine

A.N.C.I. is the Italian National Footwear Manufacturers’ Association who hosts numerous events and trade shows to promote Italian footwear throughout Europe, Asia and Russia. MICAM is considered their major shoe fair in Italy, presenting medium-high and high-end footwear. www.micamonline.com

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www.mipel.com MI MILANO PRÊT-À-PORTER Fieramilanocity, Milan A newly-established fair, the September edition this year will be the 7th. women’s wear and accessories collections with focus on Italian brands. www.milanopretaporter.fieramilano.it SI-SPOSAITALIA Fieramilano, Milan International presentation of bridal and formal wear, and Norwegian designer Leila Hafzi was awarded the price ‘Fairytale Wedding’ during the June edition this summer. This award is generally only awarded Italian brands. www.sposaitaliacollezioni.fieramilano.it MILANO MODA DONNA (Milan Fashion Week/Women’s wear) Camera Nazionale della Moda organizes this prestigious event twice yearly and co-ordinates with showrooms, buying-offices, press offices and PR firms. This event marks the peak of the Italian fashion year and represents an important interaction between prêt-à-porter firms and market operators. Different locations in the city host more than 170 shows and presentations, promoting the brands that have given ‘Made In Italy’ its status throughout the world. www.cameramoda.it MILANO MODA UOMO (Milan Fashion Week/Menswear) The menswear fair also takes place twice yearly.

AN INTERNATIONAL FASHION FAIR COULD BE A GREAT PLACE FOR FRESH BRANDS ABOUT TO BREAK INTO THE FASHION WORLD TO MEET WITH INTERNATIONAL BUYERS. ALEXANDER HELLE, CREATIVE DIRECTOR OF BERGEN-BASED NORWEGIAN RAIN, DESCRIBES HOW THEY FARED IN THEIR MEETING WITH THE ITALIAN FAIR INDUSTRY. Text: Ane-Marte G. Liane Photo: curtecy of White We were invited to exhibit at White with our debut collection during spring 2010, Alexander explains. White Basement is one part of the fair, located in an old, underground slaughterhouse. – The raw, industrial feeling of the building formed a great backdrop for installations and visual effects to surround our collection. White is a biannual contemporary fashion showcase situated in a former warehouse building belonging to Superstudio Pìu in the so-called zona Tortona. The area is known as the centre for fashion and design with several spaces that host, organize and promote events throughout the year. White has been held here since 2000 and is generally characterized as creative, innovative and eco-ethical. The White show bases itself on fashion in combination with art, design, media and new social media and web-based platforms. As such it is the place for the established fashion industry to spot creative talent. White is actually considered an extraordinary opportunity for young designers to showcase themselves in showrooms with unique set-ups and layouts. Norwegian Rain presented what at the first glimpse may seem like a regular outdoor-wear or rain-gear collection. For those easily fooled. This is hi-tech weather protection. Their tailored cut with a distinct urban feel and strong identity appeals to a wide range of customers has caught the attention of buyers and media far away from rainy Bergen. They certainly were noticed in Milano: Shortly after the exhibition, White in collaboration with Vogue Italy, picked their seven favourites from the fair. They were very much present in the March issue of Vogue, Norwegian Rain being one of them.

– We were extremely honoured, Alexander says. The event that was arranged at Grand Hotel et de Milano to launch the special selected designers was hosted by none others than Vogue Editor Franca Sozzani. The 400 guests were mainly European buyers, press and VIPs other from the Italian fashion industry. White’s visitors are mainly Italian, Chinese and Japanese buyers. You also meet representatives from stores in Russia, Korea and the USA. – Unfortunately, Alexander tells us, – White doesn’t attract a wide range of buyers, in the way some of the fairs in Paris do. The January edition of the fair attracted approximately 6.500 buyers. The Japanese are touring Europe this time of year, starting at Pitti in Florence. White is the next stop before continuing to Paris. On their journey through Europe, the Japanese are scouting for the freshest trends and new designers emerging from the European fashion scene. Usually, international buyers look for brands that already are being sold in renowned fashion stores. For many young designers it’s a paradox that you need to be known in order to get attention from potential buyers. Alexander reveals that buyers from Japan have other criteria:

– They believe it`s an advantage that you are undiscovered. They want to actually introduce something fresh to the scene. Alexander explains how the Japanese buyers are extremely thorough. - They want to understand the design philosophy, who you are as a designer and where you come from. Like the Italians they look for high quality in every tier of the process. In the way they examine the product down to every little detail the Japanese are without doubt our most dedicated customers. The fact that we were invited to exhibit at White in 2010 has resulted in penetrating the Japanese high-end market, which again has opened up new markets. Since their launch, things have been quite eventful for Norwegian Rain: They have been doused in awards. – We feel very thankful that White introduced us to the world of international fashion, Alexander sums up. – The way the Italians have supported us has been amazing, it feels like being part of a big Italian family. Thumbs up for the White experience! www.whiteshow.it

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Photo: Dmitry Valeberg/Bergstar

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CONTRIBUTNG DESIGNERS: CAMILLA BRUERBERG, KRISTIN MERETE VOLDEN, LISA NGO AND L&J OF NORWAY

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AdAm og EVA LAnsErEr EgEt nETTsAmfunn hold deg oppdatert om nyheter og events, registrer deg p책 www.AdAmogEVA.no

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An exclusive partnership with Pernod Ricard Norway ensures that Jacob’s Creek, one of Australia’s leading wineries, delivers quality wine and sparkling throughout the event. www.pernod-ricard-norway.com

Adam og Eva has been the official sponsor for the hair styling at Oslo Fashion Week since 2004. In collaboration with Spaghetti there are over 75 hair stylists working behind the scene every season. The team leaders create the look for the runway shows inspired by the designers’ visions, supervised by creative director of the Adam og Eva Academy Eirik Thorsen. Adam og Eva hair stylists have great experience within fashion and styling, and have worked during Copenhagen Fashion Week, London Fashion Week and New York Fashion Week.

Attendium is an important tool in the registration of guests that enter OFW. Its main purpose is to replace the paper guest lists used at the venues with smartphones and tablets. The guest list app will efficiently register all guests to the Official Opening, Designer shows at the OFW arena, after parties at Stratos and The Official OFW Party.

Polhem PR has offices in 9 countries and is the largest PR agency in Northern Europe. We specialize in Fashion, Beauty and Home Furnishings. Polhem PR Norway was established in 1998 in the heart of Oslo as the first niche PR agency. Since then, Polhem PR has been the largest of the PR companies covering the aforementioned fields in Norway.

OFW OFFICIALAFTERPARTY PLACE 8th floor roof top terrace, Folkepassasjen, Youngstorget 2A Open mon. - sat:14:00 - 03:00 during OFW For reservations: info@stratos.as / +47 21 04 64 00

Medvind Produksjon AS is a multidisciplinary event and production agency focusing on projects for the cultural industries and private business. Medvind cover all aspects of larger productions from idea generation and project management to the technical production of large conferences, product launches, comapny- events and PR-events.

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Polhem PR’s role during OFW will be taking care of press and seating. We collaborate with OFW on press releases and the handling of these. We will be responsible for the seating of the VIP guests and the press at The Official Opening Night and the shows during the rest of the week. In addition, we will handle accreditation for the press – which will be administrated from our showroom in Kirkegata 5. We at Polhem PR look forward to an exciting partnership for 2012.

Multibev is the largest importer of beer and cider in Norway. Through our exclusive partnership with OFW, we ensure to serve you the original Italian beer. Peroni Nastro Azzurro is Italian style applied to beer. www.multibev.no

Only through pioneers can one go further than all others - the new Ampera driving electricity further

FASHION, SCIENCE & INSPIRATION These core values are the foundation of every product Redken offers. Redken takes the pulse of New York’s streets and work with the world’s most famous fashion and runway hair stylist; Guido Palau to bring the latest hair trends to the market. Visit a Redken salon to get professional guidance and innovative quality products specifically tailored to your needs. Find your nearest Redken salon at www.redken.no

L’Oréal Paris - because you’re worth it

L’Oréal Paris grew from one philosophy: to offer top performing and exclusive products to the people. Through close cooperation between the most advanced and innovation driven scientists and experienced makeup artists, L’Oréal Paris can provide accessible luxury for all those who demand excellence in beauty. The fashion and elegance of the parisienne is incarnated by the world’s most beautiful women like Claudia Schiffer, Eva Longoria and Diane Krüger. Thanks to the genuine passion for the beauty, L’Oréal Paris have become a global leader in the world of beauty trends.

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ACE AGENCY

INDEPENDENT FASHION GROUP AS

Original Penguin, Sergio Tacchini

Storm & Marie, Twist & Tango, Nümph, Sofie Bly, Vintage by Fè, Gerry, Tiger of Sweden, A.FortyThree

Inkognitogaten 31, Oslo Ph: +47 40403528

ACNE

Øvre Slottsgate 11, Oslo Ph: +47 226 01 190 Acne

BAJ AGENTURER

Skovveien 12 Oslo, Cell: +47 930 03 675 Designers Remix, Lollys Laundry

Hotels in central Oslo will be in short travelling distance to any of these agencies.

Wildfox Couture, LNA, Autumn Cashmere, Blood Is The New Black, James Jeans, Love is Treason, Rufus Green. Eyewear: John Richmond, Moschino, Gianfranco, Ferre and Sisley.

Alexander Mcqueen Mcq, Alexander Wang, Alice + Olivia, Iro, Marc By Marc Jacobs, Michael Michael Kors, Rag & Bone, See By Chloé Accessories, Tory Burch, 7 For All Mankind, Current/Elliott, Diemme Footwear, Duvetica, James Perse, Juicy Couture, New Balance, Woman By Common Projects, Woolrich, Fwss, Common Projects, Diemme Footwear, Duvetica, Gant Rugger, James Perse, Manastash, New Balance, Our Legacy, Rag & Bone, Woolrich, Diemme Footwear Kids, Juicy Couture Kids, Little Marc Jacobs, Little Paul & Joe, Little Remix, New Balance, Zadig&Voltaire Kids, Woolrich.

Dr denim, Replay, Rock`n Blue, Hope, Rules By Mary, Whyred, Won Hundred, Campomaggi, Triwa, Maria Black, Fairly, Fokus, Forrest&Bob

BY MALENE BIRGER

Husebyveien 6, Oslo Ph: +47 484 19 330 By Malene Birger

COLINA AGENCY

Grensen 8, Oslo Cell: +47 930 80 145 Benedikte Utzon, Ganni, Nina Jarebrink

DAY MAINLINE

Sommerogata 17, Oslo Ph: +47 922 80 270 2nd DAY

DIESEL NORWAY

Kongensgt. 24, Oslo Ph:+47 23310900

LEE JEANS NORWAY

Nygata 3, Oslo Ph: +47 971 32 718 Lee

LEXINGTON NORWAY

Sagveien 23 A, Oslo Ph: +47 922 13 002 Lexington

NN07

Sommerogata 17, Oslo Ph: +47 995 90 054 NN07

NETSKAR AGENCY

Maridalsveien 87, Oslo Cell: +47 98 29 08 99 Veronica B. Vallenes, Property of, Suit.

NUDIE JEANS CO

Fjellgata 30, Oslo Ph: +47 22 38 17 00 Nudie Jeans

POPCLOSET

Nydalsveien 30b, Oslo Ph: +47 23 00 77 77

Parkveien 29, Oslo Ph: +47 22087147/+47 95448633

Diesel

Redley, Cantào, Bestness

Spireaveien 6, Oslo Ph: +47 22 80 50 40 Quiksilver, Quiksilver Women, Roxy, Vans, Dragon, Lib Tech, Gnu, Pro-Tec

FASHIONPARTNERS AS

Akersgaten 16, Oslo Ph.: +47 67123080 Marc Cain, Marc Cain Sport, Airfield, Cambio, Nurage, Max Volmary, Nice Connection, Tomm Fjellberg collection

SAND

Stenersgata 2, 15th floor, Oslo Ph: +47 220 01 620 Sand

SCAR AGENCY

Parkveien 29, Oslo Ph: +47 22 93 12 10 Tiger of Sweden

SEAPORT

Parkveien 29, Oslo Cell: +47 907 507 46

FILIPPA K

Bjørn Borg

Filippa K

Akersgata 16, Oslo Ph: +47 478 51 555/920 14 900

President Harbitz gate 4, Oslo Ph: +47 25 12 02 10

GULBRANDSEN AGENCIES

Maridalveien 87, 1st building, Oslo Ph: +47 23 00 17 70 Lacoste

HOLZWEILER AGENTURER

Lysaker brygge 23-25, Oslo Ph: +47 67 10 69 00 Anerkjendt, Canadiens, Cala & Jade, Genetic Denim, Gestuz, Gudrun & Gudrun Farao Islands, Gudrun & Gudrun Mann, Holzweiler, Humanoid, Humör, Hunkydory, L&J of Norway, Line & Jo, MuuBaa, Ovitar - Gudrun&Gudrun Kids, Rutzou and True NYC.

SHOE & CLOTHE AS

Buttero, Chevignon, Hunter Rubber Boots, Manitobah, Prime Boots, R.M. Williams, Sanders, Wiggys, Patricia Holstein.

STANZA AGENCIES

Magnus Bergs gate 66, Oslo Ph: +47 971 75 275 Aymara, Anouk, Sneaky Fow, Hanky Panky, Elle Macprherson Intimates, Stella Mccartney Lingerie, Stine Goya.

IC COMPANIES

VEDNER AS HoffHovedgård, Hoffsveien 40, Oslo Ph: +47 225 07 404/951 25 569

Inwear, Part Two, Matinique, Cottonfield, Jackpot, Saint Tropez, Soaked

Fred de la Bretoniere, Minnetonka Moccasin, Moonboots – the Original,Palladium Boots, Shabbies Amsterdam, Superga

Maridalsveien 87, Oslo Ph.: +47 23233400

IKONIC APPAREL

Parkveien 31c, Oslo Cell: +47 92 45 88 80 55DSL, Fred Perry

OFW

Bogstadveien 4, Oslo Ph: +47 40602017

KAARE LUND AGENTURER

DAYONE

KALUR AGENCIES AS

BLENDER AGENCY

Drammensveien 118, Oslo Ph: +47 22 60 69 50

This overview highlights many of the leading agents with the most important fashion brands and designers. For an appointment please call them directly. As there is no trade fair in Oslo where you can book a booth or showroom, these agencies will provide you with a variety of high quality brands.

Drammensveien 130c, Oslo ph: +4797690069/92403632

WESC

Hausmannsgate 16, Ph: +47 21 54 75 70 WeSC

MONDAY 10:00

Textile Waste seminar

Oslo National Academy of the Arts (KHiO)