The Flag by Blandinelala

THE FLAG a swiss way of discovering the worldâ&#x20AC;&#x2DC;s most exciting art and fashion

EDITOR‘S LETTER

swiss living today

Sure, Switzerland is a wealthy country, certainly one of the richest in the world. And that particular image clings to it. Today though, there is a generation that wants more than just the same old preconception of luxury and Swiss living. Some would call it spoiled. I say curious, eager for knowledge and change. It is the emergence of a brand new and modern Swiss generation; one that strives to welcome the new and the unknown, but remains steadfastly loyal to a Swiss way of life and an undying love for watches and chocolate. French Mother, French and English father, born in Japan, I am French, but I grew up in Zürich. And, growing up as a foreigner means I do have an objective opinion of the country’s strengths and weaknesses but I also understand this famous Swiss living as Switzerland is the place I call home. The dedication to our country inspired this magazine’s design, a reflection of one of Switzerland’s most iconic forms of art, the Swiss Graphic Design style. We thank and pay tribute to the founders and creative artists who allowed the magazine to build its own identity on this very graphic design style, one that has never been seen in a fashion publication before. Our first issue is about blending Swiss roots, Swiss lifestyle and international creativity. They are so many things, so many forms of Art that have their roots in the country of chocolate without anyone knowing, not even the Swiss themselves. Starting this first issue by exploring a different Switzerland, Jessica D’Almeida Lok guides us through the city of Lausanne, one that is sadly still only little known. But the country is like any other in the world, it is still full of stereotypes and clichés. And what is more exciting than identifying those clichés that are often so far from the truth? Well, maybe disclosing things only a few people actually know?

project by American graphic designer Mike Joyce who delivers in a two-page interview an honest explanation of who he is and why Swissted is such a success. Closing the Art section we give you an honest view of two of this year’s most intriguing Swiss art exhibitions. As we begin a new adventure, we look to Nicolas Ghesquière’s first year at the LVMH’s biggest fashion house Louis Vuitton. Formerly the head designer at Balenciaga for 15 years, I, among others, was surprised and disappointed when he announced his decision to leave. Now, I have been more than convinced by his decision to start a new chapter at Louis Vuitton. At a turning point ourselves, we can identify with the challenges Ghesquière faced as he moves to remember the past, honouring Jacobs legacy, but forging his own path. Fashion Director Graciela Martin, along with French stylist Simon Pylyser, provides us with a stunning selection of appealing and crisp images that showcase the power of clothing in flawless male and female stories. Finally, we decode the cryptic Swedish Fashion House Acne Studios, figuring out what lies behind this success story. Closing out our very first issue we pay tribute to our very own Swiss creative individuals, bloggers, journalists, designers -and visit Switzerland’s biggest city, Zürich. Truth is, flipping through the pages, if you are not Swiss you will understand why Swiss love their country so much, and if you are, you will be comforted in your love even more. Switzerland, this is a love letter to you. Blandine Larue Editor-in-chief

Proud of its visual identity, The Flag found its inspiration mostly in the shape of Swissted, the on-going

Blandine Larue

Alexander H채berlin

Graciela Martin

Victoria Bachofen

Switzerland Editor-in-Chief @blandinelala

Switzerland Art Director @alexhaeberlin

Venezuela Fashion Editor

Switzerland Art Editor

Laura Cammarata

DorothĂŠe Murail

Rosie Feenstra

Simon Pylyser

Italy, based in London Contributor Freelance Photographer (NoFilter Magazine, Status Magazine, Fashion Journal...) @lauracammarata

France, based in Paris Contributor Freelance Photographer @doretheemurail

United Kingdom, based in London Contributor Fashion writer at Idol Magazine and Editor-in-Chief of Hunt Magazine @rosiefeenstra

France, based in Paris Contributor Fashion Editor at Lâ&#x20AC;&#x2122;Officiel Hommes and Boycott Magazine @simonpylyser

Content page

The Swiss Gear

Fun Facts you didn’t know about Switzerland

Discover Lausanne, read this and move.

Do you know Art Basel is from Switzerland?

Where has the Swiss Style gone?

Faces of Switzerland

Mike Joyce and the Swissted project

Swiss Design celebrates 100 years of international success

Vevey in visual explosion

The modern dada, a fashion story by Dorothée Murail and Simon Pylyser

Rethinking the classics, a fashion story by Laura Cammarata and Graciela Martin

Nicolas Ghesquière for Louis Vuitton, the best of two worlds

Acne Studios, the Swedish effect

Jacquemus, a colorful French face

Julian Zigerli, the Swiss sensation

Soraya Bakthiar

Noemie Schwaller from Dash Magazine

A sentimental journey

Zürich, the rebirth of a city

Conversation with Andrea Monica Hug from Chic in Zürich

The Swiss Gear

Men Beams plus ribbed wool, beanie hat, CHF 75.- / Cutler and gross square frame tortoiseshell acetate sunglasses, CHF 470.- / Polo Ralph Lauren quilted nylon and suede equestrian jacket, CHF 435.- / Balisto apple flavour, CHF 0.90 / Nike tier zero Nike X Fragement tennis classic sneakers, CHF 155.- /Pashley the guvâ&#x20AC;&#x2DC;nor bike, CHF 1270.-

Women MIU MIU tortoiseshell acetate sunglasses, CHF 320.- / Acne Studios velocite oversized shearling biker jacket, CHF 3040.- / Acne Studios the pistol leather ankle boots, CHF 580.- / Louis Vuitton essential v earrings, CHF 760.-

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Read this and move there Jessica D’Almeida Lok was born and raised in Lausanne. In 500 words she convinces you that Switzerland has more to offer than just Geneva and Zurich.

by Jessica d’Almeida Lok

Lausanne

Lausanne is not the most touristic place in Switzerland. To put it nicely, I would say Lausanne is not much a city you visit but more of a town you live in. This explains why, in comparison to the major attractions that are Geneva and Zurich, Lausanne remains pretty understated. I don’t know what is your take on it but, personally I think this is quite a shameful situation that needs some long overdue fixing! Lausanne is a cultural city. One of its most famous venues is undoubtedly the “Collection de l’Art Brut”. This museum not only houses the most extensive collection of ‘Art Brut’, but is actually the originator of this ‘outsider’ type of art. Dubuffet, the founder, gathered works from patients in psychiatric hospitals and dedicated his life to redefining the idea of madness. Lausanne is also a foodie city. ‘Lausannois’ eat. Probably because the town hosts the best hospitality University in the world; EHL or Ecole Hotelière de Lausanne. As in all towns, there are specific places where you should be seen eating. To the unacquainted viewer, the amount of restaurants can be very unsettling. That’s why I would stick to two institutions: “Café de Grancy” and its younger brother “Café Saint-Pierre”. If they attract different crowds, both ensure yummy food, hipster service and a high level of eye candy. Lausanne is also a student city… Meaning you go out, no justification needed. Probably one of the nicest places is “Le Bourg”. Initially a cinema, this café is now a concert/performance/ theatre venue. Those are fancy words to say that it is a bar. Even better, during the summer, they open an outdoors extension, “Le Bourg Plage”, under the arches of one of the city’s bridge. Lausanne is the Olympic capital of the world. Sports play a big part in the city and “The Great Escape” is the proof of this. It’s a sports bar. But, in all honesty, it’s not the typical sports bar. It’s a hidden gem with a vast adjoining esplanade with an amazing view of both the city’s cathedral and its busiest square, “La Riponne”. Lausanne is a green city. Because of its location on Lake Geneva, that some purists might call Lake Léman, the city enjoys amazing scenery. Some people might only consider coming to Switzerland during wintertime, but summertime is pretty exceptional as well. There is one thing you must do if you’re in Lausanne during that time of the year: go to the lake. “La plage de la Moratelle” might be small but it is still fairly unknown, which means that you will have chances of finding a free barbecue set when you get there. Finally, there are also rumours that Lausanne is a partnerswapping city. And, on that, I won’t comment. I believe I provided proof enough to convince you that Lausanne is worthy of your time; but if you’re being really difficult, my last argument will surely seal the deal: Geneva is 33 minutes away and Zurich 2 hours.

Did you know Art Basel was from Switzerland? Having dinner with a few people, I heard someone around the table say: «What? Art Basel is from Switzerland?», I almost fell off my chair. Art Basel was created in Basel in 1970 for crying out loud! It is the grandfather of all art fairs, the first to bring together the most important artists, dealers and art connoisseurs in the world, and to earn the status of the most influential and important art fair in only 3 years. It is that thirst of culture and that very particular Swiss taste that helped construct Art Basel’s reputation. Basel is an international city with the air of a provincial, and even bohemian burg—until the world’s biggest contemporary art fair comes to town. While all socialites run to Art Basel/Miami Beach for 5 days of parties and celebrity-selfies, every dealer wants to be at Art Basel Switzerland—and it’s very hard to get in. Obviously, 5 days in Basel can sound less glamourous than 5 days in Miami Beach but the city has been a cultural capital for centuries! Truth is Basel has a very different vibe than any other city with a strong art scene like London, New York, Hong Kong or Miami. It has an edge that those cities don’t have. A more down-to-earth vibe. “We’re very Swiss,” says the fair’s American-born director, Marc Spiegler who lives in Zurich. For example, no crazy impressive parties to see and be seen, everyone goes to the Kunsthall beer garden. It’s a fantastic cross-section of the art scene; from young artists to mega-collectors, it feels naturally like a superexclusive party except it is not exclusive at all, because everyone can go. It just happened to be the art world hangout place for decades.

While Art Basel Miami Beach is technically an art show, it’s best known for being a place where the fashion, art, and celebrity sets collide to rage all week long. When Style.com, Vogue with the rest of Condenast publications and all fashion people run to Miami to show themselves, and with dinners hosted by Louis Vuitton and Swarovski, bringing celebrities such as supermodels or socialites it is mostly real art-passionate that fly to Switzerland for the Summer Fair. Kristine Bell, senior partner at David Zwirner Gallery, New York sees it the same way «What sets Basel apart from all the other fairs is the level of connoisseurship that takes place there and only there. Other fairs have a myriad of events, parties, and off-site activities to entertain visitors. In Basel there are fewer distractions, so collectors can enjoy a productive few days interacting with artists, dealers and brokers, assessing the market, and making acquisitions.» So yes, although other fairs may have a more amusing ambiance, wild poolside affairs and crazy parties, Art Basel remains the reliable art market barometer for art lovers. An archetypal Swiss city with clockwork efficiency and a bucolic periphery, Basel is the perfect host, and antidote, to the fair’s mindboggling spectacle of artful wonder and splendid pieces. Let’s conclude and state then that while the party people go to Art Basel/Miami Beach, the epicentre for posers and players, discreetly sophisticated Basel is the perennial destination for connoisseurs. As Art dealer Robert Mnuchin puts it, “The Art Basel Switzerland fair is like flying first class.” By Blandine Larue

Art Basel Miami 4 - 7 December 2014 / Art Basel Hong Kong 15 - 17 March 2015 /Art Basel Switzerland 18 - 21 June 2015

Art 17

Where has the Swiss Style gone? First thing first, let’s remind everyone, this is Switzerland we are talking about, the country inbetween France, Germany, Austria and Italy. Not Sweden. This country is situated in Northern Europe, in an area called Scandinavia. Anyway, a lot of people come to Switzerland and are surprised. Sorry to be disappointing, the clichés and stereotypes about Swiss people are not all true, most of them are quite hilarious actually. Where should we start? Maybe with the least believable ones… Ladies and gentlemen, (especially ladies), sorry to break it to you but men don’t wear tight shorts, white shirts, braces, grey socks, mountain shoes and William Tell caps with feathers and they don’t spend most of their time singing and hiking in the mountains. On the other hand, the women are not all called Heidi, Beata, Gretel or Mitzi. God, no! I have never met any and I’ve lived in Switzerland my whole life. They also are not all blond and don’t braid their hair everyday. Switzerland is like any other country in Europe, people can be blond, redhead or brunette and there is no law about braiding your hair. On a musical note, not everyone knows how to yodel and play 12 meter long Alpine horns. (Some do, but the amount of Swiss that can is quite low and playing the horn is mostly confined to festivals, the national day or the transhumance days – those two amazing days when cows are either brought up to, or down from, the mountains in Spring or Autumn.) Also, not everyone has a cuckoo clock at home. Seriously, a cuckoo clock! They are not even from Switzerland they are from Germany! (Oh, and by the way, the clichés about Swiss people not liking to be compared to Germans... not a cliché. Let’s face it, Canadians, don’t like to be compared to Americans, Chinese to Japanese, Belgian to French, Moroccans to Algerians, story of the world.)

Being Swiss doesn’t mean that you eat fondue all the time, that you wear red tees with a white cross on Sundays, and that you permanently have a Swiss Army Knife in your pocket. Okay, sure, I’ll give you the cervelat and mortadelle clichés. They are loved. No, but more seriously, do you think all French have a moustache, wear a beret and hold a baguette, all the time, everyday? Do you really think all Italians are amazing flirts, all part of the mafia, and eat pizza and pasta all the time? Do you really think all English Men have a football tattoo, drink beer for breakfast and eat marmalade or jam with their meat? Clichés are always fun, especially for those they are about. But come on! Yodel? Be nice. Do not worry though. Swiss are somewhat like people describe them abroad. They are still very punctual (wait, arriving 15 minutes before, is being early!) and they hate it when you are late. They always pay their bills on time and never have debts. They also are hard to get at first, but try a little bit harder and it will get easier, at the end they are well-travelled and cultivated people. But yes, Swiss German shake hands even if they have seen you several times. It doesn’t make you their friend, does it? And at least they are overly polite; saying hello to everyone they cross path with (except if it’s in a crowded place obviously, they are polite not bizarre!). I would say that the most impressively true cliché is that they are clean and tidy. Honestly, their commitment to environment puts the rest of the world to shame! So no, do not worry. The Swiss Style isn’t gone, but it is not about clothes or alpine horns anymore, it’s about something you will learn only in Switzerland, it’s about Swiss behaviour. By Blandine Larue

FACES OF SWITZERLAND The image of Switzerland’s national flag, a white cross on a red background is indelibly imprinted in the consciousness of the contemporary world as a symbol of neutrality. The only square flag rising in front of the United Nations. It is also a haven for the persecuted. The small 41,290 km2 state, home to 8,136,700 inhabitants, can list an impressive amount of illustrious people having sought refuge in the country. However, after World War One, everything changed. Economic pressures and the fear of foreigners „stealing“ Swiss’s jobs dictated those changes. To be fair, from then on the whole western world began to feel very strongly the pressure of the 1929 economic crisis. But it is only since then that Switzerland’s authorities started registering

foreigners living on Swiss territory. We all know the peek those measures reached during World War Two with the sealing of the borders, and the bad image Switzerland got stuck with since. Most of the people have this image of Switzerland; a safe, secure, wealthy and clean country, but with a strong fear of foreigners. It has the image of a sea of white and clean faces, but Switzerland can also be a rainbow of different backgrounds, origins and skin colours. Switzerland is open to those who want to love the country as much as the Swiss do. Here’s to the real faces of Switzerland.

JESSICA D’ALMEIDA LOK 26, Lausanne Portuguese mother, Chinese father

YANNICK LUCOMBO 25, Zürich Angolian Parents

Are you Swiss? Yes, I‘m Swiss Where were you born? Born and raised in Lausanne! How and when did you get the Swiss citizenship? I got my citizenship when I was 18, before leaving to study abroad. It took me one year. What‘s your favourite thing about Switzerland? I love my country because I genuinely had a good and happy upbringing where I had easy access to plenty of amazing opportunities. What‘s your least favourite thing about Switzerland? Being such a small country has its good sides but for me it wasn‘t enough. It just felt like it was too small, because not only is it small, but there‘s such a big divide between regions, that it makes the region you live in smaller. That is one thing I would change if I could. How do you feel Switzerland is seen abroad? I would say that first people think Switzerland is Sweden! (Laugh) Maybe I should be more selective of the people I talk to! (Laugh) Anyway, once they locate Switzerland, they assume our borders are made of mountains. (Laugh) No but seriously, for some people we might have the image of a closed country opposed to immigration and hiding “grey” money, but overall, I really do believe people think of us as trustworthy, honest, wealthy and nature-lovers.

Are you Swiss? Yes! Where were you born? I was born in Luanda, in Angola. How and when did you get the Swiss citizenship? We applied for the citizenship as a family about 6 years ago my parents, my two brothers and me. And on the 11th March 2010 we received our red passport. What‘s your favourite thing about Switzerland? Without a doubt, the quality of life! What‘s your least favourite thing about Switzerland or what do you feel should change in Switzerland? Well, I have to say that lately there’s a new vibe around. You know, Swiss wealth is not ostentatious as the country’s culture is more about conforming or discretion, and not be the nail sticking out of the plank, but there is new wealth from abroad that does not follow these unwritten rules. Which sometimes I feel just clash with how people function here. How do you feel Switzerland is seen abroad? As a tiny country, but as a place where everything runs perfectly. And I mean, obviously nothing is perfect but I guess we’re quite close.

By Blandine Larue

swissted.com stereotype-nyc.com Mike Joyce is a 42-year old American graphic designer based in New York. Founder of the agency Stereotype, the graphic design prodigee has an impressive list of clients. Passionate about Swiss Graphic Design and creator of the Swissted project, one of the major inspirations behind The Flag, it seemed obvious Mike should be featured in its very first issue. His ongoing Swissted project is very successful, distributed and shown all over the world. Drawing from his love of punk rock and Swiss modernism, he has redesigned vintage punk, hardcore, new wave, and indie rock show flyers into international typographic style posters. All the shows represented actually took place. And, adding his touch to Swiss Design style, every poster is created in lowercase berthold akzidenz-grotesk medium and not helvetica, the usual Swiss graphic design typography. Passionate, forthcoming and inspiring, Mike shared some of his secrets with Editor-in-chief Blandine Larue.

What is your background? I grew up in upstate New York, a couple hours from New York City. My family and I would visit NYC all the time and I knew instantly that I wanted to live here. The city was more funky in the ‘70s and early ‘80s and that spirit and energy really influenced me at a very young age. I was always drawing as a kid and knew I’d go to art school after high school. I went to the School of Art & Design at Alfred University. I was really fortunate to have the great Swiss designer Fred Troller as my instructor there. Fred taught me everything I knew about graphic design up until graduation. You started Stereotype 10 years ago. Why the name stereotype? Yeah, I officially started Stereotype ten years ago but I’ve been using that moniker for a while before that as well. One of my designs was selected for the Type Directors Club annual in 1997 and the credits section was asking for a studio name. I was doing so many albums at that time and wanted my name to reflect that. So “stereo“ for music and “type” for typography and design. It’s just one of those things that I did off the cuff and then it stuck. Do you remember your first contract? I moved to NYC in 1994 and was fortunate enough to find a job at a design studio right away. But like most young designers, I wasn’t completely satisfied with the work I was doing there so I sought out freelance projects to fulfill my creative needs (I always recommend this to young designers by the way). Through a friend, I met the owner of a super small startup indie label who hired me to design a CD package for their first signing—a

band called Floorjack. Unfortunately, that band never went anywhere, but the album design got into a few shows for the AIGA and helped me get into the very first Young Guns show at the Art Directors Club. That got the ball rolling for me doing music related stuff. Other larger projects that helped get me noticed were designing the J Records logo for Clive Davis, an album for a then-unknown band named Fall Out Boy, and an album for my boyhood idol Iggy Pop. Your client list is quite wide and eclectic, from Maroon 5 to Korn, from Madonna to Iggy Pop, Condenast, WWD, Comedy Central; television, music, media, when most other graphic designers concentrate on one field. Why so wide? It’s funny, that reminds me of some advice I was given 20 years ago when I first moved to the city and was looking for work. I was showing my portfolio to the design director of this huge branding agency and he commented how diverse my portfolio was and that I should work at a design studio because I’d be able to work on a wide range of projects— books, albums, logos, packaging, posters, branding, editorial, corporate etc. He thought this would be the best way to figure out what I liked to do most in design. When I actually did this, what I learned is that I loved to do it all but I definitely gravitated to designing for the entertainment industry. So even though I’ve worked with an eclectic group of bands, labels, artists, and companies I like to think that I do specialize in designing for

entertainment-based clients.

Mall in New Jersey. I love that one.

What is your best accomplishment? That’s a really tough question—choosing one of my designs over the other is a hard thing to do. I’m really honored that I’ve been able to work with bands and artists that I admired growing up like Morphine, the Lemonheads, and Iggy Pop as well as contemporaries like Fall Out Boy, Thirty Seconds to Mars, and Katy Perry. But if I had to say what my best accomplishment is, I think it would be going off on my own and running Stereotype successfully for ten years.

What is the creative process? My creative process is quite simple actually. I honestly think my creative inspiration comes from my clients. Each time I‘m hired to do a new project I listen to the task at hand and challenge myself not only to meet their needs but to create something that’s memorable. That’s always my goal when I’m designing, whatever it is, make it be memorable to the mind’s eye.

Are you interested in fashion? Not at all. I obviously respect fashion as an art form and appreciate it as design but I’m a jeans and t-shirt kind of guy. What brands do you like then? Chuck Taylors! I saw your Switzerland t-Shirt in the memory of Fred Toller and the Helvetica one. How did this happen? Where can we find them? That actually grew out of a design I did for my Stereotype logo. I love how the different weights of Helvetica create that gradual growth. Since Helvetica is obviously a Swiss-born typeface I thought it would be cool to do a t-shirt for Switzerland. That t-shirt was originally licensed to 2K by Gingham but they closed up shop and I just licensed it to Fab—you can get it on their site. Talking about Swissted, I know your passion is Punk Rock and Swiss Graphic Design but how did you get the idea? Basically punk rock and typography are my two favorite things. I grew up completely inspired by punk and would later find that same inspiration in Swiss graphic design—more specifically the International Typographic Style. I always liked that these two art forms seemed at odds with one another in that punk has an anti-establishment ethos and Swiss modernism is very structured. And at the same time there’s a common thread between the two—the Swiss modernists purged extraneous decoration to create clear communication, while punk rock took on self-indulgent rock and roll and stripped it to its core. So I thought it would be an interesting study to combine the two and see what happens.

What is your favourite typography? I really don’t have a favourite but here’s a short list: Akzidenz-Grotesk, Univers, Futura, Helvetica, Trade Gothic, Champion, Bodoni, Didot, Clarendon. Any new exhibitions? Right now some of my work is traveling with the Type Directors Club show, my poster designs are currently on exhibit at the Paper Gallery in Seoul, Korea, and just yesterday I was told that my Velvet Underground poster will be included in an exhibition at The Design Museum Zurich. I’m totally honoured about that one!

By Blandine Larue Stereotype New York City www.stereotype-nyc.com 39 Jane Street, 4a New York, NY 10014

How do you select the concert your‘re recreating the poster of? I only gave myself two rules, they had to be shows that actually happened and they had to have occurred in the ’70’s, 80’s, and ‘90s. But I also tried to find great lineups that I would have killed to have seen—like the Descendents and Minutemen opening for Black Flag or Suicide and the Runaways opening for the Ramones. I also thought it was fun to find unusual pairings like the Goo Goo Dolls opening for the Dead Milkmen or odd venues like Pearl Jam playing an early in-store at Compact Disc World at Menlo Park

SWISS DESIGN CELEBRATES 100 YEARS OF INTERNATIONAL SUCCESS

The Flag is following Victoria Bachofen, Art Editor, in her review of Swiss Design at the new building of the Museum of Contemporary Art in the Toni Areal in Zürich. When I got to the Toni Areal in the old industrial district where the museum is located, I was overwhelmed with the architecture of the building and how Zurich West has evolved. Maybe even into its very own city. For a second, I felt like I had travelled through time. Having lived in Zürich for years albeit in a more historical district I guess, it was very nice to see the modern and new side of Zurich. The people around me were young, I would say mid 20’s, early 30’s, trendy, mostly the typical young creative individuals. I felt I was in the zone and super inspired! Basically the exhibition covers, quite in-depth, the changes in generations and paradigms as manifested in the different visual languages, identities and convictions Swiss designers have used in the past 100 years. Those were organised along a timeline and by theme. The various fields of endeavour and media were also described, decrypted and explained, focusing on how they relate to advertising, politics and art, of both past and contemporary society. My very first impression of the exhibition did not provide me with overwhelming joyful feelings to be really honest. But the fact that the room had rather high ceilings actually made everything better on a second impression. You felt absorbed by the room, a room full of furniture and pieces of art that have made history. Starting in the early 1920’s and going up to the 2000‘s. It was amazing to be able to not only compare, but also see the changes and evolution over the years. What is incredible is to think that most of those pieces are considered art but are part of everyday experience and have been part of the Swiss landscape for decades. I think the part of the exhibition that appealed to most people was definitely the Freitag and watch display window. How typically Swiss of us ! More seriously, it was very colourful and happy, which was very eye-catching! Combining colourful Freitag

pieces, several watches and colourful ties was a brilliant idea! Everyone likes a good old throwback. And I did; I had quite an interesting walk down memory lane when I found the phones. Wandering through decades in your mind and remembering one or two phones you have possessed, the games you use to play, your first texts or your first printed phone shell, can be lots of fun. The most picturesque section was the outdoorthemed one. Obviously, you are in Switzerland. Designs from alpine shoes to skies and gondolas made me feel very nostalgic and super Swiss. An actual gondola from the Swiss Alps was hanging down from the roof and the opposition of the old and new skies next to each other, showed the impressive changes in time. Honestly, 100 Years of Swiss Graphic Design is, for me, the new reference work on Swiss design. It was a real pleasure to walk through the room and discover what has made Swiss Design so successful, to see how for us, if you took the exhibition piece by piece, it wouldn’t seem so impressive, as we’ve seen them almost on a daily basis, but put all together you realise how strong our design skills are, how strong an international aura it has. The exhibition quite brilliantly takes a fresh look at Swiss typography and photography, posters, corporate image design, book design, journalism and typefaces over the past hundred years. Explaining really well how Swiss Design has always dealt with both international trends and local concerns, with joyful ingenuity. by Victoria Bachofen

Vevey in Visual Explosion «Vevey, ville d’images», literally means «Vevey, town of images». A great description that the small town on the Waldensian Riviera proudly validates through the fantastic relationship it has with photography and images in general. City of the Swiss Museum of Camera, the renowned School of Photography or even the museum dedicated to Charlie Chaplin, Vevey enhances the close relationship it has with the 8th art by welcoming one of the most respected photographic festivals in Europe. Simply called «Images», taking place every two years since 2008 and for three weeks, the festival is completely free and produces monumental photography exhibitions shown all over the streets of Vevey. The images are far from the quiet environment of a museum. An urban delight: This year around 70 projects of artists from over 15 different countries brought art into the perfect little Swiss town. Amongst them, international figures such as Francis Alÿs, John Baldessari, Leandro Erlich, Lee Friedlander, Paul Fusco, Alex Prager, Arno Rafael Minkkinen or the Princess of street art in New York, Martha Cooper, to name just a few! As the festival only takies place every two years, every other two years «Vevey images» together with the city‘s Vevey Ville d’Images Foundation, organizes the Vevey International Photography Awards, allocating support grants of over CHF 70 000, one of the highest grants and one of the oldest photography awards in Europe. The winning projects get to be exhibited the following year at the festival.

said the words ‘a made-to-measure excessiveness’ he was so right. Vevey is transformed, becoming a city in a sureal world: pictures and “trompe l’oeil” everywhere. It is amazing to walk around the small town and be constantly drawn into a new photography. It’s like living in an artistic dimension. It creates meaning and surprises at the same time. Every piece is created on site, made-to-measure to the location where it is going to be exposed. Like a sort of photographic Haute-Couture. There always is some sort of link between the location and the piece. In 1968, Paul Fusco covered Robert F. Kennedy’s funeral. Boarding the train taking Bobby Kennedy’s body from New York to Washington, he photographed the thousands of Americans paying tribute to the senator and presidential candidate along the railway line. Those pictures are exposed on almost all available walls of the train station. Matching perfectly the shape of the building in Vevey, a gigantic 500m2 canvas sheet opens a window on New York City. On the other hand, Martha Cooper’s famous street art pictures of the New York Subway are decorating Vevey’s overground stops tunnels. Saint Claire Church is almost filled by an impressive huge pile of pictures. The installation ‘24hrs in Photos’ is presented as a mountain of photographs amassed in bulk. The equivalent of 24 hours of downloads posted on Flickr are materialised in the Church. Impressive. It is like telling stories with someone else’s pictures, someone else’s life. …Visual freedom at its best!

This year, more than 1500 images (not including the 350 000 taking over Saint Claire Church) were exhibited in the streets. Vevey becomes a real openair museum and a valuable platform for Swiss and international artists. The major asset of this festival is the fact that it doesn’t only show pictures that have been taken by famous or talented photographers, it also shows exclusive projects and reinterpretations of already existing work. Proof of the success: Vevey, a town of 18 000 inhabitants registered 100 000 visits this year, to the exhibition, that is to say more than twice as many as the last festival in 2012. When Stefano Stoll, one of the festival’s directors,

By Blandine Larue

the the modern the modern dada the modern the photography DorothĂŠe Murail realisation Simon Pylyser

Zipped shirt and buttoned shirt Vivienne Westwood Brooch Dior Homme

Tank top and scarf Burberry Prorsum Trousers Bally

Coat Marc Jacobs Suit «Muguet», shirt, tie and collar bar Dior Homme

Sweatshirt and trousers Lanvin, turtleneck and boots Alexander Wang

ÂŤSchool SatchelÂť sleeveless jacket Maisson Martin Margiela Checked jacket, trousers and tie Z-Zegna Shirt Kenzo

Stolen Art

Coat, kilt with trousers and boots Alexander Mcqueen Mask Givenchy by Riccardo Tisci

Shirt «Basket-Ball Painting» Givenchy by Riccardo Tisci

RETHINKING THE CLASSICS Dressing up with classic garments may seem boring to you. You might not consider these pieces exciting or interesting, maybe you feel that they’re not very you anymore. But here’s a little lesson on how rethinking the classics and understanding their value in the never-ending vicious circle that is fashion is important. How, with an outfit full of classic pieces you can have a perfectly clean and on trend look. It’s as on trend as you’ll ever be.

Photography: Laura Cammarata Stylist: Graciela Martin Model: Lena Lomako at FM London Make-up: Virginia Bertolani Hair: Tomomi Fukuda Photographic assistance: Giulia Parlato Styling assistance: Heather Gwythe

Roll-neck cashmere jumper and Loose-fit wool trousers COS Grey and peach check Jackson coat Katherine Hooker Calf-skin leather burgundy boots Atelier Mercadal Taurillon-Gex leather pouch Pharrell Williams x Moynat

Knit tunic MM6 by Maison Martin Margiela Round collar shirt COS Grey wool trousers Joseph Calf-skin leather boots Atelier Mercadal Belt Stylistâ&#x20AC;&#x2122;s own

Oversized grey wool coat Creatures of Comfort Stretch high-neck top and white asymmetric skirt Acne Studios

Calf-skin leather boots Atelier Mercadal

Oversized grey wool coat Creatures of Comfort

Oversized wool coat, wool dress, roll-neck jumper and bracelet COS

Roll-neck cashmere jumper GAP Wool charcoal grey Kiekko waistcoat Katherine Hooker Belt St. John Collection Calf-skin leather boots Atelier Mercadal RĂŠjane Clutch in structured Taurillon Gex leather Moynat

Roll-neck cashmere jumper GAP Wool charcoal grey Kiekko waistcoat Katherine Hooker Belt St. John Collection

Wide collar wool coat, top, round collar shirt and black leather gloves COS Grey wool trousers Joseph Calf-skin leather black boots Atelier Mercadal

Nicolas Ghesquière for Louis Vuitton, the best of two worlds

Ironic as it is, combining contrasting ideas is an ageold concept. So when a fresh, newly released from his contract with Balenciaga, Nicolas Ghesquière shakes up the reputable legion of Louis Vuitton, masses are practically salivating to see the results. It’s been over a year since the news broke out on the web, stirring different reactions from opposing parties, and yet the clothes are still sublime. That’s what the industry’s most rare and beautiful moments are made of; the collision of two inexplicably different forces. On reflection over his first year at Louis Vuitton, the comments that stand throughout his change are good. The success of Ghesquière’s first collection, campaign and organic development of the next shift in Louis Vuitton’s aesthetic boils down to respect for the past and anticipation of the future. It’s about embracing the inevitable shift that comes with a new creative director. Easy to say however, when your predecessor is Marc Jacobs. Comparisons are inevitable when new creative directors are brought into a brand, but it was different with Ghesquière and Louis Vuitton as he joined and built his new vision on the ‘common values’ that he and the brand share. It whittles down to two equally weighty ideas; keeping the branding and original aesthetic of the label in mind, without compromising on your own creative ideals. Nicolas Ghesquière probably wouldn’t want to compromise on creativity anyway. Ghesquière wasn’t naive in making his move, having freely admitted that filling Marc Jacobs’ shoes was a ‘daunting’ task. Jacobs held the reigns of the French Fashion power-house for 16 years, during which, it became known for modern, minimal, embellished fashion that references popular culture and contemporary affairs. With a brand valued around $30 billion by Forbes Magazine, a net turnover of $9.4 billion in 2013, raked in from its 460 stores in 50 countries, Ghesquière’s opportunity to replace Jacobs as the crux of the creative at Louis Vuitton literally came with the weight of the N°1 luxury brand’s world on his shoulders. Despite Ghesquière’s substantial and successful history of powerful, chic looks at Balenciaga, what quelled everyone’s interest was seeing how a conceptual designer with a preference for experimentation could command an industry heavyweight, with a logo that carried a monstrous amount of money and luxury influence. No pressure! But Ghesquière’s rebellious edge is partly what

has kept up his status in his transition from Balenciaga. He wasn’t exactly a damaged asset after his departure, although Kering would beg to differ as an infamous interview with newspaper, Business of Fashion (BoF), portrayed him as having been ‘sucked dry’ in his role for the French brand. Despite a damning court case pending and obvious assumptions about the backlash from Kering, Ghesquière was still a desirable asset to have by fashion industry standards, through his conceptual approach to design. He’s not a punk-type rebel with Hedi Slimane presentation tactics, but his ‘modern creative vision’ is what kept his work relevant after Balenciaga. His focus on ‘building on the values of refinement, savoir-faire and extreme quality’ is what LVMH went after. In other words, Louis Vuitton may be 160 years old, but his appointment at the helm of the womenswear division was a move to appeal to a modern consumer. Indeed, Lisa

Nicolas Ghesquière New York launch Monogram Collection

Armstrong, the Telegraph’s Fashion Editor, hailed the brand for appointing someone with ‘edge’, allowing both parties to grow from the arrangement ‘which is interesting when you consider how un-commercial most of Ghesquière‘s collections have been’ she noted, commenting on his work as ‘sculptural armour for modern, micro-mini wearing amazons.’ A year on, evidently he’s just getting started in playing for both teams, the conceptual and the commercial one, with an impressive amount of finesse in both games. Respecting the past was Ghesquière’s winning tactic for his début. Ghesquière’s new aesthetic made his transition smooth from the consumer’s point of view – they still had clothes and accessories they could recognise and relate to – but the breath of fresh air that comes with a new designer and feeds the excitement of a new collaboration was definitely there. No compromise, no loss of integrity, just a new look, on skirts, prints, clothes for young women, a chic look with elegance. The collection was a real blend between the beauty found in simplicity and the creative, edgy details that makes Ghesquière’s clothing full of character – ‘sharp and glossy’ as British Vogue called it; ‘all those little nuances and slick stylistic details part of his print at Balenciaga.’ The autumnal hues of orange, brow, russet reds and cream were mixed with bright blue leather and embellished floral embroidery, teasing out the 1970’s aesthetic, but with an altogether more contemporary feel – stuff that would actually sell. Much like Raf Simons’ debut for Christian Dior, the

Premiere Nymphomaniac Vol.1 New York

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aesthetics, shapes and styling of Vuitton was loud and clear but his own quirks tied it all together. Investing in the company’s speciality gave Ghesquière the chance to play with unrivalled resources, which was evident in the cut and materials that made up the dresses, skirts and leather pieces. “The knowledge of the team is extraordinary, the best of the world’ Ghesquière said after the show and the resources clearly well utilised. The orange-trimmed leather jacket with a soft turtle-neck dress and black leather blouses worn with structured, floral embellished skirts held a balance between the classic feminine style of Louis Vuitton and the alternative design approach of Ghesquière. Teasing out a brand’s original aesthetic is always a safe bet, but Ghesquière’s move in playing the ‘heritage card’ almost seemed effortless. Whilst Jacobs has presented a series of collections that were clean cut, modern and dramatic, bowing out with a parade of partly nude showgirls, this new turn was a clear blend of Vuitton style with Ghesquière’s own new interpretation of the Louis Vuitton consumer. His preference for exploration was restrained, having ‘listened to the girls in the studio, the women around me, what they want’. Indeed, what they wanted was easy chic, something

tasteful and modern – everything that Louis Vuitton is, but with a definite flair to match Ghesquière’s history. ‘It was very him, it was very Nicolas,” said Chloe Sevigny, known for favouring the designer’s early work. Having confessed to being ‘curious to see how he was going to fit’ into the new role, his way of ‘bending’ the rules on the brand’s aesthetic integrity hadn’t been compromised. The same respect for both worlds was evident in the branding of the ‘new look’. Marc Jacobs helped to transform Louis Vuitton from a staid luggage label into one of the most valuable fashion brands in the world. BoF wrote when Ghesquière was appointed; «In recent years, as luxury consumers in important emerging markets like China matured much faster than expected and began to tire of Louis Vuitton’s now ubiquitous and much-copied brand signifiers, the house began to lose some of its high fashion cachet» – and now Ghesquière brings something new in. ‘Series 1’, the first advertising campaign of the designer, was a modern, chic take on 1970’s style with a youthful vibe. Having been shot by Annie Leibovitz, Bruce Webber and Juergen Teller, it was refreshing to see something minimal with taste that bore character and substance without being too overtly obvious or creative, similar to the show itself.

By Rosie Feenstra

Frank Gehry for Louis Vuitton‘s Monogram Collection Rei Kawabubo for Louis Vuitton‘s Monogram Collection

Ghesquière has held back on his experimentation, but had definitely tried something new for the Louis Vuitton aesthetic. That said, the campaign was starring Ghesquière’s own ‘contemporary heroines’, including Charlotte Gainsbourg, Freja Beha Erichsen, Liya Kebede and Jean Campbell, so rebellion and the allimportant ‘cool factor’ were there. Then there’s the recent monogram campaign. By paying homage to the logo of Louis Vuitton for its own birthday, this latest venture brings the question of Ghesquière’s ability to be ‘experimental’ full circle. There’s a real sense of synchronicity in a conceptual designer joining a commercial brand and bringing other equally established brands together, to collaborate on an experimental project – at least the end result was simple to digest. Louboutin added metallic studs and signature shade of red to a bag whilst Comme des Garcons’ Rei Kawakubo cut holes through the front panels. Additionally, Karl Lagarfeld, who photographed the campaign, turned the monogrammed leather into a pair of boxing gloves with a matching punch-bag. Also including architect Frank Gehry, photographer Cindy Sherman and designer Marc Newson, it was a clever PR move by Ghesquière; it showed that he could take control of the logo but maintain his own creative input. The rebellious streak that Armstrong commented on, back when he was first appointed, was still there – the ‘LV’ everyone knows wasn’t going to stifle him. So what of the future? For now, the conceptual approach is trickling in, under Ghesquière’s influence, and it’s been a seamless fit, but what is there to expect going forward? The reaction of the new aesthetic filtering through the global market will be a clear indicator considering that it was the reaction of foreign, predominantly Asian markets that hinted to the need for a fresh face. Louis Vuitton’s own magazine, The Book, launched back in October stars Ghesquière’s own muse Charlotte Gainsbourg on the cover, alongside a menswear spread shot in Iceland by Peter Lindbergh, an interview with Catherine Deneuve, Juergen Teller’s backstage shots from the Cruise 2015 show and an exploration of the brand’s own archive, featuring the story behind Vuitton’s Keepall monogram bags. It’s not indicated whether Ghesquière had a hand in this new venture, but the designer’s style and identity is quite obvious in the project. The two sides, the commercial and the conceptual one, have co-existed relatively seamlessly for now, something that the designer will only build on. It’s frustrating not having any real grasp on how his vision will unfold, but it is still early days; there is plenty of growing room for his imagination in a company with limitless options. One of the reasons why we have loved Nicolas Ghesquière ever since his first collection for Balenciaga in 1997, is that he surprises us every time.

Acne Studios, the swedish effect Swedish just have this thing, something some people would call natural coolness. Get away from the clichés of Scandinavian beauty, it is more than that, it is an attitude and an allure only they have. truth is, this Swedish way of life could be lumped together with Acne Studios, the very trendy fashion house. Acne means «Ambition to Create Novel Expressions» and it could easily be a sort of national anthem. Created 18 years ago as a multidisciplinary digital, film, design and creative consulting collective by four friends including the brand’s current Creative Director Jonny Johansson, the brand is like nothing else today. Not really a street-wear brand, not really ready-to-wear, the concept is more inclusive, more eclectic than the usual brand description. This fashion success story started when in 1996, Johansson created 100 of the famous unisex red stitched raw denim jeans and gave them away to friends and public figures around Scandinavia. We called it the Acne Studios effect. One Big Happy Family If you ask Johansson, he will tell you Acne was started on the Warholian Factory idea. Just a few friends thinking that it would be cool to put all the creative industries together. It does explain why the company is staffed with such attractive, young and trendy creatives. Acne Studios AB, the company, is like a surreal dimension, one where everyone is naturally cool. The company’s world headquarters, a spectacular art nouveau former bank building, on an almost ridiculously picturesque cobblestone street in Stockholm’s old town, takes your breath away. The

incredibly young staff is clad in the kind of clothing that has become the company’s trademark: edgy, slightly twisted and formidably flawless. Young is the word, Johansson is 45, Mattias Magnusson, the CEO is 36 and Mikael Schiller, the executive chairman, is 38. Schiller himself is a living example of another thing Acne Studios AB does differently; it has this devotion to seek out, cultivate and promote employees who embody the ethos of the brand. Employees start low and climb the hierarchy quite impressively. Mattias Magnusson, now CEO, use to be Schiller’s personal assistant. It’s love for the house that the top executives seek. Employees feeling at home in the company’s territories. «People who work at Acne become so passionate; it’s almost organic. They feel it, and other people know they feel it» Schiller explains. Johansson, the inspired Johansson was bred on American pop culture, idolizing Elvis Presley and James Dean, and collecting American guitars. He was not meant to be a fashion designer but a rock musician. That is why he left his small hometown to come to Stockholm back then. Music was his first love, but art is also a great passion of his. It explains quite clearly how the fashion house has such a creative concept, feeding on all aspects of art; music, cinema, fashion, photography... He explains himself: «when you get into the flow, music connects with the unconscious. Fashion does this too but it’s more playful, like perfume… and it’s very fast!» Getting out of the denim box As Johansson said himself «Five pocket jeans are

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Jonny Johansson at the Store opening in Tokyo Jonny Johansson at the SS15 show Blogger Elin Kling from Style by Kling wearing Acne Studios

the Coca-Cola of fashion. Denim has its own life: it’s never in, it’s never out.» The company never intended to be a denim brand but had no choice as the fashion world put them rapidly in the denim box, which made it quite difficult for them to be taken seriously for what they wanted to do next. Acne used to show in London, but most of the fashion powerhouses show in Paris or Milan. Acne, more comfortable in the French fashion scene, decided to show in Paris, but not after quite a struggle. The Chambre Syndicale de la Couture Parisienne, the French equivalent to the CFDA or the British Fashion Council, snubbed the brand for a few seasons, claiming it was «only» a denim brand. But after a few convincing arguments, they proved that there was more to Acne Studios than just a trendy pair of jeans. Well, for starters they are the creators of the famous ankle boots, with the chunky heel and the leather strap on the zip… the Pistol boot. Which sells for around CHF580 and has been copied by brands all over the globe, from high-street brands to luxury fashion houses, becoming the brand’s bestseller. Another thing, today, if you are looking for a shirt, smart, classy, with a perfect cut but with an unexpected twist, look no more. If you’re looking for a long oversized coat or a timeless oversized shearling jacket, look no more. Acne Studios is where you have to go. Fashion Black Horse There are a few reasons why Acne Studios is so successful; one of them being the fact that the company adheres to its own informal catalogue of unspoken but known rules. They have never functioned like other fashion houses; they do not follow commonly agreed rules. They created a lot of rules themselves and now new designers tend to follow them. No marketing, or at least avoid the traditional form of marketing and advertising. Acne Studios is more about collaborations; Bianchi Bikes, Artist Katerina Jebb, Candy Magazine, Photographer Lord Snowdon, Photographer William Wegman and his dogs, Liberty London, to only name a few… again a way of blending fashion with all sorts of arts. When Kanye West asked for an internship at the Headquarters in Stockholm, Acne said no. The «West Machine» is not what the Swedish brand is about. The brand worked with public figures that have an edge or a different way of enacting celebrity, Tilda Swinton before Chanel, Caroline de Maigret, Jane Birkin, and is also French band Phoenix’s favourite. The Swedish effect is about being cool without even trying, Acne Studios allows the world a tiny piece of that. Now please run to the closest Acne Studios’ selling point and get your wallets out, after all it is worth buying only a beanie to get one of their very recognisable pink shopping bags. Because honestly, following the example of the Hermes Orange, the Klein Blue or the Red Valentino, Acne Studios could introduce the Acne Pink. By Blandine Larue

Jacquemus

Up&comings

Simon Porte Jacquemus is a young 24-year-old designer. He is the new French sensation. New? Everything is relative. Even though he’s been in the Parisian landscape for a few seasons now, it is safe to say he is French Fashion’s young favourite. Like Alexander Wang was to New York in his early years or Jonathan Saunders to London. And no doubt his future is as promising. In 2009, at 19 years old, and after only two months in a fashion design school in Paris, he quit. His mother had passed away. He dropped everything and launched his brand Jacquemus, after his mother’s maiden name. Inspired by the strong woman his mother was, it is quite easily understood in his collection and in the way he talks that Simon loves women. The Jacquemus woman is master of her life. She is chic, a tomboy, sensual and sexy at the same time…with a touch of eroticism. Obviously, as a self-taught designer his creative process is different. The collections always have a strong storyline. His super clean and colourful design, his fashion week happenings and his unexpected runway shows have put him in a different dimension than most of the other young

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designers. Because Jacquemus is not only about the clothes, or the designer, it is the entire story behind the brand that matters. A story where the soundtrack is Jeanne Mas, the sun is a kid’s drawing and everyone is happy and 20 years old again. www.jacquemus.com By Blandine Larue

Julian Zigerli Julian Zigerli, the new Swiss sensation to boost the Milan Men’s Fashionweek. Swiss fashion is not all about Akris anymore. Julian Zigerli is the new promising menswear designer. Born and raised in Zürich, the 100% Swiss designer studied in Berlin at the University of the Arts under the wings of Professor Stephan Schneider before coming back to his hometown to launch his eponymous brand.

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last collection is an important one for the designer as it was created in collaboration with German Artist Katharina Gross. The artist is known for her work using a spray gun instead of brush on walls, floors or facades of her exhibition sites. The collection was realised in the same way; models were dressed in white garments by the designer and then spray-painted with different colours. The garment that resulted served as the basis for the fabric print.

Faithful to his roots, Julian’s signature is to focus on constructing garments out of innovative Swiss textiles. His collections can be recognized by their colourful prints and their vibrant and playful patterns, but also through a particular piece that has become Julian’s trademark; the “Jackpack”. A backpack merged with a jacket.

With Julian Zigerli, men become walking human canvases, proving that he is the perfect balance between art and fashion… and also the answer to Milan’s fashion week’s shortcoming.

After showing in Berlin for a few seasons, Julian was invited by Georgio Armani himself to show at his Armani Teatro in Milan in January 2014. Since then, Julian Zigerli is officially part of the Milan fashion week’s calendar. And Milan agrees with him. His last Spring Summer 2015 collection «At the end of the world and back» made him win for the second time the Design Price Switzerland. This

By Blandine Larue

www.julianzigerli.com

Discovering...

JACKET: A.L.C DRESS: SELF-PORTRAIT BAG: CELINE BRACELET: PIAGET SUNGLASSES: ITALIA INDEPENDENT EARRING: DELFINA DELETTREZ SHOES: DOLCE VITA

Soraya Bakhtiar is a stunning 25-year old blogger from Geneva. With a certain class that made her blog so successful, she brings a little bit of edge to the classical Geneva. We met to discuss about fashion and art in Switzerland, but also about her inspirations, her work and her life.

sorayabakhtiar.com Soraya, you have quite an interesting background. Would you explain it to The Flag? I was born and raised in Geneva. My mother is Egyptian and my father Iranian, but I consider myself Swiss with Persian and Egyptian roots. I studied Psychology, Media communications and photography at University in Geneva and then moved to London to do my Masters in Fashion Journalism at the London College of Fashion. When and why did you start your blog? I started my blog in May 2012 when I was still in London. Actually, it was part of my Masters’ final project. I really thought London was inspiring, I felt more comfortable, my style developed and that made me feel the need to archive my outfits. So why did you choose London over Paris, Milan or New York? Well, I‘m based in Geneva now I moved back after my Master degree but London resonated more with my style. I also love London’s mix of cultures. It does represent me, doesn’t it? Where can we find you in Geneva? At home or at the gym! ... and in London? At Topshop on Oxford Circus or at Bubbleology! Two obsessions of mine! Bubbleogy is a trendy tea place in London that serves Bubble Tea, which is the name given to the wide variety of refreshing flavoured fruit teas and milk teas served ice cold or piping hot with chewy natural tapioca balls that you suck up through a big fat straw! Talk to me about Switzerland. What do you think about the Fashion there? Well I can talk more about Geneva because that is what I know the most. Fashion there is quite conservative but I really feel that it is slowly changing: slowly but surely. Last week, I was at the HEAD Fashion School Graduate Show and some of the pieces that came down the runway were very conceptual and original. … and the Art? To be honest, I‘m not very familiar with the art scene, but recently I went to an interesting Street Art exhibition in the Old Town of Geneva at the Frank Pages gallery. There is a lot of new stuff coming up. What are your favourite stores in Geneva? I love l‘Adresse, Avant-Garde and Appolinaire. You’ll see me there all the time they have this small concept store charm. *

Where do you shop online? Mostly on Net-A-Porter And Shopbop. What brand would you want to see opening a store in Switzerland that you feel it would make sense? I would love to see brands like Alexander Wang, Phillip Lim or Isabel Marant have a flagship store here in Switzerland. People in Switzerland do have a strong spending power so I‘m sure it would do well! ArtSetters is a curated community of young creative influencers with a mission to encourage, promote and expose the work of local emerging artists and elevate them to a global audience. Ambassadors focus each on a city, talking about the up and coming artists, designers, galleries or exhibitions; Soraya is an ambassador for Geneva. When did you start being an Artsetters ambassador? I met the co-founder through a mutual friend who approached me about the ArtSetters project, and I immediately fell in love with the concept! I read on your blog «Zurich has a different energy, it’s completely different from Geneva as it is a much bigger city and a lot more dynamics. How so? Zurich is a much bigger city than Geneva, therefore it feels like a Swiss version of Paris if you will. It is the main city so more things are happening there; it would be like comparing London and Manchester, or Paris and Lyon. What other cities in Switzerland do you find interesting or exciting? I‘m not familiar with many other cities but Lausanne has a very interesting vibe. It is so young and creative. And very charming too! by Blandine Larue L’Adresse www.ladress.ch Rue du 31 Décembre 32 1207 Genève Avant-Garde rue Verdaine 13 1204 Genève Appolinaire www.apollinaire.ch Rue du Rhône 61 1204 Genève

NoĂŠ Mie

The Flag met Noemie Schwaller, editor-in-chief and founder of Dash Magazine. A London-based illustrated magazine on Fashion and Fashion art. www.dashmagazine.net

dashmagazine.net Please describe yourself in three words. Efficient, open and sociable Where are you from? I was born and raised in Zürich. Tell me a bit about growing up in Switzerland? I didn’t have the usual upbringing. Especially not for Switzerland! How so? It was in the Eighties! I lived in a big house. We were two children with the same age. We grew up like brother and sister. We both had our mothers but we also had other adults to take care of us. It was paradise for me! It taught me a lot. I think that’s part of the reason why I’ve always been creative; I always had more alternatives than the rest of my friends in Zürich. What is your background? I did my BA in Style Design at the University of the Arts in Zürich. And followed some classes in Vienna and at les Beaux Arts in Paris. After that I worked at Architonic for a while, which is the Architecture Design Database founded by Germans but based in Zürich. I was responsible for their online magazine and their monthly newsletter. I realised that I liked writing in general, but that, when it was about fashion, I found it way more exciting. In 2009, I lost my job when the financial crisis hit Switzerland. So I decided to start studying again! I came to London to do my Masters in Fashion Journalism at the London College of Fashion. How did Dash come about? It was my Master’s project actually. So obviously fashion was a given as it was a Master‘s in Fashion Journalism. Illustration has always been a great passion of mine. I always loved drawing, even as a kid, and then during Art School I took extra classes in illustration. So it was about combining my two passions. I think fashion illustration hasn’t been given the platform it deserves, and that is what I am trying to do with Dash Magazine. Why did you decide to base your magazine in London over Paris, New York or Milan? It’s a fair question, but I can’t really answer. That’s where my team is based and where my network is. But with all the fashion weeks to be honest I am not here that much! (laugh)

Where can we find you in London? I live in Dalston, but I have been living there since I moved to London! It really is just a coincidence. It was before it started being so trendy. It changed so fast! Do you consider Switzerland a creative country? We do have huge history of watch making, design and typography and printing, in those aspects we are very creative. Which is your favourite City in Switzerland? Definitely Zürich! Why? I have all my roots and friends there. I know my way around. Even though it is a small city, for that size it has so much to offer culturally! If you compare it to similar size cities in other countries, the difference is incredible. It offers such a great quality of life! With your bike you can be swimming in five minutes, and the water is so clean you could drink it! Then if you want to go for a walk, you can be in the forest in next to no time, and in the winter you can be on your snowboard in an hour. It’s not like London, in an hour I am in Victoria Station! (laugh) We Swiss are spoiled! Who is your favourite designer at the moment? Tough question. I can’t really answer. I am a big fan of Maison Martin Margiela. Talking about London, I would say KTZ or Fyodor Golan! Which fashion house or designer would you want to see opening a store in Switzerland? Teatum Jones or KTZ. They would definitely make a hit! Who is the most stylish person you have ever met? Simone Guardarelli. He is Fashion Editor at Vanity Fair. I like him; he doesn’t always take fashion too seriously. What are your plans for DASH in the near future? Continue, growing the brand. Maintain collaborations with interesting designers and contributors. I want Dash to be the platform for young creatives. by Blandine Larue

A sentimental Journey IN every issue, we will discover a little something about Switzerland’s creative past. Something you probably didn’t know and that put Switzerland at the top of a creative industry at some point in history. The textile industry, but especially the silk industry has played a key role in the historical development of the Canton of Zürich. Starting in the 14th century it exploded in the 17th century and stayed pretty big till the end of the 19th - early 20th century. Considered as the second biggest silk producer in the World, there was over 90 silk companies and more than 12 000 weavers in Zurich back then. The most recent success story in Swiss Silk history is Abraham Ltd. A pillar of Europe’s textile industry for much of the 20th century, the company was created in 1878, but turned into a real international success when Gustave Zumsteg, who started as an apprentice, took over as managing director.

with the speed of the fashion industry and went bankrupt in 2002. No one managed to take over from Gustav Zumsteg. Interestingly the company disappeared the year of Yves Saint Laurent’s last collection before he retired. The Abraham Ltd Silk collections were acquired in 2007 by the Swiss National Museum and after a brilliant and very successful exhibition in 2009, it is safe to say that those fabrics that were once adored by the powerhouses and power players are now a glamorous reminder of an incredible epoch in Switzerland’s National History. By Blandine Larue

Specialised in silk fabric design for Haute Couture and prêt-à-porter, the company was a reference at the time and collaborated with leading fashion houses from Balenciaga to Givenchy and Yves Saint Laurent. According to gossip at that time, Gustav Zumsteg had a very close friendship with Yves Saint Laurent and it was said they would call each other every Sunday to talk about work, art and music. Some people talked about love at first sight but for others it was friendship at first sight, as Zumsteg put it himself. The company is also quintessentially Swiss, in the manner of its director, described as charismatic and tempered but with a creative personality that knew no bound. The company did not produce the fabric itself, as it outsourced it abroad, but it is on its signature key-theme, floral patterns, paisleys, dots and chucks, that it constructed its reputation. Gustav was also the son of Hulda Zumsteg, owner of the famous Kronenhalle Restaurant in Zürich, and between her son’s position in the creative industry and her famous charisma and hospitality, the place soon became the hang out place of the cool and famous. Back then, Hulda fed the greatest artists of the time and who paid her in paintings. Incredible paintings from the like of Chagall or Rembrandt among others were exposed in the restaurant! Today the rumour has it that the paintings are no longer the originals, just copies unfortunately.

Sadly, Abraham Ltd did not manage to keep up

Yves Saint Laurent Scrap Books: 1971-72

Yves Saint Laurent Scrap Books: 1991-95

Zurich, the rebirth of a city Zürich, Switzerland’s biggest city, part of the canton of the same name, situated at the tip of Lake Zürich, is seen as the hub for the banks and the wealthy. There has been a city take over by the creatives and the young generation. Explanation. The Gold-Coast generation Some of the canton’s boroughs technically not part of the city could be considered extensions as they spread east around the lake until Canton Saint Gallen, and represent Zürich’s wealthy neighbourhoods. The area is called the «Gold Coast» or «Gold Küste» in Swiss German, for two reasons: because the sun shines on there an hour longer than it does on the other side of the lake, and because for decades, all the wealthy families set up their home in this area. Beautiful houses, luxury and sport cars and good life... For generations, the «rich kids» of the «Gold Coast», party in luxurious clubs around Bahnhofstrasse and Seefeld. Doormen, entrance fees, tables, magnums and jeroboams of Grey Goose, Belvedere Vodka, Taittinger or Dom Pérignon champagne all over the place. Clashing with the discretion of the older generation, the rich kids were partying like tomorrow did not exist. Understatement is suddenly cool But the city is moving and changing, big and fast. Art, always important for the older generation, is captivating younger generations and is consumed differently. Understatement is suddenly very cool. Instead of decadence and showing off, art galleries, happenings, street art fairs, photography exhibitions and more, bring an art experience today, that is more about creativity and self-fulfilment. There is a trendconsciousness that was not there before. The richkids and the «used-to-be» rich-kids are the biggest proof of those changes. The celebration of wealth is no longer enacted the same way anymore; showing off is not an option and is considered tacky, even amongst the younger generation that could claim the excuse of immaturity. Rich Kids don’t go to those luxurious clubs anymore, they don’t want to have anything to do with what they now consider the «wannabes». The underground scene is what’s in now. Populated by avant-gardists, trendsetters and art aficionados high on electro-sound hanging out in coffee shops, galleries, clubs and bars. This new generation wants to be where and when trends are made and among the setters, not where

trends are copied anymore. It’s about looking different than the rest to stand out and be noticed. Gucci sneakers have been replaced by Maison Martin Margiela x Converse All Star, Ralph Lauren sweaters by Acne Studios’ Mysterious Sweatshirts; beards, tattoos and bike shops are growing like mushrooms. Even though you have to give it to them, biking has always been quite big. Again, it is just a different way of consuming it. The Brooklyn effect Zurich has changed, districts grow and evolve, the same way Brooklyn and Williasmburg became cool a decade ago, the same way Dalston and Brixton used to be dodgy and are now, respectively, the trendiest and arty-est places in London, the same way Oberkampf or Les Buttes Chaumont in Paris are the weekends’ hang out places of the French creative crowd. Zurich saw districts, previously industrialised or claimed by the junkies and prostitutes, being turned into the place to be. Hardbrück, the previous industrial district has been completely remodelled and welcomes now the Viadukt, with designer stores and trendy coffee shops, the Museum of Contemporary Art and the University of the Arts, but also the famous Geroldstrasse, or the Club Street, that is now the hub of the underground club scene. Langstrasse, previously famous for being the red light district, started to change a decade ago, when all the strip-clubs, sex shops turned into urban bars and art galleries. Wipkingen, a lower-class district a few years back is now the new young creative individuals area with an explosion of beer gardens and raw rooftops. All those districts that were either reserved to labour or middle classes, are now getting trendier and more interesting. The dynamics have changed. Zürich is reborn into something bigger, something greater, something for every taste. By Blandine Larue

All in Z端rich, from top left to bottom right: Rennweg, Bahnhofstrasse, trainstation Hardbr端cke, entrance to Club Hive

Church Fraum端nster, Sihlquai, Freitag - / Primetower, Art at Limmatquai

blogger Andrea Monica Hug

Conversation with...

from Chic-in-Z端rich

chic-in-zurich.ch So tell me a little bit about your background? I grew up in Zurich, and after graduating from high school I didn’t really know what to do. I always wanted to be a journalist but didn’t really know if I wanted to take the risk, so I went for economics. I worked at an insurance company for a bit. It was horrible! (laugh) So I took the step and studied journalism.

I love the Fashion Weeks. I’ve been in Milan, Paris and New York until now.

What about photography? I started taking pictures in my free time and launched my blog Chic-in-Zurich three and half years ago now. Anyway, after my studies, I wanted to find a job like everyone else, but thanks to my blog that had gotten quite successful, the job sort of found me! (laugh) People got in touch with me about wedding pictures, portraits... So at the moment I’m a full time photographer! It is actually quite scary, it was not planned, it just happened!

So how do Fashion Weeks work for you? Mostly I go for myself, and then write for, or sell pictures to other publications. I sold pictures to Grieder Magazine and wrote a couple of articles for Marionnaud and Anabelle in the past already.

What about starting your own thing? That is pretty scary too. It does take a lot of courage! Yes, it was quite scary at first but now to be honest I could go to anyone and ask for a picture, I’ve taken the picture of over 500 people in Zurich! I could even go up to any guy now and ask for his number! (laugh) Why a Street Style Blog? I loved blogs and I realised I loved photography. I was interning for the Anabelle magazine back then actually. When I stopped working for them, at the end of my internship, I felt the urge to do something online, be creative and work with people. So how did it work out? I started quite small; one photo and name per person. That was it. Then I received some inquiry about the clothes, about the person’s jobs... And then, a couple of months after I started the blog, Anabelle asked me to shoot for Anabelle.ch. I told myself «Wow! If Anabelle is interested it means the demand is there!» so I kept on going. I really enjoy it. I met so many different and interesting people. At some point people started recognizing me, and I got featured in a few magazines like Bahnhofstrasse Magazine, Anabelle, some blogs and lately in the German Vogue! Finally, I got contacted by several brands, Navy Boots, Maybelline... Who is your favourite blogger, or who is the one you look up to as a blogger? I love the Manrepeller, I met her at New York Fashion Week. So you also cover the different Fashion Weeks?

Which one is your favourite? Not Paris! People are so unfriendly in Paris and they smoke too much! (laugh) More seriously, my favourite is definitely New York. I’m covering it for PKZ, [PKZ is a multibrand store in Zürich] I’m their style expert.

From the people you met during Fashion week, who was the one that impressed you most? I met everyone! The Manrepeller, Elin Kling from Style by Kling, Scott Schuman from the Sartorialist, Garance Doré, Bill Cunningham from the New York Times, we share the same birthdate actually. Well, he’s 84. (laugh) Everyone really! Even Olivia Palermo... Ah, she used to be my teen-idol! What’s your favourite area in Zurich? My favourite I think at the moment is Hardbrücke, with the Viadukt and everything that surrounds it; cafes, parks, shops, bars... I also love going to the Montagmarkt at Rimini bar on Monday evenings. They organize an amazing little market there! You find so many things. Jewelry, bags, sunglasses... It’s really good for small designers to start getting their name out there. Where do you shop? Everytime I go to Zara, I want to buy everything! When I shoot people on the street and I ask where their stuff comes from, it is so often Zara! Massimo Dutti is quite nice as well. I have my eyes on one of their leather jackets at the moment! But I also love the little shops of the Viadukt, or Frau Gerolds Garten. It is a sort of big outdoor cafe-restaurant ‘slash’ hang out place surrounded by small designer stores. You can find some cool Swiss designers. What do you think about Swiss fashion? It is small but I think we do have quite a lot of potential. There are two events to discover: Mode Suisse and Fashion days Zurich, but whereas Mode Suisse focuses on Swiss Designers, Fashion Days Zurich is more international. I find there are not so many blogs in Zurich. There are some blogs, just no street style blogs, a few fashion bloggers. I didn’t want to see my face online

everyday so I went for street style (laugh) I think my difference is also that my followers are mostly Swiss. That is my strength when it comes to collaborating with Swiss publications, brands or stores. My followers really are what they defined as their target customers. Do people always say yes when you ask for their picture? Almost every time yes. If I get a «No» it is usually because they have to be somewhere or they are in a rush. But, it happens that if I really want their picture I’m running with them or getting in the tram with them! (laugh) Is that embarrassing to say? Any fun stories to tell? Once, I ran after a guy, I called after him but he couldn’t hear me because he had his headphones on, so when I reached him I tapped on his shoulder. He turned around and thought I was a friend! He wanted to give me a hug and kiss me! (laugh) With your looks and a name like yours I am not surprised he wanted to Hug you! (Laugh) You know what? Surprisingly, it’s the first time someone made that joke to me! (laugh) Anyway, one of my nicest stories is when I met this 93 year-old woman. I asked her the usual stuff, picture and clothes, etc… and she told me she made all the clothes herself! Everything! At 93! We talked for half an hour and she gave me her number and invited me for coffee one day. She was the sweetest person I met and so inspiring! You seem pretty inspired talking about all of your work anyway. I just love my job. Some of the people I photographed are now my friends. Really? Yes, I know it’s hard to believe because Swiss people are not known to be sociable, and they usually are not. But most of my friends are working in the creative industry or for American companies so they have an open mind, they are all very sociable, and their work friends as well. It is very different! In Switzerland, people from the creative industry are just more open-minded I guess. www.chic-in-zurich.ch By Blandine Larue

Street Style NYFW

Stockists Acne Studios www.acnestudios.com Alexander McQueen www.alexandermcqueen.com Alexander Wang www.alexanderwang.com American Vintage www.americanvintage-store.com A.P.C www.apc.fr Atelier Mercadal www.atelier-mercadal-shop.com Aurelie Bidermann www.aureliebidermann.com Bally www.bally.ch Burberry Prorsum www.burberry.com Beams Plus at www.mrporter.com Cos www.cos.com Creatures of Comfort www.shop.creaturesofcomfort.us Cutler and Gross www.cutlerandgross.com

Lanvin www.lanvin.com Louis Vuitton www.louisvuitton.com Maison Martin Margiela www.maisonmartinmargiela.com Marc Jacobs www.marcjacobs.com Miu Miu www.miumiu.com Moynat www.moynat.com Mykita www.mykita.com Nike www.nike.com Pashley at www.manor.ch Polo Ralph Lauren www.ralphlauren.com Private White V.C www.privatewhitevc.com St. John Collection www.discoverstjohn.com

Dior Homme www.dior.com

Ray-Ban www.ray-ban.com

Gap www.gap.com

Vivienne Westwood www.viviennewestwood.com

vGivenchy by Riccardo Tisci www.givenchy.com

Z-Zegna www.zegna.com

Joseph www.joseph-fashion.com Katherine Hooker www.katherinehooker.com Kenzo

www.kenzo.com

Karlheinz Weinberger

â&#x20AC;&#x17E;Typography is a magnificent blend of art, craft and passion. A great typeface is a lasting testament to the power and beauty of the human mind.â&#x20AC;&#x153; Max Miedinger