GD3 Magazine

MAGAZINE

1617

| PAUL BOUDENS

Magazine werd gecreĂŤerd door Eleni Bosschaerts Redacteur: Eleni Bosschaerts Lay-out & vormgeving: Eleni Bosschaerts In opdracht van: Opleidingsonderdeel Grafisch design 3 Opdracht 1 Redactioneel ontwerp - Magazine Proces: pinterest.com/eleni0730.

Met medewerking van: Tim Stoops, lector Grafisch design 3. Š 2016

3 | Magazine

# Introduction Welkom!

Het magazine is een redactioneel ontwerp. Het gaat over de ontwerper en in de stijl van de ontwerper.

Ik koos de grafisch designer Paul Boudens.

Een magazine komt er niet zomaar ...

Het ontwerpproces bestaat uit onderzoek naar ontwerpers, moodboards, analyses van magazines, nieuw beeldmateriaal maken, verbanden leggen tussen elementen, opzoekwerk en een persona waarbij ik de doelgroep bepaalde. Ik ontwikkelde een ontwerphouding met een eigen visie op de bronnen, intervieuws & beeldcultuur. Dit ontwerpproces kan je online bekijken op pinterest.com/eleni0730.

Het beginpunt van het magazine was het moodboard over de ontwerper. Daarna volgende verschillende schetsen voor het stramien, bepalen hoe de tekst en beeld samen gingen en dan het selecteer van de inhoud van het magazine. Uiteindelijk maakt ik een ‘storyboard’ van het magazine om het te verbeteren.

Hier is het resultaat.

Veel leesplezier!

Eleni

# Content Introduction & content 3 | Works 4 | Exhibitions 6 |

Paul Boudens 6 | About 8 | Interview 11 | Source 14

Magazine | 4

# Works

Paul Boudens Works Volume I Auteurs: Tamsin Blanchard, Peter de Potter,

Gerdi Esch & Veerle Windels

Uitgeverij: Ludion.

Taal: Nederlands ISBN: 9789055444601 Productvorm: Hardback Pagina’s: 248 Publicatiedatum: 10/12/2003 Adviesprijs: 49.50 EUR

5 | Magazine

Paul Boudens works - a selection | 2003 Find more on paulboudens.com or scan.

Magazine | 6

# EXHIBITIONS 17 September 2009 - 21 Februari 2010 | DELVAUX. 180 YEARS OF BELGIAN LUXURY On the occasion of the 180th birthday of the Belgian luxury leather goods House Delvaux, MoMu presented the exhibition Delvaux. 180 years of Belgian luxury. Over 180 years the output of this Belgian luxury goods house has met the needs of a clientele living through times of dramatic change and movement. This exhibition followed Delvaux from the manufacture of travel goods for the local nobility in the 19th century through the rise of the modern handbag in the 20th century to the company’s vision of a new kind of elegance under its artistic director Veronique Branquinho.

DELVAUX. 180 Jaar Belgische Luxe (Uitgeverij Lannoo, Tielt - Hardcover Grafisch Ontwerp: Paul Boudens - 224 p.

25 March 2010 - 8 August 2010 | BLACK. MASTERS OF BLACK IN FASHION AND COSTUME This exhibition illustrated different historical phases of the colour black, with examples from paintings, historic costumes and contemporary fashion. MoMu selected a few Belgian and international contemporary designers with a special connection to black.

ZWART. Meesterlijk Zwart in Mode & Kostuum (Uitgeverij Lannoo, Tielt Grafisch ontwerp: Paul Boudens - 184p.

16 March 2011 - 14 August 2011 | UNRAVEL. KNITWEAR IN FASHION With UNRAVEL. Knitwear in Fashion, MoMu presented an exhibition about a material that is very familiar to all of us: knitwear. The exhibition challenged certain established ideas and showed that far from being old-fashioned and dowdy-knititing is highly versatile, luxurious and a continuing source of inspiration for high end fashion.

UNRAVEL. Knitwear in Fashion / Tricot in de Mode (Uitgeverij Lannoo, Tielt - Grafisch ontwerp: Paul Boudens - 184p.

7 | Magazine

The historical exhibition Living Fashion. Women’s Daily Wear 1750–1950 redrew the influence of fashion on the everyday lives of middle-class women in Western Europe between 1750 and 1950. On the basis of historical silhouettes from the extensive apparel collection of Jacoba de Jonge, MoMu sketched a picture of the relationship between the fashion ideals of the day and the clothing that people were actually wearing.

EEN LEVEN IN MODE. Vrouwenkleding 1750-1950 (Uitgeverij Lannoo, Tielt - Grafisch ontwerp: Paul Boudens - 184 p.

8 September 2013 - 16 February 2014 | HAPPY BIRTHDAY DEAR ACADEMIE. This exhibition showed the 50-year existance of the Fashion Department of the Royal Acedemy of Fine Arts in Antwerp. In this exhibition there have been several aspects of the Antwerp fashion educated of the first 50 years highlighted: the specific curriculum of the department and its education and evaluation method, the importance of the fashion grafics, the several generations of students and their careers, the friendship and the rise of the Antwerp Six and Martin Margiela, the final work and final shows of the most remarkable alumni.

MODE. Antwerpen Academie 50 (Suzy Menkes, Hettie Judah & Kaat Debo (ed.) Uitgeverij Lannoo, Tielt - Grafisch Ontwerp: Paul Boudens - 280 p.

20 March 2014 - 24 August 2014 | BIRDS OF PARADISE. PLUMES AND FEATHERS IN FASHION Birds of Paradise. Plumes & Feathers in Fashion was a tribute to the elegance and refinement of plumes and feathers used in the fashion industry. The exhibition addressed aspects such as refinement, luxury, free­dom, modernism, femininity, lightness, but also themes like lost innocence and dark romance.

BIRDS OF PARADISE. Pluimen & veren in de mode (Wim Mertens, Miren Arzalluz, Karen Van Godtsenhoven, Emanuelle Dirix (ed.) - Uitgeverij Lannoo, Tielt - Grafisch Ontwerp: Paul Boudens - 210 p.

Afbeeldingen uit Paul Boudens Works Volume I.

# PAUL BOUDENS

21 March 2012 - 12 August 2012 | LIVING FASHION. WOMEN’S DAILY WEAR FROM 1750-1950

# About

P Pa

In 1989 during his third year studying graphic design and illustration, Boudens was approached

by Walter Van Beirendonck to design prints for his collection and he has worked closely with him ever since. Boudens’ restless often multi-layered and hand-finished style has since become closely identified with Antwerp fashion via his work on show invitations for Haider Ackermann, Dries Van Noten, Jurgi Persoons, Olivier Theyskens, Yohji Yamamoto and many others. He creates the posters and graphic identities for MoMu’s exhibitions and publications, as well as for the graduation shows of the Fashion Department of the Academy. He is also one of the co-founders of the designer-led publication A Magazine.

Boudens’ work has been the subject of a book, Paul Boudens Works Volume 1 and exhibitions at MoMu and at The Wapping Project in London.

9 | Magazine

aul Portrait Paul Boudens

Magazine | 10

Originally, Paul Boudens wanted to become a fashion designer when he setled in Antwerp. Yet fate decided differently (he flunked his entrance exam) and nowadays he’s one of the most wanted graphic designers working together with the Antwerp Fashion Museum and icons like Walter Van Beirendonck and Haider Ackermann. We catch up with him just as he returns from the Otis College of Art and Design in LA. I read you were in LA for a “provocative discussion about the creation, reinterpretation, and presentation of fashion”. Did you also have some fun?

Yes, we had a LOT of fun! Last year, Otis asked me to run some workshops with the students, but after sending some e-mails back and forth, I wondered if it wouldn’t be cool to take designer Walter Van Beirendonck, photographer Ronald Stoops and make-up artist Inge Grognard with me. That way we had the four-leaf clover of Antwerp fashion: a fashion designer, a photographer, a make-up artist, and a graphic designer. Otis instantly loved the idea, and even involved the School of the Art Institute of Chicago (SAIC) so it turned out to be quite a tour.

T-shirts in 1989. I was in my third year of Graphic Design and Illustration.

We’ve been working together ever since. His work explores challenging social issues and ignores conventional trends. It’s great working with this kind of explosive energy.

And quickly your fluorescent colors and exciting invitations attracted the attention of other designers. Isn’t it difficult to work for and with so many different creative people?

In the beginning we had a blast kicking all things sacred and bourgeois. Something that came both out of rebellion as out of inability, I must say: the folly of youth! Or the ignorance and arrogance, of course. (laughs) As time goes by you develop a kind of empathic skill and I

“Yes, I’m a dinosaur now.”

Antwerp was put on the fashion map in 1988. How did that happen?

Well, if I remember correctly: six graduates of the Fashion Department of the Antwerp Royal Academy staged a group fashion show at London Fashion Week. The British press called them the “Antwerp Six” and turned Flemish fashion into a (inter)national phenomenon.

And fashion has become the fourth largest industry in Antwerp since then.

It’s amazing how much talent we have over here.

You work with Walter Van Beirendonck for over three decades now.

Was it a well-considered decision?

Not at all. I rolled in by accident.

He asked me to create prints for his 11 | Magazine

discovered that I’m good in translating what a designer wants or likes to see, without losing my own persona.

that. The image has to stay close to what they are standing for. But they trust me enough to play around with their ‘vocabulary’.

Don’t you ever feel frustrated not having more to do with the principle image?

No. I love working in the shadow of a fashion designer, helping to expand their vision. Once in a while, I venture out into the limelight, but it quickly bores me. I’m perfectly happy where I am and with what I do.

In the meantime, you can add Dries Van Noten, Olivier Theyskens, Comme des Garçons, Yohji Yamamoto, Wim Neels, Jurgi Persoons, A.F. Vandevorst, Haider Ackermann, The Antwerp Fashion Academy, Het Zuidelijk Toneel and MoMu, the Fashion Museum of the Province of Antwerp, and many others to your palmarès.

What are the things you are most proud of?

I consider every thing I design as a sort of ‘baby’, you know. But, two things are very dear to me. First, there’s my monograph Paul Boudens Works Volume I, which was published in 2003, and second there’s my solo exhibition at The Wapping Project in London in 2010 called ‘Trust Me (I Know What I’m Doing)’.

How’s that for an ego boost!

Nevertheless you describe your work as ‘classic with a schizophrenic twist’.

You have to: that’s how you become when working with so many diffe- In 2001, you were responsible for rent people. the art direction of ‘Fashion 2001 Landed’, the ambitious fashion The punk twist has become partly city project in Antwerp with Walone of your signatures and your ter Van Beirendonck and Gerdi work communicates a strong visi- Esch. Didn’t you become art dion. Is it possible to hold onto your rector and graphic designer of A outspoken style in an industry sa- Magazine during this project? turated by hype?

You are totally right, my dear.

I never was a punk, you know. But, (laughs) We wanted A Magazine to most designers create an aesthetic be a fashion magazine that explothrough a certain photographic vo- res the universe of a chosen fashion cabulary that is already very strong. designer in each issue. We invited There’s no reason for me to re-invent a guest curator – an international

# Interview

fashion designer, group or house – to develop innovative, personalized content to express their aesthetic and cultural values. Each issue celebrated the designer’s ethos: their friends, their passion, their stories, emotions, fascinations, spontaneity and authenticity. Back then, we made issues with, among others, Bernhard Willhelm, Hussein Chalayan and Olivier Theyskens, and more recently Maison Martin Margiela, Yohji Yamamoto, Haider Ackermann and Riccardo Tisci from Givenchy.

The magazine was always a wonderful race against time. I got the material a little ahead of time, so I could do some preliminary lay-outs for when the designer came to Antwerp, we could work like crazy to do the whole magazine in three or four days. Sadly, I had to say goodbye to the magazine: let’s cite musical differences. (laughs) Does fashion still make you happy?

You know, fashion itself doesn’t interest me. (laughs) But it’s a fun sector to work in. However, society has changed tremendously in the last ten years and fashion became a really serious business. Everything has to be profitable so things are less intuitive, spontaneous and dangerous. Nevertheless, that’s the way it is and I like the fast pace of fashion. I can’t remember what a holiday feels like because I’m always at work and the fashion show invitations are always lurking around the corner.

Next to fashion show invitations you’re also designing books, catalogs, posters. You obviously love your work.

I just love to create stuff. Maybe it’s because I’m easily bored. I always say: ‘the nicest job is always the next one’.

Do you have other ambitions?

Not really, like I said before: I am where I should be, doing what I should do. I once said that finding the right typeface is like falling in love. I guess that illustrates how I feel about my work. 

“Finding the right typeface is like falling in love.”

Magazine | 12

Were you the class swat or the rebel? As a teenager I was a total wuss: if I would meet myself now I would kick myself and shout ‘MAN UP!’.

However, studying graphic design, I had a lot of fun. Mind you, I flunked my entrance exam to the Antwerp Fashion Academy in the mid80’s and on a comfortable budget from my parents; I tried some other things like Press and Communication and Translation. Nevertheless, the moment I really had to make an effort and discovered Graphic Design, I knew where my heart was and it went rather smoothly.

You started off in the ‘80’s so I guess the tools to work with were quite different from now?

I started off making cassette covers and cards for friends with Mecanorma letters in a time when colour photocopies were still a novelty. Yes, I’m a dinosaur now. I guess you can say the possibilities were different, yet not per definition worse; on the contrary: there was a lot more freedom!

And does it always work?

Not always, of course. Most of the time the right image pops up in my head and I try to recreate that. If nothing appears, I’m in trouble, but it happens rarely… (laughs) If it takes a little longer, there’s always my gut feeling, which makes me avoid hypes and go for the long run.

Tell me your future dream.

Yuk, what a difficult question! Let’s say ‘publishing the second volume of my monograph’, maybe? It’s Bald Ambition I guess: look at my head!

Interview Fleur Pierets Artwork Paul Boudens

Uitnodiging

Your work shows taped edges and paint splatters on wallpaper or cotton amongst other materials. The result is both rough and sharp, somewhat twisted and leaving a strange impression. Is that where your handywork comes in?

You know, I started analog then went digital — there was no other choice. But I like that combination: design or art is simply not done just on a computer. When you work with tape, paper and scissors, your mind works differently than when behind a screen. Anyway, I always want to give my work a human touch.

What’s your main philosophy when it comes to your work?

I don’t like designs with a shelf life of one day only. How ironic this might seem while working mainly in fashion, I want my work to be timeless, which is actually impossible.

However, my work ages quite well, I think there’s some good genes in it.

Uitnodiging

13 | Magazine

Uitnodiging

Out with the old, in with the new by Paul Boudens | Collage van zijn werken 15 | Magazine

# Source / Books Blanchard, T., de Potter, P. & Esch, G. 2003. Paul Boudens works : a selection. Antwerpen: Ludion.

Dabner, D. 2005. Grafisch ontwerpen : het nieuwe handboek voor visuele communicatie. Kerkdriel: Librero.

Van Cauteren, K., Huvenne, P. & van Beirendonck, W. 2013. Kunst Antwerpen Academie 350. Kontich: BAI.

/ Websites Paul Boudens. Geraadpleegd via paulboudens.com Et alors magazine. Geraadpleegd via www.etalorsmagazine.com/paulboudens Fashion in Antwerp. Geraadpleegd via www.fashioninantwerp.be/nl/designer/paul-boudens Paula Troxler. Geraadpleegd via www.paulatroxler.com

# Next time # PAULA TROXLER Paula Troxler was born in 1981 in Willisau. Her work consists of doing illustrations for various newspapers and magazines in Switzerland and aboad, as well as poster assignments for theatres and cultural events, book covers, publications, collaborations with other graphic studios, advertisments and exhibitions.

Every day by Paula Troxler

Magazine | 16

Magazine € 2,25

·

ELENI BOSSCHAERTS