THE ARCHIVE - Thesis by Ella. by Ella

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WHERE DOES FASHION MEET

SCIENCE?

PROENZA 2

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SCHOULER

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THE ARCHIVE DIRECTOR & EDITOR IN CHIEF & ART DIRECTOR Ella. WRITERS Sarah Core Klemens Schuller Inés Calvo Agnès Aeberhard Federico Sainz Pelayo Peñarroya PHOTOGRAPHERS Pablo Rodrigo Fernando Roldán Moodstudio STYLISTS Raúl Cabanes Paola Torres Manuela González Fidalgo MODELS Victor Bellido Alba Villanueva Daniel Herrera Yosune Guillén Sara San Martin Sita Abellán UNO Models MAKE UP & HAIRSTYLE Fátima Nuevo Natalia Moreno Miriam Trelis COLLABORATORS Ana Naveiro Manuela Medina Nines Minguez Oscar Raaijmakers Julie Müller Fabiano Lima Margreeth Olsthoorn Sara Ruth Moralejo Davidelfin Assaad Awad Tormenta De Ideas Comunicacióm Bonjour Comunicación Ulises Mérida ILLUSTRATORS Lennart Gäbel Aleksander Schioennemann Lucía Fernández PROOFREADER & TRANSLATION Meghan Kelly Julie Alfonso WEB DESIGN Ana Milojevic VIDEO Fernando Roldán

www.thearchive.tictail.com 10

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THE ARCHIVE ARTICLES

INTERVIEWS

EDITORIALS

Collaborations

New Comers

Projection 44 Collage 72 Madame 94 Extasy 120 Hiding Faces 142

A rider’s second skin 40 Sciences P.O.V 128 Erasmus 136

Brands

Maison Martin Margiela 28 Aitor Throup 62 Hussein Chalayan 82

Science

Sara Ruth Moralejo 24 Aleksander Schioennemann 58 Fabiano Lima 68 Lennart Gäbel 132

Professionals

Julie Müller 88 Oscar Raaijmakers 90 Margreeth Olsthoorn 92

VIDEO Projection 150

Milk Protein Fiber 18 The next revolution of fashion industry 36 3D 52 MARCH 2014

EDITOR’S LETTER We are finally almost at the press date for our first issue. All I can say is that I am amazed how all our ideas managed their way to paper. When you start you have many ideas and blank pages, so you let your mind wonder about everything you could put in it. It all starts as a mystery but finally the pieces fall together and create one big project that you always dreamed of since the first second you started planing it. And now you can finally have it in your hands and admire the work of all those creative minds that are hidden behind these pages. For this issue we wanted to show our potential as a new magazine, with new contents that we always say we want to learn more about but let’s face it, in the end we never do! We want to inspire people throughout these pages and make them dream of their new projects while we keep working on the next issues. We like to “go with the flow”, we get inspired by what is happening now a days. Every innovation in the Fashion industry inspires our pages. I shall say more, we want to explore how fashion can be related to other topics some people might not even think of. In this case we wanted to show that fashion and science can work hand in hand. From the creation of a new fiber made completely organically to totally technological designs that instead of sewed were printed. Moreover, our work is like an book you can collect and have a look at in some years to remember what was happening in every moment. Therefore, we call ourselves The Archive, because we work like an one after all : we collect information that is relevant to our time to remember it and save it forever. We hope that you will enjoy these pages like we did while working on them. Each piece of this issue, each page, has its own story. We enjoy creating it and we hope you will enjoy reading it and start dreaming as I said earlier. Let your mind wonder and “go with the flow” of our times. Welcome to our first issue.

Ella.

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MILK FIBER WORDS BY

SARAH CORE

hat is milk fiber? What do we know about it? Good question. What is milk fiber? And what do we know about it? Well, people like to spin it into yarn and made fabric from it. And it’s soft and silky. And it’s looks pretty. According to the fiber people over in China, it also is beneficial to human health, is anti-bacterial, and “has the functions of nourishing and taking care of skin.” Riiight. Now we are getting into some fantasy land spin-doctor stuff. That sounds like a marketing ploy. So let’s go digging and find out exactly what milk fiber is, and why it’s so darn special. Ok, to start this journey, it’s important to know where milk fiber came from. According to Euroflax Industries, milk fiber was invented in 1930’s in both Italy and America and was called “milk casein.” Huh. Who knew? And here I thought it was some newfangled invention. But apparently it’s been around for a while. For a long while, actually. Crazily enough, casein was invented way before the 1930s – apparently they’ve discovered that many churches from the 14th and 15th centuries were painted with casein-based paints – the colors are still bright and unfaded even to this day! Well, apparently this milk casein stuff is great for paint. But how does that connect with milk fiber? From the National Bellas Hess F/W 1946-47 Catalog of “Ara-Fab Fashions”: a 2-piece Aralac/rayon blend jerkin set embellished with felt motifs in kelly,

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blouse not included; $4.98; misses 12-22 Apparently “milk casein” fiber was used in many clothing and household items in America and Europe during the 1930s and ’40s, says Joan Kiplinger of Fabrics.net. It was a substitute for wool, which was needed by men on the front lines. However, it fell out of use after WWII ended and newer, cheaper synthetics such as nylon grew in popularity. The fiber was blended with other natural fibers and known under the brand names of Aralac, Lanatil and Merinova, for those of you checking your vintage clothing labels. While these brands’ fabrics were very similar to wool and could be dyed by the same processes, apparently there were some flaws with the milk casein fiber – namely, that it was not as strong and firm, nor as elastic as wool, and the fibers “mildewed easily” when they got damp. However helpful this information is, we still don’t know how milk fiber, or milk casein, is made, and therefore what exactly it is. The websites selling milk fiber aren’t particularly helpful, as they simply talk about dewatering and skimming milk to make the fiber, like it’s some sort of cheese. Which it is not. Cyarn is particularly vague about this, saying simply that they:

“…manufacture the protein spinning fluid suitable for wet spinning process by means of new bio-engineering technique… Hm, that sounds mysterious. So now

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it’s a protein? Ok, let’s back up a bit and find out what “casein” is. Maybe that will help us out. According to Wikipedia

“Casein (from Latin caseus, “cheese”) is the name for a family of related Phosphoprotein proteins. These proteins are commonly found in mammalian milk, making up 80% of the proteins in cow milk and between 20% to 45% of the proteins in human milk. Casein has a wide variety of uses, from being a major component of cheese, to use as a food additive, to a binder for safety matches. As a food source, casein supplies essential amino acids as well as some carbohydrates and the inorganic elements calcium and phosphorus.” Ok, so now we know that “casein”, which is the protein in milk, is what is used to make the fiber. So then, is milk fiber edible? Is it just like making or eating cheese? Here’s another clue: the Wiki article mentions that fiber is made from “extruded casein.” This article from the Science in Farming website, says:

“The conversion of the casein of skim milk into textile fiber is not a process that can be carried out on the farm. The casein must be made by a controlled procedure possible only in a dairy plant or a plant making casein exclusively. The conversion of casein into fiber requires the knowledge and experience of textile engineers and equipment similar to that of plants producing viscose rayon. The casein is dissolved in alkali, various other substances are added, and the solution is extruded through the fine apertures of a spinneret into a bath containing acid and dehydrating and hardening agents.” Ok, there sounds like there are a lot of chemicals involved in manufacturing milk fiber. So definitely not like making or eating cheese, then. Another article, Some Fibers From the Proteins, gets a little more in-depth in its explanation:

“The casein is dissolved in water that contains about 2 percent by weight of alkali to make a viscous solution with 20 to 25 percent protein. The next

step is to pump the filtered casein solution by a metering pump through a platinum-gold alloy disc, or spinneret, which has thousands of fine, accurately placed, and uniform holes. The solution, streaming from the holes of the spinneret, is immersed in water that contains an acid. The acid neutralizes the alkali used to dissolve the casein. The small, continuous fibers are then stretched, treated in various solutions, and collected by the spinning machinery. The tensile strength of the yarn is enhanced by stretching the fiber while it is being tanned with aluminum salts and formaldehyde. The action of the hardening baths can be accelerated by heating, and the fiber can then be stretched much more than at low temperatures. A further treatment is needed in order to make the fiber resist the boiling bath commonly used in dyeing wool.” In case your eyes just glazed over, what that brain melting paragraph just said was that the proteins from milk have to be dissolved in water and then processed through various chemicals in order to try and make them solid again. Now, there are some chemicals in there that I’m not wild about, as they sound dangerous, but according to some of the websites selling milk fiber commercially, the milk fiber industry was granted the Oeko-Tex Standard 100 green certification for international textiles in 2004. So, I wonder, how different is the manufacturing process today? Production process of

milk fiber

I found a clue at the Doshi Group website, which mentions that milk fiber is a “graft copolymer of casein and AN.” They even provided this cute little chart showing how they make milk fiber. As you can see, the process is very similar to what was described in that 1940s article above. There’s the dehydrating of the milk to get to the protein, dissolving it in alkali, and the spinning and drying to turn it into fiber. But interestingly enough, there’s a little stop before spinning called “graft copolymerization.” I think this is a big clue. Let’s go

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find out what that mysterious “AN” is. Ah ha! I searched for a long time to find this, because nowhere on the Internet could I find the words “AN” and “milk fiber” comingling together. But finally, I hit pay dirt. An obscure Chinese science article from Dong Hua University, Shanghai in 2000 did a study of the effects of acrylonitrile (AN) being grafted onto casein. They concluded that “AN-g-casein fiber is a new type modified ‘silk-like’ fiber for wide application.” According to The Textile School, to manufacturer milk fiber, casein and acrylonitrile are grafted together chemically. They dilute alkali and forcing these solutions through a spinneret into a coagulating bath:

“A fiber consisting of a copolymer of casein protein (25%-60%) grafted with 40%-75% acrylic monomers, of which at least half is acrylonitrile, has been developed in Japan under the tradename Chinon. The casein dissolved in aqueous zinc chloride and grafted with acrylonitrile is wet or dry spun into fibers. It dyes readily with acid dyes, but basic and reactive dyes can be used also. The fiber is marketed as a substitute for silk.” Ding ding ding! So what do we know now? Modern milk fiber is a blend of casein protein and acrylonitrile, most likely to strengthen it and prevent some of the problems that the original casein fiber had. But I still have questions. Like, what’s acrylonitrile? According to Wikipedia it’s a chemical compound that’s an important monomer, or binder, for the manufacture of useful plastics. This website does a great job of demonstrating how it’s made. However, they also mention it as being a pollutant, and the Environmental Protection Agency (EPA) and the German MAK commission have classified acrylonitrile as a human carcinogen. Whoa, scary! But the American Chemistry Society clarifies things a bit:

“Chances are that acrylonitrile touches everyone in some way every day. Acrylonitrile is the key ingredient in the acrylic fiber used to make clothing and carpeting…telephone and computer casings and sports equipment; and in nitrile rubber, which is used in the manufacture of hoses for pumping fuel. Acrylonitrile is used to pro-

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duce plastics that are impermeable to gases and are ideal for shatterproof bottles that hold chemicals and cosmetics, clear “blister packs” that keep meats fresh and medical supplies sterile, and packaging for many other products. It is also a component in plastic resins, paints, adhesives, and coatings.” Ok, so not that scary. You don’t want to try eating acrylonitrile or being near it when it’s burning, but touching things made from it won’t immediately hurt you either. But we have learned a very important fact: acrylonitrile is a “key ingredient” in making acrylic fiber, and is the raw material in making acrylic yarn as well. So the answer to our question, “what is milk fiber” has been answered. Milk fiber is a blend of casein protein and the chemical acrylonitrile, which is used to make acrylic. It’s made using a process that is similar to rayon/ viscose, but because it’s a regenerated protein fiber and not a regenerated cellulose fiber, it reacts like wool. That means that it dyes like wool and even smells like wool when burned, according to Kiplinger. Interestingly enough, while trolling through all of this research in an effort to discover everything I could about milk fiber, I discovered that it does in fact have antibacterial properties. While the “milk slurry” is being chemically mixed and spun together,

micro-zinc ions are added. This creates zinc oxide while the product dries, making it bacteriostatic. Also, according to Doshi, they do not use formaldehyde as one of the drying agents anymore. Though I do doubt their claims that fabric made from this fiber is good for the body and can “nourish skin.” Since it’s made in a way that is similar to rayon and acrylic yarns, it does nothing more to your skin than any other fiber. If you want your skin to be nourished, I recommend using some lotion instead.

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SARA RUTH

MO RA LE JO MARCH 2014

THE ARCHIVE : What made you investigate milk proteins? SARA RUTH : The idea was born when we identified a high amount of consumers who demand a more responsible attitude toward fashion.. I began to investigate ecological fabrics, and, although we are a sector that still is very limited, the milk protein fabric has a very special texture, similar to silk, even though it can be washed and dried as if it were cotton and it is hypoallergenic. THE ARCHIVE : Would you like to begin with your own brand in future? SARA RUTH : I would love to continue working with this project and incorporate the progress that is occurring in this sector.

THE ARCHIVE :What has driven you to work in the fashion World? SARA RUTH : I believe that being involved in fashion is a pure vocational matter . It is probably what we tend to perceive already as a child. THE ARCHIVE : Tell us about your last project. SARA RUTH : The project focuses on brand development and reflects the values of its functionality, timelessness and responsibility.

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THE ARCHIVE : What are you working at, at the moment? SARA RUTH : Right now I am working as a coordinator for the design department of Cortefiel -Women, which is very interesting and dynamic, due to the fact that I am involved in all the phases involved, making me work in very diverse areas at a time in order to create a fashion collection from scratch; beginning with the creation of the mood boards, marketing and e-commerce strategies, to supporting the department in the visual merchandising. THE ARCHIVE : Where do you see yourself in five years? SARA RUTH : I hope to be able to continue working with the same enthusiasm as today: maybe working on a personal project. In fact I would like to move to New York for a time.

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MAISON MARTIN MARGIELA WORDS BY

ELLA.

IT IS ONE OF THE MOST ANONYMOUS BRANDS OF THE FASHION INDUSTRY BUT IN THE PAST DECADES IT HAS ACHIEVED AN IMPORTANT SPOT ON THE MARKET.

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CLOTHES MADE OF TRASH BAGS OR VINTAGE HOME FURNISHINGS

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e want to explore this anonymity and try to find out as much as we can about the designers and their work. So what do we know about this brand? We could start talking about the head designer who founded the brand in 1988, Martin Margiela. Even though right now he is not working there anymore it seems important to tell the story of the brand from the beginning. So who is Martin Margiela and what do we know about him? He is a Belgian designer born in 1957, who graduated from the Academy of Fine Arts in Antwerp, in 1979. A year before the “Antwerp six”, a group of different designers who made of Antwerp an epicenter of avant-garde fashion design. In that group we can find Dries Van Noten and Ann Demeulemeester, to name a few. Their work was based on an eccentric and revolutionary point of view of fashion design and getting away from the conventional luxury we usually see in the fashion industry. Same as Margiela, although he mostly focused his creations on the deconstructivism movement, recycling and transformation. However, before founding Maison Martin Margiela, the designer started working on his own until 1984 as a freelance designer, then he worked at Jean Paul Gaultier as his design assistant for three years, and finally, in 1988, he founded the brand Maison Martin Margiela next to Jenie Meirens. During that same year he presented his first woman’s collection called “Destroy Fashion”. His collections were often labeled as “extreme fashion, radical collections whose ideas push the boundaries of what constitutes fashion”. Some people even said that his style was a year ahead of the fashion industry; people needed at least a year to absorb his talent. For

instance we can mention a few examples of what we could find in his collections: clothes made of trash bags or vintage home furnishings, jewelry derived from ice cubes… and many more ideas that made people wonder where he would get his inspiration from for the next seasons. His work is mainly conceptual and get’s its inspiration from the Japanese avantgardists such as Rei Kawakubo, the creator of Comme des Garçons. Martin Margiela and the Antwerp Six would carry on the work of the Japanese avant-gardists, revolting against

the luxurious fashion world with oversized proportions such as long arms, and with turning the clothes inside out so you could see the seams or linings on the outside. At the same time, he started working as creative director of womenswear for Hermès, from 1998 to 2003. In 2002, he sold a majority stake to Renzo Rosso, which meant that Diesel acquired the brand Maison Martin Margiela. This was the first time Margiela thought about leaving the collective and live his life outside the fashion industry.

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However, even though we have a lot of information about this designer he remains anonymous. He would never answer to any interview or show up after his fashion shows. His face would never get public, until October 2008, in an article of the New York Times, that gave the first glimpse of Margiela’s face,

as well as breaking the news that he offered to hand the direction of his company over to Raf Simons, who declined the offer. Later on he made this same offer to Haider Ackermann who also turned it down. Finally, in 2009, Renzo Rosso made public that Martin Margiela had left the company. Now a days Maison Martin Margiela works with new young designers who remain anonymous and bring a fresh touch to the brand. They are now focusing on “a young and realistic energy for the future”, as Rosso explained in a press release.

SHOPS 23, rue de Montpensier Paris 75001 Francia 114, rue de Flandre 1000 Bruselas Bélgica 2-8-13 Ebisu Minami, Shibuya Tokyo 150-0022 Japon 23-a Crocus City Mall, Krasnogosk, Mosu - Rusia Bolshoi Prospekt, 287, St. Petersburgo - Rusia 1-9 Bruton Place Mayfair Londdres W1J 6NE 803 Greenwich Street Nueva York 10014 USA 9970 South Santa Monica Blvd Beverly Hills CA 90212 3F, N°300, Sec.3, Jhongsiao E road, Taipei Taiwan Via della Spiga, 46 20121 Milán Italia 34, Maximilian str 34 Munich, Alemania EXPOSITIONS Palais Gallieria, Paris. Musée de la Mode et du Textile, Paris. Fonds National D’Art Contemporain, Francia. Musée de la Mode, Marsella. Metropolitan Museum of Art, Nueva York. FIT Museum, Nueva York. The Victoria and Albert Museum, London. Museum Boijams van Beuningen, Roterdeam. Centraal Museum, Utrecht. Flander Fachion Institute, Amberes. Brooklyn Museum of Art, Nueva York. Kyoto Costume Institue, Japon. 32

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OLOGY MARCH 2014

THE NEXT REVOLUTION OF THE FASHION INDUSTRY WORDS BY

FEDERICO SAINZ

For years, there have been investigations in the field of sports, medicine or telecommunication that have generated a vast number of new textile materials, fibers and details with extraordinary outputs that continue to evolve day by day. These materials, only used in the technical sector, are now being used by some fashion firms in order to create garments that are more functional, with better outputs and that do more for the consumer at an affordable cost not to mention entirely viable from a technical point of view for companies. A whole revolution. Transformation process The current macro-economic context has propelled to revise their strategies as well as product lines in order to remain competitive and this has been the case for the fashion industry. On one hand, the consumers, especially in Europe, the cradle of fashion and large distribution chains, have less purchasing power, which leads them to consume less in the sector of fashion, as these kinds of products are not considered as necessities, even though the garments themselves are. On the other hand, the increase of wage cost, wage rates in the producing countries, joined with the prices of fuels and raw materials or cur-

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rency appreciation, among other, incise directly on the cost per unit produced. In this situation, a number of companies are choosing to adopt new strategies based, among others, in the internationalization or implementation of information technology and communication in general as well as new forms of ecommerce in particular. An important number of their resources are allocated to the expansion of firms to marts that begin to have a buying power that adopt consuming patterns in which the fashion factor is relevant. Offering the same products, bases on the principals of fashion to these new consumers. Some enterprises are achieving competitiveness and are positioning themselve in current solvent markets with future perspectives. But there are others that clearly bet on innovation and the applicated I+D, to the development of new products, in order to improve their qualities and benefits thus augmenting itâ&#x20AC;&#x2122;s added value Current Precedents An example, in this case, is the japanese firm Uniqlo. This is the most important Japanese fashion firm, which does not yet operate in Spain, enters its strategy addresses the domestic market as it has done in other markets in Europe (UK).

It belongs to the Fast Retailing group whose owner Tadashi Yana is the richest Japanese according to Forbes. This fashion company clearly waged for the adoption of all kinds of innovative technologies in their clothing pieces in order to compete with the rest of the large international companies of the sector and in their previsions, the objective of the enterprise is to be at the head of the sector by turnover. All of this based on the commercialization of what the company designates as “lifewear”: everyday clothes with better benefits thanks to technology, affordable prices: shirts with anti-wrinkle treatment, that evaporate the humidity of sweat and don’t gather smells or, one of their star garments, the HEATTECH shirts, manufactured in an special type of fabric that maintains body heat. Result of the implementation of this strategy based on the I+D, the Fast Retailing group, has concluded for the first nine months of the year a 19.1%

growth with a 21.9% growth in the net profit. Meanwhile, the first decision made by Nicola Formichetti, the new creative director of Diesel has been too introduce the new material for its denim garments, a denim-sweater mix contributing higher comfort and ampleness of movement. These new pants, are according to the designer: the latest Diesel revolution. Levi’, in one hand, has already commercialized a line of clothing that does not get wet or de they get dirty thanks to nanotechnology. And Nike, maximum exponent in technical garments is seeing how their benefits and contributions in stock-market have increased (from august to octobre it has grown almost 15%). These are only some extrapolated examples that any large company or pyme textile, which illustrate the tangible results that derive from investing in I+D applied in the development of innovative products. Nowadays this strategy is easily assumed by any firm, detached

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of size, inasmuch as there is an important group of innovative opportunities, in most cases, technically viable, and easily transferrable to the firms (it being by adopting new materials or new processes) Opportunities for information technology and communications Moreover, the new possibilities offered by information technology and communications ( ICT) also represent an opportunity to supply all companies irrespective of their competitive position. An example in this sense, not only are the funding platforms like Kickstarter by crowdfounding , where developers get liquidity and even sell their products

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even before manufacture , obtaining adequate financing in the event that the product is a success to proceed to manufacturing and marketing. Thanks to this system, some young entrepreneurs coming out of schools like MIT or Harvard compounds formed multidisciplinary teams of engineers, designers and professionals of all kinds to create garments such as shirts Apollo Boston firm Ministry of Supply , which PCMs include the maintenance of body temperature ( tecnologĂasimilar to that used by NASA in their space suits ) antimicrobial treatment and anti -wrinkle treatment in one garment . They got more than $ 400,000 during his campaign on Kickstarter , and have expanded their business in recent months shirts and pants, attracting the interest of the department store, studying marketing through their chains. This model is also being adopted in Spain, having many examples of this to be considered ( Muro.exe ) In international terms, many micro and small enterprises are emerging from supply products that meet market needs a hitherto ruled by big business. As examples, American Wool & Prince, that sells shirts tested by its creator that can go more than 100 days without washing thanks to its anti-odor technology, or 6-LEGGED TEES, offering permanent anti-mosquito properties shirts for summer. Also in the field of ICT, there are scanners that can measure very accurately the human body and are used in commercial buildings, like in Bloomingdales (New York), as technology, called ME-ALITY also scan the body of the customers in just three seconds and provide information about its size (depending on the purchase), recommends what clothing brand offers models that are closer to their body structure. 3D printers, which arecapable of printing accurate objects at relatively low production cost (as molds are not necessary, which is what makes it very expensive, the series production are unique and customized for each object), they are also being used by fashion companies like Nike, which has already

used this system on their new Vapor Laser Talon shoes, or as designer Pavla Podsednikova, who explores the possibilities of 3D printing applied to customized shoes, using a 3D scanner that allows making shoes that fit perfectly to each foot. Parallel to the above, it is worth mentioning to make a specific reference to what is known as wearable technology, devices shaped as wristwatches, and even integrated in the garments of those who have high expectations of growth in a short term. In the last September issue of the American Vogue there were editorials published that included the Nike Fuel band or the fashion show of Dries Van Noten the models on the catwalk were seen wearing the latest in technological advances: â&#x20AC;&#x153;Google Glassâ&#x20AC;?.

will entail a 50.000 billion dollar growth in the next 3-5 years. All this allows us to conclude without any doubt that indeed the potential of technological developments in the fashion industry are very promising.

Growth Expectations Fashion and technology are getting closer to each other and the possibilities that this union represents are infinitely important. There are figures available in this regard that give a glimpse to this trend, as indicated by the referenced pages in the sector, as businessoffashion. com that suggests that the business of fashion technology

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A RIDER’S SECOND SKIN WORDS BY

KLEMENS SCHULLER

THEY REGULARLY FACE EXTREME DANGER, ARE ON THE PURSUIT OF GLORY AND ONLY BEING NUMBER ONE REALLY COUNTS. MOTORCYCLE RIDERS ARE A UNIQUE BREED OF PEOPLE WHO PUT THEIR HEALTH AT RISK WITH ONLY THEIR LEATHER SUITS AND HELMETS THERE TO SAVE THEM IF THEY MAKE A MISTAKE.

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“ WE CAN’T EXPECT THAT EVERYONE IS AS PASSIONATE ABOUT RACING AS WE ARE ”

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Most people ask themselves, why are they doing this, why not just get a normal job? The motorcycle gear brand Alpinestars tried to give a clear answer to this question in one of their most popular videos: “We can’t expect that everyone is as passionate about racing as we are. Some people might not understand the desire to test physical limits – but we don’t make products for them.” By saying this, Alpinestars makes a clear statement showing its commitment to motorcycle fashion. People might say now, why focus on this area, all you need for riding a motorcycle is a helmet. However, when taking a closer look at those athletes it is easy to see that it takes a lot more than just a helmet. In order to give a rider a fair chance of walking away unhurt after a high speed crash the leading companies Dainese and Alpinestars have spent a huge amount of money to keep up the development of their racing gear. Looking at a rider a lot of different clothes are necessary in order for him to go out on the track. These include a helmet, leather suit, leather gloves, leather boots and further protection gear which a rider wears underneath the suit. Many years ago those components only existed in normal cow leather and if the rider was lucky some additional foam pillows in some regions of the body. Nowadays the production is way more complex. High tech materials such as titanium or carbon fiber are added on various parts of the body in order to absorb the energy of an impact. These are mostly situated next to the joints such as the shoulders or elbows. What is more the brands moved from cow leather to the more rigid kangaroo leather to make sure that the suit wont rip into pieces when the rider slides over the asphalt. Another new technology is the addition of an airbag system to the motorcycle suit. Small sensors which are situated in the back of the suit measure the exact riding situation and in case of a crash automatically inflate air bags which are situated around the riders’ shoulders, breast and back.

The difficulty in developing such gear lies in the fact that it has to combine safety with movement. If the rider cannot move on the bike he will not be able to wear it, no matter how much protection it would provide. In order to help a rider move special neoprene segments are added to the suit which are more flexible and allow more movement. Generally speaking it is possible to say that motorcycle fashion is one of the most underrated areas of fashion there is. The fact that this gear has to protect a rider while also looking good in order to attract buyers is a big challenge in this business especially since the prices for a racing suit can cause a severe headache for some people.

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PRO JEC TION PHOTOGRAPHER FERNANDO ROLDÁN MODELS VICTOR BELLIDO & ALBA VILLANUEVA & DANIEL HERRERA MAKE UP & HAIR NATALIA MORENO WHAT ARE OUR PROJECTIONS FOR THE FUTURE? WHAT DO WE WANT TO IMPROVE? WHAT TECHNOLOGIES WILL WE BE USING? WHAT WILL OUR CLOTHES BE LIKE?

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Sweater and pants by DAVIDELFIN, shoes by ZARA. Sweater and pants by DAVIDELFIN, shoes by VICTORIA. MARCH 2014

Sweater and pants by DAVIDELFIN, shoes by VICTORIA. 48

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Sweaters and pants by DAVIDELFIN, shoes by ZARA. MARCH 2014

3D WORDS BY

PELAYO PEÑARROYA

(KNOCK KNOCK) -HI! -GOOD AFTERNOON LADY. IS…EMM… MISS SHOEPPER HERE? -RIGHT IN FRONT OF YOU SIR. -PERFECT! IF YOU COULD SIGN HERE I WOULD BE DELIGHTED. -SURE. ANYTHING ELSE? -JUST ENJOY YOUR PURCHASE. HAVE A GOOD DAY. -THANK YOU, YOU TOO!

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-Guess what! I’ve received my polycarbonate block! -Have you bought a new one?? It is the third this month… -But this is the one, sweety. -You’ve got your closet about to explode. Anyway, what can I do? Send me your 3D plot and you will be able to show your new shoes off tonight. -You’re the best! -Study engineering… they said. You will make planes… they said… Can you imagine a future like this? If you can, maybe you should not be reading this but engineering (or you are just “OOHHHHHGGGG” like Homer Simpson would said). The fact is that creating your own ideas from a block of plastic is not a science-fiction movie stuff. 3D printers are nowadays incorporated in many companies and they help them in terms of saving money during the design process, which is the most vital part in the manufacturing cycle. This technology is also called Rapid Prototyping and can be defined as the group of techniques used to manufacture, in a rapid way, a model of a required piece generated by a Computer Aid Design (CAD) using a 3D map. As a brief historical introduction, it is important to remark that this “brand new” technique started its development in the 80’s, specifically in 1986, pushed by 3D Systems which now one of the most, whereas not the most, important companies in this sector. They developed a method called “Stereolitography” which is still one of the most frequently employed ones. Then throughout the years several companies have booked a ticket in this boat and some of them were forced to pick their life vests and withdraw this big ferry called “Market”. Some of the ones that are today in full swing are the previously mentioned 3D Systems from North America,

Electro Optical Systems (EOS) from Deutschland or IDELT Ingeniería from Spain. Initially, this method was very specific in its use. It was applied in very restricted circles due to the low confidence most of the world professed to it and the high price it was sold for. But, as everything that works along History, results were excellent in the enterprises that have incorporated these systems to their chain work and in mid-90’s the number of companies using this service considerably increased. Accordingly, as the number grew up, the price lowered down and much more sectors were in conditions of applying it to their fields too. Sciences like medicine, biology or architecture use 3D printing to create prosthesis based on the images obtained with radiographies or echographies, in medicine; or to present easily models to buyers, in architecture. But the point we are about to treat here is fashion. Sometimes we can imagine something but, due to its complexity, we can not manufacture it. This is where 3D printing takes part in fashion. It allows us to mix designing with manufacturing, in some very unusual shapes. The technique used in fashion is called Fused Deposition Modelling (FDM) and is based on the extrusion of a thermoplastic on a work surface. But wait, are we getting tough? Let’s explain the basics: • Extrusion is a procedure in which a material is pushed through a hole or a profile obtaining a bar with a fixed cross-section. • A thermoplastic is a polymer that gets pliable above a specific temperature and recovers its properties upon cooling. With these both concepts, we are able to understand the process: As every Rapid Prototyping system, this one is a layer-step procedure. The 3D plot in the computer is sent to the machine (along some “translators” for the different machines) in packs of layers, from the bottom

to the top. The model is created as the layers pile up. But in fashion, the structural is not an usual point of view, so a secondary and removable material is precise to allow this layerstep process conclude satisfactory. This secondary material is fairly removed when the model is finished just with water or high-pressure air. The thermoplastic is heated up to a very close to its fusing point temperature (about 1Kelvin below) in order to expedite the extrusion. Despite the final surface needs a smoothing treatment and some internal tensions are created in the inner part of the model (due to the gradient of temperatures between the surface and the core), we are facing the second most utilized method worldwide and it is an ample justification of its benefits.

-Honey!! -I’m here! -Do you think you could print me a pair of insoles? These shoes are really killing me off. -Sure, I think I’ve got some leftovers from my mobile case. “It’s a good time for experimentation; it’s a good time to think about how something that is old as the clothing industry can be redefined with new technologies.“ Mary Huang Continuum, fashion founder. Technology is amazing just because we are.

Back to fashion tendencies, we hear from many subgroups in this huge category. In clothing we can found bikinis designed in materials that are very similar to fabrics, but with geometry, founded in cylinders with several different widths, that achieve a totally fitted comfort sensation. Also jewellery is concerned in this system. As we have said, if you can imagine it, you can print it.

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IQUES MARCH 2014

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A LEK SAN DER

SHIOENNEMANN MARCH 2014

call my own. Maybe I will sometime in the future or maybe I wont. THE ARCHIVE : What do you enjoy drawing the most and why? ALEKSANDER : I never really thought about that. I like drawing a lot of different things. Sometimes I’ll try to imitate different textile textures as accurately as I can or skin and hair, like when I’m drawing a person. Sometimes I like to draw small very intricate patterns that don’t resemble anything at all and other times something completely different. THE ARCHIVE : Which techniques do you use and which do you like the most? ALEKSANDER : I never really attended any drawing classes so I can’t tell you very much about techniques. But, the drawing you chose for example, I drew from actual pictures. I just sit down in front of my laptop and I start drawing. I use a variety of different graphite pencils and then a piece of cloth for shading and blending.

THE ARCHIVE : When did you start drawing? ALEKSANDER : I started drawing the moment I could hold a pencil. I remember that whenever I had to be pacified, my mom would hand me a fistful of felt-tip markers or some coloured pencils and a stack of papers and I would be silent for hours. I loved it and as a result I have kept drawing my whole life. THE ARCHIVE : How would you define your personal style? ALEKSANDER : I draw in a lot of different styles that are all more or less abstract and once in a while not at all abstract. For example, the drawings you have chosen are very different from some of the other things I make. So I don’t think I have a particular style that I would 60

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THE ARCHIVE : How does drawing make you feel? ALEKSANDER : What attracts me the most about drawing is the same as when I was a kid. You enter into another world. Like reading and listening to music, but when you are drawing or painting you are creating everything yourself and that gives you a great sense of freedom. THE ARCHIVE : Where do you see yourself in 10 years? ALEKSANDER : Honestly I don’t have an answer to that question. I haven’t thought that far. THE ARCHIVE : What are your aspirations for the future with your drawings? ALEKSANDER : Hopefully, one day I’ll be able to use my drawings for something a little constructive, and even if I don’t I’m pretty sure I’ll continue drawing for the rest of my life.

MARCH 2014

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AITOR THROUP INTRO BY

ELLA.

AITOR THROUP IS ONE OF THE MOST POLYVALENT AND VERSATILE DESIGNERS THE FASHION INDUSTRY HAS COME TO KNOW. HIS PASSION FOR DRAWING AND SOME BRANDS LED HIM TO A GREAT CARREER IN THIS WORLD. WE HAVE SEEN HIS WORK AS A DESIGNER BUT ALSO AS A CREATIVE DIRECTOR IN DIFFERENT OCCASIONS. LET’S LEARN MORE ABOUT HOW HE COMBINES HIS PASSION AND KNOWLEDGE IN THE FASHION INDUSTRY AND SHOWS US A CLEAR OPINION OF THIS WORLD..

MARCH 2014

AITOR THROUP WAS APPOINTED CREATIVE DIRECTOR OF BRITISH ROCK BAND KASABIAN

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itor Throup was born in Buenos Aires, Argentina in 1980. He arrived in Burnley, Lancashire in 1992, and there Throup developed a passion for labels such as Stone Island and C.P. Company. He began a BA in Fashion Design at Manchester Metropolitan University since he always had a passion for drawing and a real interest in the products mentioned before. He graduated with first class honours in 2004. In 2006, he completed an MA in Fashion Menswear at the Royal College of Art in London. Aitor is very interested and motivated with anatomy and his main interest is drawing. The primary tool in the exploration of his Justified Design Philosophy are his hand drawn characters, which show the necessity of a reason or function behind all design features. Aitor’s design process is centred around construction and innovative methods of design, in particular

a construction process which uses his own sculptures of the human body as a “system for blocking garments”. Throup’s graduate collection from the Royal College of Art was entitled When Football Hooligans Become Hindu Gods and was a really acclaimed collection. It had a strong narrative and featured a diverse selection of influences from military garments to Hindu symbolism, coming together through unique transformational product characteristics. In September 2007, he exhibited The Funeral Of New Orleans (Part One), at London Fashion Week. The presentation of this collection defied conventional ways of exhibiting fashion, as he showed the pieces on life size sculptures created by himself, rather than models, each in a different stage of transformation. The presentation also incorporated a film created with SHOWstudio, which acted as a sort of animated instruction manual, allowing the viewer to not only under-

stand the transformational mechanics of each piece, but also to learn more about the narrative behind the collection. Throup has won multiple awards over the years, including the ‘Collection of The Year Award’ and the ‘i-D Styling Award’ At ITS#FIVE (International Talent Support #5). He has worked as an art director/stylist with i-D magazine, Arena Homme+, VMan, and GQ Style, and he designed the cover for the December 2008 issue of Dazed and Confused Japan, which also included an 8-page portfolio of his sketches. His unique take on the fashion industry also questions the need for a cyclical structure of seasonal creative output. His efforts to challenge tradition and find new ways to express his vision have led to wide critical acclaim. The well respected fashion journalist Tim Blanks has cited him as one of fashion’s most influential people. In 2008 Aitor collaborated on two special edition projects with Stone Island, which were presented at Milan fashion week: Modular Anatomy and Articulated Anatomy. Aitor Throup began working as a creative consultant with the British football brand Umbro in 2008, which led to his involvement in the concept and design of both the home and away football kits worn by the England football team at the 2010 World Cup. At the 2009 edition of Milan’s ‘Salone del Mobile’ international design fair, Aitor Throup and C.P. Company launched the special 20th anniversary edition of the iconic Goggle Jacket (A driving jacket originally designed by Massimo Osti). The re-design of this icon featured a fully ergonomic construction, based on a life-size sculpture of the human body in the driving position. It also featured a unique transformational articulation built into the pockets, which allowed the jacket’s structure to morph into a driving position when required. In October 2009 a special exhibition at the Royal College of Art in London showcasing the process behind the design of this anniversary jacket, was curated by Aitor Throup. In early 2010, the jacket was nominated for the ‘Design of the Year’ award by the Design Museum in London.

Aitor launched a preliminary product line for A/W 2010 on-schedule at Paris Fashion Week. The presentation, titled ‘LEGS’ consisted of a retrospective of his various trouser concepts from the previous six years, and culminated in a collection of three specially developed trousers (titled Prelude) which were exclusively exhibited and sold globally in a small number of boutiques and department stores including Selfridges in London. In 2011, Umbro and Aitor Throup launched their long awaited seasonal collaboration line, the Archive Research Project, which has been globally critically acclaimed. For the launch of the collection, there was a special installation at London’s Dover Street Market. In July 2011, Aitor Throup was appointed Creative Director of MARCH 2014

British rock band Kasabian, resulting in the designer’s music video directorial debut for the band’s song ‘Switchblade Smiles’. Throup has also designed and art directed all of the band’s artwork for their fourth album ‘Velociraptor!’. At London Collections: Men in June 2012 Throup announced and previewed

his eponymous product line. The New Object Research presentation was hosted by two of the most influential fashion ambassadors, Sarah Mower and Tim Blanks. The first complete New Object Research offering was presented at London Collections: Men in January 2013, and was globally launched into exclusive stores in October 2013. In January 2014, Aitor Throup was announced as creative director for Damon Albarn’s first solo album and single, Everyday Robots. The album lead title track Everyday Robots is accompanied by a video, premiered on the Sundance Channel on Monday the 20th of January 2014, a digital portrait of Albarn directed by Throup which uses CGI software showing actual cranial scans and facial reconstruction techniques to explore and reveal the process of building a uniquely personal portrait of an artist and individual.

AITOR THROUP.COM WORDS BY

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MARCH 2014

FA BIA NO LIMA

Fabiano Lima was born in Brasilia in 1984. In that same city he started his studies in Fine Arts at the University of Brasilia and of fashion design technology at IESB. Lima got in touch with the Fashion world at a very early age. He grew up surrounded by pattern making magazines from his mother, a dressmaker experienced in working with leather. In 2010, he won the contest «Todo dia criativo» and got a scholarship from the Istituto Europeo di Design (IED) in São Paulo, where he pursued studying 68

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Fashion design. A year after, he moved to Madrid, where he started his major in Haute Couture at IEDs Spanish location in the capital city, Madrid and got in touch with other young designers who were also carving their place in the Fashion industry and he finally moved to Paris to finish his studies in Haute Couture at ESMOD. While he was studying in Brazil, Lima completed his academic activities by working as an intern next to the stylist Clarice Garcia, participating in every creative step of the process of creating a whole collec-

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tion and collaborating in the organization of the Fashion Week in São Paulo, where he got a Firsthand experience of creativity and the power of the current Brazilian Fashion industry. Throughout his career, Lima was strongly influenced by his Brazilian roots, finding inspiration in the modernist architecture of Oscar Niemeyer prevailing in his town and geometry of buildings, and has integrated into its universe aspects of the cultures of the countries in which-he lived. Attracted by the curved lines and deconstructed pieces, Lima wants to develop a working relationship with the volumes and unconventional materials.

THE ARCHIVE : When did you know you wanted to work in Fashion design? FABIANO : Actually it happened without me really thinking about it, I always loved the idea of making art and being able to live just doing that, I always loved drawing. And I remember when I had my admission exam for Fine Arts the interviewer asked me if I wanted to lead my studies to Fashion and I suddenly remember telling her no...well, years have passed and here I am! I think that having this woman asking me so much about the clothes I was drawing made me realize it somehow, it all “clicked” and I was suddenly working in fashion stores and started courses to understand more about the subject. After all I saw that it was possible to put together my Fine Arts ideal with clothes and spice it up so it would not just be a fabric in a museum. THE ARCHIVE : Where do you see yourself in 10 years? FABIANO : Working on my personal brand. THE ARCHIVE : How would you define your style? FABIANO : It is difficult for me to answer to that, I always look for inspiration in architecture, since I worked for Clarice Garcia in Brasilia, it generated a particular taste in me. And then I like simplicity but I wouldn’t say I am a minimalist.

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THE ARCHIVE : Describe your latest collection and tell us why you made that decision. FABIANO : In the last one I threw in everything I had seen and how I felt with the reality shock I had experienced between the cities I have lived in, and how one thing can be interpreted in many ways, it just depends on who is looking. With all that I went back to my roots in Brasilia and the architecture of Niemayer and instalations : the here and now, the ephemeral.Something that two different persons wonâ&#x20AC;&#x2122;t see and interpret in a same way.

THE ARCHIVE : What are you working on now? FABIANO : I was doing my internship at two brands in Paris where I learned a lot and now I am working on projects for Fashion design contests in 2014. THE ARCHIVE : What would be your definition of personal success? FABIANO : Doing what fulfills you and being able to live.

MARCH 2014

Coat by PATRICIA ASUNCIÓN 72

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COLLAGE PHOTOGRAPHER CYNTHIA ESTÉBANEZ MAKE UP & HAIRSTYLE MIRIAM TRELLIS STYLIST MARTA ROYO MODEL SARA SAN MARTIN

PAOLA TORRES GIVES US A NEW DYNAMIC TO THE FASHION EDITORIALS THANKS TO HER COLLAGES LET’S FIND OUT MORE ABOUT THIS TECHNIQUE...

MARCH 2014

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Jumpsuit by MIGUEL MADRIZ MARCH 2014

Coat by PATRICIA ASUNCÓN, pants by POL. 76

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Coat by LYE LYSIANNE, pants by POL. MARCH 2014

Coat by POL 78

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Top by H&M, skirt by ULISES MÉRIDA. MARCH 2014

EXPERI 80

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ENCES MARCH 2014

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HUSSEIN CHALAYAN WORDS BY

ELLA.

CHALAYAN IS ONE OF THE FIRST DESIGNERS TO HAVE PUT TOGETHER FASHION AND SCIENCE. HIS PASSION FOR ARTISTIC FASHION, INSTALLATIONS AND EXPLORING INNOVATION LED HIM TO CREATE COLLECTIONS THAT GO HAND IN HAND WITH TECHNOLOGY.

MARCH 2014

ussein Chalayan is a British/Turkish Cypriot who was born in Nicosia in 1970. Due to conflicts in his country his family moved to England in 1978 and he started his studies there. He became British and graduated as a Fashion Designer at Central St Martinâ&#x20AC;&#x2122;s School London. In 1993, his graduate collection called The Tangent Flows, was sold and showed at the Browns shop in London. This collection contained garments that had been buried in his garden and unburied before the show. After graduating he founded his own company called Hussein Chalayan. In 2010 he decided to change the name to just Chalayan because of the oriental connotation of his first name. In his designs he combines the human body and clothing with technology, science and architecture. The narratives of these collections play around culture and anthropology. This is how he creates stories that reflect in his collections. He combines artistic fashion, installations, music and cinema. This makes his catwalks look like performances more than just usual fashion shows. At least that is what people say about him. To him that is because the garments people refer to are the most innovative ones and people define it as wearable art. The rest of the collections shows highly wearable garments, as he likes to refer to. Moreover, his fashion shows are a combination of minimal sets, mood of suspense, elements of contemporary interiors, urban architecture and geometric stuctures. The conceptual and theoretical inspirations behind his garments are played out across the body during the show. In 1995, Chalayan and around a hundred colleagues were running for a Fashion Design price. In this contest organized by the company Absolut, Chalayan, who was then 25 years old, won and got ÂŁ28000 to develop his creations that would be showed at the London Fashion Week, in that same year. Also 84

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in 1995, Chalayan worked with the avant-garde singer Björk. He designed the famous white jacket that she is wearing on the cover of her album Post. The designer also accompanied her during her tour throughout his designs he would lend her for the shows. As a thank you she worked as a model for his show at the London Fashion Week. Moreover, while Chalayan was still working on his collection for 1998, he was hired at the American company TSE as design assessor. He worked there until 2001. Chalayan worked on many collections since he founded his company. In 1997, he started with his collection Lands Without, a collection with “Kite” dresses. In 1998, he showed his collection Between, a collection entirely constituted of black chadors which had a difference in its length. The first one would be long and go up to the feet, the next one would be a bit shorter and continuing like this the last one would just be a mask covering the face and letting the eyes show. This collection was about defining cultural territory. Also in 1998, he worked on his collection Panoramic that showed the infinity in a cityscape of geometric forms and distorted images. He worked with pixels and shapes of garments creating a digital landscape with enlarged cube shaped pixels. In 1999, he showcased Echoform, a collection made of leather dresses inspired by car interiors. He wanted to experience with speed representation and the whole collection is a thought about the body’s inherent mobility. It evokes thoughts on speed, spatiality and well-being. However, the first collection to really show his interest in technology was the one called Before Minus Now, showcased in 2000. In this collection he showed the “Remote control” dress, which was a high-tech triumph that connected fashion to technology and technology to the body. It created a dialogue between body and environment and it was the first wireless device to be presented as a fully functioning fashion garment. In 1999, he presented the collection Geotrophics that had the famous chair dresses. He wanted to explore

the nomadic existence and create a transportable environment. Chalayan expanded that thought in another collection called After Words, in 2000. This collection featured the famous “coffee table dress”, one of his most well know creations. Despite recognition and attention, the designer struggled with financial problems to pay for his collections. As his contract at TSE was not renewed in 2001, Chalayan was forced to go on voluntary liquidation. He created a comeback collection in 2001 without catwalk and also designed for the high street label Marks & Spencer. The Italian clothing manufacturer

Gibo and the British jeweler Asprey helped the designer at that time and Asprey even offered him a job as fashion director in 2001. Besides, he won the British Designer of the year award in 1999 and 2000. He also got awarded Member of the Order of the British Empire (MBE) on 17th of June 2006. This gave him international recognition and he won the Design Star Honoree by the Fashion Group International at their annual Night of the stars Gala, New York, in 2007. In 2002, Chalayan expanded his design portfolio with a menswear line. He sold the rights on this collection to Yoox. com in 2007. The designer often had to change his studio because of his financial struggle. Finally he decided to move to Paris. Also, in 2007, he donated a showpiece to the Fashion is Art exhibition in aid of radio station capital 95,80â&#x20AC;&#x2122;s Help a London Child charity, which was sold at an exclusive auction in London. In early 2008, he designed a series of laser LED dresses in collaboration with the luxury label Swarovski. This collection was showcased in Tokyo. In February 2008 he became creative director of the German sportswear label Puma. This label also purchased a majority stake in his label (Hussein Chalayan). In that same year he also collaborated with the German hosiery and legwear label Falke to produce footwear for his A/W 2008 collection, showcased in Paris. Besides, in 2010, he opened I Am Sad Leyla multimedia installation at the Lisson Gallery in London. In 2011, Chalayan and Nicola Formichetti collaborated with Lady Gaga at 53rd Annual Grammy Awards. The designer is also known for his short movies such as Absent Presence, which represented Turkey at the 51st Venice Biennale in 2005, and Ambimorphous screened at Mode Natie in Antwerp in 2002.

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PHOTO BY

KARIN NUSSBAUMER

JULIE MÜLLER Julie Müller is a German designer who currently lives in The Netherlands and works in Rotterdam as a teacher and consultant next to having her own brand, FRAU MULLER. THE ARCHIVE : When was the first time you thought about working in the Fashion industry? JULIE : I actually never thought about working in the fashion Industry. I was more excited about what is beauty and when do we notice and determine someone’s beauty. THE ARCHIVE : Tell us about you experience working as a teacher next to having your own brand. JULIE : It’s not easy to combine these two jobs. As a teacher you have to zoom in to different styles, concepts, desires of the students of different levels. In my own work I have to focus more on the core business. These two behaviours are not always go well together. The tempo is also very different, so you need to be very flexible and focus on concrete things at the same time. THE ARCHIVE: You worked on a Project for bridal fashion a few years ago, would you want to explore more about that in the future? JULIE : We did a good job and it felt like there is more to gain in a more unexpected way within the bridal theme. The lifes of women have changed, so their position and status in society have changed too. It could be very interesting to do a more profound research on bridal fashion, with questions like why do we want to get married today? Are there different desires? What has changed and how can this change manifest itself in updated bridal (and groom) fashion? What can we learn also from different traditions in different cultures? It would be very interesting to explore a few answers.

THE ARCHIVE : You have worked on your own brand for more than 10 years, what are your inspirations and aspirations for this brand? JULIE : I am inspired by graphic lines, structures and systems in organic and artificial ways. I am currently excited about the third dimension in fabric and patterns. It is very important for me to strive for a modern silhouette. My clients are used to a high standard of quality of my designs so my limited productions are very time consuming. This is why I’m currently focusing on basic items with a modern silhouette/ look. THE ARCHIVE : You also work as a consultant, what do you enjoy doing the most? JULIE : Teaching! I love working with young people and see and experince what their challenges are and to help them developing. This interaction challenges me to stay up-to-date. THE ARCHIVE : You know more than one culture, which gives you more than one point of view for the things you do, what would you say is more German about your work and what would be more Dutch? JULIE The German aspect about me is that I am precise and I take things seriously. I love intelligent and subtile designs which offer the owner more confidence, are functional and supply freedom for the user. The Dutch aspect is that I learned to love the unexpected. THE ARCHIVE : What would you tell a new designer to work on for his future in the Fashion industry? JULIE : Don’t try to be someone who you are not. Embrace and improve your skills. Dare to try silly things but never forget you are designing for human beings. You can’t do all the work by yourself, so work together! MARCH 2014

OSCAR RAAIJMAKERS Oscar graduated with a Bachelor of Arts (BA) in Fashion Design in 1996, from the ArtEZ Institute of the Arts in Arnhem. Since then he has won various awards in the Fashion industry (1997-Frans Molenaar Couture Award, 1998-Festival d’Hyeres Special Prize, 2003-Fur Innovation Award) and worked for different brands including his own, that he co-founded with Süleyman Demir (OSCAR SULEYMAN). We can find names such as Vivienne Westwood, Elle Prêt-à-porter, Oilily, Viktor&Rolf. Curently he is working as an independent designer and as a tutor at Fashion institutes. THE ARCHIVE : When was the first time you realized you liked Fashion? OSCAR : Watching the German television program ‘Neues vom Kleidermarkt’ with Antonia Hilke. She presented twice a year the new shows from Paris while sketching the most directional silhouettes on paper and giving context to fashion with her comments. Those were the glory days of Thierry Mugler and Claude Montana. I was 11 years old. THE ARCHIVE : When you started studying Fashion design, what were your aspirations for the future? OSCAR : Like every first year student I wanted to become a famous fashion designer with my own label, shows in Paris, a perfume etc. The fashion cliché. THE ARCHIVE : How would you define your personal style? OSCAR : 90

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Elongated I-silhouettes with lines of fracture at unexpected places, sharp tailoring in modern proportions, classic references in a contemporary context. THE ARCHIVE : You have worked as creative director, head designer and senior designer for different brands including your own, and also as a tutor for fashion design Institutes, what did you enjoy doing the most? OSCAR : Fitting toiles on a model. Toiles made by myself, with a team or with students. The toile fitting is the moment where the dream becomes a visual identity while not yet touched by reality. THE ARCHIVE : Is there anything else you would want to explore in the Fashion industry? OSCAR : A lot, but my perspective on the industry has changed… THE ARCHIVE : You worked at Viktor&Rolf for 4 years, how was your experience there? OSCAR : Intense, great learning experience, exciting, lot’s of travelling, very little social life ;-) THE ARCHIVE : Where do you see yourself in 5 years from now? OSCAR : Good question…..come back to me in 5 years and I will let you know……

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MARGREETH OLSTHOORN Margreeth Olsthoorn is a dutch designer who owns a shop in the center of Rotterdam. There she created her own universe in fashion. You will be able to find brands such as Maison Martin Margiela, Acne, Anne Demeulemester, to name a few. We wanted to interview her to get to know more about her passion and why she decided to take this path of the Fashion industry.

THE ARCHIVE : When did you realize you wanted to work in the Fashion industry? MARGREETH : I think when I was 7 years old, I wanted to make the world nice and tasteful and I knew I had that strong meaning or at time eager to present :) THE ARCHIVE : Why did you decide to open up a shop? MARGREETH : I was not really planning, but after working in shops next to my art studies at the art school, I felt that it was so special to create your own world and the eager to share makes me go that way, also the experience I had and I saw where my effort and quality was in. THE ARCHIVE : How do you choose the designers you have in your shop? MARGREETH : It is always love, and not for one piece but for the whole story that a designer is telling, and then everything is important, not only what I see on the catwalk, when you become stronger, you can onle strong when you work with people who take every detail serious.

THE ARCHIVE : Are you interested in fashion technology? Would you want to sell such designs in your shop? MARGREETH : Yes, of course, innovation is also something that inspires us. THE ARCHIVE : What is your favorite thing to do about your job? MARGREETH : It is my love, my life, and that I can grow and make new revolutions and ... I work with people who make my world nice, and I try to make their world nice. I am interested in people and their beauty, not the other way around. THE ARCHIVE : Where do you see yourself in 10 years? MARGREETH : I think that art and fashion are strongly related. At this moment we are just starting an art gallery in our shop. That will grow hopefully. Then I always want to grow and enjoy the moment, high end in combination with good things for a good price. Also, we will start a webshop because it is not realistic not to do it. But I still want to enjoy and make people feel good in the way they reached the shop and the way we help them to choose and finally enjoy the clothes they bought. And where they bought them, so they remember us as the shop you want to go to.

MARCH 2014

M A D A M E PHOTOGRAPHER PABLO RODRIGO STYLIST RAUL CABANES MODEL YOSUNE GUILLÉN

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Pants by DIESEL, top, bag and shoes by ZARA, sunglasses by MARC JACOBS MARCH 2014

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Shirt, pants and jacket by ZARA, shoes by PULL&BEAR, clutch by ZARA. Shirt by DIESEL, pants, shoes and clutch by ZARA, bracelets by H&M.

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Top and jacket by ZARA, pants by DIESEL, shoes by PULL&BEAR, bag by ZARA.

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Dress, shoes and bag by ZARA, vest by ZARA, socks by CALCEDONIA. Pants, shoes and bag by ZARA, Shirt by KARL LAGERFELD. Vest by ZARA, shoes by ZARA, bracelet by RAÚL, necklace by H&M.

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ART AND TECHNOLOGY How can we relate Art and technology? First we should ask ourselves, what is technology? Everything that works with light, sounds, energy, electricity... We imagine a lot of cables, metal, lights, colors, CDâ&#x20AC;&#x2122;s, ... We see an artificial world in front of us. Some might even say that they can only imagine art in a futuristic way when it comes to combining with technology. But letâ&#x20AC;&#x2122;s learn more about it. Actually, many artists started exploring the technological world since its beginning. But each one of them focuses on the topic in different ways. Some like to play with light, using leds or projections. Others prefer machines that exerce a 104

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power on the user or on the other hand machines that create art. Then there are some others who combine the users interaction and the light in their piece of art. And last but not least, there are those artists that create their pieces thanks to technology. One uses a camera and what this object can provide to get to the final piece of art which will then be a photography. Another artist might explore the technological materials and take pictures of how nature reacts to it. And then, there are the artists that take the failures of technology and show its beauty. Using pixels, exagerating the failures of the machines or even the sounds they use in their installations.

PIERRE HUYGHE Masks whith light. Creating new images and making the user discover a new perspective of the world and its technology.

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DAAN ROSEGAARDE This artist uses technology to create an interactive instalation in our environment. Here he uses light and motion inspired by nature.

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ANGELA BULLOCH She uses light installations to create an atmosphere in museums. MARCH 2014

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ANISH KAPOOR This artist uses technology as machines that spread painting on objects or walls and installations.

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JENNY HOLZER She works with leds, a type of technology where she plays with short sentences, light and colors.

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WOLFGANG TILLMANS He just plays with paper technology and how the light reacts to it. In this case he took pictures of a metalized paper.

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RIOJY IKEDA This artist uses huge installations with screens and projections. He uses technology to communicate his message.

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THOMAS RUFF He plays with the failures of technology, in this case he uses the exageration of bad quality of an image. The artist uses pixels to make normal photograps turn into art.

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EX TA SY PHOTOGRAPHER EMILIO JIMÉNEZ HIDALGO STYLIST & ART DIRECTOR MANUELA GONZÁLEZ FIDALGO MODEL SITA ABELLÁN MAKE UP & HAIR DANIEL GÓMEZ SÁNCHEZ DESIGNER CARLOS DIEZ

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WHAT IS FASHION TO ME ? WORDS BY

CARLOS LÓPEZ

What is fashion to me ? I’m not one to give an exact definition of it , but I can give my view on it. First, I think fashion is a very general concept that encompasses many others, the fashion you see on the runways is not the same as the one you see every day on the street , and we should not forget that fashion is included in current tastes of a population (music, cinema, painting ... ) . I will try to discuss each of the various types of fashion separately because I think each of them is a very different thing that needs personal attention. Runway Fashion is something that in my opinion does not focus correctly usually . On the tv show we always see seasons to come , telling us that is what we “will wear “ in the future , when obviously it is not true. No one would go outside wearing the clothes we see on the runways of haute couture. However, these designs are not useless , basically what designers do is art, expressed in the form of clothing and accessories, and I think that’s how we should look at it. I also believe that they rebroadcast such fashion to create more hype about certain brands to make people buy the brand because its “exclusive” and its cost seems justified. At the end of the day it is a marketing strategy , which undoubtedly works. Secondly , “every day” Fashion, clothes and accessories mainly , I believe is something necessary for everyday living . It is something that is in tune with the mood and activities we do during the day , for example, we

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wouldn’t dress the same way for a job interview as for a night out at bars with friends. In addition , people often enjoy dressing up well and making a group link??? in situations where many are dressed in the same guise ( Orla college , school uniform , New Years Eve ... etc ) is also what makes us unique in some way, since everyone has their personal taste and dresses according to their preferences . Paradoxically , this same fashion is what makes us all equal , in the bad sense of the word. Each year fashion trends are defined, like how to wear some kind of boots , coats or even glasses, the question is , what is leading the population to follow such flows ? One hypothesis is that people like to dress like their friends / family or even ce- lebrities , in this case , the trend is going on the more people get into it , and it usually ends when a new one comes . A second theory is that brands agree about what “ is going to be worn “ that year and people buy it because there is no alternative . This re- flection may seem somewhat farfetched at first glance, but try to go to a crowded place , you’ll surely find several “ patterns “ or styles that repeat themselves. In conclusion,we can say that fashion is a necessity and we all like to live “within” it , but somehow it is a double-edged sword because we have limited the ability of self-definition of a style , which leads us to slowly become more and more “types of individuals” instead of being “unique” individuals.

PHOTO

RYAN GANDER. EXPOSITION : THE WAY THINGS COLLIDE

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COLLAGE BY

PAOLA TORRES

WORDS BY

PABLO YUBERO

In the last decades we have witnessed an immense development in science and its technology. This huge progress has changed our daily life in every way possible, not only transport communication, social relationships etc. but also fashion. Fashion as any other industry, has known how to fit into the new era and has started using leading scientific research projects in its own profit. Here we will review some examples of how scientific research makes a substantial contribution to the develpment of fashion and its usefulness. For instance, we have all heard about nanotechnology, and nano-fibers applied to clothing. This involves the manipulation of materials at a molecular level, being able to develop new kinds of weaves or textures. This technology enables the production of clothes previously unimagined: socks that prevent odor, pants that are resistant to water and dirt, clothes that change color and t-shirts that charge mobile phones are all possibilities with nano-textile production. There has been (unsurprisingly) an increasing demand of textiles providing more functionality like the examples above. There are, of course, also “health” uses like antimicrobial fibers. The manipulation of silver particles to coat the fibers prevents from germs to be in the clothes. This is highly relevant in the health care sector, and specially in hospitals. As a second example is what scottish outdoor clothing company Keela explained at the 2012 Edinburgh International Science Festival. They are inserting infrared reflectors inside clothes creating more heat retention. This can soothe sore muscles and limbs and could be very useful in sports gear. Also, two students at the Cornell University have created a hooded bodysuit to ward off mosquitoes. The fabric is bonded to an insect repellent at a molecular level to upgrade effectiveness and its useful life. Furthermore, Ayuvastra is an Irish company that is trying to incorporate

natural healing ingredients in they dyes. Instead of using industrial one, they apply medicinal plants and herbs to give a natural colour and enable the body to absorb the medicinal properties gradually through the skin. The use of carbon nanotubes has several benefits. It includes improvements in strength and toughness as well as fire resistance, flexibility and lightweight. In its applications we can find clothing for firemen, for disaster areas and so on. The growing social ecologic concern has also driven fashion manufacturing into a more sustainable way of production. Now more fashion hoeses are taking an eco-friendly attitude to production, using recycled or organically grown materials. The Centre for Sustainable Fashion in London has gone one step further with textiles that can actually fight air pollution. The centre’s chemists and designers are using textiles as a catalytic surface to break down air pollutants into harmless chemicals. Their experiments are still at an early stage, but maybe soon these catalytic dresses will be the height of eco-fashion. In the opposite case, we will now look at how technology gets improved by fashion. For instance, we will consider the “Google glasses” that have invaded the last New York Fashion Week. Models, magazine editors, bloggers, and generally fashionable folks have all been giving the glasses to promote them and show how stylish they look. This is a perfect example to observe the desire of technology to be in agreement with latest fashion trends.

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LENNART GÄBEL Lennart Gäbel was born in Hanover in 1981. He started studying Economics but soon realized this was not what he really wanted to do, so he moved to the Netherlands and started studying Graphic design, which led him to Illustration; something he had always loved and finally studied in Rotterdam and New York. He currently lives in Amsterdam but will soon move to Hamburg for new projects. He mainly works as an editorial illustrator and gets his inspira-

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tion from the news. However, next to the editorial illustrations he lately also worked on a project for Tommy Hilfiger. THE ARCHIVE : When did you start drawing? LENNART : I started just like every child – with simple colored pencils or crayons. The first political drawing I did at the age 12 or so. I did a crappy drawing of Kennedy standing on a podium saying

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“Ich bin ein Krapfen”. I must explain, “Krapfen” is a German pastry that in some regions is also called “Ber- liner”. I thought it was hilarious. For a short time I actually thought of becoming a newspaper cartoonist when I grow up. But that idea was soon forgotten. Just like most people I stopped drawing at some point. It turned out that I would hardly draw for the next 15 years. THE ARCHIVE : Why did you decide to become an illustrator? LENNART : Well, first I studied Economics and was working in a Mar- keting Department for almost 5 years before I became extremely unsatisfied with my life. I wished for a lifestyle, that would allow me to be more creative. After going though the pros and cons for a few months I decided to leave Ger- many and study Graphic Design in the Netherlands. In my first year I realized that Illustration was more what I liked. People told me that you can’t earn any money with illustration. But if I wanted money, I could have stayed at my old job. And luckily it turns out that these people were wrong. THE ARCHIVE : You have different techniques and approaches/ themes, what do you enjoy drawing the most? LENNART : I wish I’d have this ONE style that is truly me. Unfortunately I get so bored after a short while working in one technique that I have to switch. But the technique is not extremely important to me. What matters the most is the message and how I communicate it. Sometimes I spend 75% of the time brainstorming and 25% drawing. I can enjoy decorative illustrations when I see them but I get way more thrilled when I see a good idea behind a drawing. THE ARCHIVE : Who/what are your references or inspirations? LENNART : The news is my biggest source of inspiration. It mostly starts with reading through websites and finding a story I want comment on. Then I take a look on how to visually translate the message – often with the help of popular symbols that can widely be recognized. The good thing is – I am 134

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not afraid Iof running out of topics. The news never stops. THE ARCHIVE : Tell us about your latest Project LENNART : It is called “the daily sometimes” – an illustrated news blog. The idea is to make illustrations about articles or topics that I find worth spreading. Added with a short description about the topic or a link to an article, my illustration could function as a teaser to an article that otherwise might have been easily overlooked. It most likely will start in February 2014. My short-term goal is to create a platform that urges me to create illustrations every couple of days. But my crazy long-term-vision is to create a medium that plays a part in shaping the public opinion. THE ARCHIVE : Where do you see yourself in 5 years from now? LENNART : I want to illustrate for clients like “Der Spiegel” or “The New York Times” – simply because these institutions are so outstanding and represent the highest form of journalism. I would also love to still be able to work on my personal projects. But who knows – sometimes it’s a good thing that you can’t plan life. 5 years ago I never would have guessed that I get interviewed for illustrations I did.

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ER AS MO

STAYING IN OUR POINT OF VIEW SECTION WE WANTED TO EXPLORE AN INTERNATIONAL POINT OF VIEW ABOUT FASHION. THEREFORE WE SENT TWO JOURNALISTS TO GET INFORMATION FROM OTHER COUNTRIES. IN THIS CASE WE ARE EXPLORING ENGLISH AND FINISH FASHION. AGNÈS AEBERHARD, WHO IS BUSY IN THE JOURNALISM AND PUBLICITY AREA, WILL TELL US WHAT SHE EXPERIENCED IN FINLAND AND HOW FINISH PEOPLE DRESS COMPARED TO SPANISH PEOPLE. AS FOR THE ENGLISH FASHION, WE WILL GET TO KNOW IT THANKS TO INÉS CALVO, A YOUNG JOURNALIST AND WRITER WHO STUDIES ENGLISH PHILOLOGY.

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FINLAND COLD IS NOT AT ODDS WITH FASHION WORDS BY

AGNÈS AEBERHARD

Finland. The land of Christmas, of Santa, of reindeers. Who said fashion couldn’t get along with coldness? Though that was my first thought getting there, I quickly found out it wasn’t even close to the truth. The weather is actually challenging when it comes to fashion. How could you be warm and fancy at the same time? Finns have, for sure, the answer to that. No unclassy rainboots, no ugly raincoats. The cutter the better. Scarves are very likely to be the most important piece of the outfit. No matter what you are wearing, if you have a big enough scarf, you are safe. Infinity scarves, ruffly scarves, woolen ones... There is an endless range of them. However, when it comes to colours, winter ones prevail. Dark greys, blacks, some whites, and burgundy as the main one to fight Finnish coldness. As we move to coats, there is one thing to say: foreigners are the only ones wearing ugly waterproof coats. Finns are more likely to wear ponchos, woolen jackets, and long coats just above the knees. In terms of colours, they usually match the scarves with dark colours as grey and, of course, black. However, one particular type of coat is close to a takeover; the dark green one with leather sleeves. It has surely become a musthave in Finns’ wardrobe. As far as shoes are concerned, no rainboots allowed, except, once again, for foreigners. Not many ballet pumps during winter time, but mostly black leather ankle boots. When it comes to party 138

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time, clubs are full of girls wearing high heels. But, surprisingly, another kind of shoes is common for clubbing: Converse. As we are more used to see them as part of a daily outfit, Finns are more likely to match them with a tight skirt and a lace top. As for the rest of the outfit, bluejeans, leggings and denim shirts are often part of it. Finnish fashion does not actually differs that much from the kind of fashion we are used to in the south. There are, surely, brands like Marimekko or IVANA Helsinki, which are kind of representative of the Finnish identity. But they can be considered as the Agatha Ruiz de la Prada of Finland; worldwide known but not really accurate in terms of Finnish fashion in general. The Must-Have The Finnish must-have is actually not part of the outfit itself, but a complement. The Kånken backpack is for sure the most beloved bag. Designed by their Swedish neighbours, it has been described as “the Longchamps of backpacks”, and every single Finn has its own one. The Kånken backpack is waterproof and, as beauty is in the eye of the beholder, it is available in more than thirty colours.

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“TO BE OR NOT TO BE” WORDS BY

INES CALVO

The British style takes this Shakespearian quotation as the source of its inspiration: originality. Far from being a unified stereotype in the fashion world, the British has grown and reinvented itself so many times that, nowadays, seems to be a mixture of garments in which navy blue, plaid cloth and Oxford shoes outstand over everyhing else. But, what is the difference between the British style for British people, foreing people and the fashion world? The concept — despite of sharing the same basis — has several personal “faces” or characteristics, all interconnected within themselves, that allow us to recognise this distinction: Brits are well-known for their individual sense of style, mainly exposed by their “fearless” policy when mixing prints or patterns; all accompanied by a bed-head hair and vintage-style pieces. Also, an unforgettable element that should always be taken into consideration is the climate. As Emma Watson said in an interview “we’re governed by the weather in this country”, that is why skirts and shorts are mostly worn with opaque tights or knee socks whereas flip flops are substituted by plimsolls and umbrellas turn to be as important as wallets inside bags. As a simple recap, we can say that Brits embody the “thrown-on” style: not too polished and brave on combinations; always aware of the everyday rain.

From the outside, however, the British style is actually quite polished and serious. Maybe because the general icons are women of Parliament or Royalties such as Kate Middleton —an icon of style and refinement—, which are subjects of protocol and responsible for the International face of the country; their style is commonly associated with Burberry raincoats, rhombus woolen jumpers, straight tailor pants and moccasins; sometimes replaced by wide heel shoes. This two faces, join their particular characteristics when coming to fashion magazines, the London Fashion Week or even as inspiring ideas for some designers’ collections. To make it easy, the stereotyped British style would be made up by: Fedora hats or bowlers on the top, maxisize scarves or foulards around the neck; long navy blue militar coats, blazers or trench coats depending on the season to protect against the whimsical weather and, to cover feet from puddles: Oxford shoes, Chelsea boots, moccasins or plimsolls. All elements subjected to be plaid with the famous Scotch tartan in several colours.

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HIDING FACES PHOTOGRAPHER OSCAR ARRIBAS MODEL KAROLINA S. (UNO MODELS) MAKE UP & HAIR MIRIAM TRELIS STYLIST ELLA.

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Dress, skirt and scarf by ULISES MÉRIDA, Blouse by ZARA, shoes by UNITED NUDE.

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Dress and scarf by ULISES MÉRIDA, shoes by UNITED NUDE.

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Coat by ULISES MÉRIDA, shoes by UNITED NUDE. Coat and scarf by ULISES MÉRIDA, shoes by UNITED NUDE.

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PROJECTION

COLLAGE

MADAME

EXTASY

HIDING FACES

VIDEO PHOTOGRAPHER FERNANDO ROLDÁN MODELS VICTOR BELLIDO & ALBA VILLANUEVA & DANIEL HERRERA MAKE UP & HAIR NATALIA MORENO 150

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