Anachronism

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As an old-soul and lover of anything that has lived a lifetime before mine, anachronism focuses on just that. Whether it’s clothing, art, music or literature, this publication hopes to showcase and collect the new ideas inspired by the old.

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In that regard, the first issue of this publication chooses to take the spirit of an anachronism and focus it on style. Something that has been a constant source of enjoyment and inspiration in my personal life.

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It is a carefully selected curation of designers and brands that are the most inspiring to me as an individual and a striving creative.

EDITOR : JESS DEPAUL PHOTOGRAPHY : JARED SAWDEY, 2016


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contents

Pages: 66-71

WHAT : VINTAGE FASHION

WHO :

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Pages: 6-11

SCOTCH & SODA

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WHAT : DUTCH CLOTHING BRAND

Pages: 12-17

Pages: 18-23

Pages: 58-65

WHO :

WHO :

WHO : SUSAN CHOI

MARIE SOPHIE LOCKHART

WHAT : EMBROIDERER

JEROME PEELS

WHAT : FOUNDER - PEELS NYC

WHAT : ETSY DESIGNER


featuring

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Pages: 24-29, 42-45

Pages: 30-35

WHO :

WHAT : PRE-FALL 2016

ALESSANDRO MICHELE

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GUCCI COLLECTIONS

WHAT : CREATIVE DIRECTOR, GUCCI

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Pages: 36-41

Pages: 46-51

Pages: 52-57

WHAT : FALL/WINTER 2016

WHAT : CRUISE 2017

WHAT : SPRING/SUMMER 2017

GUCCI COLLECTIONS

GUCCI COLLECTIONS

GUCCI COLLECTIONS


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TALKS : JEROME PEEL


WHAT : VINTAGE FASHION

ON : 07/30/2012

ORIGINAL TITLE : VINTAGE FASHION: UNZIPPING THE MYSTERY

TITLE PHOTOGRAPHY : FADED FROCKS VINTAGE ARTICLE SOURCED FROM : FORBES MAGAZINE

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WRIT TEN BY : RACHEL HENNESSEY

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The wave of vintage-wearers over the past two decades proves that fashion isn’t like technology, transportation and pharmaceuticals in that newer isn’t necessarily more desirable.

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At surface level, the obsession with vintage clothing among young people may be baffling. In an age when newer is better in most industries, that many people are choosing to wear blatantly outdated apparel seems counterintuitive. From Etsy to eBay to the fast-growing vintage retailer, Nastygal, it’s hard not to notice that older styles have made monumental comebacks in recent years.


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British philosopher Francis Bacon said, “Fashion is the only attempt to realize art in living forms and social intercourse” This living form of art holds power – power to control a part of one’s image. A person can play a role, embody a story, or represent an era based on what he or she chooses to wear that day. If you’re not a vintage-wearer, you may be wondering why everyone wouldn’t want to present him or her self as a modish work of living art by choosing to dress in the smartest, most chic outfits. While not everyone appreciates the vintage trend, it’s useful to understand some of the inspirations behind it. Before you label the next girl you see sporting an embroidered chiffon dress as a hipster or poser, consider the historical implications that the outfit holds. Vintage, not to be confused with grunge (oversized sweaters and flannel shirts)

WHAT : VINTAGE FASHION WRIT TEN BY : RACHEL HENNESSEY

Fashion is the only attempt to realize art in living forms and social intercourse


as more than just housewives, makes the 1920s a revolutionary decade for American females. Flappers and their followers seized and celebrated these freedoms by dressing differently, in what was considered to be rebellious attire. Women embraced head wreaths, cloche hats and bobbed cuts instead of traditionally acceptable hairstyles. Bold women wore whatever they wanted to – from garters with silk stockings to above-the-knee skirts and dresses, cigarettes in hands. In the context of America today, this period is not an irrelevant or forgotten one; in many respects, it’s the beginning of contemporary society. Coco Chanel, the queen of 1920s fashion, was also a goldmine of inspirational lifestyle quotes. She encouraged females to pursue freedoms – from choosing how they dressed to where they worked, serving as a living example of the success a go-getter attitude can bring.

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That vintage style begins with, and keeps 1920s fashions at its core is no coincidence. In many respects, 1920s American society represents the good old days of prosperity and fun to the average Joe (or Joanna) in 2012. Of course, the twenties weren’t flawless, but they were a relatively peaceful period between two storms. It was a decade of indulgence, rapid economic growth and change. The First World War was finally over. Cinema became an instant obsession for Americans because films suddenly had sound. Automobile ownership became more affordable and accessible, connecting people despite geographical distances. Urban environments flourished as the Modernist movement took shape. Artists and musicians began to blossom in new ways, surrounded by the cultural excitement of the Harlem Renaissance.

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brings us back a few decades further. The term vintage usually refers to garments from or inspired by the 1920s, although people do use it to describe anything old — up through the 1980s. Grunge refers to 90s trends, but there are commonalities between vintage and grunge. Both styles can be found at secondhand shops, the grunge at more economical prices, for obvious reasons. There is also something to be said about nostalgia, as wearing clothes from another period can be a sort of escape from contemporary stresses for twenty-first century Americans. But herein lays a major difference between the two: Most grungewearers can at least remember running around a playground in the 1990s, but most vintage-wearers didn’t live through the 1920s. One is a matter of celebrating one’s younger years, and the other celebrating points of historical pride.

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Perhaps most relevant to the topic of vintage clothing, women gained new rights and roles in society. Their new abilities to vote, work outside of the home and pursue life

PHOTOGRAPHY : MILTON GREENE, 1954 (LEFT - COLOR) / GET T Y IMAGES, 197 1 (LEFT - B&W) GET T Y IMAGES, PENN STATION 1950 (RIGHT - B&W)


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the most courageous act is still to think for yourself. aloud.

As Coco said. How better to keep this spirit alive and this decade relevant than through the living art of fashion – a tasteful and graceful way to do so.

WHAT : VINTAGE FASHION WRIT TEN BY : RACHEL HENNESSEY


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PHOTOGRAPHY : GET T Y IMAGES, COCO CHANEL WRIT TEN BY : RACHEL HENNESSEY


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WHO : MARIE SOPHIE LOCKHART

WHAT : GOOD FOR NOTHING EMBROIDERY

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MARIE SOPHIE LOCKHART

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GOOD-FOR-NOTHING EMBROIDERY, THE WOMEN BEHIND THE STITCHES When she first opened GOOD FOR NOTHING EMBROIDERY (the name comes from the French phrase “Bon à rien,” which is how her mother felt about her pursuing a career in fashion), Lockhart noticed there was a need for denim pieces that were, in simple terms, not so boring. Pulling inspiration from the things she loves (mostly the ‘70s and her tattoo-artist husband) and running a company solely through social media, her handmade designs have since garnered the admiration of not just Drake, but two of the industry’s biggest players: Marc Jacobs and Stella McCartney. Now, thanks to some pull from major influencers in a variety of creative realms, Lockhart’s tiny business is now booming — and proving that the revolution of embroidered clothing is very much a trend that’s slowly infiltrating our closets.

WRIT TEN BY : ERIN CUNNINGHAM ON : 11/12/2015 ORIGINAL TITLE : WHY DRAKE LOVES THIS BROOKLYN DESIGNER

PHOTOGRAPHY : ERICA GANNET T (LEFT) / TOM NEW TON (ABOVE & TOP LEFT) SOURCED FROM : REFINERY 29


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? WHERE DID YOU GET YOUR START MSL : I started by collecting patches. Then, two years ago, I thought about making my own designs — things that speak to me and to other people. The first patch I made was a Playboy bunny, before its comeback: I was collecting old magazines from the ‘70s and I thought it would be funny for a girl to rock one, instead of an old, dirty man. I gave it to one of my artist girlfriends and she sewed it on her jacket right away. All of the early patches I made were for my friends; I would trade paintings and other pieces of art for embroidery. Now, I have my own hand embroidery denim line and I’m currently working on my e-shop.

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? GROWING UP, WERE YOU ALWAYS PASSIONATE ABOUT ART AND FASHION? MSL : I grew up in the banlieues of Paris — they’re not nice, like American suburbs; they’re totally different. There, I was surrounded by people from all over the world, with different cultures wearing different clothes and listening to exotic music. I feel really lucky for it; I think that’s why I love to travel so much and to discover new cultures. Living in Paris definitely influenced my aesthetic and interest in fashion — it’s one of the fashion capitals of the world, and has been making haute couture since the 18th century. And Paris has cemented its hold on style since then. It’s part of our culture.

WHO :

MARIE SOPHIE LOCKHART

WHAT : GOOD FOR NOTHING EMBROIDERY


EXPLAIN YOUR PROCESS. MSL : I use 100% cotton embroidery floss from Egypt or silk thread for special orders (like my current project with Stella McCartney). All you need is an embroidery hoop, needles, thimble, and scissors, and you are ready to get started.

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MSL : I’ve worked in fashion for a long time (I worked at Colette in Paris), and I’ve always been surrounded by talented people whose style challenges me. Traveling around New York every day — just walking down the street or talking to your friends — can lead to an idea. My husband, Chris, is a really talented tattoo artist, which has also been a big source of inspiration. I love everything about the late ‘60s/early ‘70s. I feel like it was a time where music, love, and art all really flourished. I also really like the psychedelic history of the ‘70s, because it seemed like people just thought differently. I do try to modernize and update this inspiration, though, and mix different eras together.

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? HOW WOULD YOU DESCRIBE YOUR AESTHETIC

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PHOTOGRAPHY : ERICA GANNET T (LEFT & TOP RIGHT) / TOM NEW TON (BOT TOM RIGHT) WRIT TEN BY : ERIN CUNNINGHAM


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? EXPLAIN WHAT IT WAS LIKE WORKING WITH DRAKE MSL : “It’s a funny story, actually. I was on my way home from work when Drake’s song, “How About Now,” came on. You know when you listen to a song and you become obsessed with it? Well, the next morning I woke up and [made embroidery of the praying hands while listening to his music. I took a picture and tagged him as a joke. I never thought he would see it, like it, or even re-post it on his Instagram. “I woke up with thousands of new followers, emails, and texts. I sent a direct message to Drake to thank him, and he wrote back shortly after to congratulate me and tell me it was all love — and then he ordered his own pair of customized denim and the praying hands jacket. He told me, ‘Do whatever you want to do. I trust you.’ [He] gave me total freedom [over the design.] It was so awesome to work with him; he definitely put my work into the ‘spotlight,’ and I will always be grateful for this. He created an avenue for my art to be seen, which is an invaluable gift to any artist.

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? AND WORKING WITH MARC JACOBS MSL : Working with Marc Jacobs on handbags for his Spring/Summer 2016 show was just amazing. He and his handbag team were looking for an embroidery artist and they heard that I had a nice freehand mark style and good direction. The team decided on the designs, but I had the freedom to experiment and was able to produce something funky and creative. Seeing all the little hands getting ready for the show and working with them all day and night was a great experience. I’m really honored [by the opportunity], but it also makes me appreciate my freedom more and being able to work on my own time from my studio. It’s way less stress!

WHO :

MARIE SOPHIE LOCKHART

WHAT : GOOD FOR NOTHING EMBROIDERY

? THERE HAS BEEN A HUGE RESURGENCE OF EMBROIDERY IN FASHION AS OF LATE. WHY DO YOU THINK THAT IS? MSL : There’s something political and powerful about women making stuff again and returning to the traditionally feminine and folkloric practices that they used to do in the 1970s. It’s very human work — it’s imperfect. Plus, people don’t want to wear H&M and Zara anymore. They want something that’s made by hand; something that’s ethical and not mass-produced; something unique and not the same as everyone else’s.

? WHATS NEXT FOR YOU MSL : I’m working on a jacket with Stella McCartney for a very special client (Beyoncé!). I’m also making a denim handembroidered jacket and jeans for Miley Cyrus.


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WRIT TEN BY : ERIN CUNNINGHAM

PHOTOGRAPHY : ANGEL JANG


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WHO : JEROME PEEL

WHAT : PEELS NYC

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PEELS NYC, A BRAND INSPIRED BY A HARDWORKING FATHER When Florida-bred JEROME PEEL sewed his first Peels shirt, he never imagined it would turn into New York’s next cult brand. In less than a year, he’s gained fans like Sunflower Bean frontwoman Julia Cumming, skate legend Mark Gonzales, and model Ilana Kozlov. Peel’s early name-embroidered workman’s shirts were made as gifts for friends and his father, who has a painting company of the same name in Palm Beach. But pretty soon requests became so frequent that he realized it was time to start taking the brand seriously and launch an online store. He also lost his barista job after the owner of the Chinatown cafe where he worked caught onto his side project. “My boss said, ‘I wish you’d put the same energy into selling our coffee as you do selling our customers your shirts,’” Peel remembers.

WRIT TEN BY : PAIGE SILVERIA ON : 10/16/2016 ORIGINAL TITLE : THE CHINATOWN BRAND INSPIRED BY A PALM BEACH PAINT SHOP

PHOTOGRAPHY : MATEUS LAGE (LEFT) / REBEKAH CAMPBELL (ABOVE) INTERVIEW SOURCE : I-D


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He and his girlfriend, model Sarah Brannon, hand-sew custom patches to order, so each of the brand’s classic button-up shirts is unique. “Every garment passes through my hands, and I’d like to keep it that way for as long as I can,” he explains. This may get more difficult soon though, as orders increase and the collection expands. Recently, Peel added a selection of screen-printed t-shirts and embroidered bomber jackets to the line — which were photographed on models and buyers at fashion week not long after.

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? TELL ME ABOUT YOUR DAD AND HIS INFLUENCE ON YOU GROWING UP JP : My dad grew up in South Florida surfing every day and school was never his first priority. This, in a way, was one of the main reasons I chose to pursue college. He always wanted me to do what’s right and not end up doing what he’s doing. He became a painter for the freedom. He wanted to make his own schedule and be his own boss. He became one of the most respected painters in Palm Beach. He mastered the craft and his work cannot be compared to. He always taught me do the job once and do it right, and “hard work pays off” — which was printed on our first t-shirt. My dad had me on a skateboard before I could even walk. He had me try team sports but they never worked for me and he didn’t push it. My dad was a pretty wild teen so he did his best to keep me on a narrow path. He’s always supported what I’ve done to the fullest extent. We traveled Florida a lot to different skateparks and he’s just always pushed me to make something of myself.

WHO :

JEROME PEEL

WHAT : PEELS NYC


? WHAT BROUGHT YOU TO NEW YORK

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JP : I came to visit my sister, who moved here a few years before I did, and fell in love. I’m pretty sure I stayed at her apartment until I wasn’t welcomed anymore. Definitely the convenience of everything and not having to drive were factors, and all the creative people and different ethnicities. I look back and I’m mad I didn’t move earlier. Living in a small town really had a negative impact on being worldly and knowledgeable. I’m glad I got out when I did.

" THE CITY CAN BE A GREAT MOTIVATOR ”

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JP : If you aren’t using the city for its advantages, you are just another person overcrowding the subways. If you’re here, you have to be pushing yourself to progress and make something of yourself. I think of the city as a platform that helps young entrepreneurs, or anyone doing their own thing, make it. It’s super inspiring and I feel like I couldn’t have started Peels anywhere else.

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PHOTOGRAPHY : MATEUS LAGE WRIT TEN BY : PAIGE SILVERI


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? DO YOU HAND-SEW AND DYE EVERYTHING YOURSELF OR DO YOU HAVE HELP

? WHERE DID THE IDEA TO START PEELS COME FROM JP : The first shirt I ever made was sent to my dad. It was intended to be a one-off type thing to help his business and make him look more professional. I liked his so much I made one for myself, my girlfriend, and a few skater friends. People started to ask where they were coming from so I decided to make them available for purchase. It was on my personal Instagram until I finally decided to make a separate account, which later turned into our own webstore.

WHO :

JEROME PEEL

WHAT : PEELS NYC

JP : It’s just my girlfriend and me for now, and I’d like to keep it that way. The colors are limited because these are real working-class work shirts; they have black, navy and stripes. We started dying them pink to give another option but also to take it from a strictly workwear piece to something with some character.

? WHY DO YOU THINK PEELS HAS TAKEN OFF JP : I think people understand that this isn’t a brand based on profits. This brand has a story. I’m not here to just sell a product because I want to be a clothing designer. I want to keep my brand as real as it gets. The authenticity makes Peels special and the personalization of each garment makes it unique to the individual.


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PHOTOGRAPHY : MATEUS LAGE (LEFT) / REBEKAH CAMPBELL (ABOVE) WRIT TEN BY : PAIGE SILVERI


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WHO :

ALESSANDRO MICHELE

WHAT : CREATIVE DIRECTOR / GUCCI

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ALESSANDRO MICHELE for GUCCI

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HOW ONE DESIGNER BECAME FASHIONS NEW RENAISSANCE MAN

WRIT TEN BY : JJ MARTIN ON : 08/17/2015 ORIGINAL TITLE : GUCCI’S RING LEADER

PHOTOGRAPHY : JEFF YIU (LEFT) / JASON SCHMIDT (RIGHT) ARTICLE SOURCED FROM : HARPARS BAZA AR


WHO :

WHAT : CREATIVE DIRECTOR, GUCCI

ALESSANDRO MICHELE

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“Of all the beautiful places I know in Florence, this is my favorite,” says Gucci’s newly appointed creative director, Alessandro Michele, 42, eyes twinkling as he leisurely soaks up the sweet summer air beside the property’s swimming pool. “Someone built it to live happily in it. No one wants to show off the palazzo. The beauty is hidden and shared between friends and

Dressed simply in jeans, a white T-shirt, and Gucci tasseled loafers, Michele looks more like Chris Robinson on sabbatical in a Venetian court than a man tapped to lead a $3.9-billion-a-year fashion empire. But this gentle gypsy, who spent the past 13 years toiling quietly behind the scenes in Gucci’s design studio, is now fashion’s latest disrupter. Eight months ago, Michele

family.” Michele first stumbled upon the prized spot more than a decade ago while on one of his obsessive hunts for vintage treasure. He is now good friends with the sporty, silver-haired aristocrat Serena Torrigiani Malaspina, the marchese’s niece, who takes him on joyrides in her golf cart, often serves him dinner, and is a reliable pusher for his ravenous vintage habit.

was plucked from his relatively anonymous job heading up leather goods and shoes for Gucci and inserted into the gargantuan and very public role of creative director, replacing his former boss Frida Giannini, who left this past January, along with her now husband, CEO Patrizio di Marco, after a companywide shake-up. Michele came out of the shadows with guns blazing, presenting four back-to-back shows that mixed genres, gender roles, and sexuality—and instantaneously turned Gucci’s image on its head.

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The fruits of that passion are poured over Michele’s own body. He is bearded and shorn in biblical proportions, and his arms and neck jingle with a swarm of gold clock-key charms, Victorian chains, and colorful beaded bracelets dangling with the baby teeth of his nephews. Nine rings crawl over his fingers like exotic Renaissance vines, including an 18th-century Georgian emeraldand-pearl mourning ring, a silver engagement ring and an inscribed gold wedding band given to him by his boyfriend, a diamond-and-enamel memento mori ring from Codognato, a gold lion’s head from Gucci’s last men’s show, and a Bourbon-era red crystal ring that his mother bought for herself with her first salary.

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In the heart of Florence, just a few blocks from the Arno river, sits the largest privately owned city garden in Europe. Stretching over 17 acres, the grounds feature several historic properties belonging to two branches of the blue-blooded Torrigiani family, including a soaring neo-Gothic tower, the famous 16th-century Villa Torrigiani (where the Marchese Giovanni Battista Giorgini presented Italy’s very first couture show, in 1951), and a greenhouse that hosts biannual private sales of antiques and vintage objects. Tourists, not to mention most residents, walk blindly by this secret sanctuary all day long, oblivious to the wonder that unfolds behind its giant iron gates.

PHOTOGRAPHY : JAMIE HAWKESWORTH (LEFT) GLEN LUCHFORD (RIGHT) WRIT TEN BY : JJ MARTIN

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“I love collecting objects,” Michele says with a big grin. “I’ve been an avid collector since I was a child.”


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In Michele’s first menswear show, in January, which he produced in exactly five days, he boldly put the boys in girls’ clothing—including floppy bow-front sheer blouses—that dropped the jaws of his jaded front row. For his first women’s show a month later, he put the girls in a mix of quirky and supremely executed granny clothing, completely swept free of high-octane sexuality. He put everyone in nerd eyewear, piles of the kind of intriguing jewelry he himself wears, and leather horsebit mule slippers with tufts of fur. In short, Michele has taken Gucci on a wild, courageous ride that has shaken the 94-year-old house out of its fashion slumber and thrust it back into the conversation, making it one of the buzziest brands around.

“It’s a game changer not just for the brand but for what’s happening for fashion in general,” gushes Sarah Rutson, Net-a-Porter’s vice president of global buying, of Michele’s new Gucci. “The sense of color, the mixing of fabrics, silhouettes, and multiple layers. It all just feels so right. These are all stylistic reference points that everyone will be using going forward.” Michele, though, says he never had such lofty motives. He offers that his mingling of male and female codes of dressing comes with centuries of precedence. “I am mannerist,” he says. “I didn’t invent this. [Most recently], Armani and Yves Saint Laurent did. So when I read that journalists were giving me credit for it, I laughed

WHO :

ALESSANDRO MICHELE

WHAT : CREATIVE DIRECTOR / GUCCI


Men now adays really dont dress up anymore. But

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men wore bows before women.

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because these people certainly do not know much about fashion history!” Michele calls it “A hippie renaissance idea of fashion.” Michele’s own knowledge of fashion history is scholarly. He launches happily into an impassioned speech about various animal species in which the males prance around like peacocks to attract the attention of the females before segueing into the fashion practices of the French aristocracy under Louis XIV, when high heels, bows, and wigs were regular elements of a man’s wardrobe. “The idea that a man should be wearing something different and more eccentric is obviously the oldest idea on earth,” he says.

PHOTOGRAPHY : VOGUE , FALL 2016 MENSWEAR WRIT TEN BY : JJ MARTIN


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My idea of what the Gucci man and woman are is the idea I see in what was in the past and should be revitalised once again. Their identity should be found in the streets. Thats where everything happens now. ALESSANDRO MICHELE

Creative Director


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WHAT : 2016 PRE-FALL COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : GLEN LUCHFORD / VOGUE , PREFALL 2016 (TOP RIGHT) WORDS VIA : GUCCI.COM


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WHAT : 2016 PRE-FALL COLLECTION WHO : ALESSANDRO MICHELE, GUCCI


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PHOTOGRAPHY : GLEN LUCHFORD (BOT TOM) VOGUE , PREFALL 2016 (TOP)


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WHAT : 2016 PRE-FALL COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : COURTESY OF VOGUE , PREFALL 2016


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The collection is Renaissance arrives at Studio 54, I like to talk in more than one language. Fashion isnt about going in just one direction; I think its very contemporary to have many different inspirations. ALESSANDRO MICHELE

Creative Director


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WHAT : 2016 FALL/WINTER COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : MARTINA FERRARA WORDS VIA : GUCCI.COM


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WHAT : 2016 FALL/WINTER COLLECTION WHO : ALESSANDRO MICHELE, GUCCI


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PHOTOGRAPHY : VIRGINIA ARACARO MARTINA FERRARA (BOT TOM LEFT)


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WHAT : 2016 FALL/WINTER COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : MARTINA FERRARA


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Switching up the boy and girl closets is just one of Michele’s many moves. He has also deliberately erased the glossy, in-your-face sexiness of Gucci’s steamy past, characterizing it as a concept that was already done masterfully by Tom Ford, for whom he worked at Gucci before Ford left in 2004. “Why should I try redoing something that he did perfectly?” Michele asks. “That would be like trying to repaint the Sistine Chapel.” But while Michele acknowledges that sex will always be “very important” to Gucci, he would like to construct a new female

WHO :

ALESSANDRO MICHELE

WHAT : CREATIVE DIRECTOR, GUCCI

allure that is more personal. “I really don’t consider Kim Kardashian sexy,” he says by way of example. “She’s like one of those primordial sculptures of fertility, like the Venus of Willendorf.” Referring not to Kardashian but to women in general, he adds, “Some women are forced by men to look a certain way, to be accepted by the general public, and I find that terrible.”


Michele’s woman is spiritually unchained. She might like fancy things, but she has an anarchic soul. “She’s an intellectual who has taste,” he says.

PHOTOGRAPHY : VIRGINIA ARACARO (RIGHT) MARTINA FERRARA (TOP LEFT) / GLEN LUCHFORD (BOT TOM LEFT)

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Michele describes his aesthetic as “a hippie Renaissance idea of fashion.” It was a look that crystallized perfectly last June in New York, when he showed his powerful resort collection, populated with a forest-nymph yellow lace dress covered in flower and animal patches, colorful ruffled and embroidered gowns, and the hot new Dionysus tiger’s-head-closure bag. “All our VIPs reached out to our personal shoppers as soon as it uploaded,” Rutson says. “Even a woman like me, who is always in khaki, black, white, and gray, is like, ‘I want to wear pink! And yellow!’”

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One of those women is singer Florence Welch. “We passed each other in the street in New York and admired each other’s outfits,” Welch recalls of her first encounter with the designer. “Then we met and spoke about the Renaissance, churches, vintage jewelry, and everything under the sun. We realized that our aesthetic is Jimi Hendrix mixed with an old lady!”

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A woman whom you will never know if she has a boyfriend or a girlfriend, a woman with great freedom of expression.


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I could easily compare my job to being in love

WHO :

ALESSANDRO MICHELE

WHAT : CREATIVE DIRECTOR, GUCCI


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unwavering, both of which he chalks up to pure passion. “I could easily compare my job to being in love,” he declares, “because when you meet someone you are really into, you just can’t believe you’re dating them.” Michele and Gucci are indeed shaping up to be fashion’s new It couple. And no one is more surprised than the designer himself, who admits that he was thinking of leaving the company as recently as last year. “The fact that it has been perceived well by the press and that people were waiting for something big to shake things up,” he ventures, “well, I just feel like it was kind of written in the stars.”

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Creating that raw desire is precisely Michele’s mission at Gucci. “Fashion is a religion in one sense,” he says. “Once upon a time our brand was considered the sanctum sanctorum of fashion. I want to produce things that people really want to buy.” In this respect, Michele freely discusses designers he admires, such as Jonathan Anderson, Alessandro Dell’Acqua, and Maria Grazia Chiuri and Pierpaolo Piccioli of Valentino. He even cops to having recently obsessively hunted down a pair of Valentino sandals for himself. His openness is refreshing, his likability undeniable. “He has such a sense of wonder and creativity,” adds Welch. “He is such a warm and fun person to be around.’’

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The nice card is one that Michele also plays in Gucci’s Rome office, where he oversees a staff of 70 people. Hysteria and nastiness, two unfortunate realities of the fashion world, are not part of his new regime. “I can be tough in my own way, but I don’t like aggressiveness,” he says. “That’s not the way I am; it’s not part of my character.” Though he flows like a powerful river when he’s speaking one on one, Michele finds the public aspect of his new job to be a source of consternation. “[The postshow bow] feels almost like I’m going off to my own execution,” he says with a laugh. “It’s very hard for me.” Apart from this, however, Michele’s calm coolness is eerie. His purpose is clear and his confidence

PHOTOGRAPHY : RICHARD GRASSIE (TOP LEFT) / GARDEN 2016, COURTESY OF GUCCI WRIT TEN BY : JJ MARTIN


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I love the English aesthetic; in a way I feel it is close to my own, a beautiful chaos, it is a powerful mix of the past and the present. ALESSANDRO MICHELE

Creative Director


CRUISE 2017 anachronism / issue 01 page : 49 conspicuously old- fashioned

WHAT : 2017 CRUISE COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : GLEN LUCHFORD WORDS VIA : GUCCI.COM


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WHAT : 2017 CRUISE COLLECTION WHO : ALESSANDRO MICHELE, GUCCI


page : 51

PHOTOGRAPHY : CHLOÉ LE DREZEN


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WHAT : 2017 CRUISE COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : CHLOÉ LE DREZEN


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Fashion is a play, a figurative play and I liked playing with fake ruffles, bows, collars. It is the idea of how much you can invent yourself and fashion.

ALESSANDRO MICHELE

Creative Director


SPRING SUMMER 2017 anachronism / issue 01 page : 55 conspicuously old- fashioned

WHAT : 2017 SPRING SUMMER COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : VIRGINIA ARCARO WORDS VIA : GUCCI.COM


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WHAT : 2017 SPRING SUMMER COLLECTION WHO : ALESSANDRO MICHELE, GUCCI


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PHOTOGRAPHY : VIRGINIA ARCARO


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WRIT TEN BY : JJ MARTIN ON : 08/17/2015 ORIGINAL TITLE : GUCCI’S RING LEADER

PHOTOGRAPHY : JASON SCHMIDT / GLEN LUCHFORD / MARTINA FERRARA SOURCED FROM : HARPARS BAZA AR


anachronism / issue 01 page : 59 conspicuously old- fashioned

WHAT : 2017 SPRING SUMMER COLLECTION WHO : ALESSANDRO MICHELE, GUCCI

PHOTOGRAPHY : VIRGINIA ARCARO


page : 60


WHO : SUSAN CHOI

WHAT : PERSEPHONE VINTAGE, ETSY

anachronism / issue 01 page : 61

SUSAN CHOI conspicuously old- fashioned

PERSEPHONEVINTAGE, ALTERED VINTAGE MAKING A NAME ON ETSY Etsy legend SUSAN CHOI has run the highly-praised persephonevintage Etsy shop for several years with huge success. We asked her about what makes her shop unique, her take on fashion, and her tips on how to turn a favorite garment into a unique statement piece.

WRIT TEN BY : GAIL WILCOXEN ORIGINAL TITLE : MAKE IT YOURS: ADVICE FROM AN ETSY LEGEND

PHOTOGRAPHY : CLARKE LAT TA HENRY III SOURCED FROM : AMERICAN EXPRESS ESSENTIALS


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? WHAT DO CLOTHES MEAN TO YOU – ARE THEY A PASSION OR JUST A JOB SC : Clothes, for me, are a means of communicating, like language. It’s a language with nuances that sometimes only those in your certain tribe can understand, but that others can appreciate. It’s a means of expressing who you are, a way of accenting your day with a note of fun, a means of accessing an inner confidence. It’s definitely a passion and a language I understand.

? DO YOU HAVE A BACKGROUND IN FASHION DESIGN OR TAILORING SC : No, I don’t have an official background in fashion design or tailoring. I taught myself to sew, alter garments, and so on – small & useful skills that can help anyone spruce up their own wardrobe. My background is actually in creative writing with an emphasis on poetry. But they’re actually seemingly distinct subjects with a lot of overlapping tenets.

WHO :

SUSAN CHOI

WHAT : PERSEPHONE VINTAGE, ETSY

? WHEN DID YOU DISCOVER ETSY SC : I discovered etsy almost 9 years ago. My reaction at first was that it could be a great marketplace for women to utilise- especially stay at home moms or women who wanted to make extra money with interests outside of their 9 to 5’s. After getting more involved on etsy, I’ve found that it’s ended up being a marketplace predominantly for women, by women, and that that nurtures a different kind of trading platform. There’s a lot more open communication and empathy in dealings, in messages, etc. It would be great if the wider world worked the same way.

? WHEN WAS THE MOMENT THAT YOU DECIDED TO START YOUR OWN SHOP AND WHY SC : I started my shop in my mid twenties while helping manage my parents’ spa business in Connecticut after graduating from college. I wasn’t paying myself, so I


started this on the side as extra income. I’ve worn vintage since I was a little twelve year old scouring the racks at vintage shops in Soho, when vintage shops could still afford to have storefronts right on Broadway. And I’ve always loved people watching in NYC, where there’s always been a high concentration of people with amazing personal style. It was like an unofficial early fashion education. When I eventually left my parents’ business, I considered getting my masters in writing or becoming a teacher, but I found that I very much enjoyed the creative aspects of this side business I had started. And also, the autonomy.

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SC : I have a mental map of shops that I visit all over the US, and certain special cities, where I know I can find a certain kind of item that I may be on the lookout for. I’ll go as far as parts of the east coast from Los Angeles to hunt for pieces. I also try to stay on track with everything happening in fashion through sites like Pinterest and Instagram, to know where things are headed and then ultimately, to decide what I myself would want to wear – not necessarily as a girl who is obsessed with fashion and needs expensive designer pieces but as a real girl who is culturally aware but has a real life. I try to offer sustainable and reworked pieces that are alternatives to the Zaras and TopShops of the world.

anachronism / issue 01

TELL US ABOUT YOUR PROCESS

Sometimes a beautiful dress is much more wearable as a shirt. Sometimes a long trench would be better without the sleeves.

SC : I transform many pieces through minor (or sometimes major) alterations that make pieces less frumpy and more modern and wearable. There’s a lot of attention paid to pant lengths, sleeve lengths, coat lengths. Sometimes a beautiful dress is much more wearable as a shirt. Sometimes a long trench would be better without the sleeves. You have to pay attention to what girls want at the time and the potential of a given garment, with the bare bones in front of you. You have to understand modern silhouettes and how to achieve them. Some of the pieces require hand stitching and others work by hand. Also, in the end, you have to know when to leave a garment completely alone. (Usually older and more special pieces.)

PHOTOGRAPHY : CLARKE LAT TA HENRY III (LEFT), PERSEPHONE VINTAGE (RIGHT) WRIT TEN BY : GAIL WILCOXEN

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? HOW MUCH WORK GOES INTO TAILORING AND REDESIGNING


SC : I would like to somehow scale and expand the side of the business that reworks and repurposes old garments. I like the idea of continuing to make wearing used clothes chic and modern, but for a wider audience. At some point, I’d also like to incorporate pieces by lesser known designers on a site off etsy, although I love etsy very much and would continue to offer vintage pieces there. The new world of fast fashion and huge brands is making it harder to shop for outfits that have a unique, individual look.

? ADVICE FOR PERSONALIZING YOUR WARDROBES SC : Personalizing your wardrobe to emphasise your unique style, I think, can be achieved by diversifying where you shop. I think most girls shop at large brand stores because they’re easy on the wallet and accessible. But if you also try to shop at smaller boutiques and vintage shops that might offer pieces that are not directly on trend but are special and that

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page : 64

anachronism / issue 01

? HOW DO YOU SEE PERSEPHONEVINTAGE BRAND DEVELOPING IN THE FUTURE

you truly love, you can definitely work them into your everyday outfits. If you truly love a piece, you can start with the piece as the focal point when getting dressed, and then add the rest of your outfit to complement that piece. I love the idea of wearing an item that you truly love and can’t ever let go of because you’ll never find something like it again. We should love everything in this way.

? HOW IMPORTANT ARE THE DETAILS What kind of general tips and tricks do you have to adjust details of a favorite piece of clothing? SC : The details are everything. I would say to know your body well, to know how to accent what works for you. Learn what silhouettes work for you and which might not, i.e. I am pretty short so I try to stay away from extra wide culottes, as they shorten my frame even more. I’m very mindful of pant length – whether you want a pant to hang and gather at your ankle for a certain look, or hit just above the ankle, etc. They’re slight differences but they communicate very different things and change an overall look. Or if you have an old piece that feels outdated, changing the sleeve length can instantly modernise it. For instance an old, plain oversized winter coat, if the sleeves are wide and you can tailor it correctly to a shorter length, it can make it feel fresh, like a brand new piece. Let’s imagine a particular situation. Say you have a new t-shirt and you like the color and material but don’t like the way it fits and want to make it one-of-a-kind. How would you approach that? I would most likely rip off the collar and consider shortening the sleeves or the length or the t-shirt. One or all of those things.

WHO :

SUSAN CHOI

WHAT : PERSEPHONE VINTAGE - ETSY


anachronism / issue 01 page : 65 conspicuously old- fashioned

PHOTOGRAPHY : PERSEPHONE VINTAGE WRIT TEN BY : GAIL WILCOXEN


anachronism / issue 01 page : 66 conspicuously old- fashioned

? WHO DO YOU VIEW AS YOUR FASHION ICONS OR INSPIRATIONS SC : The ultimate male fashion icon right now would have to be Christophe Lemaire for the subtle drama of his designs and their elegance. Subtle impact is much more difficult than loud look-at-me designs. My female fashion icon right now would have to be Camille Bidault-Waddington for her styling work. I’ve been a fan for many, many years. I love how she uses colour and how fun her sense of style can be. There’s always an aspect of play in her work. Getting dressed should always be fun. Yves Saint Laurent said that

FASHION FADES, STYLE IS ETERNAL. Do you agree with that? SC : Yes, I agree with that. Style is something inside of you wanting to express itself. It will always be inside you, to emerge in different ways and evolve with time. Fashion is more something outside of you that tries to influence you, but it can be fickle. I’m interested in the way people’s personal styles

WHO :

SUSAN CHOI

WHAT : PERSEPHONE VINTAGE, ETSY

and the world of fashion now intersect and influence each other immensely – especially with the advent of the internet and social media. It’s incredibly democratising. If you have an amazing sense of style and can utilise these different platforms, you’ll most likely end up getting the attention that you deserve.

? IS DEVELOPING A SENSE OF PERSONAL STYLE MORE IMPORTANT THAN WORRYING ABOUT CHANGING FASHIONS AND TRENDS SC : Yes, it’s definitely a more useful skill. I find that it tends to not only apply to how you dress, but also how you decorate your home, how you speak to people, how you interact and connect with others and, ultimately, how you want to live…


anachronism / issue 01 page : 67 conspicuously old- fashioned

PHOTOGRAPHY : CLARKE LAT TA HENRY III (LEFT), PERSEPHONE VINTAGE (RIGHT) WRIT TEN BY : GAIL WILCOXEN


page : 68

TALKS : JEROME PEEL


WHO :

SCOTCH & SODA

WHAT : DUTCH CLOTHING BRAND

ORIGINAL TITLE : INSIDE SCOTCH & SODA, THE UNDER-THE-RADAR BRAND THAT’S EVERYWHERE

PHOTOGRAPHY : COURTESY OF SCOTCH & SODA, FW16 SOURCED FROM : RACKED

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WRIT TEN BY : ALYSON KRUEGER ON : 11/29/2016

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To reach the space you have to climb a narrow, rickety staircase. Once inside, the only furniture you see is lines of desks and racks of clothing along the side walls. Most of the space consists of a vast floor covered with piles of clothes assembled around pieces of paper, pictures ripped out of magazines, random artifacts, and inspirational signs. To outsiders it might seem like madness, but this is how the magic gets done.

anachronism / issue 01

On a picturesque street in the heart of old Amsterdam, on a canal lined with colorful townhouses and hundreds of parked bicycles, sits an old, gigantic church that is the design studio of Dutch fashion brand Scotch & Soda.


anachronism / issue 01

Scotch & Soda is very much an Amsterdam brand. This city has always been known for its liberalism — it is the home of Van Gogh, of legal drugs, of the Red Light District — and this brand’s progressive style fits in seamlessly. The latest collection has velvet jackets with bright flowers for men, gold striped pants and neon silk shirts for women, and hot red leather gloves with the words “Good Luck” printed on them. Even seemingly traditional items like black jackets or jeans have surprise touches like colorful seams, illustrated buttons, or reverse cuffs. The items may look like couture, but they are relatively affordable. Blouses, for example, are priced in the $50 to $250 range. While its spirit is Dutch, the inspiration for the clothes comes from all over the world. Every designer is encouraged to travel the globe and come back with items that inspire them. It could be a painting, a poem, a hat found in a vintage store, a stone. Then, the team builds a collection around that (literally).

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The website puts it perfectly:

Treasures uncovered on worldly wanders are poured into collections and signature looks that clash eras, classics, places of inspiration, meshing unexpected fabrics and patterns. WHO :

SCOTCH & SODA

WHAT : DUTCH CLOTHING BRAND

This winter there is one collection inspired by biker culture and Tibetan nomads. Another is centered around “high-voltage” pop music. Ari Hoffman, the US CEO of Scotch & Soda, came to the brand two years ago after working with labels like Yves Saint Laurent, Lacoste, and Gant. Calling this company “whimsical,” he applauds the freedom Scotch & Soda’s designers have. “Typically you go into a design environment and there is structure and formality. It’s more laid-out, there are more plans,” he said. “This is a much more free-flowing, free-spirited environment… It’s a bunch of young, creative, crazy people with no corporate walls around them, literally.” Scotch & Soda has been making clothes this way since 1985, when it was founded as a wholesale company (in 2001, the company was re-branded). The-then owners, fashion-forward thinkers Harry Schofield, Leonard Feinblatt, and Leonard Buzz, were so sure of their method that they didn’t do any marketing, relying solely on word-of-mouth recommendations. “There wasn’t a lot of pomp and circumstance,” said Joseph Suchodolski, the company’s public relations and marketing manager who works in the New York office. “It grew by being a little under the radar and letting the quality and clothes speak for itself.”


anachronism / issue 01

So when Scotch & Soda was acquired in 2014 by Kellwood, a manufacturing brand, and Sun Capital, an investment firm, the priority was telling the Scotch & Soda story. “The new ownership sat down and said, ‘Let’s put our time and energy into making this a brand people are familiar with,’” said Suchodolski. Internally, they created The Academy, a workshop for new staff and in-store stylists. For a day, they head to a room in the company headquarters where they examine the clothes and master the company’s ethos and methodology. For the first time, on February 14th, 2016, Scotch &

PHOTOGRAPHY : COURTESY OF SCOTCH & SODA, FW16 WRIT TEN BY :ALYSON KRUEGER

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Even as buyers snatched up Scotch & Soda clothes, they didn’t fully understand the brand or for what it stood. Carina Svensson, who joined the company four months ago to work in the marketing team, remembers her friends being confused when she told them about her new job. “They said ‘Oh, it’s an American brand or it’s a Spanish brand,’” she remembers. Cory Cartee, a marketing manager in New York City, said when her friends who work in fashion wear Scotch & Soda, no one can place the origin of the items. “They go to work and everyone says ‘What is this?’” she said. “It’s not, ‘That’s Vince. That’s Reiss.’”

Others don’t know how old the company is. “Every time I meet a customer who buys Scotch & Soda, the way our business is structured and the way distribution is, the way we are located, it seems like every customer feels they just discovered the brand and no one else knows about it,” said Hoffman. “But how do you become a $400 million business a year if no one knows about it?” When I was in Amsterdam, ladies in an upscale hotel bar were talking about how they discovered this cool new store while walking around the city that day.

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For decades this strategy worked, and the brand expanded naturally. Within years, Scotch & Soda had separate men’s and women’s lines, a collection for children (Scotch R’Belle for girls and Scotch Shrunk for boys), a denim line (Amsterdam Blauw), and fragrances (Barfly). By 2010, the company had opened its first US location, a flagship in Soho. In 2012, London received two stores of its own. Now, there are over 160 freestanding stores across the globe, and Scotch & Soda can be found in 8,000 additional retail outlets, including boutiques and department stores like Nordstrom and Bloomingdale’s.


anachronism / issue 01

Soda participated in New York Fashion Week, giving a presentation at the Sir Studios in Chelsea. Creative director Marlou van Engelen chose four corners of the globe — Tibet, the Scottish Highlands, the Silk Road in China, and Fleon, a tiny village in Norway — and displayed styles that represented the native colors, silhouettes, textures, patterns, and personalities of each place. It may seem odd for a Dutch company to be indulging in Silk Road designs, but Scotch & Soda believes inspiration can come from anywhere. “We have a longstanding love affair with the world,” said Engelen in a press release. “This stems from our Dutch heritage. We are a country of explorers, and have historically traveled the globe.” This fall, the brand gave an equally creative presentation at the Angel Orensanz Foundation in New York City’s Lower East Side.

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The company releases marketing materials to buyers and members of the press. The latest is an iPhone app and newspaper named The Misguiding Guide of Amsterdam. It interviews several personalities from Amsterdam (a hairstylist, a fashion photographer, and a member of a brass band are all included) about where they like to get lost in the city. One person talks about his trips to a video game bar at the end of a long day. Another sits in a certain chair every day at 4 p.m. because the lighting is perfect. All the characters, of course, are in Scotch & Soda clothing. The idea is for the brand to present itself as explorative, quirky, and offthe-beaten path.

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And the brand is busy opening new stores and letting customers come and see the style for themselves. Scotch & Soda already has 27 locations in the United States and has its eye on several new ones. If the brand gets what it wants, the problem will then become how to maintain its mystery and curiosity. Said Suchodolski, “I would like to say it’s a household name now, but I don’t think we are there yet,” he said. “It’s that happy medium that we are always looking at. We also need that uniqueness to the brand.”

WHO :

SCOTCH & SODA

WHAT : DUTCH CLOTHING BRAND


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PHOTOGRAPHY : COURTESY OF SCOTCH & SODA, FW16 WRIT TEN BY :ALYSON KRUEGER


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T YPE SPECIFICATIONS : MAISON NEUE GT SECTRA (REGULAR & DISPLAY)


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