Atelier-Mayer Vol.2 by Jonathan Ferrari

IN COLLABORATION WITH

TOUJOURI

Alyssa beading on coral draped kaftan fabric, from Spring/Summer ‘12 collection – exclusive hand craft by Toujouri

EDITOR’S LETTER Welcome to Atelier-Mayer magazine Vol. 2, a bi-annual, limited edition print publication to inspire and complement the virtual world of ATELIER-MAYER.COM, the global platform for luxury vintage fashion and accessories.

is not yet directly involved in politics, The Duchess is a prime example of the relationship between politics and fashion, a love affair whose roots and current presence are examined in great detail by Philomena Schurer Merckoll in her ‘Fashion Manifesto’ feature.

The concept of ATELIER-MAYER was inspired by my late grandmother, Klaudia Mayer, who was an haute couture seamstress during the Viennese Secession movement (Die Wiener Werkstätte) in Austria. This movement included painters, sculptors, and architects such as Gustav Klimt, Josef Hoffmann, Koloman Moser and Egon Schiele. It is fascinating how modern, courageous and innovative these artists were at the turn of the century, well ahead of their time. Elizabeth Walker explores in her feature ‘Die Wiener Werkstätte’ historical facts and shows how signiﬁcant and inﬂuential the secession style is today.

Dubai and London based trendsetter Tala Samman celebrates ‘Tala’s Tales’ in fabulous Rafael Lopez for ATELIER-MAYER frocks and überblogger Kristin Knox rocks Toujouri kaftans. I am delighted to introduce you to Lama El-Moatassem, the wunderkind of the Middle East and founder of Toujouri, who shares the ATELIER-MAYER philosophy of real essence, personality, artisan and craftsmanship, interesting patterns, exquisite fabrics, forgotten quality, rare cuts and silhouettes. With a new Qatari ﬂagship boutique designed by Peter Marino and a fabulous Spring Summer 2012 collection on the way, discover the world of Lama in an exploration of her partnership with one of the world’s most famous architects, and an exclusive Q&A.

Simon Thorogood takes this a step further and experiments with the boundaries of science and fashion in his feature ‘Phashion’, challenging and imposing new thought and deﬁning a new direction for the industry. With a permanent place on numerous best dressed lists, editor, stylist and now model, Caroline Issa stars in our Casino Royale shoot, whilst German star photographer Sammy Hart takes us on a tour of his personal ‘Souvenirs de Voyage’. Discover the intriguing world of the museum curators with Jessica Harris and be seduced by stylist Camilla Pole’s and photographer Emma Tempest’s version of Cinematic Chic, interpreting the very best of cinematic vintage. The Duchess of Cambridge has taken the world by storm since her wedding in April 2011. Although she

ATELIER-MAYER MAGAZINE is an independently published publication, a platform for inspiration, an exchange of ideas and honour of creation, celebrating the very best of vintage fashion, art and culture. Vintage fashion is sustainable and gives a new lease of life. ATELIER-MAYER.COM has been named as one of the Future 100 Young Social Entrepreneurs of the Year 2011. Enjoy!

TALA S

THE PRINTED PLATFORM FOR LUXURY VINTAGE

Editor & Creative Director Madame Mayer Publisher & Copy Editor Daphne Vassiliades www.daphnevassiliades.com Graphic Design Matteo Piccolomini & Kathrin Jacobsen for Organism www.organism-studio.com

CONTRIBUTING EDITORS Akiko Fukai Alexander Aubry Caroline Issa Charlie Gray Donna Loveday Elizabeth Semmelhack Elizabeth Walker Emma Tempest

Ghislaine Wood Hannah Bhuiya Jacqui Cosham Javier González de Durana Jessica Harris Judith Clark Katrina Judd Kenneth Ramaekers

Kristin Knox Lama El-Moatassem Michalis Christodoulou Molly Flatt Ola Wright Philomena Schurer Merckoll Rosie Hill Sammy Hart

Simon Thorogood Stefania Ricci Susan Bender Tala Samman Valeria Ugarte

SPECIAL THANKS TO

TALES

TALA SAMMAN meets ATELIER MAYER

Ahlam Triki, Annalyn King, Beatrice Talamona, Begoña Caballero Gasch , Bozena Daszkowska, Chris Tubbs, Claire Mianthezila, David & Farang at Lacy Gallery, David Deas, Ellen Stuart, Gemma Gravett, Getty Images, Haruhide Ishizaki, Herman Ho, Jake Lewis, James Harpel, Jazz Banks, Jessica Beck, Joel Bernstein, John Lamb, Jonathan Hines, Ketan, Kristina Vidic, Louise Garczewska, Maarit Niemela, Merryn Leslie, Miroslawa Hulka, Peter Marino, Rafael Lopez, Raphael & Hayden Harpel, Rogers Benham, Sophie Gittins, The Canbury Tailor, Thomas de Kluyver, Vijay Thakur, Walid Al-Damirji

PHOTOGRAPHY BY

VALERIA UGARTE STYLING & MAKE-UP BY

Your feedback is welcome at madamemayer@atelier-mayer.com To learn more about Madame Mayer log onto www.atelier-mayer.com

CARMEN HAID HAIR BY

Printed and bound by Butler Tanner and Dennis Ltd, Frome and London

HARUHIDE ISHIZAKI

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Tala’s blog www.myfashdiary.com

Rafael Lopez Light dress, Chanel 1980’s dove drop ear clips, Katherine Alexander bug cuff, Chanel 1980’s mini quilted bag, Vendome 1950’s pearl ring

Mannequin wears Rafael Lopez Klein dress Tala wears: Rafael Lopez moon dress, Ciner 1950’s diamante ear clips Ledo 1960’s silver engraved bracelet, Vendome 1950’s pearl ring 1960’s black velvet box bag

Vintage teapots and vase Chanel 1970â&#x20AC;&#x2122;s brown quilted tassel bag

Chanel 1990â&#x20AC;&#x2122;s puzzle piece ear clips

FASHION MANIFESTO by PHILOMENA SCHURER MERCKOLL

A person who is anxious to be a leader of the fashion, or one of the ﬁrst to follow it, will certainly appear in the eyes of judicious men to have nothing better than a frequent change of dress to recommend him to notice. GEORGE WASHINGTON, letter to George Steptoe Washington, Mar. 23, 1789 Rafael Lopez Rumba dress, 1950’s yellow ﬂower brooch worn in hair, 1970’s gold crochet clutch bag, Yves Saint Laurent 1970’s gold gilt bracelet Sophie Gittins black Romanza shoes

FASHION MANIFESTO

A FASHION AND POLITICS HAVE HAD A LONGER RELATIONSHIP THAN ONE MIGHT THINK,

WITH THE FOLLOWING WOMEN CERTAINLY DOING THEIR BIT FOR BRINGING BOTH PARTIES TO THE NEGOTIATING TABLE

Queen Nefertiti. Source: myopicpoets.blogspot.com Elizabeth, Empress of Austria. Source: royaleurope.blogspot.com Left: Eva Peron. Courtesy of Getty Images

rt and Fashion have long been natural bedfellows, however the words fashion and politics have never quite seemed such a natural ﬁt. Although fashion has been used throughout history as both a signiﬁer of political ideologies and social change, sometimes even being a catalyst for this change – think Coco Chanel’s liberation of women from the corset – politics has always seemingly kept fashion at arms length. The serious politicians seem scared of “frivolous” fashion, worried that fashion might be their Achilles heel, with the power to undermine their intellectual gravitas. However, despite George Washington’s claims, fashion and politics have had a longer relationship than one might think, with the following women certainly doing their bit for bringing both parties to the negotiating table.

the ideal facial proportions to this day, a demonstration of the timelessness of true beauty. Many years later, Egypt was to have another woman make history with the arrival of Cleopatra. It was both her trademark jet-black hair and kohl rimmed eyes that no doubt contributed to Emperor Julius Caesar falling in love with her, changing the course of the country’s history. Rather than annexing Egypt as originally planned, he instead backed Cleopatra’s ascendancy to the throne, making her the ﬁrst female leader of the time.

If the cradle of humanity is said to rest in Africa, then the cradle of fashionable women in politics no doubt lies in Egypt. Despite being born in 1370 BC, Nefertiti, the wife of Pharaoh Akhenaten, continues to be the benchmark for today’s beauty, with the famous bust of her face personifying

Many years later in the royal court of France, Marie Antoinette showcased fashion to the detriment of politics. At the time of her marriage to King Louis XVI, France was the most powerful monarchy in Europe and the royal palace of Versailles certainly the most opulent. As an example of how

Queen Dahia al-Kahina was another strong female, well before the world order allowed for women to be in power. It was Dahia who became the leader of the African Resistance in 688 AD, staving off the Arab invasion in North Africa until 705 AD.

important the latest fashions were at the time, Marie-Antoinette was stripped at the French border and given new and more fashionable clothes to wear before being allowed to meet her husband to be. Clearly this set the tone for her behaviour to follow, where her increasingly lavish lifestyle and outlandish fashions became a symbol of all that was wrong with the French Monarchy at the time, ultimately resulting in its collapse and the birth of the French Republic. By contrast, both the Austrian Princess Leopoldina (later Empress of Brazil) and Empress Elizabeth of Austria, did not let their love of fashion get in the way of serious politics. It was Princess Leopoldina who advised her husband – the Crown Prince of Portugal and Emperor of Brazil – to declare Brazil’s independence in 1822. Some years later, Empress Elizabeth – famously personiﬁed by Romy Schneider in the Sissi ﬁlms - used her empathy and charm to win the trust of the Hungarians in order to ameliorate the increasingly fractious relations between the Hungarians and the Austrian Court. Both Empresses were known for

FASHION MANIFESTO

Grace Kelly. Source: habituallychic.blogspot.com Jacqueline Kennedy and Gayatri Devi at Polo Ground on a visit to India. Japanese Crown Princess Masako. Second and third image courtesy of Getty Images

their hair and charming way of wearing the latest dresses yet this did not distract them, or their counterparts, from taking their political work seriously. In the middle of the last Century, two women were the bearers of the latest fashion: Emancipation. Rajmata Gayatri Devi of Jaipur and Eva Peron are both symbols of women who started as the wives of men in high political power and then proceeded to eclipse their husbands in their later years. Eva Peron, the wife of the Argentinian President, managed to simultaneously capture the ladylike mood of the 1940s, with her cinched in waists and lean silhouettes, whilst being a catalyst for social change in the male dominated world of Argentinian politics. She went on to become an advocate for women’s suffrage in Argentina as well as founding and running the nations ﬁrst female political party, the Female Peronist Party. In India Rajmata Gayatri Devi of Jaipur, the third wife of the Maharaja Sawai Man Singh II of Jaipur, gained column inches for both her beauty as well as her ability to set politi-

cal records. She was once named one of the ten most beautiful women in Vogue and was possibly the only woman to hold her own against Jackie Kennedy, in both style and glamour at a charity polo match in Jaipur in 1962. However it was her career in politics that ultimately surpassed her beauty, when she won a constituent seat in the province of Lok Sabha with the world’s largest landslide and continued to hold this seat for a further two elections.

WITH A LINEAGE OF WOMEN SUCH AS THESE, LONG MAY THE ALLIANCE OF FASHION AND POLITICS CONTINUE!

While neither Grace Kelly nor Jackie Kennedy did much for the emancipation of women, with Grace Kelly famously saying that “the emancipation of women has made them lose their mystery”, it is undeniable that these two women set the bar for first wives everywhere. Their personification of effortless chic for every occasion showed the best of America in both looks and fashion and continues to be an inspiration today. The relationship between fashion and politics is not just a vintage affair; our current age has a huge number of fashionable women in politics to choose from. Whilst the special relationship between Bush and Blair is thankfully over, Samantha Cameron and Michelle Obama continue to wow onlookers with their special relationship to clothes. Together with Carla Sarkozy, these three women mark the new alliance of first ladies, whose style and flair has probably done more for their countries images abroad than their beleaguered husbands’ policies. Michelle Obama has flown the flag for recession chic with her

FASHION MANIFESTO

Carla Bruni-Sarkozy and Sheikha Mozah of Qatar. Source: zfashionblog.ﬁles.wordpress.com Ukrainian Prime Minister, Yulia Tymoshenko. Source: Fashionindie.com Queen Jetsun Pema of Bhutan. Courtesy of Getty Images

choice of American high-street brands whilst Samantha Cameron is often looking stylish whilst hosting fashion events in Nr.10 Downing Street in her capacity as UK Fashion Council Ambassador. And who can forget Carla Bruni-Sarkozy’s wardrobe on her first official state visit to the UK in 2008; the absolute personification of French chic. Queen Rania of Jordan, Sheikha Mozah of Qatar and Princess Lalla Salma of Morocco mark another trio of first ladies who stand out from the crowd. All three women have managed to combine a love of fashion with their individual religious considerations. Sheikha Mozah has managed to make the traditional covering of her hair into a highfashion statement, wearing her now trademark turban to events at home and abroad. Princess Lalla Salma of Morocco straddles tradition and fashion with ease, with her modern take on the Moroccan Dejllaba topped by sky-high designer heels. And finally Queen Rania, whose innate elegance allows even high-fashion to become an instant classic.

Crown Princess Masako of Japan, whilst not an ambassador of the fashion forward style her country has become known for, has nonetheless continually wowed onlookers with her array of signature suits. However the arrival of another Asian princess, Queen Jetsun Pema of Bhutan, has presented a serious contender to Masako’s crown. Queen Jetsun’s charm and insouciance gives the traditional Bhutanese dress a certain Dries van Noten-esque flair and will no doubt create heavy traffic on the fashion blogosphere. Julia Tymosheko is the only one of these women who (prior to her recent imprisonment) is directly involved in politics. She burst onto the international scene during the Ukranian Orange Revolution in 2004 and went on to become the first female Prime Minister of the country. Unlike her female counterparts, such as Angela Merkel and Hilary Clinton, Ms Tymosheko has never felt the need to downplay her looks, with her trademark blonde hair wrapped around her head like a beautiful princess’ crown.

Last but not least, Queen Elizabeth II, who managed to steal Kate Middleton’s wedding day thunder for all the right reasons. Her choice of daffodil yellow certainly cut a dash on the typically grey London day and seemed a potent symbol of the fresh wind entering this most traditional of royal families. With a lineage of women such as these, long may the alliance of fashion and politics continue!

In February 2012, Getty Images Gallery will showcase iconic photographs of Marilyn Monroe along-side one of the world’s greatest collections of her dresses and costumes which have never before been exhibited in London. The show will cover Marilyn’s early days as a model right through to becoming the ultimate Hollywood legend. Limited edition prints will be available for sale. For more information please visit www.gettyimagesgallery.com or telephone +44 (0) 20 7291 5380. The Gallery is situated at 46 Eastcastle Street, London W1W 8DX and is open six days a week.

CASINO

ROYALE STARRING CAROLINE ISSA FEATURING DRESSES BY TOUJOURI

PHOTOGRAPHY

CHARLIE GRAY CREATIVE DIRECTION

DAPHNE VASSILIADES HAIR

HERMAN HO MAKE UP

KRISTINA VIDIC LOCATION

BLAKES HOTEL MODEL

JAMES GRANSTROM

Toujouri Diamond Tassel Beaded Shift Dress, Pennino 1940â&#x20AC;&#x2122;s rhinestone drop earrings

CASINO ROYALE

Caroline wears: Toujouri Athena Draped Evening Gown , Lois Ann 1980’s lilac beaded ear clips, 1970’s sterling silver bark effect ring James Wears: The Hemingway dinner suit by The Canbury Tailor

Right: Caroline wears: Toujouri Riviera Organza Beaded Ballgown, 1970’s blue knitted Mongolian lambs wool coat, 1970’s silver plate swirl ring, 1960’s silver abstract cuff. James Wears: The Vesper suit by The Canbury Tailor

Caroline wears: Toujouri Blossom Beading Draped Evening Dress, Juliana 1950â&#x20AC;&#x2122;s red and turquoise art glass stone bracelet and earring set James Wears: The Hemingway dinner suit by The Canbury Tailor

Toujouri Petals Beading Princess Dress, Kenneth Jay Lane 1960’s cream and gold earrings, Kenneth Jay Lane 1960’s cream and gold ring, Katherine Alexander bug cuff

All Toujouri dresses available from Toujouri.com

By SIMON THOROGOOD

28 PHASHION

Simon Thorogood is an artist, designer and creative consultant who terms his design work “Phashion” (pronounced “fashion”), a blend of the scientiﬁc term “phase transition” (the transformation of one form or substance to another) and “fashion.”

His research is concerned with applying novel ways of creating and communicating fashion design, pursuing the idea of “growing” design through simple systems. His presentations often have an element of interactivity, considering the role of an audience in determining, in part, the course or outcome of a fashion product or event. It questions how people engage with ideas and how they can continue and expand creative methods and objectives through an active blend of invention, event, and co-authorship.

PHASHION

Thorogood has shown his installations internationally and his garments are held in the collections of leading fashion and costume institutions such as the Victoria and Albert Museum and the Museum at the Fashion Institute of Technology (FIT), New York. A version of his SoundWear project is currently touring as part of the Craft Council’s Block Party: Contemporary Craft Inspired by the Art of the Tailor exhibition, http://www. craftscouncil.org.uk/about-us/press-room/ view/2011/block-party-launch/ He is also a member of the Fashion Digital Studio at the London College of Fashion, fashiondigitalstudio.com. Simon Thorogood’s engineered bespoke garments have been described as a mix of futuristic, medieval, and ecclesiastical and are almost exclusively produced in silk Duchesse satin.

THESE DESIGN ARRANGEMENTS EXPLORE AND EXPAND THE NOTION OF “PLANE,” BOTH IN TERMS OF AIRCRAFT AS ORIGINAL INSPIRATION AND THE GEOMETRIC RELATIONSHIPS OF SURFACES AND STRUCTURES

established my fashion design practice in 1998 as a ‘demi-couturier’, dealing with the mid-ground between bespoke and ready-to-wear womenswear, producing made-to-order garments almost exclusively in silk Duchesse Satin.

www.simonthorogood.com

More recently, I described my work as research or concept-led fashion, speciﬁcally terming it “phashion,” (pronounced “fashion”), a fusion of the scientiﬁc term “phase transition,” (the transformation of one thing or phase to another) and fashion. Phashion describes a process of conceiving and transforming ideas for fashion from

disparate sources, from visual scores in music to a fascination with systems, chance, and formulas. This philosophy is underscored by a desire to locate novel ways of creating, communicating and involving an audience in a fashion story where they can continue and expand creative methods and objectives through a process I call “evention,” the active blend of event and invention. Within fashion, the traditional practice of design has been conducted in much the same way for well over a hundred years, a

PHASHION

I AM INTERESTED IN HOW CONVENTIONAL METHODS OF DESIGN MIGHT BE COMPLEMENTED BY MORE CONTEMPORARY MODELS AND PROCESSES

procedure largely involving sketching on paper, copying or adapting existing apparel, or draping fabric on a model or a stand. This approach is still prescribed and practiced in most fashion colleges and courses worldwide, but to my mind it is somewhat elderly in nature and has not undergone any signiﬁcant contemporary updating. Accordingly, I am interested in how conventional methods of design might be complemented by more contemporary models and processes. My early aesthetic was very much inspired by the 1960s and early 1970s work of Pierre Cardin, André Courrèges, and Rudi Gern-

reich. I was compelled by how they looked to non-fashion sources for inspiration— science, new technology, aviation, and the “space race.” As a result, I felt their clothes were genuinely revolutionary, uncompromising but completely wearable and ﬂattering. Similarly, I found myself drawing inspiration from outside the immediate realm of fashion and clothing. Aviation was an area I was always fascinated by, especially Stealth military aircraft that were being unveiled during the late 1980s, throughout the 1990s and onwards. They were the ﬁrst comprehensive examples of computer-designed aircraft employing new shapes, materials, and manufacturing tech-

niques, appearing both sinister and beautiful at the same time. My Supermarine and Planar projects (currently being developed as “Apps”), both stemmed from a catalog of personal research drawings of aircraft fuselage and wing paneling. Once isolated from their original source, panels and sections become potential forms, shapes, and details that could be applied to the design of garments. Via a system interface, the Supermarine/ Planar user is able to locate the drawings variously over a female model and subject them to a series of transformations—twisting, distorting, rotating, altering color, and

PHASHION

DIGITAL RUNWAY AIMED TO QUESTION ESTABLISHED NOTIONS OF THE FASHION SHOW, WHICH ARE OFTEN EXCLUSIVE EVENTS FOR A FASHION “INCLUSIVE.”

layering. These design arrangements explore and expand the notion of “plane,” both in terms of aircraft as original inspiration and the geometric relationships of surfaces and structures. The project aims to illustrate how such a simple design “tool” could offer fresh ways of generating fashion shapes, forms, and silhouettes. Through a personal library of research photographs, I both record and respond to the world. It is in “things” supposedly without implicit aesthetic or intellectual intention that I am most drawn to, which I believe become subsequently available for aesthetic and intellectual re-invention. Drawing upon these research images, my

Projextiles project operates as a simple ideas generator, transforming and re-contextualizing innocuous visuals, words, and details into potential forms, shapes, layers, patterns and colors to propose, evoke or suggest fashion forms for the body. Using either analogue or digital data projectors, imagery is projected over different parts of a ﬁgure to overlay and “paint” abstract forms and colors. The resulting visual blends and clashes are then reinterpreted as fashion information, to be applied to the drafting of fashion and/or textiles ideas. This methodology highlights the need to create a context or framework for the clothes

I design. Accordingly, many of my presentations are devised as interactive and in much the same way artists have created situations in which to have “art experiences,” I am intrigued by how fashion designers can create “design experiences.” Digital Runway, an early digital project from 1999, was originally conceived as an interactive and experiential fashion installation. This project offered an audience the opportunity to be directly involved in a catwalk show where they could activate and manipulate a catalog of personal research visuals through their own physical actions. The act of walking up and down the runway surface would digitally trigger a series of

images, photographs and textual compositions projected onto a screen at one end of the gallery or venue. As the installation user navigates the runway they were able to manipulate, transform, and “curate” the images before them, creating ever-changing combinations and associations. Interacting with the Digital Runway was akin to physically DJing information, where through deliberate or random actions, projected arrangements could be either very simple and minimal or excessively layered and complex. Digital Runway aimed to question established notions of the fashion show, which are often exclusive events for a fashion “inclusive.” It aimed to provide “real” people the chance to take to the stage

and for the passive role of an audience to be inverted and extended, for them to be both participator and spectator. Another vital area of inspiration for me has been music. I have always been drawn to the experimental, playful but disciplined work of individuals that challenged established ways of composing, particularly following the end of World War II through 1950s modernism and 1960s and 1970s minimalism. The diverse and imaginative manner in which composer/philosophers/ producers such as John Cage, Karlheinz Stockhausen, Steve Reich, or Brian Eno created, deconstructed, and identiﬁed new musical languages in the extraordinary and

the commonplace, would signiﬁcantly affect my understanding of “evention.” Much of the music made in the latter twentieth century was arguably about breaking boundaries or absolutes - that of copyright, the beginning or end of a piece, distinctions between composer and performers, performers and audiences, and music and its environment. Similarly, this prompted me to break absolutes in fashion design. My ongoing SoundWear research project is a music-to-fashion design tool for both interactive installation and website. For this, I initially selected speciﬁc pieces of music that I might listen to whilst designing conventionally. I then drafted a series of

PHASHION

I DO QUESTION WHY COMPUTERS OR DIGITAL MEDIA HAVE ENHANCED, EVEN REVOLUTIONIZED MOST OTHER FORMS OF DESIGN AND YET THE DESIGN OF FASHION HAS REMAINED SO RELATIVELY UNCHANGED?

visual scores, which I felt visually reﬂected the aural characteristics of the music or sound. These visual scores are then subject to a bespoke computer program which allows them to run as a series of evolving designs that runs with the playing of the music. The resulting SoundWear animations are realized over a ﬁgure, where they can suggest developing garment forms, silhouettes, patterns, print or surface decoration or the basis of a fashion design process. These animations function as a blend of musical score and fashion sketch, or “comp-othes” (pronounced “compose,” derived from composition + clothes ). Via the interface, the user will be able to select,

harness, and adapt sections for projection or overlay as desired and completed SoundWear designs can be saved, re-mixed or subject to further systematic treatments for subsequent development as a garment, outﬁt or collection. In the next stage of development, users will be able to upload their own music choices and their own colours and icon shapes to create highly personal designs for archive and ultimately to be realised as finished garments for exhibition. Through such digital projects as SoundWear or Digital Runway, I am not promoting a purely “technological” agenda for

future fashion practice. I do however, question why computers or digital media have enhanced, even revolutionized most other forms of design and yet the design of fashion has remained so relatively unchanged? Accordingly, I am looking to challenge current methodologies whilst nourishing an idea of diffused, distributed or networked innovation where audiences become increasingly responsible to themselves and not to the original designer. This highlights, for me, the peculiar and fertile place in creativity found on the cusp of chaos and cohesion, of knowing and not knowing and of being lost and found. Furthermore, what and how one creates is frequently

conditioned by the materials and methods one is used to or has been educated in. Perhaps then, it is opportune for us to pioneer more conceptual approaches which can then also be linked to new techological manufacturing processes in order to ﬁnd new frameworks for fashion. In many other areas of contemporary business and design, an end-product or service is not always conﬁned to just a physical outcome but can often involve a virtual, simulated or non-physical relationship, dealing with a user/consumer’s behaviors and experiences. Can we then understand a practice of fashion design that does not

just have a conclusion with a ﬁnished garment, but as the creation of conditions in which design can be discovered and co-founded by designer and end-user? Fashion innovation should increasingly mean offering things in different ways and creating new combinations, connections, and opportunities. In this respect, the notion of “new” or “other” should mean a change or shift of practice; new practice should mean a change of experience and new experience should mean a change of culture.

LAMA

EL-MOATASSEM Dresses from the Toujouri Spring/Summer ‘12 collection

by CA R MEN H AID

Your career highlights? First of all having the courage and motivation to pursue my dream of being independent and at the age of 24, stepping out of what may be a dream job for many fashion graduates in a well reputed London design company in order to start Toujouri. We are currently in our fifth season and I’m constantly looking to grow and develop the brand to the highest of International standard. From our manufacturing techniques, to collaborating with architect Peter Marino to bring Toujouri to life through our first flagship store, as well as hopefully many more upcoming projects we are working on. What has been the most challenging aspect of setting up your own business? I left a very busy and lively office and starting from scratch, in an empty office, with no one walking in, no phones ringing and no emails to reply to was a very strange

feeling at the beginning. However, all that changed very quickly! There are new challenges everyday as a new business but it’s also part of the fun and route to growth. We launched at a time of huge economic unrest, which also means people are more fearful of taking a risk in the unknown. We believe in creating beautifully made clothes with a couture ethos. Given the fast pace of fashion these days there’s often an oversight to quality and ﬁnishing and the biggest challenge at the moment is turning this approach around to buyers and customers to know they are buying into pieces they can treasure.

They create a strong base for the feeling of the collection and I’m constantly searching for new ways in which the textiles can actually tell a story rather than just be used as decoration.

What is your starting point in the design process? I am very inﬂuenced and inspired by textiles, materials and details and start building the collection each season by laying out our embroidery and stories which often take up to 2 months to develop.

As Toujouri translates to “treasure chest” in Arabic, what are your most prized possessions in your treasure chest? A very simple and beautiful diamond bracelet which has recently made its way from my mother’s wedding treasure chest to mine.

Does your birthplace of Qatar influence your designs? My Middle Eastern Culture is definitely visible and influential in the Toujouri story, which is also merged with 15 years in London. There is always a very natural balance between the conservative yet glamorous and forward looking Middle East and the very modern aspects of the West.

LAMA EL-MOATASSEM Q&A

RATHER THAN A FASHION TREND I WOULD LIKE TO BRING BACK THE ART OF DRESSING, AND DRESSING UP; LOOKING AND FEELING GLAMOROUS ALL DAY IN OUR FAST PACED LIVES

Who is the Toujouri woman? She’s glamorous, reﬁned, independent in her thinking, free spirited, with a regal air.

How would you describe your own style? I love to mix and rarely match, relaxed, feminine and personal.

You have worked, studied and lived in Paris, London and Qatar: How does the way people dress differ in these locations? Each city has its own charm and character, which very much inf luences the fashion we see around that city. Travelling between these locations I often ﬁnd myself inﬂuenced by all these different elements, whether it’s the restrained Parisian chic, the buzzing edge of London or the mysterious glamour of the Middle East.

Your favourite movie? Audrey Hepburn’s ‘Roman Holiday’.

Which trend from the past would you like to make a comeback? I think rather than a fashion trend I would like to bring back the art of dressing, and dressing up; looking and feeling glamorous all day in our fast paced lives. What does your average day look like? No two days are ever the same. I am involved in every part of the business and so my activities are completely varied and for most, a lot of travelling is involved! From the store in Qatar, to the factories

What was the last item you purchased? A 70’s vintage Oscar De La Renta Silk Jumpsuit.

Lama El-Moatassem Founder and Creative Director of Toujouri

in Italy and India, to varied collaborations in London, I travel constantly. I love… Vintage jewelry and accessories. I hate… I very much dislike people with a rude or arrogant attitude, and a combination of both is lethal!

Your travel essentials? A big blanket scarf to stay cosy on ﬂights, my camera and a turquoise bracelet my mother gave me for good luck and protection. Do you shop online? If yes, what? Your favourite websites? Yes. Net-a-porter.com, mytheresa.com, farfetch.com, selfridges.com, harrods.com, 1stdibs.com, Atelier-Mayer.com What does the future hold for Toujouri? The upcoming store launch is the much anticipated event for the moment, as well as working on the upcoming winter collection and growing Toujouri on the global platform.

THE RISE AND FALL OF DIE WIENER WERKSTATTE 1903-1932 FASHION & TEXTILES FROM THE AUSTRIAN WORKSHOPS

by ELIZABETH WALKER

DIE WIENER WERKSTÄTTE

Left: Circa 1910: a fabric sample called ‘Apollo’ with its original label.

A portrait of Josef Hoffmann, a founding partner of WW, circa 1915.

Above: A self-portrait of one of the founders of WW, Koloman Moser, circa 1910.

Creative director of the fashion department, Eduard Josef Wimmer-Wisgrill (sitting), with Federico Berzeviczy-Pallavicini in Vienna’s Art School.

Friday or so ago I was having tea and lemon drizzle cake at Cocomaya (a dreamy bakers in the centre of London) with Madame Mayer, who was probably more used to taking Sacher torte (a ﬁne chocolate cake) and coffee in the Hotel Sacher in Vienna. Our conversation turned to a little picture book I am writing called ‘Pattern Book - Fashionable Inspirations’. I was telling her that I had become fascinated by the prints designed by the Wiener Werksträtte workshops in Vienna at the beginning of the 20th century. It transpired that her grandmother, Klaudia Mayer, had been a couturière in the capital about 1927; who knows perhaps she fashioned fabulous garments out of these very fabrics. And so there was born the idea for this article on the inspirations and inﬂuences of the Wiener Wersträtte. The seeds of the concept for the WW workshops were sewn in 1900 at the eight exhibition of the Viennese Secession, a progressive alliance of artists and designers. The Austrian architects Josef Hoffmann, Koloman Moser and Leopold Bauer all designed

Klaudia Mayer in her own design at her Atelier-Mayer studio, Vienna 1927

rooms for the event, as did the architects and designers Scottish Charles Rennie MacKintosh and Belgian Henry van de Velde. After many enthusiastic debates exchanging artistic ideals, the idea of a new modern applied arts movement, a sort of co-operative, was born; this was strongly influenced by British Arts and Crafts . Three years later in 1903, with the backing of the industrialist Fritz Wärndorfer, architect Josef Hoffmann and his artist friend Koloman Moser formed the Wiener Werkstätte, which moved from three small rooms to a three-storey building. The new headquarters had very advanced working conditions for all the craftsmen with specially designed facilities for metalwork, leatherwork, bookbinding, woodworking, and even a paint shop. With more than a hint of high-minded idealism, the new creative directors accused Modernism and mechanical mass production of “inelegance and mediocrity”. “Merely acquiring paintings, no matter how magnificent they may be, cannot possibly suffice. Unless our towns, our houses, our rooms, our cupboards, our

DIE WIENER WERKSTÄTTE

Circa 1913 A postcard of a black and white checked coat with a green and cream striped skirt designed by Eduard Josef Wimmer-Wisgrill. A postcard of a yellow suit with a black and white trim, circa 1914. Preliminary drawings of shoes in pencil and watercolour, circa 1913.

utensils, our clothes and our jewellery, unless our language and our feelings express the spirit of our time in a simple elementary and beautiful way, we fall incredibly short of our fore-fathers, and no lie can prevent us from perceiving all these weaknesses.” “It is better to work for ten days on one product than to manufacture ten products in one day.”

Atelier-Mayer logo today, inspired by the original designs of WW. The logo is comprised of an ‘A’ and an ‘M’, joining to forge a crown.

In the early heady days, WW had a hundred craftsmen working under their roof, however, out-of-house companies, all experts in their own ﬁelds, made many of the objects. The customers were mainly artists and the well-off middle-class Jewish intelligentsia. WW was one of the ﬁrst, apart from food, drink and tobacco manufacturers, to establish themselves as a

DIE WIENER WERKSTÄTTE

brand. All pieces, obviously including the jewellery, were marked with the hallmarks of WW, the designer and also the craftsman. From 1905 on WW made handpainted and printed silks as well as machine-woven and hand-woven textiles. One of the ﬁrst, most important and enduring commissions, for WW was the Stoclet House, a city palace designed for the Belgium banker Adolphe Stoclet in Brussels. The painter Gustav Klimt, who executed golden murals for it, was not, however, too grand to design postcards for WW, as did the artist Egon Schiele. Hurrah for 1911; the company received trade licenses to make millinery and dresses for ladies that were initially sold in two shops in Austria. The fashion division was under the artistic direction of another architect, Eduard Wimmer-Wisgrill. The design concept was based on the dress reform in Secessionist circles, loose sacklike clothing “connecting with nature, healing and spiritualist paradigms”, and not a corset in sight. In a letter, written from the director Eduard to Josef Hoffmann, one of the founding members of WW, he voiced some early doubts. “I can’t suppress it, it makes me want to puke. Generally, I’ve grown sceptical of this so-called fashion department. This section is heavily burdened by the high rental, and, although I like the whole hat-making thing, the women’s business and customer-relations stuff drives me up the wall. I would

A poster for the fashion department of the Wiener Werkstäette, circa 1918.

not rant on about it like that if it yielded some real financial gain. Plus ça change! However, he did go on to design some great costumes and dresses too. Around this time Paul Pioret (one of my favourite French fashion designers) visited Vienna and met both Hoffmann and Klimt, whom he found very much in accord with his own ideas. He bought huge quantities of fabric from WW and about the same time founded the ‘École Martine’, an art school for teenage girls in Paris; the resulting designs were sold in his shop ‘Maison Martine’. Sadly, the plans to commission a house in France for him never came to fruition. Despite things going from strength to strength on the design side, money was always a problem with the running of the workshops. A rescue company was established in London called ‘Vienna Works Ltd.’. Things weren’t all doom and gloom though when an exhibition, ‘Gallery of Fashions’, was staged in Berlin. The walls were covered with WW silks, artists showed paintings of ladies in fashionable attire, and grand frocks, blouses, hats and accessories were all on sale. The Crown Princess Cecily bought a divine dress for herself; success in court, as today, was key. Another novel idea was a fashion show again held in Berlin in 1913. The setting was dramatic with black carpets, two black servants and a massive mirror and a tiny chair on a podium veiled in black. The outfits themselves were in strong shades of orange, claret and red hand-printed fabrics, and silk and voile had geometric or flowered patterns. While the audience marvelled at the extravaganza, some thought that “most of the dresses had a bit of an art-studio atmosphere about them”. Well, you can’t please all of the people all of the time.

DIE WIENER WERKSTÄTTE

At the same time Hoffmann was designing a country house for Otto Primavesi and Gustav Klimt was painting a portrait of his wife Eugenie (known as Mäda) Primavesi; both Klimt and Otto joined the board of WW. With the onset of World War 1, 1914 was a bleak year. Merchandise ordered for the Paris Fashion Show was cancelled, and objects for sale in Brussels and Lyon were recalled. The fashion division closed down although the company did pin its hopes on making “three patriotic blouses”; the following year they were back up and running and making over 2,500 blouses . The remaining staff took a 30% pay cut. Amazingly, they continued to hold fashion shows and also to design for the theatre. The famous actress, Ida Roland, wore a WW costume in Ibsen’s ‘Hedda Gabler’. A couple of new shops opened and more fashion shows were held in Amsterdam, Copenhagen, Stockholm, Zurich, Bern and Constantinople under the auspices of the Austrian Board of Trade. When a new shop was opened in Zurich, the show was accompanied by the Vienna Philharmonic Orchestra, with the proceeds going to the Relief Fund for Swiss soldiers.

DIE WIENER WERKSTÄTTE

about six weeks to decorate the venue including twelve life-size ﬁgures made out of papier-mâché; by the end of the evening all of them had been stolen. For Christmas, a year later, gift vouchers were on sale with the slogan ‘Spoil the getter for choice’.

Circa 1907: a theatre costume designed by Eduard Josef Wimmer-Wisgrill for the pantomime ‘The Dancer and the Marionette’ by Max Mell.

Top left: Circa 1912: a brooch with pendant designed in gold and mother-of-pearl by Josef Hoffmann. Below: Circa 1920: clutch bag in black leather embossed with gold designed by Josef Hoffmann.

Emilie Flöege in summer dress printed with wine tendrils, from a series of ‘hanging’ dresses, designed by her and Gustav Klimt, who also took the photograph in 1906.

Autumn 1910: Emilie Flöege in an art nouveau dress with muffs leaning on a chair designed by Koloman Moser.

At the end of the War, though money was tight, new branches were opened in Austria, and WW used a new trade stamp ‘MADE IN AUSTRIA’. Key figures in the movement, Gustav Klimt, Kolomann Moser and Egon Schiele, all died in the same year. At the Nuremberg Toy Fair charming rag dolls wearing the familiar geometric prints were shown alongside little houses and tiny pieces of furniture. In 1922 Joseph Urban (a stage designer) opened the first store in the States on 5th Avenue, New York City. However, there was a lot of “trouble at mill”; finance, as usual, was a problem and goods arrived unordered and often damaged. As it was more of a showroom than a shop you could only order things and not take them away; unsurprisingly it closed down the following year.

deposed him from office! But life must go on and, in true style, WW organised a costume ball, ’A Night in Tahiti’, complete with palm trees and papier-mâché monkeys and birds swinging through the leaves. One of the founders, Josef Hoffmann, who was still firing on all cylinders, said that Vienna should be the centre of the arts and crafts movement as Paris was to fashion. “We have to go abroad for lack of opportunity to make a livelihood here. The Viennese public prefer kitsch to artistic value. Industrial artists are still considered as artists of the second order.” Later in the year the management fired all its employees but offered to take them on again if they waived their Christmas bonuses and shopping discounts, three months later they where reemployed; not a happy ship one imagines.

In 1925, to help sort out the increasingly gloomy ﬁnancial situation, the managing director, Otto Primavesi, transferred his shares to his wife Mäda, who promptly

1928 was the 25th anniversary of Wiener Wersträtte and the female employees were allowed a 50% discount so they could all turn up to the party in WW dresses. It took

The end was nigh; some of their shops began to sell objects that did not come from their workshops, and the ceramics and leather workshops were closed down for a brief while. The fashion division shut in 1931 and the next year the entire stock was auctioned off.; a painful demise of a noble venture. In 1937 Mäda Primavesi tried to revive WW with German help; as many of the management and artists were Jewish this plan luckily ﬁzzled out. The Austrian Museum of Art and Industry ‘bought’ the archives; after the war and many law cases later it took Alfred Hoffmann until 1955 to get a ‘donation agreement’ set up. How I wish I had seen the shops or at least owned one piece from the Wiener Werksträtte workshops.

PATTERN BOOK Fashionable Inspirations By Elizabeth Walker Published in 2012 by Endeavour for £20

STYLED BY HANNAH BHUYIA PHOTOGRAPHY BY

DAPHNE VASSILIADES LOCATION

LACY GALLERY

Hermés 1960’s navy leather Kelly bag

FRAME IT

1960’s gold disc necklace

Chanel 1980’s dove drop ear clips

FRAME IT

Gucci 1950’s brown crocodile kitten heels

Pauline Radar 1960’s silver bib necklace

FRAME IT

LUX

O By CARMEN HAID

1980â&#x20AC;&#x2122;s silver metal and diamante cuff

METER

LUX

METER

The Inﬁnite Cube 2010, silkscreen on paper, 89.8 x 89.8cm

featuring Lulwah Al-Homoud’s INFINITE CUBE Luxury is Lulwah Al-Homoud’s Inﬁnite Cube. Her work is somewhere between art and science. Always drawn to express creativity through abstract forms, Lulwah explores ancient mathematical patterns, such as the Vedic square. She assigns numerical values to different letters, combining her knowledge of sacred geometry to examine the relation between The Finite and The Inﬁnite, Unity and Multiplicity, The Creation and The Creator.

“I have always been drawn to express myself using abstract forms. This work is about turning a basic shape of a square into a complex intertwined shape where its structure and construction suggests continuity and eternity. Like a circle, without a beginning or an end. It suggests the static equilibrium of The Inﬁnite shining through The Finite world”, Lulwah Al-Hamoud.

LUX-O-METER

SOUVENIRS DE VOYAGE Walking in our mind Southbank Center, London © Nick Hornby 2004. Image courtesy of the artist.

by SAMMY HART featuring Nick Hornby Nick Hornby is a British artist living and working in London. He is most known for his large white sculptures which have been exhibited in Tate Britain, Southbank Centre, Fitzwilliam Museum, and internationally in New York, Greece and India. You can see work permanently sited in the main reception of Andaz 5th Avenue, New York, and Sony BMG HQ in London. Nick’s work straddles hi-tech and traditional carving techniques. He makes multifaceted works by hybridising references and carving out their overlapping shapes. He has just completed a research post at

Eyebeam centre for Art and Technology in New York to stretch his investigations into the realm of Architecture. If previously he had been mixing Rodin, Brancusi, and Moore, imagine now carving out the White House with the cross-section of the Guggenheim, the ﬂoor plan of Downing Street, Falling Water, the Villa Savoye, or McDonalds Golden Arches; nothing sacred or out of bounds. Look forward to seeing these architectonic sculptures in the Polish Biennale 2012, and later at One Canada Square, Canary Wharf, London in 2013.

SOUVENIRS DE VOYAGE

SRINEVUOS EGAYOV ED

www.sammyhart.com

SOUVENIRS DE VOYAGE

PHOTOGRAPHY BY EMMA TEMPEST STYLING BY CAMILLA POLE HAIR

MA ARIT NIEMELA MAKE UP

THOMAS DE KLUY VER LOCATION

THE RIVOLI BALLROOM MODEL

ALLA KOSTROMICHOVA

Yves Saint Laurent 1980’s black heart earrings, Christian Dior 1980’s red and black ﬂoral gown

CINEMA CHIC

Above: 1960’s silver sequin column dress Right: 1970’s black draped silk and diamante gown

CINEMA CHIC

Bob Mackie 1980â&#x20AC;&#x2122;s silver and black beaded gown

CINEMA CHIC

Above: Chanel 1980’s dove earrings Alaia 1980’s black body con dress Right: Diamond Tassel Emerald Kaftan by Toujouri, available at Toujouri.com

CINEMA CHIC

1980â&#x20AC;&#x2122;s fox fur coat

CINEMA CHIC

Left: Scaasi 1980’s burgundy velvet dress Below: Chanel 1980’s logo earclips Yves Saint Laurent 1970’s velvet leopard print gown

HOROSCOPE

HOROSCOPE By JACQUI COSHAM Illustrations by MICHALIS CHRISTODOULOU

LIBRA 24th September – 23rd October

SCORPIO 24th October – 22nd November

SAGGITTARIUS 23rd November – 21st December

Outwardly you have an easy going nature but inside you can be in turmoil trying to decide on different matters and don’t want to show the world that you are not in control of the situations around you. There are a few worries at the moment but all will be sorted very soon. Allow yourself some relaxation time and the answers will fall into place. It may mean a job move but it would be good to wait until the end of the year as there are some changes around that you will hear about and it will make you feel much better. Single? Looks do matter to you and you have a type which you usually go for. There is a new person on the scene who is the opposite of your usual type and you will have a lot of fun with this one. For those of you who are in a relationship ﬁnances are a key factor as you are saving for a house move or some extensive home improvements.

You play your cards very close to your chest and at the moment this is the best thing to do as you are undecided about whether you want to remain in your current position or move on. You would like to progress and there doesn’t appear to be an opening for you to move up to. If you wait for a few months all will change and you will be setting your sights on something new that you can get your teeth into. If you do prefer to change to a different industry there will be an offer that will be hard to resist. Either position will be challenging but you need a challenge so whichever you decide on will be perfect. Single Scorpios do prefer to be in a relationship and they like attention. A new person seems to be just right but beware as the attention maybe short lived. Those of you already attached will be deepening your level of commitment either by buying a property together or announcing your engagement!

Feeling restless and need a challenge? You always get impatient as the summer months move on. It is time for that lovely holiday as a bit of travelling always lightens your mood. On a work front it is time to start setting up your own business if you haven’t already and do lots of networking as there are several people who are interested in doing business with you so be brave and go for it you have waited long enough. Single? You do enjoy being fancy free and until you reach your thirties it is best for you to remain this way as you are very independent and love your freedom. If you have found that special person then they will know that you love to be spontaneous and enjoy a challenge. Try to bring a little excitement into your lives and make them feel secure by including them in your ideas.

ARIES 21st March – 20th April

TAURUS 21st April – 21st May

GEMINI 22nd May – 21st June

Your determination and ambition will drive you towards new goals this year. You will put plans into action and will remain focused until they reach completion. This will apply to career and the home. That new job or business venture you have been thinking about will be within your grasp. If you are thinking of moving house or redesigning your home this year will bring all your new ideas to the fore. Single Aries should have some fun with on line dating or by joining some new groups. If you haven’t met the right man he is on his way and will be exactly the type you go for. For those of you in a relationship it is time to spend more time together enjoying yourselves instead of talking about work and family matters. Have some fun!

You are spending far too much time worrying about work and issues relating to the family. It would be good for you to sit back and relax. You are always busy and feel secure with your routines in place and you don’t usually adapt very easily to change. This year will be different you will be able to embrace the changes around you with enthusiasm and not fear them. It will be much easier for you to adapt and it will open new doors especially at work. You prefer to be in a relationship and don’t enjoy being single so if you haven’t found that special person yet look out for the initial D, he will hover around for a while and you will suddenly realise he is the one you have been looking for. Those of you who are in a relationship look forward to it blossoming and improving all year long.

Communication is your key to success as you have excellent communication skills. This year you will discover some new contacts and net-working to achieve greater success in your career. If you are about to start a new business venture you will be doing most of the PR yourself. A house move is ahead and the possibility of working abroad. Single? There are lots of interesting people around but as communication is highlighted at the moment you will need to get to know someone who is chatty and easy to talk to. Look out for a dark haired admirer with the letter S. Gemini’s who are in a relationship will be feeling restless so it will be a good time to move home or go on that well deserved holiday where there is lots to do to occupy you and plenty of relaxation.

CANCER 22nd June – 23rd July

LEO 24th July – 23rd August

VIRGO 24th August – 23rd September

CAPRICORN 22nd December – 20th January

AQUARIUS 21st January – 19th February

PISCES 20th February – 20th March

You need to focus and start using your strengths to enable you to improve your lifestyle. You feel you have done well but every time you take one step forward it is two steps back at the moment. This will go on for a few months longer then projects will start to move forward. You will begin to see the light at the end of the tunnel by the end of the year. Single? There are a few admirers but they don’t interest you much however there is a person who you are interested in and they are going to prove a welcome challenge to you and this will make them much more interesting. Committed? Children will be on the agenda for those who don’t have any yet it would be a good time to start a family and if you are already a parent the main theme is family fun.

You seem a bit moody recently as you are concentrating on work and not having as much fun as usual. It is time for a job change or taking on more responsibility at work. You need to feel that you are valued and have not felt this in your current position for a while. The new role will be a step up for you and will give you more conﬁdence. If you are in your own business there is a change of path it will be connected to your current work but will bring in more business. If you are single it may be the same this year as you are concentrating on your career and don’t need too many distractions. As the end of the year approaches you will meet someone special. Long term relationships are very secure and this year is a good one for saving for the future.

This year you will be taking control of some important issues. There is a house move on the cards or an investment in a second property. A lot of talk about working overseas is also on the agenda. You are a very good people manager and of your own time although you are a bit too particular in some areas where you can become overly dominant. It is important for you to establish your career before you start a family as you are a real home builder. This year you are well on your way to the success you would like to achieve. Single? You will need to have many short relationships as you will know early on if it is right. Your life partner will be selected carefully. This will be a year of searching but towards the end of it you should have found the right one. Long term relationships need a bit of care and attention. A holiday and some alone time will help. Again this is an area where you can dominate so try to let your partner have their way too.

You are friendly and chatty and like to get on well with people. You take an interest in what they are doing and you like to discuss your work and interests with them. It is easy for you to make friends and in the work environment you work very hard and like to learn. Very often you are in a managerial role or work for yourself and if this hasn’t already happened you are one step closer to reaching your goals this year. There are some important contacts coming your way and this will help you to branch out as they would like to invest in you ﬁnancially. Single? You have probably been in a few longish relationships so have worked out what you are looking for by now. Someone you know or know of will be heading your way on a more romantic level. If you are in a relationship try to be more attentive and give your partner some conﬁdence boosts as you may have been taking them for granted.

Try not to take too much on over the next few months as your stress levels are high. You need to have some time to relax and not over think as you are prone to anxiety at the moment. You are working very hard at the moment and do not feel as if you are making much headway but you are achieving a lot and are being praised behind the scenes. You are very sensitive and do need encouragement otherwise you can feel negative. Stay positive and focused as good things are about to happen. For those of you who are single it has been too long since your last serious relationship and you will ﬁnd someone special this year look out for the initials A and R as they will be important in your life. For those of you who are committed but not yet married there is good news ahead and you could be starting to plan the wedding!

You are very sensitive to people and your surroundings. Psychic thoughts and dreams are heightened for you at the moment so remember them. If you work for yourself there is someone with the initial J who is going to help you in a big way and will lead to further ﬁnancial success. It may be a time for spending as you will need to invest in order to create more business. If you are working in a nine to ﬁve it will be next year that you will excel after putting in the ground work this year. Single? it would be better to stay unattached until your work load lessens as your mind is on your career. If you are in a relationship let your partner know that you cannot give them a lot of your time at the moment as this year is a tough one.

www.ladylilac.co.uk

ROCK A KAFTAN an Pleat Front Kaft Goddess Beading l ear clips Barclay 1940’s ﬂora eng raved bracelet gold ’s 1960 o Led ’s gold clutch Bottega Veneta 1990

Alyssa Beading Draped Kafta n Abbie Walsh for Atelie r-Mayer ﬂower headb and Juliana 1950’s red and turquoise art glass stone earrings Missoni 1970’s fabric and resin cuff 1960’s blue resin rhine stone bracelet 1960’s copper and turqu oise bracelet 1980’s oversized ﬂowe r ring 1960’s artisa n brass and red enamel cuff Vargas 1960’s gold meta l cuff Carole Tanenbaum for Atelier-Mayer cocktail ring

BY KRISTIN KNOX Styling by CARMEN HAID

Kaftans by TOUJOURI, accessories by ATELIER-MAYER

Ca melia Loop Fron t Ka fta n 19 80’s Pi casso prin t silk scar 19 60’s pi f nk elbow length glo Hermés 19 ve 60’s navy leather Ke s lly bag

Riviera Kaftan ses r 196 0’s sunglas Christian Dio de chien’ belt white ‘collier t Her més 198 0’s 6 Lucite bracele 196 r Dio ian Christ -Mayer aum for Atelier Carole Tanenb g rin ite luc 196 0’s ora nge clutch de oversized 1970’s pink sue Bot tega Veneta dragon ring 198 0’s silver

VIEWING ART AS JUST SOMETHING YOU HANG ON A LOBBY WALL IS A KIND OF POST-WAR INDUSTRIALIST MENTALITY THAT HAS STUCK FOR FAR TOO LONG PETER MARINO

It is no coincidence that, for autumn/winter 2011, Italian menswear designer Corneliani sent a series of Le Corbusier clones loping louchely down the catwalk, resplendent in peak-lapelled suits, oversized, deconstructed overcoats, thick round glasses and bow ties. Fashion and architecture have always maintained a fruitful exchange of ideas, inﬂuences and personalities. But in an era of portfolio careers, transmedia branding and collaborative technology, where our appetite for multiplatform, multidisciplinary experiences appears to have no bounds, the formal divisions between the two art forms have never felt so blurred.

by MOLLY FLATT

In the Otto Bettman archives, there is a wonderful photograph of the Bauhaus architects Le Corbusier and Walter Gropius, taken at a meeting of the International Building Exhibition in Berlin in the 1950s. Both are wearing immaculate singlebreasted suits – Le Corbusier in classic black, Gropius in a jaunty houndstooth check – and matching bowties. Le Corbusier also sports his trademark thick-rimmed round glasses and the two men smile into the camera with the relaxed insouciance of a pair of style mavens at the top of their game.

“Viewing art as just something you hang on a lobby wall is a kind of post-war industrialist mentality that has stuck for far too long”, says Peter Marino, the New Yorker dubbed ‘fashion’s favourite architect’ thanks to the iconic stores he has created across the world for the likes of Louis Vuitton, Fendi, Chanel, Armani, Donna Karan, Ermenegildo Zegna and Dior; and who was recently, and rather controversially, appointed to design the £5m redevelopment for London’s historic Burlington Arcade. “I think the relationship between architecture and fashion is increasingly clear.”

He has just completed his project to design the flagship store in Pearl Island, Doha for Toujouri, the three-year-old label founded by Lama El-Moatassem, an alumni of Chloe and Matthew Williamson whose glamorous statement dresses, embellished with artisan embroidery, ribbons, beads, sequins and precious stones, have been gathering devotees via boutiques across the Middle East and Harrods in London. For El-Moatassem, it was essential that the store felt intimate, not corporate; the brief was to combine the concept of a jewellery box (‘toujouri’ means ‘treasure chest’ in Arabic) with a gallery feel, allowing the collection to be viewed as works of art rather than clothes on hangers. Everything in the store needed to be displayed in a way that would make it feel precious, to make customers feel they were entering into a giant ‘toujouri’. “Toujouri is the first Middle Eastern brand Mr. Marino has collaborated with”, explains El-Moatassem. It was therefore essential that Marino spend hours with the Toujouri team getting to know the spirit of both the brand and the place that so inspires its designs. “We used iconography and details of the region in the architecture of the store,” agrees Marino. “Lighting, materials, finishes and textures are used to reflect the design elements of the brand in the store’s overall design.”

ARCHITECTS OF STYLE

Artist’s rendering of the new Toujouri ﬂagship store designed by Peter Marino, opening at The Pearl-Qatar in Doha, Qatar in early 2012

In practice, this means everything from a marble ﬂoor etched by artisans, to custommade, hand-stitched seating. Immediately immersing customers in an escapist Toujouri universe, layered light and colour create dramatic depth while contemporary lines ensure the luxury retains a modern edge. Glass panelled LED lighting emits a warm glow intended to emulate the signature sunshine of the Middle East and, on a rather more practical note, to allow shoppers to experience exactly how the opulent fabrics will look when worn outdoors. To further convey the sense of treasure-chest discovery, Marino has used moving handmade and hand-painted screens so that different areas of the store are revealed as you move through the space. Behind one such screen a VIP area suddenly appears; the implication is that even more precious objects are always, tantalisingly, just out of reach. El-Moatassem is delighted with the resulting fashion-architecture alchemy. “It has been a very exciting journey seeing the Toujouri concept transform into a boutique space which was translated so beautifully. There is a very strong understanding of the nature of the garments and the brandfull of hand crafted details in a warm neutral setting to offset the vibrant colours and rich textures of Toujouri.”

But architects aren’t just creating buildings with a fashion function and sensibility; they’re increasingly turning designer, collaborating with brands that are eager to harness their expertise in manipulating material, space, movement and light. Frank Gehry, the Pritzker Prize-winning American behind the Guggenheim Museum in Bilbao, teamed up with his artist son Alejandro in 2009 to produce a pair of leather spats for French luxury shoe company J.M.Weston. Richard Meier, architect of the Getty Center in Los Angeles, designed two cardigans for the 2008 spring collection of New York-based knitwear brand Lutz & Patmos, in partnership with his fashion designer daughter Ana. London-based Israeli architect Ron Arad has produced a shoulder bag for Notify Jeans and a perfume bottle for Kenzo. And Dutch master Rem Koolhaas has teamed up with seventh-generation shoemaker Galahad Clark to found an entire footwear label, United Nude, and is busy “downsizing architecture to its smallest and most vulnerable scale, that of a woman’s foot.” Perhaps the best known example of the architect-designer is Zaha Hadid, whose wardrobe of bold Issey Miyake and Yohji Yamamoto is as recognisable as her ﬂuid buildings. “I used to make my own clothes,” she admits. “I bought silk from China and

used to wrap myself in it and experimented with different materials to make my own jewellery.” In the past ﬁve years, she has designed a bag for Louis Vuitton, the Mobile Art exhibit for Chanel, an eco-friendly pair of rubber shoes for Brazilian label Melissa, a capsule footwear collection for Lacoste, and both landscape sculpture and jewellery for Swarovski. But the expertise works both ways. While the biggest names in architecture appropriate fashion, fashion designers, to some degree, explore architecture every day. This is most obvious and literal in the transformative garments of Martin Margiela and Hussein Chalayan, or the innovative tailoring of the Japanese; but architectural techniques and references litter the catwalks in a more subtle form every year. Think this season’s peplum skirts, seen at everyone from Victoria Beckham to Chanel, or the pod-like cocoon coats at Stella McCartney and Jil Sander. Highlighting the architecture involved in making clothes emphasises the complexity and craft of the designer’s trade. As Tina Lutz put it at the time of her label’s collaboration with Meier, “our collections are inspired in architectural shapes. Moreover, our idea of fashion is not the ephemeral designs that come and go every season. For us, fashion, like architecture, has to last.” Surely Le Corbusier would have cheered.

CURATORS OF THE

WORLD by JESSICA HARRIS

CURATORS OF THE WORLD

In this time of economic uncertainty and financial turmoil, museums and galleries have provided a safe haven as we look for alternative methods of entertainment and escapism in such hardship. With a wealth of free exhibitions available in gallery spaces across the world, 2009 and 2010 saw a soar in museum visitors. This has in turn allowed directors and curators to exercise some creative freedom and seek exciting and in some cases more high profile exhibition subjects, as well as breathing new life into old ones to satisfy the growing demand. Although museums have long been at the forefront of culture they have, in recent years, diversified their offering which has in turn given them a boost in popularity. Although the debate of fashion as a form of art is ongoing, it is the museum curators who we can thank for pushing the boundaries of conventional exhibitions and exploring new avenues of creativity that evoke fresh questions and discussions from experts and the public alike. Overlooked and at times underestimated by museum visitors, the curator’s vital ‘behind-the-scenes’ role is often misunderstood yet unwittingly makes the creative experience what it is. From the Latin word meaning ‘care’ the old-fashioned notion of a curator was of a connoisseur who made discoveries and attributions. This role has now evolved into a concept of a leader that enhances one’s accessibility into the artists’ and designers creativity, helping one gain a better

understanding of the artist’s trail of thought and appreciation of their craft. Yet it is not widely known that the museum curator also has an integral duty to every aspect of the exhibition from fundraising, Marketing, Public Relations, Catalogue Production, organising artwork transportation and of course, installation of the exhibition itself. Despite the common misconception, a curator’s job “isn’t simply to describe a dress and the designer who created it” says Alex Aubrey, Curator of the Chicago Museum, rather much of their time will be spent researching and writing about the exhibition with some taking more than four or five years to complete. With the fast-paced evolution of modern technology, museum curators are now broadening their typical duties to facilitate technological installations such as the Design Museum’s retrospective of Hussein Chalayan in 2009 which included 15,000 LED lights, large-scale moving images and lasers. The latest installment in this technological movement is the first online museum launched in November 2011 by Valentino Garavani and Giancarlo Giammetti. Featuring over 5,000 images, the downloadable desktop application uses 3D technology to showcase five decades of Valentino Garavani archives, taking the visitor experience to a new level and allowing users to explore the variety of different gallery wings which would measure over 10,000 m 2 if it was built.

ATELIER-MAYER.COM talks to eight international museum curators to ﬁnd out what their position now entails, their career highlights and what is involved in the curating process of a major fashion exhibition.

Donna Loveday Head of Curatorial DESIGN MUSEUM, LONDON

How did you become a curator and why? Your background? After graduating from University with a BA in Art History with a specialty in early Italian painting and sculpture I took up the role of Exhibition Assistant at Barbican Art Gallery and was later offered the role of Exhibition Organiser. While at the Barbican, I completed a Masters in Art History, continuing my interest in early Renaissance painting and sculpture. After five years at the Barbican, I was approached to join the Royal Society of British Sculptors. The RBS was setting up a completely new initiative, The Sculpture Company, to promote the work of contemporary sculptors and secure commissions for sculpture in public spaces. The role gave me an insight into the commissioning process and how to promote artist’s work in a commercial context. Three years later, I joined the Design Museum as a curator, beginning a long association with the museum. I left the museum in 1999 to take up a fresh challenge as Exhibition Manager at the British Film Institute to profile the BFI collections but was later encouraged back to the Design Museum by to take up the role of Head of Exhibitions where I stayed for the next eight years. My role is now Head of Curatorial which allows me to focus on specific areas of museum activity. This also allows me to dedicate time to a personal challenge, combining my Design Museum role with study for a doctorate which will explore the development of design curating as an independent discipline, and which will enable me to review my own curating practice over the last ten years. What do you look for when selecting artists/ designers for exhibitions? I am most interested in designers who have a range and depth of work, and who have had a demonstrable

impact or pushed boundaries. Designers who are innovative in the way they propose a new solution, a new typology or who respond directly to a new technical or scientific discovery. What is your process of exhibit organisation? Allocating dedicated time to research, one of the first things I do is to interview the designers or his/her contemporaries and research written material to try to gain as much information about their life, process and philosophy. The information collected will then begin to form a concept. As I further develop the concept, I begin to devise themes and select related content. I am keen to convey the artistic personality and working process of the designer - what drives the designer to create? What inspires them? How have these influences informed their work? I then start to work with an exhibition designer to translate the concept into an exhibition environment. What are your exhibition highlights so far? I am fortunate to have curated exhibitions on some of my personal design heroes – Eric Gill, Verner Panton, Ferdinand Porsche, Saul Bass. It has been particularly satisfying to bring normally inaccessible areas closer to the visitor. Favourites include: ‘Formula One - the great design race’; The First UK retrospective of fashion designer, Hussein Chalayan; When Philip met Isabella: Philip Treacy’s hats for Isabella Blow It has also been particularly rewarding to set up the touring exhibitions programme at the Design Museum in 2001. Who are the artists/designers in your mind that you feel the museum needs to address? During its twenty-three year history, the Design

Museum has presented a large number of important and groundbreaking designers but there are many more that we want to address. In addition we are looking at the way in which designers are responding to the social and economic issues that face individuals on a daily basis but also in a broader global context. Dead or alive, who would you most like to exhibit? The creative genius, Alexander McQueen, was always at the top of my list but the Met got there ﬁrst with their hugely successful exhibition ‘Savage Beauty’. Prada and Missoni would be interesting to explore. I am a huge fan of mid century Scandinavian designers such as Finn Juhl and Hans Wegner. What has formed your taste and sense of cultural importance? I have been very fortunate to work with incredibly inspiring, creative people. I never fail to be amazed at designers’ level of creativity, how they look at the world and how they respond to it. Designers have an inherent curiosity and it is a process of constant questioning that drives them forward. I am constantly learning about new areas. As a curator, you have the opportunity to explore a subject in real depth, almost becoming a mini specialist, before promptly moving on to interrogate a new area. But the most rewarding element is the ability to be able to create an exhibition that engages, educates, motivates and, most importantly, inspires. What is your upcoming exhibition? I am currently working on the ﬁrst UK retrospective of shoe designer, Christian Louboutin, to open at the Design Museum on 28 March 2012. It will run through to 1 July 2012.

CURATORS OF THE WORLD

Alexander Aubry CHICAGO MUSEUM

Judith Clark HANDBAG MUSEUM

How did you become a curator and why? Your Background? It is only recently that people can decide and study to become curators in the contemporary sense. My trajectory was one of an architectural training and then a migration to designing fashion exhibitions within a small experimental gallery I set up in 1997, Nottinghill, where I learned in-situ – Literally trial and error. What do you look for when selecting artists/ designers for exhibition? I describe myself as an exhibition-maker and not a curator for the reason that, perhaps unusually, I design the exhibitions I curate and therefore the process is holistic. Exhibitions are about building narratives, so it becomes literally: which garment illustrates this idea most effectively? What is your process of exhibit organisation? That is exactly what changed with every exhibition depending on what the subject is and what the starting point is: the idea, the space, the designer, the period. Usually I choose an organising principle very early on that spatial and then it becomes a matter of ﬁlling the

gaps as it were. It can be a principle that ends up as being invisible to the vistor, like a rule or grid that an architect might use. The mannequins also come into play very early on in the process, they have always been for me the silent, surrogate protagonists. I have been commissioned to collect and curate a museum of handbags in Korea which will open next year, and for that my starting point has been gesture; i.e. how do you contextualize a bag? The mannequin design therefore has started from the hands and arms and worked its way back to the body. What are your exhibition highlights so far? Highlights are very personal as they have nothing to do with the relative success of an exhibition. In terms of the experience it was the The Concise Dictionary of Dress commissioned by Artangel in 2010, where the process of discussion and making the installations was close to ideal. It also had the freedom of an independent project but access to the V&A’s vast repository at Blythe House where it was staged. Who are the artists/ Designers in your mind that you feel museum needs to address? I think because dress is so intimately continuous with culture in the way that perhaps no other applied art is, we never know quite why we suddenly feel an affinity with one period or another, but our interest is ass cyclical as fashion itself. I am not sure there are fixed marks, gaps, that need to be filled, it doesn’t work like that. I am interested in museums dropping the idea of relevance and promoting discovery instead.

How did you become a curator and why? Your background? Most curators will tell you their fascination with arts and culture began from an early age. I was no different in the sense that I visited museums as a child in Paris and had the opportunity to travel and experience different cultures. Even today when I visit a place I naturally gravitate towards its museums, because they provide a window into the way cultures perceive themselves. I originally studied architecture and practiced for 10 years in addition to working as a curator and writer/ editor for several publications covering culture and design. That exposure gave me a multi-disciplinary approach to conceiving exhibits. I’m currently completing an MA in Arts Administration and Policy which has added a further layer of experience to what I do. Meeting Timothy Long, the Costumes Curator at the Chicago History Museum, was a turning point in my career as a curator. What constitutes art or gets placed in a museum today has broadened considerably in the last decade, and dress can provide a window into another era. It’s about connecting the dots to wider social, cultural and even political movements in which a garment was conceived. It’s conveying that history to the public which makes fashion all the more interesting. What do you look for when selecting artists/ designers for exhibitions? As a curator I’m looking for a story that hasn’t been told, and one that often touches on cross-cultural encounters. What I ﬁnd interesting is using fashion as a medium to convey those stories. Curators often spend years researching a particular idea for an exhibition before it even opens. Yet there is no shortage of inspiration out there. What is your process of exhibit organization? An exhibition is made up of a team that seldom gets mentioned, yet is integral to its success. As a curator,

CURATORS OF THE WORLD

you are one amongst many players yet you also have to wear many hats. Having a diverse background in both the corporate world and the museum world allows me to communicate with different individuals on an exhibition team. What are your exhibition highlights so far? It would be a challenge for me to choose a particular exhibit, as I have learnt a tremendous amount from each one I’ve contributed too. For me the research is just as important as the ﬁnal product. Recently I worked on two exhibitions that opened a few weeks apart. Dimensional Lines at the Evanston Art Center An exhibit at the D’NA story /gallery in Riyadh, Saudi Arabia, which explored the life of Parveen Shaath, Who are the artists/designers in your mind that you feel the museum needs to address? The beauty of working as a costume curator today, is that the public is much more aware of fashion as an artistic and cultural medium. The recent blockbuster McQueen exhibit at the Met is a perfect example of that. The challenge for curators today, isn’t simply to display the work of a prominent designer, but to weave it into a larger narrative and explore forgotten chapters in fashion (and social) history. Rome had a very vibrant couture industry up until the 1960’s, for example, and it would be interesting to rediscover many of those forgotten names who deﬁned that era. Dead or alive, who would you most like to exhibit? I’ve always been a fan of Azzedine Alaia. What has formed your taste and sense of cultural importance? As a curator you are constantly developing and growing with every exhibit and the research involved. We also have to take into account that the world we live in is constantly changing, and the way we exhibit and convey information to a wider public must respond to those changes as well. As a child, museum exhibitions opened my eyes to other worlds, and my hope is to continue that tradition amongst a new generation. What is your upcoming exhibition? For the last year and a half I have been working on an exhibition for the Chicago History Museum, exploring The legacy of Mrs. Eunice Johnson, who was the largest buyer of haute couture in the world.

Javier González de Durana General Director of CRISTÓBAL BALENCIAGA MUSEUM and the Cristóbal Balenciaga Museum Foundation

How did you become a curator and why? Your background? At the beginning, curating exhibitions was the natural result of academic and historic research and a visual complement to my lessons as a university teacher. Afterwards the exhibition became a lesson itself, a reflection carried out with artistic materials derived from a search and an educational purpose. Finally, my latest exhibitions were research in themselves, a pedagogic resolve, a reflection on our times and part of a collective debate. What do you look for when selecting artists/ designers for exhibitions? I try to find the best balance possible between what as curator I want to transmit to the public in the form of a visual story and what the artistic work arouses in the minds of the observers, like a signal that can be decoded in various ways. What is your process of exhibit organisation? Sometimes, the idea of the exhibition is separate from any previous relation to art works and emerges on its own. In these cases, the choice of works and artists goes hand in hand with this idea, which may be political, literary, social, etc. On other occasions the curatorial idea is the result of observing the work of different artists who, without necessarily knowing each other, have some type of qualities in common and from joining them all together in one exhibition a richer interwoven understanding emerges. What are your exhibition highlights so far? Adolfo Guiard (Museo de Bellas Artes, Bilbao, 1983).

Luis Paret y Alcázar, 1745-1799 (Museo de Bellas Artes, Bilbao, 1991). Sol Lewitt. Wall Drawing # 700 (Sala de Exposiciones Rekalde, Bilbao, 1992). The Tower Wounded by the Lightning (Museo Guggenheim Bilbao, 2000). Laocoonte Devoured. Art and Political Violence (ARTIUM, Vitoria, 2005). The Unknown Masterpiece (ARTIUM, Vitoria, 2006). If he broke the jar... Mistreat and abuse in the childhood (TEA Tenerife Espacio de las Artes, Santa Cruz, 2010). Dead or alive, who would you most like to exhibit? One day I was in Louise Bourgeois’ studio in Brooklyn and I knew immediately I would give anything to be able to exhibit her work. What has formed your taste and sense of cultural importance? As a child, my parents took me to the Fine Arts Museum in our town on Sundays. When I was 18, I lived in London for one year (1969). Rock and roll. My friends at university, studying art and philosophy. The films of Jean-Luc Godard. Reading Carl Schorske’s book Viena fin-de-siècle. The short stories of Jorge Luis Borges and some of the characters of Honor de Balzac. When I was 38 I lived in New York another year (1989). What are your upcoming exhibitions? During 2012 I will present the following exhibitions in the Cristóbal Balenciaga Museum. La elegancia del dibujo. Crónica de París. Carlos Sáenz de Tejada, with more than 300 drawings and watercolours done by this extraordinary artist during the 1920s and 30s when observing the Haute Couture fashion parades in Paris. The swimwear and the body exposure, about the way we used to dress to go to the beach and show our body throughout the 20th century. Balenciaga and the performing arts, with various works made by Balenciaga for film costumes and theatre and dance performances.

Elizabeth Semmelhack Senior Curator of the BATA SHOE MUSEUM

How did you become a curator and why? Your background? I have always been interested in social history, especially the convergence of economics and the constructions of gender. In graduate school I focused on the imaging of women in late 18th century Japanese prints and it was while working with these prints that I began to focus on the discursive nature of dress. I also became aware of my preference for working with objects and my passion for putting on a “show”. I would never be content to simply publish my research. I want people to experience it, to be led through a story, to see thingsto see shoes-differently. What do you look for when selecting artifacts for exhibitions? I look for artifacts that can tell a story. One of the things that I appreciate about working with shoes is that you can never forget that people wore them. Shoes bring you into an intimate proximity with the past. History loses its abstract nature when you are confronted with fact that an actual person wore or made the shoes you are working with. For this reason I gravitate towards shoes that show evidence of use; the wearer is a very poignant reminder of a lived past. What is your process of exhibit organization? There are three temporary galleries at the Bata Shoe Museum allowing for an active exhibition schedule. The breadth and depth of the collection of over 13,000 artifacts allows us to explore many different cultures and time periods. We have a very small number of dedicated staff here at the museum allowing for our exhibitions to be tightly coordinated. Yet the fact that we are small also means that we can be quite ﬂexible and responsive to new ideas or new directions.

CURATORS OF THE WORLD

What are your exhibition highlights so far? The exhibition On a Pedestal: From Renaissance Chopines to Baroque Heels has been the highlight of my career so far. Who are the artists/designers in your mind that you feel the museum needs to address? Perhaps because of the work that I did on Renaissance chopines, I think that it would be interesting to look more closely at the recent trend toward extravagant and extreme footwear in high fashion. Alexander McQueen was headed in an interesting direction before his death. Other designers such as Nicholas Kirkwood are also of interest to me. I would also like to do an exhibition on Brian Jungen’s Prototypes of New Understanding. Dead or alive, who would you most like to exhibit? I would love to do an exhibition on André Perugia who was one of the most original shoe designers of the 20th century. What has formed your taste and sense of cultural importance? Rather than being interested in the unique object made by a lone genius and created to stand the test of time, I am interested in things that are meant to be consumed at the moment of their production. These objects are the ones that let you take the pulse of a society. What is your upcoming exhibition? I am currently working on the exhibition Roger Vivier: Process to Perfection. Roger Vivier is credited by many with inventing the stiletto so he is, of course, of great interest to me. The exhibition will be the ﬁrst in North America dedicated to his work.

CURATORS OF THE WORLD

Ghislaine Wood VICTORIA & ALBERT MUSEUM, LONDON

How did you become a curator and why? Your background? I did a degree in the History of Art at Manchester University but it wasn’t until I came to work at the V&A in the 1990s that I really developed a passion for the decorative arts and design. The kinds of stories that you can tell with the collections of the V&A are so rich and varied. What do you look for when selecting artists/ designers for exhibitions? I tend to start from the works of art or objects themselves rather than looking to particular designers. Of course there are great designers who you want to include in an exhibition but the objects have to be able to tell the story in themselves. What is your process of exhibit organisation? We tend to work on these big exhibitions for around 3 years and the book takes up most of that time. For British Design we travelled all over the country looking at public and private collections and found fantastic things. We are borrowing around 100 works from collections across the country and abroad. We have also spent a lot of time looking into the V&A’s own very rich collections and history of acquiring post-war design. Where we had gaps we have been able to buy or commission new pieces so the exhibition will include many pieces never seen before. What are your exhibition highlights so far? I have loved working on British Design with my cocurator Christopher Breward and am looking forward to ﬁnally seeing the show in the ﬂesh.

Kenneth Ramaekers MODE MUSEUM

When Surreal Things: Surrealism and Design opened in 2007 I was thrilled to see how people responded to the amazing objects and enjoyed the experience. Exhibitions should be entertaining. It was definitely a great highlight of my career. Dead or alive, who would you most like to exhibit? The V&A has such a wide remit it is hard to answer that question. I am always amazed by the variety of things the museum stages and the fact that you can learn equally well what’s happening in India, Japan or China as you can London. What has formed your taste and sense of cultural importance? I think every curator has a different approach to their work and mine is very influenced by my father. He was intellectually incredibly curious, imaginative and mercurial. He had a unique way of thinking about the world and I often try to think about the questions he would have posed or the connections he would make. What is your upcoming exhibition? British Design 1948-2012. The exhibition will celebrate the best of British Design over the last 60 years from the last London Olympics held in 1948 to the current games. It will be the first comprehensive exhibition to examine the ways in which artists and designers who were born, trained or working in the UK have produced innovative and internationally acclaimed works from post-war to the present day.

How did you become a curator and why? Your background? In 2008 I was given the opportunity to curate an exhibition on the cooperation between artists, fashion and costume designers for productions of Flemish and Brussels’ dance companies from 1920 until present. The former curator left the museum and I took over from her. This ﬁrst exhibition was a success and I was asked to lead the museum from thereon. What do you look for when selecting artists/ designers for exhibitions? As head of the museum I get to choose the subjects we show to the public over the next years. I always look for a mix between fashion history and contemporary designers. I try to make a link with our own (historical) collection and from thereon I look for pieces from other collections around the world, preferably contemporary designers who represent (or are well known for) the theme I’m working on. What is your process of exhibit organisation? After the subject has been narrowed down I start with the known literature published about the theme. From there I try to make a list with all the top pieces and designers we should get in the exhibition. Then I make loan inquiries for interesting pieces and make a blueprint of the exhibition. Specialists are asked to write articles for the accompanying catalogue and a scenographer adds his or her vision on the presentation. It’s not only what you show but also how you show things that makes an exhibition work.

What are your exhibition highlights so far? In Her Shoes (2009), an exhibition that illustrated developments and trends in ladies’ shoe design during the course of the twentieth century up until today. UltraMegaLore (2010), an exhibition on the career and influences of Belgian Topmodel Hannelore Knuts . And this year The Future That Never Was, which showed future visions from the past, and the possible future of tomorrow in (designer)clothing. Who are the artists/designers in your mind that you feel the museum needs to address? Everyone who adds something extra to an exhibition, whether they are well known or still have to be discovered by a big audience. I also like to show the more commonly known designs (that people expect to see when they come and visit) next to something that might not be so obvious but makes people look at the theme in a different way. It’s difficult to draw the line sometimes but you need to surprise people from time to time. Dead or alive, who would you most like to exhibit? A big exhibition about C.F. Worth would be nice. I’m also an admirer of Balenciaga and I would love to have Hedi Slimane curate an exhibition for Modemuseum Hasselt. He’s a genius! What has formed your taste and sense of cultural importance? Difficult question. I have always been interested in many things and had an eye for aesthetics. In fashion there’s always been a link between cultural developments (eg Industrial Revolution) and the way people dressed. For some people it’s just clothes but for me it’s a mirror of society. What is your upcoming exhibition? I am now working on an exhibition for 2013 in which we will show Italian couture and designer clothing from 1946 (the year the first Vespa was launched) until today. Fashion combined with (retro) scooters.

CURATORS OF THE WORLD

Akiko Fukai KYOTO MUSEUM

Stefania Ricci SALVATORE FERRAGAMO MUSEUM

How did you become a curator and why? Your background? I studied History and then worked at the Costume Gallery at Palazzo Pitti in Firenze. I started to work as a freelance curator for Pucci as they asked me to create their archive in 1992. In 1994 I worked on the History of Fashion project at Pitti Immagine and in 1994 I entered the Ferragamo family when they asked me to help them in prevision of the opening of the museum in 1995. What do you look for when selecting artists/ designers for exhibitions? Sometimes the exhibition just happens as was the case of the Audrey Hepburn exhibit, since the family had contacted the museum in 1998. Other times a historical period is an inspiration to start a new project. What is your process of exhibit organisation? The process is very long and intense. It takes minimum one year. It starts with the ﬁrst general idea of what to do and then the budget becomes very important, even before the research. Therefore the ability to compromise is very much part of the process. Another fundamental aspect is working with someone who is not from the Salvatore Ferragamo Museum, to have a different opinion and a fresh eye about things. What are your exhibition highlights so far? The great thing about this job is that every project is so different from the previous one and therefore it is the one you are most proud of.

To this end I would say that aside from the current one, Salvatore Ferragamo Inspiration and Vision, highlights are the exhibitions about Audrey Hepburn and The Art of The Shoe in 1998, a collaboration with Japanese artistsTanaka Ikko &Teshigahara Hiroshi. Who are the artists/designers in your mind that you feel the museum needs to address? I am not interested in already famous artists or designers as I believe at the end they are always the same and it gets repetitive. I would definitely want to involve young artists and designers. I would love to give them the same chance of success that was given to me. Dead or alive, who would you most like to exhibit? My dream is to do a very different exhibition on Andy Warhol on one specific topic that is not very talked about. What has formed your taste and sense of cultural importance? It was definitive for me to work in the Uffizi and my background as an historian is also very important. I am an expert when it comes to quality, I love to do small projects that are very well carried out and that are influential also over a period of time, not only for the hit of the moment. My goal has always been to do project of a certain substance, working professionally while being serene. I am sure that my philosophy comes from my Italian roots and that my Italian education has had a great influence on my taste and sense of cultural importance. What is your upcoming exhibition? For all upcoming exhibitions we from the Salvatore Ferragamo Museum want to always take on more challenging projects that will be even more innovative than the previous ones.

How did you become a curator and why? Your background? In the late 70’s when I stared my career, curator as a profession was not so common in Japan. I wished to have a challenging job, after studying History of Art and gaining an MA in History of Fashion. At that moment, KCI was established, and I took part in it. What do you look for when selecting artists/ designers for exhibitions? Strong emotions. What is your process of exhibit organisation? 1.Study and ﬁnd a theme, 2.Check and collect objects, 3.Build an exhibition plan, 4.Realize it What are your exhibition highlights so far? Revolution in Fashion (Kyoto in 1989, Paris in 1990) Japonisme in Fashion (Kyoto in 1994, Paris, Tokyo in 1996) Future Beauty (London in 2010, Munich in 2011) Who are the artists/designers in your mind that you feel the museum needs to address? Contemporary artists and designers Dead or alive, who would you most like to exhibit? Rei Kawakubo of Comme des Garcons What has formed your taste and sense of cultural importance? Paris; where I lived for 3 years in my late 20’s. What is your upcoming exhibition? Future Beauty: 30 Years of Japanese Fashion, held in London in 2010, will tour to Tokyo in 2012, then to Seattle in 2013.This exhibition will be updated for the new venues adding more recent works. Photo above by Lyndon Douglas

IN THE LIFE OF A

VINTAGEONISTA FEATURING

SUSAN BENDER

INTERVIEW BY CARMEN HAID / PHOTOGRAPHY BY ROSIE HILL

IN THE LIFE OF A VINTAGEONISTA

Vintage versus New, what do you prefer and why? I prefer vintage hands down, for me there is a lesser chance of someone wearing the same outfit as me at a social event. I tire at the lack of individuality in fashion at the moment and find it much more creative sourcing something vintage and changing the proportions etc... How long have you been collecting vintage and why? I have been collecting ever since I earned a wage. When I was 16 years old I would go to Portobello Market and buy the most amazing pieces, most of which I still have in my collection today. I never throw anything away and am lucky that I can still fit into them.

www.kitty-su.blogspot.com

Describe your style? My style is inherently polished secretary/ school mistress meets Hollywood glamourpuss. I love mixing textures and playing

with vibrant colours, whenever I see a piece I instantly have to feel the fabric, it it doesn’t feel right I will not buy it. I am quite schizophrenic in the way I dress, everyday I’m a different character (I think that comes from my acting days) and channel that look. Who is your favourite designer and why? Azzedine Alaia! I am totally obsessed with him, Alaia inspired me to get into fashion, I ﬁrst saw a wedding dress that he designed for a model in Vogue magazine in the 80’s. It was a long column dress which he cut with a pair of scissors in front of everyone after the wedding ceremony to make it shorter for the reception. I was in total awe ever since then and am still now. He totally understands how to dress the female form and designs for the love of creating clothing. I adore and admire the way he has worked with the same silhouette for the past 20 years constantly reﬁning and reworking it and the fact that he does not pursue trends.

Your essential accessory and why? I am an accessory queen and always ﬁnd a way to put a belt on anything, I feel naked without one. My other obsession, more of an addiction, is with shoes. I used to buy a pair a week, hence the lack of space in my house, there are shoes everywhere, last count 3 years ago my collection ran to over 500 pairs of shoes. How do you pack for your travel? Very badly and I’m always overweight. I can’t do the capsule wardrobe thing, I need choices and a large selection of shoes and bags. I work out looks for travelling beforehand and usually pack 2 choices per day and 1 choice per night, and then lots of extra’s, I like to be prepared for any occasion. Your favourite place and why? I love Paris, it’s my second home and the only other city I know like the back of my hand. It’s so beautiful architecturally, I love wandering around the streets day and

IN THE LIFE OF A VINTAGEONISTA

night. Other than that I love London my hometown, there is no place like it in the world, I love the way we are obsessed with our gardens and have the most beautiful parks in the world, St James’ park being my favourite. I travel a lot for work and am so happy to return home to my bed, which is what I usually miss the most. What is your favourite piece in your wardrobe? In your house? My all time favourite piece would be my green 80’s Alaia poloneck skater dress, it comes out every season and looks amazing, the cut is absolutely incredible. At the moment it’s a 1960’s Emilio Pucci silk shirt and wool trouser set printed all over with drawings of precious stones. At home my favourite piece is going to be a 1960’s circular Platner dining room table made of steel wire and glass, I’m re-designing my living room and have that on my list.

What are you thinking of acquiring next? For me ﬁnding vintage clothing is quite organic the piece usually ﬁnds me. I love hunting around and discovering things with nothing particular in mind. My ultimate acquisition which I have coveted for over 15 years is the LV Centenaire Alma bag to commemorate 100 years of Louis Vuitton designed by yes, Azzedine Alaia! What is your interpretation of “smart casual” or “black tie” on an invitation? I can’t say I really do smart casual and have never received an invitation to that sort of event. I go to black tie event’s much more and love dressing up for any occasion so a black tie invite will mean something long, very glamourous, incredible jewellery, a beautiful clutch and killer heels. How many vintage pieces do you have? Far too many to count, let’s just say I have

6 double wardrobes which are full to the brim, with many other pieces in numerous trunks in my attic. I recently resurrected a black chiffon blouse with black and gold burnout velvet circles all over it, they look like mini moons. I wore it a few nights ago and received so many compliments on how beautiful it was. I bought it 15 years ago and had never worn it but knew it would be a special piece. I’m constantly re-discovering pieces in my own collection which is the joy of timeless vintage. Which piece of clothing would you choose if you could only have one of it, but 10 times the same style? It would have to be a classic shaped Azzedine Alaia dress in every fabric connotation known to man. I have started to buy more dresses in the last year or so and ﬁnd that is what I wear 80% of the time.

What was here ﬁrst: The fashion or the designer? I think it took a designer or individual to transform something ordinary and make it fashionable, so they are equal. One could not exist without the other. How would you explain to a child what vintage is? Vintage is something that is old and of a certain ﬁne quality which distinguishes it from the normal everyday things. Your favourite car is.... I’m a bit of a petrol head so in no particular order my favourite cars are (which I love all three equally): MINI Cooper 1.6 in racing green old and new shape with a black leather interior, a 1967 black Mercedes 280SL with a pagoda roof and chocolate brown leather interior, a 1968 white BMW 2002tii with a white leather interior.

IN THE LIFE OF A VINTAGEONISTA

Which ﬁlm role would you liked to play? I would have liked to play in any starlets role from the golden age of Hollywood, I spent my childhood watching b/w movies in the school holidays and loved the elegance and opulence of that time, it was a truly magical era. What do you wear to work and why? It really depends on what I am feeling, but will always consist of a pair of high heels which I wear practically 365 days a year. I don’t feel my outﬁt is put together unless I’m wearing a pair of heels. What is your philosophy? Never compromise your principles. Your integrity is your destiny. What can’t you live without? My mothers cooking and my car – a racing green MINI Cooper.

Your top tip to vintage up a wardrobe? Buy what suits you and try not to go for trends, because they come and go and an amazing piece of vintage is forever. Only buy pieces that ﬁt you unless you have a great tailor and a good eye. I am constantly buying pieces that do not ﬁt or have a different proportion then re-working and altering them to suit my style and body, that’s the fun bit for me because then I have created a truly individual piece. Susan Bender represented by www.phamousartists.com

IN THE LIFE OF A VINTAGEONISTA

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