BRANDIND & design

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ENVIRONMENTALLY FRIENDLY PACKAGING THE SWEDISH FASHION COUNCIL BERGMAN SWEDEN: ETHICAL CONTRACTOR ISTANBUL: FRESH AIR FOR CREATIVE MINDS

PRICE: 5 €

LITTLE EDIE: AN UNKNOWN FASHION ICON 1

Contents Branding & Design 2008

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CONTENTS

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FOREWORD

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USE AND REUSE

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HOT NEWS

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FROM THE HIGHWAY TO THE STREET

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PACKAGING – PART OF THE EXPERIENCE

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PRODUCT DEVELOPMENT

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LITTLE EDIE: AN UNKNOWN FASHION ICON

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ISTANBUL: FRESH AIR FOR CREATIVE MINDS

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BERGMAN SWDEN: ETHICAL CONTRACTOR

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INTERVIEW: BRIAN RENNIE, DESIGN DIRECTOR AT GANT

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FASHION IN BETWEEN

26 PACKAGING. A well-designed packaging is a keyfactor when launching a product in the market.

We also put focus on enviromentally friendly and sustainable packaging materials.

USE AND REUSE

Recycling and environmental thinking on top of the agenda.

INNOVATIVE BRANDING.

The Nilorn Group presents a new collection of inspiring labels, packaging, accessories and branding concepts.

Take a look at new options for brand profiling.

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ISTANBUL is inspiring many designers as it is a city of multi colors and multi cultures.

WELCOME TO THE GREEN ISSUE

HEADQUARTERS

THE NILORN GROUP Alingsåsvägen 6 Box 499 503 13 Borås, SWEDEN Tel. +46 33 700 88 88 Fax +46 33 700 88 19 info@nilorn.com www.nilorn.com subsidiarIES & PARTNERS

It is a great pleasure to release the 2008 year edition of Nilorn Branding and Design Magazine.

In a crowded market with tough competition it is important to have a clear branding strategy in combination with a unique profile to be seen and recognised by the consumer.

There is a greater focus and movement towards environmentally friendly packaging, bags and accessories. Nilorn has a long experience to guide and make sure your brand is using the best possible options available on the market.

Nilorn offers customers the ability to strengthen and improve their brands with added value which include strong and consistent messages from all communication channels.

In this magazine, we have combined articles, reportage, interviews, product development and advertisements that all have strong connections to branding, design and environmental thinking in order to inspire our readers.

We wish you all pleasant reading.

Claes af Wetterstedt Sales & Marketing Director

NILÖRN AB Alingsåsvägen 6 Box 499 503 13 Borås SWEDEN Tel. +46 33 700 88 00 Fax +46 33 700 88 48 info@nilorn.com

NILORN PORTUGAL LDA Rua D. Afonso Henriques Terronhas, 4585-640 Recarei PORTUGAL Tel. +351 22 411 95 80 Fax +351 22 411 95 99 info@pt.nilorn.com

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COVER PHOTO: Getty Images PAPER: This magazine is printed on Cyclus Offset 100% recycled paper.

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licenced by f.a.n. frankenstolz schlafkomfort – www.frankenstolz.de – E-Mail: verkauf@frankenstolz.de

TRENDS

E S U E R D N E S A U E R E D S N A U E S U By:

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Recycling and environmental thinking have gone to the top of the agenda in the fashion industry in just a few years. Environmental soundness is associated with high morality, intelligence and responsibility. It has become something self-evident rather than a clever concept for success.

Using and re-using, adding a new function, making something sensible and aesthetically pleasing, even from originally unsightly material, is entirely right. The focus is on sustainability. Redo and retain, or to quote the 18th century Swedish culinary writer Cajsa Warg: “Man tager vad man haver” – make the most of what you have.

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T

he vintage trend also remains strong, and is very much in tune with the times from the point of view of sustainability, with return and re-use at the very top of the fashion agenda. We are more than willing to make use of granny’s jewellery and we search frantically through grandad’s wardrobe. Partly to safeguard the period of greatness of fashion, but also because we like sustainability and a long-term approach. Genuine classics and genuine handicraft are associated with the environmentally friendly image of fashion.

We are also currently experiencing a strong reaction to the luxury and glamour trend. In a clear conscience in relation to other people around the world, the environment is a major topic. For those who absolutely have to take that flight half-way around the world, there are now “emission allowances” to consider, which to date have only related to carbon dioxide but after 2008 will also cover other greenhouse gases.

Young people question the consumer society and demand that we raise our own moral bar, instead of furnishing and shopping without consideration. Moderation has already become a form of entertainment at peak broadcasting time.

Ecological thinking at a high level also plays a important role and re-use for the sake of the Earth, but with elegance and finesse, is high on the agenda.

Clean, robust shapes, calm, and natural tones. The whole style breathes understatement and consideration, an advance which is self-evident, that exudes silence instead of shouting.

The trend towards using recycled and more environmentally friendly material feels just as self-evident as using classic natural materials, made as organically as possible. The idea is to show that ecological living need not be hard work.

Rubbish becomes luxury and planning for emergencies need not to be a stop-gap solution.

Producers worldwide are looking for ways of recycling existing waste products, which are produced using new or traditional techniques.

PET bottles become new fabrics and scrap from the manufacturing industry is utilised and becomes new raw materials. Different components are assembled into new products, held together by common colours or surfaces.

The bags we take our new purchases home in also bear witness to the environmental time we are living in. Carrier bags should preferably be used time and time again, and many companies have realised the importance of the bag not being thrown away but being

”Plastic shopping bags send the same signals as an SUV or carbonated water in a bottle.” re-used several times, including for PR purposes. New alternative materials, often recycled, are the solution just like the good old, classic fabric bag, preferably made of organic cotton. Plastic shopping bags send the same signals as an SUV or carbonated water in a bottle. Environmentally committed fashion designers early on launched the much sought-after handbags bearing the printed message: ”I am not a plastic bag” and trend-conscious girls literally fought over these bags, which demonstrated that they, the person carrying them is someone who cares about the environment. The shopping bags had many admirers and many attractive new bags produced from non-fossil-based material have since seen the light of day.

Use and use time and time again, and back to nature are the guiding principles. n 7

HOT NEWS

Enjoy with a good conscience

TV Easel Swedish designer Axel Bjurström presented TV Easel at the Greenhouse young designers showcase at the Stockholm Furniture Fair. In the form of a traditional painter’s easel, this freestanding television stand on wheels is perfect for open spaces often found in modern apartments. It is optimised for televisions with 32 to 47 inch screens and is adjustable in both height and angle. The material is solid wood, natural or lacquered. For further information visit www.bjurstrom.com.

To tempt more chocolate lovers to discover fair-trade chocolate, Divine Chocolate has packed its dainty morsels in elegant and luxurious wrapping. It stands out from the growing crowd of ethical chocolate brands where the majority unfortunately tend to look boring and cheap. The inspiration for the design comes from West African Adinkra symbols, which are found on handicrafts and fabrics in Ghana.

Green is the new Black

Neat on the bathroom shelf Help is a new line of over-the-counter medical products designed as an answer to simple health problems. The first two products are high-dose headache tablets, “Help, I Have a Headache” and advanced bandages, called “Help, I’ve Cut Myself.”

Help was invented because one of the founders had a terrible headache and shopping for tablets made it worse.

Ugly packaging was sitting under neon lights and screamed, “dual action formula” and “now with extra powerful relief.” Most of the packaging is made of moulded paper pulp. It is soft and makes interesting shapes. It is made from 100% recycled materials and is compostable. Help will be available from March 2008 in design stores, online and in selected up-scale hotels.

The fashion writer Tamsind Blanchard’s book describes how to create an environmentally secure style in an informative and downto-earth way. The book contains lots of entertaining and innovative tips to help you create a sustainable wardrobe and shop without any sense of guilt. Featuring contributions from fashion designers such as Stella McCartney and Anya Hindmarch, this is a book that is well worth reading and an essential accessory for an ethically and ecologically correct wardrobe. It can be ordered from Amazon.com.

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Quench your thirst The French company Atypyk are designers of smart and ironic products. A refreshing vase that will appeal to you and to your flowers is their contribution to recycling. A visit to www.atypyk.com is guaranteed to put a big smile on your face.

HOT NEWS

New life for classics When Alvar Aalto’s stool with its L-shaped legs was created more than 70 years ago, it represented a breakthrough in both wooden technology and design. It has become a timeless classic which today is more popular than ever. Artek, which since it started in 1935 has sold around 8 million stools, has now started collecting older examples from private homes, schools, old people’s homes and flea markets. They are to be given a new lease on life and an opportunity to tell their story.

The concept is known as 2nd Cycle, and is part of Artek’s environmental strategy, a homage to genuine design, the importance of originality and ethical consumption.

Patina, nicks, stickers, flaking paint and scratches make each stool unique.

Each recycled product comes with an RFID tag that stores information on the history and origin of the stool. It can be read using a mobile phone and also provides access to a website where the new owner can report on the stool’s continued life.

Read more at www.artek.fi

Greenhouse effect This project, the Ann Demeulemeester Shop in the Gangham district of Seoul, is by the Korean architect Minsuk Cho of Mass Studies. The shop is located on the first floor, with a restaurant above and a Multi-Shop in the basement. This concept is an attempt to incorporate as much nature as possible into the building within the constraints of a low-elevation and a high-density urban environment of limited space. The outside building material is primarily a geotextile planted with a herbaceous perennial to form a living façade, while the other three sides that face bamboo borders are clad with steel sheets and are finished with propylene resin.

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Architects: Minsuk Cho, Kisu Park. Design Team: Mass Studies.

Photo by: Isabel Truniger

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ECO-FASHION

FREITAG.

FROM THE HIGHWAY TO THE STREET. They smell bad. They are dirty. They become sought-after bags and accessories. This is the story of two swiss brothers who have achieved world success by recycling and refining used truck tarpaulins.

LEFT Markus and Daniel Freitag.

RIGHT A classic messenger bag.

YOU’RE SURE TO HAVE SEEN THEM. Bags in clear colours with abstract motifs. All with a unique design and made of recycled material. Since 1993 the brothers Markus and Daniel Freitag have created a strong brand by cutting up truck tarpaulins into hard-wearing bags carried by environmentally aware city dwellers around the world.

The story begins in the apartment brothers Markus and Daniel Freitag shared in Zurich. As graphic designers they were on the look-out for a robust, waterproof and functional bag in which to carry their sketches. The heavy, noisy and brightly coloured trucks on the motorway outside their apartment window led to an idea that became the start of a success story.

One day Markus hauled a dirty truck tarpaulin into the apartment. He found it on an excursion to a nearby industrial estate. He scrubbed it clean in the bathtub and spread it out in the apartment. Then he drew cutting marks on it. The pieces cut out were sewn together and the result, together with bicycle tubes and car seat belts became the first Freitag bag.

The Freitag brothers realised that the material would be suitable as it is waterproof and hard-wearing. In addition, they liked the idea that the bags would be

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completely unique and made of recycled material.

They first manufactured the bags for themselves, then family and friends also wanted one. The bag was even tested by a cycle messenger in San Francisco. The order lists were quickly filled and soon the apartment was full of cartons, tarpaulins, an industrial sewing machine and a whiff of motorway. It has been a long time now since the bags were made in the apartment. Today Freitag is a successful company whose products are found in stores and museums th-

roughout the world. However, the cornerstones of Freitag remain: recycling, quality and Zurich. The original messenger bag is still in the product range, which has been expanded to include shopping bags, rucksacks, washbags, laptop bags and wallets. The bags are still made by hand in the factory in Switzerland.

”THE HEAVY, NOISY AND BRIGHTLY COLOURED TRUCKS ON THE MOTORWAY OUTSIDE THEIR APARTMENT WINDOW LED TO AN IDEA THAT BECAME THE START OF A SUCCESS.”

THE FACTORY

More than 120,000 articles a year are produced in a former gearwheel factor, Maag Zahnräder AG, in central Zurich. Sixty employees work on production, logistics and administration in the 2,800 sq.m large warehouse.

Containers and old office furniture have also been given a new lease of life here.

Markus and Daniel are still responsible for all design and development and follow every new creation from sketch to finished product. Up to the present more than 30 different products have seen the light of day, and more are joining them every year. Tarpaulins are sorted and stored in the factory to await washing and cutting. When the pieces have been put together it is time for the only stage in the process not done

by Freitag itself: the sewing. The bags are sewn by associated companies in France, Tunisia and Portugal - countries that are geographically not far away - as well as in Switzerland. In its own country, Freitag cooperates in a workshop for disabled people, which it has done since 1996, and contributes social commitment to a company that already has an environmental approach.

When the bags return from the sewing factory they undergo tough quality control and are documented by camera. The bag is then sent to Tokyo, New York, Berlin or wherever someone is waiting for a unique classic. n

Photo: Noë Flum

Freitag contacts transport companies in Europe and buys the old tarpaulins when it is time for updating.

Colourful tarpaulins contribute to the right look.

To make them easier to handle, the tarpaulins are cut up into smaller parts. A heavy and dirty job.

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The road dirt disappears in the big industrial washing machines.

Washing time is adapted to reduce the impact on the environment.

Using transparent templates, the parts are cut to size, so the designer can imagine what a finished bag will look like.

LEFT The flagship store in Zurich.

Photo: Roland T채nnler

Now the pieces are assembled using paper clips...

... and sent to selected facilities where the bag is sewn together using special sewing machines.

After quality control, the bag is photographed, packed and dispatched.

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PACKAGING

PACKAGING – PART OF THE EXPERIENCE As one of the most important product attributes with the strongest link to the brand, packaging is a major focus. Colour, logo and packaging individualize and visualise the brand product.

For the brand holder there is the possibility of communicating directly to the consumer before and after the time of purchase.

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ackaging, in the form we generally associate with it, has to protect and fix and tempt buyers while also promoting the brand. It has to inform, communicate the company’s personality and soul, the quality of the contents and create trust. All this in a limited communication interface. The demands to be met for the encounter between packaging and consumer to result in a purchase are strict, and a large amount of time and money has been invested in marketing and product development. Unless the packaging can create desire and arouse the impulse to buy through a strong link to the brand, the product will soon be taken off the shelves.

An important part of the branding function of the packaging is the possibility of creating strong emotional associations and messages. Graphic design is one of the most powerful ways of expressing the core of a brand. Visual communication can effectively transform sensations and identity into concrete elements. As well as colour and shape, it is possible to explore the effect of choosing different materials, constructions and ways of opening the packaging. The significance of packaging which conveys the tone and style of the brand in a clear 14

way increases every day as more brands are launched and compete for space on the shelf. The significance of design is increasing in all areas, and consumers today have increased awareness. The importance of the packaging for the success of a brand product varies between different product categories. Products which are difficult to assess in advance are in most need of differentiation and unique packaging design. Here we see a level of prioritization just as important as for brand development. Brands such as Absolut Vodka, Coca-

Cola and Perrier have such a distinctive colour, shape and design for their packaging that it has been possible to protect them by brand registration. Relying on the product and the distinguishing features of its packaging can otherwise be risky. If a company launches a product with unique characteristics today, there will be copies available tomorrow. In other words it is important to always invest in a strong brand.

Not being afraid to stand out can also produce good sales results, and strengthen the brand. Provided, however, the design does not take space to the detriment of function. A good design is not just unique and attractive, it is also functional. With regard to the product itself, its advantages and function have to be signalled, preferably with attractive graphics that demonstrate what the product does. The product’s category also has to be visualised. There have to be special “codes” that guide the consumer in the right direction. We recognise an electronic product from the design of the packaging and would feel unsure if it contained detergent instead.

The Selfridges department store felt that its own brands for food and wine were poorly recognised and lacked personality. It turned to the design consultancy R Design in London, which developed styling to reflect the

store’s progressive approach. The result was a series of packaging with a powerful form of expression. Everything was colour-coded black with only typography that reflected the contents with its colouring, e.g. orange for orange marmalade and pink for strawberry jam. The project shows that when three important components work together – clear originator, graphic clarity and consistent identity - success is guaranteed.

It does not matter that the ”code” is broken. In a similar way, Barilla broke with conventional colouring when it launched its blue-and-red packaging.

EXPERIENCE

Brands such as Apple have turned buying, opening and discovering the packaging into an experience.

Perfume makers have long been leaders in producing innovative packaging and turning opening into an art.

Development of the marketing and packaging concept is usually started even before the actual perfume!

Combining experiences with environmental thinking is an idea shared by the Italian firm of Primigi. Their cardboard boxes for children’s shoes can be transformed into colourful animals. The packaging in this way acquires a dual function and a longer life.

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”BRANDS SUCH AS APPLE HAVE TURNED BUYING, OPENING AND DISCOVERING THE PACKAGING INTO AN EXPERIENCE.”

What many companies have disregarded or have not put sufficient work into is bags, labels, pallets and transport vehicles. These too are an important part of the packaging concept. It can be risky to rely solely on a strong brand. If the supportive attributes are also revised, as mentioned above, effective and visible communication interfaces can be found and the consumer is given added value if the article is packed in a neat and practical bag that makes the carrier proud and encourages continued use. If a product is delivered to the door, this obviously has to be done by a pleasant messenger with clothing featuring the corporate identity and a neatly designed vehicle.

TRENDS

Transparent packaging has long been popular and its popularity does not appear to be waning. Transparent packaging makes use of the content as part of the design. A transparent bottle generally makes an “honest and sincere” impression in comparison with one that is not. This is an effect that may be worth utilising when working with ecological and natural products.

The market is becoming ever more global, and this is principally apparent with a greater need for multilinual packaging. This is good from the environmental standpoint, but the designer has a difficult task in producing an appealing layout with large amounts of text. One way of solving this problem may be to use symbols.

Symbols can be an international language and provide an opportunity to reach a larger target group.

Paradoxically the trend towards overpackaging has grown steadily alongside a trend to reduce impact on the environment, though the movement towards reducing packaging materials and choosing materials that are organic for real. When more consumers demand environmentally friendly packaging alternatives, pro-

duct development in this area will speed up. Giving packaging more functions than product attributes is one way of reducing the waste mountain. As mentioned earlier, Primigi makes packaging that can be converted to toys, we see hangtags that can be used as notepads, key-rings, stickers and jewellery. Brands acting responsibly in this way favours their image and creates pride among their employees.

The use of natural materials and recycled raw materials is becoming increasingly popular. Last year Dsquared launched a men’s fragrance with a bottle enclosed in wood. The eau de toilette version of Enre Noire is contained in a glass bottle decorated with precious wood. Diesel has previously packed its men’s fragrance in worn woven jute.

The significance of the product packaging cannot be emphasised enough. Requirements are also changing.

Not only does packaging have to protect and inform, it also has to provide a physical and emotional experience and at the same time be environmentally friendly. Attributing all these properties to a product requires skill and patience on the part of the brand owners, designers and producers. If this proves successful, the rewards are products which stand out from the crowd and convey pride to those who buy them. n

Products which are difficult to assess in advance are in most need of differentiation and unique packaging design.

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A company choosing to package its products in a luxurious way does not necessarily mean having an adverse impact on the environment. One way of reducing one’s environmental impact, is to choose a packaging material that is ecologically sustainable.

ENVIRONMENTALLY FRIENDLY PACKAGING MATERIAL When a company wants to profile itself as environmentally friendly with regard to packaging, there are number of different ways of going about it. Avoiding unnecessary transportation in manufacturing is one way. Reducing the use of unnecessarily large packaging (which leads to air being transported and a greater number vehicles having to be on the roads) is another. In addition, it is better to choose an environmentally friendly material to produce packaging from.

But which material to use? That obviously depends on what kind of product to be packaged and what demands consequently have to be met by the material. What is more environmentally friendly to use must be decided on a case-by-case basis.

There are a large number of environmentally friendly materials that are available. These vary as to the beneficial impact they have on the environment.

We describe some of them downbelow:

MANY LARGE COMPANIES TODAY HAVE environmental policies aimed at reducing their adverse impact on the environment. The hygiene and cosmetics company; The Body Shop says that its packaging for make-up is made of 25% recycled material and all their PET plastic bottles consist of 50% recycled plastic.

Companies that have not been directly associated with environmental activism have also started thinking along these lines. The large British company Marks & Spencer has an ambitious “eco-plan”. By 2012 it will be carbon-neutral and all its packaging will be recyclable. Or, as the company’s Chief Executive Stuart Rose states: “This is a deliberately ambitious and, in some areas, difficult plan. We won’t have all the answers but we are determined to work with our suppliers, partners and Government to make this happen. Doing less is not an option.”

BIOPLASTIC

PLA PLASTIC

“GREEN POLYTHENE”

BAGASSE

Hemp is an ancient, tolerant and fast-growing plant that can grow on nutrient-poor soils in most climatic zones. The hemp can be used, for instance, for string or woven into bags.

PET PLASTIC

PALM FIBRE

LINKS:

Bioplastic is not a specific type of plastic, but a term that represents a whole family of different plastic products. However what they have in common, is that they are either made of a renewable material or can be composted.

Plastic that is made from ethanol rather than crude oil can be used to produce both flexible and hard packaging. “Ordinary” polythene plastic is most commonly used in the manufacturing of plastic bags today. Manufacturing of Green Polythene will not begin until 2009 at the earliest.

This plastic is transparent and recyclable and often used in the manufacturing of bottles and bags. However, the raw material for this plastic is crude oil.

This plastic is based on corn starch and can be used to make thin, transparent packaging or bags. A small picture of a corncob can sometimes be seen on packaging made from this material.

Bagasse is a by-product from the manufacturing of sugar. Packaging made of this material can be composted in 45-60 days. Its appearance is reminiscent of compressed paper.

Products we have seen manufactured in this material include, for example disposable plates and mugs.

This is a by-product from the manufacturing of palm oil. Packaging made from palm fibre is similar to paper packaging but is more coarse in structure.

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REED FIBRE

Packaging can also be made from reed fibre.

Reed grows quickly and can be planted at the water’s edge, which means that it does not compete for land with food production.

HEMP

www.european-bioplastics.org www.natureworksllc.com.

Urban Saints

The Urban Saints concept is designed for the young girl teenager , the older child who doesn’t want to be cute any more. A �my little pony� that has grown dragon wings and tail is used as a symbol to communicate the brand personality of Urban Saints. The clothes are pop, rock, and punk music inspired, for example a short jeans skirt, slim fit jeans, slim T-shirt and hoodies. The colouring is in black and red.

The materials chosen are leather, embroideries, metal, silicone and rubber. The label concept has a lot of playful items like keyrings, stickers and a notebook.

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PRODUCT DEVELOPMENT

PRODUCTDEVELOPMENT Product development is continuously under way in The Nilorn Group design departments. Market trends and needs are analysed, and collections that combine technical solutions and visual design are launched a few times each year. New combinations of materials and technical development make it possible to create exciting and innovative options for brand profiling.

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Sprout

A concept for children’s wear, age 0-4 years.

The design uses retro seventies style and targets parents aged 25-35. The brand communicates in a playful way with characters such as monkeys and owls. The bright red, white, grass-green and petrol are combined with natural brown colours. Materials such as felt and plush are chosen to create a soft feel for the labels. Other materials chosen are wood and rubber. This gives the brand a rustic feel.

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Petrol

Petrol is a jeans brand with influences from pop and rock musicians.

The target group is 25-35-year-olds. The style is based on a slim silhouette with prewashed and distressed clothing items such as t-shirts, jeans and leather jackets.

To create this style we have designed the label concept with raw materials such as brushed metal, canvas and leather. The sense of genuineness is fostered by retaining the material colours and only adding Bordeaux red to particular parts.

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Murky

The sport/streetwear brand �Murky� reflects a darker side of sports. It is designed for both men and women aged between 20 and 40. It has a technical approach and plays on the transparency of light. The colour scale runs from black to purple, and the main materials used are silicone and plastics. The concept includes many items linked to footwear.

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Boudoir Belles

This is a concept for trendy women in their 30’s.

The style is quite romantic and cute. We have used a range of colours consisting of dull and dirty pastels: pink, light blue and grey. Satin combined with mesh creates a light, exclusive and feminine feel.

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LINNEA HANSEN

The Linnea Hansen brand and label concept is aimed at women over the age of 50. The main colour is gold, used in an elegant way. Lurex, white leather and mesh are qualities that add a sophisticated touch. Many of the items are intended to be kept and used by the consumer, such as a cardholder, a wardrobe freshener and bags.

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PEOPLE

LITTLE EDIE:

AN UNKNOWN FASHION ICON TEXT: William Oudhuis PHOTO: Getty Images

I

ngrid Bergman, Greta Garbo, Marilyn Monroe, Marlene Dietrich and Madonna. Beautiful women have become immortal style and fashion icons throughout history. Their names bring to mind countless photographs, films, songs and items of clothing. But what happens if I mention the name Edith Bouvier Beale, or “Little Edie” as she was known? Probably nothing. Despite the fact that for a long period of time she has been a fashion icon who inspired stars like Madonna and Kylie Minogue.

Before long, Edie Beale will be on more people’s lips and her name will join those of the other immortal fashion icons. Later this year the feature film Grey Gardens will be premiered with Drew Barrymore playing the role of Edie Beale. To understand who Edie Beale was, it is necessary to go back to 1975 and the 28-room house called Grey Gardens. This huge house was located next to the beach on Long Island outside New York.

The ageing Edith Bouvier Beale lived in the building together with her daughter of the same name (to distinguish between them they were known as “Big Edie” and “Little Edie”). The two women were close relations of Jackie Onassis and had long been part of New York society. However, in the early 1959 Little Edie moved 26

to Grey Gardens to look after her mother and as the years went by they steadily lost contact with the outside world. In 1973 the tabloid The National Enquirer shocked its readers with articles that showed the squalid conditions Big Edie and Little Edie were living in and how they had let the house decline. There was a scandal, and to enable them to carry on living there at all, Jackie Onassis paid a large sum of money for an extensive renovation of the house. It was during this renovation in 1975 that the well-known documentary film-makers Albert and David Maysles (known for the Rolling Stones documentary Gimme Shelter) decided to make a film about these two remarkable women and their lives.

The film was given the title Grey Gardens and traces everyday life in the house and the complex relationship between the mother and daughter. While Big Edie mostly lies in bed singing and eating ice cream and paté, Little Edie really comes to life in the presence of the camera and every day puts on a kind of play in which she sings, dances, changes clothes and constantly talks about longing to go back to New York and about her mother being the reason for Little Edie’s failed artistic career (Big Edie, on the other hand, had

a career as a singer). Little Edie had a career as a model, which was behind her and had dreamed her whole life about the stage. But instead she spent the greater part of her life at Grey Gardens and sang along to Big Edie’s records, the only evidence of her mother’s brief singing career. In Grey Gardens Little Edie also talks a lot (and she really has a divine verbal gift and is the source of many well-known quotations) about her complex relationship with men and she is constantly feeding the 52 cats and the shy raccoon family that also lives in the house.

Grey Gardens was a success when it was screened in cinemas, although it was criticised, as present-day docu-soaps are, for its intrusion into and depiction of the women’s private life. Despite this Little Edie became a cult figure. In particular her clothes and sense of fashion made a great impression, and both Vogue and Harper’s Bazaar published large spreads inspired

by Little Edie’s clothes. She herself had a brief career as a cabaret artist in New York after the film. She then moved around various cities before she died in 2002, at the age of 84.

As well as the documentary film Grey Gardens, Big Edie and Little Edie inspired a successful Broadway musical (also called Grey Gardens), the documentary film Ghosts of Grey Gardens, the follow-up Beales of Grey Gardens and now the Hollywood film Grey Gardens.

And I promise you that the name Edie Beale (or Little Edie) will find a place alongside Madonna, Greta Garbo and the other names that this article began with. As soon as you hear her name you will think of this remarkable woman, with a tight scarf wrapped around her head, singing Tea for Two, and coming dancing down the staircase at Grey Gardens. And in the background you will hear Big Edie calling to her daughter: “Yo-hoo!

Edie! I want ice cream!” n

”Grey Gardens was a success when it was screened in cinemas, although it was criticised, as present-day docu-soaps are, for its intrusion into and depiction of the women’s private life. Despite this Little Edie became a cult figure.”

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CREATIVE ISTANBUL

ISTANBUL:

By: Melda Narmanlı Çimen Publishing Director of Maison Française, Elle Decor, HELLO! and Evim magazines in Turkey.

FRESH AIR FOR CREATIVE MINDS

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he Turkish design sector is speeding up within the world arena by pushing Istanbul into the international design agenda offering a new inspiration and meeting point for all the design world.

The City welcomes designers from all around the world seeking new influences within the city’s rithym, texture and history. Of the few names who have visited Istanbul in recent years are: Ross Lovegrove, Karim Rashid, Piero Lissoni, Andree Putman and Tyler Brule. They have conquered the city and the city has conquered them. Lovegrove and Rashid expressed their interest by actually designing collections with Istanbul inspiration.

Lovegrove also declared that it is very important to protect the nature and history of the city when expanding it with skyscrapers and shopping malls. The city offers many hidden points like shops and antique dealers in the lanes of Cukurcuma, bazaars in the historical peninsula; The Elements’i, the D’art’ı and the Abdulla.

On the other hand, Turkish brands like Vitra, Step, Autoban, Derin, Gaia&Gino and Hiref offer their design prospects to the new millenium by showing that Turkish taste is not only rugs, mosaics or china.

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One of the very important factors of being in the world market competition and in the global economy is innovation, modernity and moreover to be able to be distinguished. The only way to differentiate is innovation with industrial design! Establishing design as a country culture or even as a corporate culture is a long stepped process. Also, the period that counts from ‘looking’ to design to ‘using’ design is another long process. In the recent years, Istanbul draws attention as the local designers are being discovered by international markets and as more Turkish Fashion brands invest in design.

Moreover, Istanbul is inspiring many designers as it is a city of multi colors and multi cultures .

Young Turks Era in Design

Apart from Defne Koz, Aziz Sarıyer, Ayse Birsel, Inci Mutlu, Murat Günak, Barlas Baylar and Mirzat Koç, every day we are applauding the success story of a new Turkish designer in the world arena. Mr. Derin Sarıyer is quoted in an English magazine that every designer is effected by the culture of his country, but not necessarily should use the inspiration as a decorative element in all his designs.

The magazine announces Derin as the new generation canditate to Cappellini and Edra. Derin offers an identity and is a leader in promoting the Turkish design label to the world. Sezgin Aksu who is sharing the same office as Michele Lucchi in Milano, is expressing most Ottoman heritages in his designs. Aksu is currently designing projects for Poltrano Frau, Gebrüder Thonet, Caimi, Guzzini, Rosenthal, Olivetti and Siemens. Koray Ozgen, a Turkish design genius living in France, has Centre Georges Pompidou, Palais de la Decouverte, Paris municipality, International Herald Tribune, Knoll International and Boots Healthcare in his portfolio. The Astroid vase that he promoted in the latest edition of

Paris Maison & Objet has been lauded by nearly all design magazines. Seyhan Ozdemir and Sefer Caglar partners of Autoban in Istanbul, have been chosen as Best young designers in 2004 by Wallpaper. Established in 2003, Autoban operates from an office in Galata, Istanbul’s historic quarter developing interior environments for commercial and residential purposes.

Secil Ulur and Demet Bilici, graduates of ITU Industrial Design are moreover two very young designers who have recently arrived as 10 most wanted designers

by Wallpaper.

Another young Turkish talent Joelle Hançerli studying at Nuova Accademia di Belle Arti in Milano, has attracted attention by applying traditional forms of turban and Turkish bath sandals to contemporary pouffe and stools. As long as Turkish designers continue to dream, their voice will continue to conquer design addicts. n

Istanbul Design Week

Centennial Galata Bridge is back to life with the City’s new Design Fair that takes place once every year. The exhibitors have the opportunity to showcase in a 10.000m2 area, on water, in closed rooms and open areas. Istanbul Design Week is heading to point out Istanbul as the new destination of design in 2010.

Not only a week of design, IDW is also creating new projects that will lay out design all throughout the year. These projects will strengthen the week itself and moreover will work as a bridge between the communication to international markets. For more information: www.istanbuldesignweek.com.

The new designers group: Barbarians

17 Turkish designers have come together under the name Barbarians and have proposed the first samples of their creations that have been developed using the Rapid Prototyping technology under an exhibition they have named as the Barbarians Table. Erdem Akan, Oya Akman, Murad Babadağ, Alper Böler, Ela Cindoruk, Hakan Gencol, Yankı Göktepe, Gamze Güven, Sedef Haydaroğlu, Gökhan Karakuş, Defne Koz, Eray Makal, Erkmen Savaşkan, Adnan Serbest, Kunter Şekercioğlu, Taner Şekercioğlu and Ömer Ünal are the designers that concentrate on the genuine aspects of the culture of the City Istanbul.

GAIA&GINO is a Turkish brand who works with international designers and worldwide manufacturers to bring fine quality, fun and sense appealing products by using traditional materials. The ”Morphescape” tableware collection designed by Karim Rashid, which resembles the silhouette of the beautiful Istanbul cityscape has won one of the most prestigious design award at Design Plus 2005 and became a part of the permanent collection displayed in the Museum of Applied Arts, in Frankfurt.

Grandbazaar Sofa of Maybe design, inspired by Turkish kilim motifs.

ABOVE AND FAR LEFT HIREF is a Turkish design company fed by the wealth of Anatolian history.

CREATIVE ISTANBUL

Istanbul based photographers offer avant-garde aesthetics in the city’s exotic locations !

Photo by Tamer Yılmaz

Photo by Koray Birand

FASHION PHOTOGRAPHY IS A FORM OF ART. It is more

than just nice clothes and pretty models. It tells the brands story and effects the society. Creative minds enchanced by the city’s centennial history and culture, come up with stunning fashion images paying a lot of attention to detail. Istanbul offers emotions of the past and the present, the ancient and the modern. The city fills up the artists so deeply that Fashion photography results in stunning images from the cameras of Tamer Yılmaz, Nihat Odabasi, Sedef Delen, Ayten Alpun and Koray Birand; all artists of Istanbul.

Koray Birand

Nihat Odabasi

Tamer Yılmaz

Ayten Alpun

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Photo by Ayten Alpun

Photo by Nihat Odabasi

Photo by Sedef Delen

Photo by Nihat Odabasi

Photo by Sedef Delen

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TEXT AND PHOTO: Maja Stensdotter Olovsson

With one foot firmly anchored in Bor책s, Sweden and the other in Peru, Stephan Bergman, CEO of Bergman Sweden, has built up a company that elegantly combines ecology, economics and ethics.

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ORGANIC COTTON

LEFT ON HOME GROUND. In the stairwell of the Bergmanhouse, Stephan Bergman is surrounded by the bare concrete, which symbolises their corporate philosophy.

THIS PAGE FROM LEFT OFFICES. Prize-winning activity. The office is adorned by a poster.

At the 2007 ELLE gala Bergman Sweden was awarded an H&M scholarship in the category of ”ability to promote sustainability in the fashion industry in Sweden”.

HONORARY MENTION. As honorary consul, Stephan Bergman is responsible for around 100 Peruvian families in Western Sweden.

BRILLIANTLY COLOURED. In the Designers’ Corner it is possible to see fabric and yarn samples in different qualities, colours and patterns from the Bergman Sweden’s various partners.

W

ith one foot firmly anchored in Borås and the other in Peru, Stephan Bergman, CEO of Bergman Sweden, has built up a company that elegantly combines ecology, economics and ethics.

The Swedish textile industry chrisis in the eighties brought about a new way of thinking about cotton production and today, in 2008, the company’s philosophy and products are more relevant than ever.

Building plastic materials and shuttered windows give away the fact that the building is still a few weeks from completion, but Bergman Sweden’s six employees have already moved in. The building is centrally located, and in the entrance area you encounter clean lines, open areas and generous daylight. Anyone admiring the view from the window cannot avoid seeing the attractive but empty premises of a former textile factory that has now closed down its operation in Borås. Leaning against the wall in the office, waiting to be moved to its final position, is a sign bearing the words “Consulado Republica del Peru”. Because of this involvement in Peru, where all the company’s cotton is grown, Stephan Bergman has been appointed honorary consul for the country. Both the location of the building and the international connection seem particularly symbolic as Bergman talks about the company.

“I became CEO in 1985, and the Swedish textile industry at that time was contracting. I wanted to convert

the bank. It takes time to change over to organic cultivation as the soil has to be “converted”, but in 1991 the company had it’s first certified harvest. All that was missing was the buyers. Interest in Sweden was cool, despite a brief upturn in the early nineties, and Bergman Sweden had to find customers abroad.

“We had an idea about helping Swedish companies to gain added value for their products, but there was no interest” says Stephan.

Instead it was through Germany and Switzerland that the company first reached out. To this day, when interest has also been kindled in Sweden, most of their customers are abroad, particularly in the United States, Japan and the United Kingdom. The company sells what there is demand for, from yarn to finished product, and tries to find ways to sell by-products such as comb waste and even seeds. To find possible uses for by-products there is a need for both invention and perseverance, with ideas being evaluated by partners in different areas. The possibility of converting cottonseed oil to biodiesel, for example, is being examined presently, and has been found to be perfectly possible. What is missing, on the other hand, are vehicles adjusted to this particular type of fuel - and this is a factor Bergman Sweden has less opportunity to influence.

Today the whole family works in the firm, inclu-

the existing products to something with a more distinct character of their own and less geographically restrained.”

The company already had relations with Peru, and the family’s strong interest in the environment led to the idea of growing cotton without using any toxic substances. The project took shape, and in cooperation with environmental organisations in Sweden and researchers in Peru cultivation began on a trial basis. It was a great financial risk, but there was backing from

ding the grown-up children, the number of contracted growers has increased almost a hundredfold and the company is certified by KRAV, among others. It is hoped that the Fair Trade mark will also be gained in the very near future.

All the farmers are self-employed, contracted to grow for Bergman Sweden. During the conversion and use of the soil, the farmers are assisted by agronomists and agricultural technicians, and Bergman Sweden ensures the growers are provided with organic fertili-

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sers and environmentally friendly pesticides. To make it possible to change over to environmentally friendly production, including for those farmers who do not have money to pay for fertilisers and to meet other overheads, there is a system in which the price of this is deducted at the time of harvesting. In comparison with modern, non-organic agriculture the workload of the farmers increases, but so does their income. Social, environmental and health aspects which normally are rarely included in business descriptions are an important element here and they too are positively influenced.

When asked how they want to be perceived as a company, Stephan replies: “We wish to be a genuine company that is honest to people and nature. What you see here,” he says, pointing towards the concrete-grey walls of the newly constructed building, “is what you get. It is raw concrete and does not try to be anything else.” The company can be described as an old stone bridge where one foundation is economics and the other ecology. In the middle of the bridge there is a brick of ethics and without it the structure would collapse.

On the basis of this reasoning it is not surprising that the commitment in Peru goes further than for an ordinary producer. Stephan talks about a smaller project in which the inhabitants of two villages have been given an opportunity to give up coca plantations in favour of cultivating colour-grown cotton. For Bergmans it is a project that does not yield any financial profit, but Stephan notes: “If you’ve made a commitment you can’t leave people in the lurch!”

On the basis of the same, apparently simple reasoning, Stephan talks about how they support Peruvian environmental organisations and have also helped set up local children’s ombudsmen. These are efforts that have positive effects on nearby society but also have long-term, good repercussions for Bergman Sweden.

A long-term approach and sustainability are concepts which often recur in conversation.

“When we receive an enquiry about cooperation, I usually ask “How sustainable are you?” Cotton takes nine months from sowing to harvest and it takes about three years to recoup the money. This is the reality potential partners have to deal with.

As sales have declined abroad and in recent years also in Sweden, there is a desire to be more clearly visible in the domestic market. One way of reaching this point has been to develop a separate clothing collection, which was released in 2007. This too is linked to their long-term approach and has taken 3-4 years from concept to finished garment. We stand aside from fashion and trends and have made a commitment to classic models and colours, in a fit and quality that are to function for many years. In the near future the plan is, however, to complement the range through cooperation with designers, who can crate a higher degree of fashion.

The commitment in Peru also has an equivalent in Sweden, where Bergman Sweden in their own way has contributed towards shaping the future for Borås as a textile town. The clearest sign of this is obviously the Bergman Sweden building. There have long been plans

“We wish to be a genuine company that is honest to people and nature. What you see here,” he says, pointing towards the concretegrey walls of the newly constructed building, “is what you get. It is raw concrete and does not try to be anything else.”

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LEFT FROM TOP EXTERIOR Past meets present. The modern facade of the Bergmanbuilding stretches towards the Viskan river. The building was designed by Kia Bengtsson Ekström, MA Architects, in Borås. Visible in the background is the disused textile factory which is their nearest neighbour.

THIS PAGE STORE Ready to start. The store is adorned with cartons waiting to be unpacked. The textile theme is common and is supplemented by lighting, skincare products, home furnishing and accessories.

VISIONARY ENTREPRENEUR. Stephan Bergman is happy to share the company’s history and conveys a bright picture of the future.

for a design house in the Borås municipality.

It was Bergman Sweden that took the vision from paper to reality, and everything is due to be ready in May 2008. Stephan Bergman’s ambitions for the new building, which as well as offices and apartments also accommodate restaurants and stores, are that it should serve as a heart for textiles which people can come to for many different reasons and that the soul of the company should permeate the various operations.

“We aim to be generous. At the office will be a designer’s corner to which people can come to look at materials and collections. It will also be open to those who perhaps are not shopping. For the store, in addition to our own range, we will be introducing products we think fit the profile and also have a reading corner where it is possible to come and read books and magazines, principally about design” he explains.

With the school of textiles attached, it is a

move that will certainly be highly appreciated and which will help influence development, both for Bergman Sweden and for those who someday work with Swedish textiles.

Today Bergman Sweden is the largest single producer of organic cotton in the world and the harvest in recent years has already been sold at the time of sowing. The plan for the future is to increase the area under cultivation and further refine the cotton using hybrids, which makes it possible to spin thinner yarn and in so doing increase the opportunity to produce different fabric qualities. Silk is already cultivated to a minor extent, and the production of wool and linen awaits. There is also a desire to use the insights which have been gained over the years to utilise the website, in particular, to spread knowledge of organic cultivation.

“We believe that future demand will increase more than supply, and that organic cotton will be a natural ingredient of society.”

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Stephan sums up. “We have already seen signs of this, with the climate change debate and large clothing chains starting to make a commitment to organically grown cotton.”

Stephan continues: “For us it is not a matter of matching the giants. With the quality we achieve and the way we work it is impossible to operate at the same price level. What we concentrate on instead is emphasising quality and added value and continuing to build our own brand.”

Asked what has driven them forward over the past few years, when there has not been a straight line from the start to where we are today, Stephan replies: “It is no doubt our entrepreneurial mentality that provides strength and ideas. It is a matter of being honest with oneself and others, not taking short-cuts, being transparent in the information provided and positive in trade description. Creativity does the rest! n

Interview with Brian Rennie – Design Director at Gant

BACKGROUND AGE: 44 years old, Scottish, lives in Stockholm (SaltsjöBoo) with two dogs.

INTERESTS: Journeys, music, gardening etc.

SCHOOL/UNIVERSITY:

Fashion for five years in London. Received his masters at Royal Colleague of Arts (London) WORK EXPERIENCE: Worked at Escada in Munich for more than 20 years – with his latest role as Design Director for Gant.

COMPANY FACTS Originating from the traditions and lifestyles of America’s East Coast, Gant is a truly international lifestyle brand.

The Gant collections are sold in over 300 Gant stores as well as in over 4,000 selected retailers in over 70 countries. In 2006, Gant Brand Sales amounted to MSEK 6,200.

In 1949, the Bernard Gant family launched their first clothes collection in the US under the trademark Gant. In 1980, three Swedish entrepreneurs received the rights to design and market a proprietary Gant collection in Sweden. In pace with their Swedish success, the rights were extended further to cover the sale of products in other markets around the world.

Following extensive international expansion, the Swedish entrepreneurs, who jointly own the company acquired the global rights to the Gant brand in 1999.

Underlying factors for chosing Gant as a company?

Gant has a successful history as a brand and I wanted also more international work experience. However, I did not have such a strong impression of Gant previously, but the more research I did, the more interested I became.

From where do you get your inspirations?

Anywhere and everywhere. People, journeys and films are inspirational sources.

Favourite places to travel in the world based on inspiration and design?

London, Los Angeles and New York. London is my favourite place since the people on the high streets are very conscious and extremely fashion minded. Los Angeles is another favourite due to the use of strong colours among the people on the streets.

Favourite colours?

Anything, but especially light colours.

What kind of clothes do you prefer to design?

I love to define colours, fabric’s and collections so I have no particular preference for men’s wear, women’s wear or kids wear.

How important is branding for you and Gant?

It’s very important to provide a brand with a strong identity. Strong branding increases opportunities for successful point of sales in stores etc. To offer a unified image, profile and identity enhances the brands value to a greater extent.

How important is packaging for Gant?

Packaging is really important and the branding for Gant is not enough at this stage.

How important is badges for Gant?

It’s always important with badges and embroideries as these increase the value of the product and the brand itself. The usage impact differs from country to country and therefore badges and embroideries have greater impact in some markets.

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From an ecological perspective: How does Gant take care of ecological demands?

We at Gant meet once/twice per year where we discuss the philosophy and policies of Gant. This includes strong ethical contracts with our suppliers. One thing is for sure, the impact of the ecological concept increases and is here to stay permanently. Today it is common for many suppliers’ to require organic cotton, but unfortunately many of those, do not have total control of the organic process. As a result of this, it is very important for Gant to be a part of the organic cotton alliance.

Today, consumers are much more aware on the impact of the environment. Consumers want ecological clothes, but the trend is different from the last ecoboom in the 90’s where most of the clothes had dull colours. Now people want fresh colours, but it is also important for consumers that products are developed from a natural source.

Why has Gant succeeded in such a professional way?

Gant offer affordable and comfortable fashion, classic but not too trendy and stays on a casual lifestyle. Every season there are new collection updates which always enhance the branding philosophy of Gant.

What are Gant future strategies? (lets say in 5 years) Even more successful than today. We see a huge potential for growth with women’s wear. As a result; our strategy is to become just as successful in women’s wear as we are in men’s wear.

For this season, any news?

Gant has three different collections; GNH, Rugger and the Collection. For this season; GNH collection offers a stronger contrast with lighter text and more visible logotype with white on navy. The Rugger collection has been redesigned with more faded colours and washed comfortable garments. The new Gant collection is more driven to high street fashion regarding design and fabrics. It has a more fashion driven identity with luxury sports wear with a designer edge.

Do you have any hidden talents?

Cooking and painting. n

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WWW.GANT.COM/SWEDEN

NEW FASHION BRAND

FASHION IN BETWEEN Despite being in her last semester of studies at the Swedish School of Textiles in Borås, specializing in fashion and design, Nette Sandström, together with Daniel Adams-Ray and Martin Lydén, have already launched their own brand, Lagom, which is on its way to establishing itself in the fashion industry.

Nette’s age, background and why fashion?

Nette hails form Härnösand and is 26 years old. She is very interested in anything to do with design and construction. She started her education at the Tomteskolan college in Sundsvall, where she studied image and design. Then she attended a fashion design course at Studiefrämjandet Adult Education Centre in Stockholm. When she started at the Academy of Cutting and Tailoring in Stockholm in 2005, a deeper interest in the area of denim and jeans developed.

Nette is enthusiastic about taking on challenges where she can find her own solutions in design and dressmaking. This background led to the launch of Lagom by Nette, together with Daniel Adams-Ray and Martin Lydén in 2006. She acknowledges that she is curious about finding new design solutions, and therefore wants to test her way forward as far as she can.

Why did you choose the name Lagom?

Describe the company’s business concept and focus.

– ”The word Lagom in Swedish means something that is ’just right’, and we play on the preconceived notion that Swedes live in ’just the right way’ with no extremes. Our brand offers a quite relaxed style.” Nette says that she ”views design as an antique sofa”. Lagom 38

focuses on small details, where buttons and fabrics are significant elements.

Lagom created specially sewn clothes worn by the Swedish hip-hop group Snook on the Swedish radio station P3’s Gold Show, and the cooperation proved a success. Nette describes the brand as “youthful but adult” and “older meets young”.

She says ”Our garments are sewn in Estonia, but we are also searching for new suppliers who have the machine capacity to sew what we want.” She agrees that it is important to strive towards sustainable development. For example, Nette adds ”Only the jeans in Lagom collections are organic for the time being.”

How many hours a week do you work, bearing in mind that you are still at college?

– ”I’m efficient and manage to find time to do quite a lot. I work about 60 hours a week.

It’ll be great to have college completely finished by the summer and be able to focus entirely on Lagom.”

What kind of a person are you?

– ”I’m calm, efficient, naive, have strong willpower – which means that I’m good at seeing things through. I have a strong urge to develop, analyse and to be respectful.”

“We’re in between.

Between street and tailored. We want to reach out and appeal to as broad a group as possible.”

Tell us about the Swedish School of Textiles in Borås: – ”It’s a very good college with a highly skilled staff who are accommodating and willing to help. Everyone there is a pleasure to work with. An area in which the University College of Borås ought to improve is in forging links with the business community. How can we reach out and make contact with companies if there is no relationship between the college and businesses? It’s quite common for students to feel that many companies are not particularly interested, but we know that this is not the whole truth. Therefore it’s good that there are students who start up their own businesses.” Nette adds that she has gained a thorough knowledge from the University College of Borås which has given her a great start in life.

– ”A good example of the commitment shown by the University College of Borås is the help they gave us in understanding processes involved in the development of various woven and knitted fabrics” she says.

Is it risky to start a company today?

– ”Yes, it’s quite risky. You have to be prepared to chance something in order to win.”

Nette adds ”Lagom is self-financed and has three partners: Nette Sandström, Daniel Adams-Ray and Martin Lydén.” ”They have different areas of responsibility in the company, and are all of equal importance. They complement each other very well” she says. Despite still studying, Nette

finds time to work as a designer at their jointly owned firm.

How important is brand profiling to you?

– ”It’s incredibly important to me. When we’ve made our own fabrics, another important aspect is the recognition factor, with everything having to be matched in a colour combination.” At present Lagom offers a lined label on its collections which Nette is very pleased with. She adds that Lagom will continue to work with The Nilorn Group.

Like many other brands, it is important to divide the products into various ”sub-brands”, and here Lagom will focus on Lagom Liten, Lagom Stor and Lagom Störst literally small, large and largest.

– ”We’ll expand our cooperation with The Nilorn Group as we will be developing labels with a slightly exclusive feel that enable us to divide the collections into different groups of articles” she says.

– ”We at Lagom want to stretch ourselves, develop, become more experimental and be able to deliver interesting products. It is therefore very important to have goals if we are to be successful in reaching out to the world.

We feel that we have gained a good response in Sweden and Denmark. Recently there was an interview on the Danish television channel TV2, which was very exciting!”

Where are your favourite places?

– ”New York, Paris and all parts of Italy. I prefer to spend my time on culture rather 39

than visit museums, simply because I find it difficult to do things I’m not 100% enthusiastic about.

Will you devote yourself in the future to Lagom?

– ”In June I will be devoting my time entirely to Lagom, because by then I will have finished college. I’ll settle in Stockholm, but will always retain contacts at the college. As I have always been theoretically oriented, my plan was to be an economist or lawyer. I have always been curious about new techniques, but now I know that I have found my flow, and it’s a great feeling.”

What makes Lagom unique?

– ”We’re in between. Between street and tailored. We want to reach out and appeal to as broad a group as possible.”

Nette Sandström’s tips for anyone thinking about starting their own business: – ”Don’t give up. It’s important to persevere, have strong drive and willpower. If it doesn’t work now, perhaps it might work later. Don’t be afraid to work hard at the beginning.” Nette adds that it is important to contact companies and organisations that can offer advice and support your business concept at many levels.

– Another very important aspect is for everyone involved to do what they are good at and how you must be able to rely on one another. n

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