BRANDING & design (Fashion magazine)

A

P U B L I C A T I O N

F R O M

N I L O R N

Bare Necessitie

BY PAT R I C K H J E R T É N

Nilorn Worldwide I TA LY O F F I C E

Mads Nørgaard A FAC E -TO - FAC E I N T E R V I E W

Cotton made in Africa H E L P I N G P E O P L E TO H E L P T H E M S E LV E S

W O R L D W I D E

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CONTENTS 05 WELCOME

07 BARE NECESSITIE

BY PATRICK HJERTÉN

10 DENIM REPAIR

COVER PHOTO Styling Andrea Albertyn

OLD JAPANESE BEAUTY

Photo Olof Händén Hair and Make up Nandi Kai

13 NILORN WORLDWIDE

Model Alexa / Boss Models

ITALY

PAPER Cover Silk 200gsm Body Arctic silk 150gsm Print Responstryck AB, Borås, Sweden

COTTON MADE IN AFRICA 16 HELPING PEOPLE TO HELP THEMSELVES

THE DESIGN DOCTORS 21 »VILLA NILORN« EVENT

Nilorn Worldwide is an international company, established in 1977, focused on

adding

value

to

brands

using

STORES YOU MUST VISIT 22 ANTWERP & NEW YORK

branding and design in the form of labels,

packaging

and

accessories.

Customers principally represent the fashion and ready-to-wear industry.

Nilorn

Worldwide

offers

STYLE INDICATOR 28 ASPIRE TO INSPIRE

complete,

creativeandtailoredconcepts in branding, design, product development and logistic solutions. Satisfied customers are our principal asset, and it is therefore important to establish, maintain and enhance customer relations through first-class service. Nilorn Worldwide is one of the leading European players, with turnover of ca 400 MSEK. The group

operates

through

its

own

companies in Sweden, Denmark, the United Kingdom, Germany, Belgium, Portugal,

Hong

Kong,

India,

China,

Bangladesh, Turkey, Pakistan and Italy.

In addition, there are partner companies in Switzerland, Tunisia, and USA. www.nilorn.com

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NEW COLLECTION

31

PRODUCT DEVELOPMENT

SHAI DAHAN

52

NO LIMIT FESTIVAL

100% DESIGN

59

LONDON DESIGN WEEK

PANTONE

63

GOES NATURAL

64

MADS NØRGAARD A FACE-TO-FACE INTERVIEW

68 RECAP OF PRODUCTS ZIPPER PULLERS

70 MC ALSON BELGIAN FAMILY BUSINESS

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WELCOME

HEADQUARTERS NILÖRNGRUPPEN AB 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 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 BALLY LABELS AG Schachenstrasse 24 CH-5012 Schönenwerd SWITZERLAND Tel: +41 62 855 27 50 Fax: +41 62 855 27 59 info@bally.nilorn.com NILORN BANGLADESH LTD. Millennium Castle, 12th fl.

House 47, Road 27 Block A, Banani Dhaka -1213 BANGLADESH Tel: +88 02 8835912 Fax: +88 02 8835913 info@bd.nilorn.com NILORN BELGIUM NV Brusselsesteenweg 525 9090 Melle BELGIUM Tel: +32 9 210 40 90 info@be.nilorn.com NILORN DENMARK A/S Vestergade 48 5000 Odense C DENMARK Tel: +45 70 23 16 23 info@dk.nilorn.com NILORN EAST ASIA LTD Unit 1701, 17/F, Westley Square 48 Hoi Yuen Road, Kwun Tong Kowloon HONG KONG Tel: +852 2 371 2218 Fax: +852 2 371 2629 info@hk.nilorn.com

NILORN GERMANY GMBH Itterpark 7 40724 Hilden GERMANY Tel:. +49 2103 908 16 - 0 Fax: +49 2103 908 16 - 99 info@de.nilorn.com NILORN INDIA PVT. LTD Plot no. 9c, Sector – 3 Parwanoo – 173220 (HP) INDIA Tel. +91 1792 235232 Fax +91 1792 233176 info@in.nilorn.com NILORN ITALY Via Bellini 8/C 41012 Carpi ITALY Tel: +39 3381611351 info@it.nilorn.com NILORN PAKISTAN (PVT) LTD 2nd Floor, Yasir Chambers Gulshan –E-Iqbal, Block 13A Main University Road P.O. Box 75300 Karachi PAKISTAN Tel: +92 21 349 92151 Fax:+92 21 349 92153 info@pk.nilorn.com NILORN PORTUGAL – INDÚSTRIA DE ETIQUETAS, LDA Rua Central de Barrosas, 304 4585 - 902 Recarei – Paredes PORTUGAL Tel: +351 22 411 95 80 Fax: +351 22 411 95 99 info@pt.nilorn.com NILORN SHANGHAI LIMITED Rm 701, 288, Chengjiaqiao Road.

Minhang District, Shanghai, CHINA Poastal Code 201103 Tel: +86-21 345 512 90 info@sh.nilorn.com

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NILORN TURKEY Mimar Sinan Cad. Ünverdi Sok. No:50.

Kat:3. 34540 Günesli Istanbul TURKEY Tel: +90 212 657 76 76 (pbx).

Fax: +90 212 657 75 10 info@tr.nilorn.com NILORN UK LTD 1A Acre Park Dalton Lane Keighley West Yorkshire BD21 4JH UNITED KINGDOM Tel: +44 1535 673 500 info@uk.nilorn.com NILORN UK LTD 81 Rivington Street Shoreditch London EC2A 3AY UNITED KINGDOM Tel: +44 (0)1535 673 500 info@uk.nilorn.com NILORN USA LLC 3499 Meier Street Los Angeles, CA 90066 UNITED STATES Tel: +1 888-315 1875 info@us.nilorn.com

WELCOME

A glimpse of N I L O R N D EAR R EAD E R,

100% DESIGN Design team at 100% Design fair, London, atum 2014.

It is my great pleasure to hereby release the 1st edition of our Design and branding magazine 2015.

We have done our best to present inspiring news from the fascinating world of design and ­fashion, blended with articles about exciting designers, ­interesting projects and places from different parts around the world.

In this issue you can read an interesting interview with the talented designer Mads ­ ­Nørgaard ­including new trends within branding, successful fashion companies, inspirational s­ tores and also the fantastic project »Cotton made in Africa«.

We will also guide you in the exciting world of branding and storytelling which is what we work with every day. We help our customers use the right type of design, materials and placement ­guides to tell their stories.

Without doubt, packaging, carefully designed hangtags and stylish but simple woven labels, all help to promote their products. Sometimes it is the small details which have the greatest impact on value. A small label may be carrying a message or a symbol which you only discover after a while.

Reaching people`s hearts and making them smile, – that is what successful branding is all about.

SOUTH AFRICA Photographer and stylist interpret »la bohéme« on location in Sout Africa.

LONDON Soaking up the atmosphere on the way to our design meeting.

NEXT TREND SEMINARS Colourhouse Event/ Fashion Snoops.

Chamber - SS 16 Woman, Forecasting – Activewear.

A well developed branding concept is guaranteed to help you generate successful sales.

INSPIRATION TRIP

Please enjoy and be inspired by our latest magazine.

Inspiring stores in London.

All the best,

PHOTO SHOOT Behind the scenes for the photo shoot of »Glory« collection.

Claes af Wetterstedt CE O

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VALUES AND IDENTITY

BARE NECESSITIE WORDS: PATRICK HJERTÉN

No one really knows where we are headed or what will happen. All we can do is to be r­ esponsive to the changes around us and evolve with them.

Since the day we humans started peddling goods and services to each other the value of a concise marketing and branding ­strategy has over time increased in value. These days we do not only sell a shirt or a chair.

We just as much sell values, an image and a concept. When it comes to design goods the ­customers do not buy the products based only on the merit of their usage alone but more and more on what the possession of said designer goods portray about the owner.

The label and the name is just not that, but also the story behind the label and the ­emotions, desires as well as values that are infused into the brand. A c­ ompany always starts with an idea that can be ­quite sketchy at first but still a seed that can grow into ­something bigger.

When it is more f­ ormalised it is important to ­decide what do we want to be as a c­ ompany and to whom are we offering the products and services. A concept is being created and naturally it needs to be done with a level of care because the pitfalls are many. To rush ahead (even though it is ­tempting) is not ­advisable. The company needs to take its first ­steps with careful consideration. What the c­ ompany needs and what the ­customer wants is consistency.

We as humans, no matter if as individuals or as a collective that a company is, we want assurances. Which in itself is a ­contradiction since life offers so few a­ ssurances to b ­ egin with. Companies want assurances of a sound economic climate and customers want to be assured of that they are b ­ eing ­offered the best in goods and services that their ­ money can buy. That is where the ­ ­ consistency c­omes in, which plays an i­ntrinsic part for both ­customers and c­ ompanies as well as clarity. With

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c­ onsistency comes h ­ onesty. If ­longevity is the goal for a company, which it should be, then honesty with your ­customers will take you a long way. ­Consistency and ­honesty together also creates the best ­options for ­clarity. In that we have a trinity that ­undeniably offers a strong and potent vehicle for a concept that lasts.

The concept that has been created by a company or organization is to be visible ­ and »acted out« through everything that is presented to the market whether it be a ­brochure, the webpage or a stall at a fair. The customer is to have instant recognition and not in any way be confused about what the product and the company behind it stands for. If we look back in time it was naturally easier when the different markets were more separated and there were not so many actors in each. Today, more than ever, we have one global market with a fierce competition. ­Since there are so many companies, so many labels in the clothing industry for ­instance the risk of disappearing in the crowd is daunting. How do we catch the attention of our customers? Is it the one who screams the loudest who gets the prize? Very rarely. The most important thing is not how you say it but what you say.

VALUES AND IDENTITY

When customers are beseeched with offers, like they are in today’s market, it is more important than ever to be clear, consistent and honest in your marketing message to said customers. Today we are faced with a global market that we can reach anytime and everywhere. New companies and new labels have more potential customers to ­satisfy but the challenge is which of them to ­choose and with which channels to reach them. We have the classic print m ­ aterial and on the other hand the digital tools like Facebook, Instagram, Twitter, Youtube and many, many more. When I started my menswear label I tried to be in as many ­places as ­possible. I got articles in the papers and did all the digital channels you could think off. I wanted too much too soon. In hindsight I would have been more careful in choosing my instruments and I advise o ­ thers to be more selective. When you choose too many channels you can actually make your message seem confusing, and naturally it is easier to lose control of work when you use so many instruments to try and reach your attended audience and customers. It is also much more difficult to be clear and consistent in your marketing mix, identity and image when you choose to broadcast your brand in every way possible. You do not have to be everywhere, and where you choose to be should be consistent with your brand values and brand identity. If you want your company and product to have a ­classical feel perhaps Instagram is not the ­vehicle for you. It sounds like a cliché but listen to your gut feeling.

­ omework better and more extensively than h we had to before when print was our only option. What do these different options offer us, who do they reach out to, and how much effort is needed on our part to get across to the ones we need to reach? Those questions need to be answered before we charge forward, or let someone else do the research job for us.

Something else you should listen to is what are happening in the world and society. ­Since we now are partly digital things seem to move faster. For instance, young people are leaving Facebook for other modes of communication whereas people belonging to the category forty plus is the big group posting and interacting. If you want to target twentysomethings Facebook is not ­ the way to go. Since we have so many more ­options to send out our marketing messages to our intended targets we have to do our

Then we always have to consider that an action sooner or later creates a reaction. The pendulum swings back and forth, and we can now see companies use print m ­ aterial. They send actual letters on beautiful ­paper, or like an advertising agency in New York who ­posted an application for a new employee on a hand written note and ­taped it to their office window. Ironically or ­cleverly enough such events reaches us because they go viral.

In other words we can go back but never as far as the original state of affairs. Another

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thing to take into consideration is that when the global market is in economic turmoil and when now things change as rapidly as they do customers seek comfort and security.

What will be the next thing? Where will we as companies have to go next in order to establish contact and communication with our customers? Will we have 3D-projections, watch films in a pair of glasses or have a chip under our skin? No one really knows ­where we are headed or what will happen. All we can do is to be responsive to the changes around us and evolve with them. When you break everything down to its bare ­necessities it does not matter whether it is carved on a stone slab with a chisel and hammer or a digital message on the latest technological device. What it all comes down to is the message.

Therefore, when brand values and a brand identity is to be created or upheld have ­three things in mind; clarity, consistency and honesty.

VALUES AND IDENTITY

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ARTICLE

Words: Annica Bjering / Skrivsamt. Hand lettering: RIkard Häll.

The interest for recyclable products has reached the fashion arena. Denim repairs are both decorative and sustainable and are now offered by big brands, such as Nudie Jeans. The technique to repair denim is inspired by an old Japanese handcraft.

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ARTICLE

»Sashiko« is an embroidery technique that the Japanese people have been using on their denim since the 17th century. The wives of farmers and fishermen originally invented this technique to recycle damaged clothes and keep their husbands warm during harsh winters. The skill was inherited from g ­ eneration to generation and taught at a young age. The women were actually ­judged by their weaving skills when it came to determine their suitability for marriage.

The uniqueness of Sashiko is that the fabrics are stitched layer upon layer by hand.

It is rather simple to master as it is just a running stitch. As a matter of fact, Sashiko means »little stabs« in Japanese. The ­Japanese traditionally used the stitch as a way to patch worn spots, but it is today used for its simple yet unique decorative ­purposes. As the craft matured, it evolved from just a mending technique into its own art form.

In Japan, Sashiko is typically seen on ­indigo-dyed cotton clothes and the thread is usually white. In fact, peasants in Japan were only allowed to wear indigo blue clothes ­until the end of the 19th century. Tightly ­woven cotton is still the best fabric to use the technique on.

The most common Sashiko stitching patterns are geometrical – squares, ­ ­diagonals, hexagons, diamonds, and circles.

A distinctive element in all the patterns is the use of space; Japanese designs make full use of blank space as an integral part of the overall pattern. Another signature is that for even the most detailed design, the maker can find the longest linear route for her stitches and rarely begin a new thread.

TOP PHOTO: Fashion Snoops/Runway TNG FW 15/16.

BOTTOM RIGHT: Nudie Denim Repair. BOTTOM LEFT: Fashion Snoops/Forcasting FDMTL Spring 15.

So do not throw away your favourite jeans just because they are damaged. Lets make art of them instead. The Sashiko technique will live on, making the clothes of today into timeless pieces.

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NILORN WORLDWIDE

Carpi

NILORN WORLDWIDE all lights on

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NILORN WORLDWIDE

NILORN ITALY I’ve been in the fashion industry for many years and have always tried to cooperate with the best companies in the world for fashion accessories. The demand from the leading brands is becoming increasingly challenging and to keep up with the rising demand I needed a company that could support me in this journey.

THE ITALIAN OFFICE OFFERS SUPPORT AND ­C REATIVE SOLUTIONS IN CLOSE COLLABORATION WITH THE COMPANY HEADQUARTERS IN SWEDEN AND SUBSIDIARIES AROUND THE WORLD.

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NILORN WORLDWIDE

I LIVE IN CARPI, CLOSE TO ­B OLOGNA. IT IS OFTEN REFERRED TO AS THE »KNITWEAR CITY« OF NORTHERN ITALY.

Carpi piazza dei Martiri.

At that time, I found Nilorn and had the chance to introduce Nilorn into the Italian market.

Increasingly, companies are looking for partners who are located close to production sites, have tight shipment control, provide vendor contacts in their own country and language, offer good prices, and can support and inspire research and development at their own headquarters.

In the past, the sole requirement was to offer the best price, sometimes at the cost of quality. The financial crisis and the strong competition in the market have made me aware of the need to offer a good branding service. This differentiates Nilorn from ­being one of many and makes it the ideal partner for finding new ways of working.

Due to the crisis in the European m ­ arket and in Italy in particular, the working

Alberto and his dog Peggy.

methods and the organisational systems at large and medium-sized enterprises have undergone radical change. Companies have been forced to completely change their way of working. To maintain a high fashion style and enable the continued d ­ evelopment of brands in Italy, companies have to s­ource materials and produce goods in more ­competitive countries.

I live in Carpi, a city in the north of Italy, close to Bologna. It is often referred to as the »Knitwear City« of northern Italy. ­Seventy per cent of the people who live in Carpi work in fashion.

I’ve always been in the textile business.

While I was at school, my brother gave me the opportunity to work in textiles over the summer. This enabled me to follow the p ­ roduction stages and understand the ­entire process from the drawing board to

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the ­produced garment. In my career, I’ve ­worked for and represented different ­labels and branding suppliers in Italy such as the Cadica Group (Italian supplier), SML (Chinese producer) and Jointak (Hong ­ Kong).

Today, I not only offer my clients a good price, but a partnership that helps develop the brand. By listening and offering ­creative solutions, I am able to offer an excellent ­service. To be continuously present at the forefront makes our clients feel strong and confident. Working with Nilorn since June has been a pleasure.

The Italian Office offers support and ­creative solutions in close collaboration with the company headquarters in Sweden and subsidiaries around the world.

Are you ready for tomorrow?

COTTON MADE IN AFRICA COTTON MADE IN AFRICA CREATES ADDED VALUE FOR AFRICAN COTTON FARMERS AS WELL AS TEXTILE COMPANIES AND CONSUMERS WORLDWIDE

Cotton made in Africa (CmiA) is an ­initiative of the Aid by Trade Foundation (AbTF).

Based on the goal of ­ ­ safeguarding the ­future of coming generations and p ­ rotecting vital resources through s­ ustainable ­development, Dr. Michael Otto e­ stablished the Aid by Trade Foundation (AbTF) in 2005. Through activating market forces and t­raining p ­rogrammes for sustainable cotton ­ production in Sub S ­aharan Africa, the Aid by Trade Foundation helps African cotton farmers to help themselves through

trade, significantly contributes to reducing poverty and ensuring food security. The ­ demand for textiles with the CmiA label is the engine that drives the development in the cotton producing project areas. Since 2005, the ­Cotton made in Africa initiative has been successful in its mission to improve the living conditions of a growing number of African smallholder farmers and to put a »face« on the anonymous mass-produced cotton in international trade that is both ­positive and recognisable.

COTTON MADE IN AFRICA

FOR MORE INFORMATION, VISIT: www.facebook.com/CottonMadeInAfrica www.twitter.com/CmiA_AbTF www.cottonmadeinafrica.org

With more than 415,000 smallholder f­ armers from 6 Sub Saharan African countries (Côte d’Ivoire, Zambia, Ghana, Zimbabwe, Mozambique and Malawi), and family members included more than 3 million ­people, CmiA is one of the most important players in the African cotton sector and one of the largest projects in German development cooperation. By working with Cotton made in Africa, the employees in the ginneries benefit from fair contracts and prompt payment. Training on topics such as social issues and health educate smallholder farmers about health risks in both cotton cultivation and in the family environment. ­Agricultural training has already enabled the farmers to increase their crop yields compared to a control group that is not part of the Cotton made in Africa initiative by an average of 23 percent. Only through boosting yield can

smallholder farmers increase their financial income in the long term and thus improve their living conditions on their own. With Farmer Business Schools, CmiA offers basic business management training for smallholder cotton farmers.

In addition to social and economic aspects, Cotton made in Africa makes a significant contribution to environmental protection in the growing regions through ­environmentally friendly methods. Smallholder farmers who grow cotton according to the Cotton made in Africa standards save more than 2,000 litres of water per kilogram of cotton fibre compared to the global average and up to 40% of greenhouse gas emissions per kilo of

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cotton fibre compared to conventional cotton.

Beyond sustainable cotton cultivation, together with partners in the public and ­ private sectors, Cotton made in Africa ­improves the educational infrastructure for children and adults in the project regions, ensures a better drinking water supply and strengthens the rights of women. Currently, CmiA supports more than 85,000 women within its programme. About 2,800 women receive microcredits on their way to economic independence; others organize themselves in women’s’ cooperatives. These cooperation projects strengthen local communities and contribute directly to improving the living conditions of African cotton farmers and their families.

COTTON MADE IN AFRICA

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COTTON MADE IN AFRICA

As the largest cotton initiative in Africa, Cotton made in Africa is committed to integrating cotton originating from ­ ­ Africa into the textile industry with increasing ­success. After receiving the license fee paid by the textile company for the CmiA ­cotton at the end of the textile chain, the ­foundation reinvests the income in the ­African project areas. With more than 20 textile c­ ompanies, including PUMA, the OTTO Group, T ­ chibo or Ernsting’s family, an increasing ­number of international companies chose to use Cotton made in Africa cotton and label ­ their p ­ roducts with the CmiA quality l­abel.

Whereas in 2007, 400,000 textile articles ­ bearing the CmiA label were ­ ­ produced, the number increased to 25 million ar-

ticles in 2013. As a result, the foundation ­realized license revenues of more than one ­million Euros for the first time. This positive ­result indicates that Cotton made in Africa is no longer a niche project but rather an ­integral part of their business for a growing ­number of textile companies. The credo of Cotton made in Africa to help people help ­themselves through trade and not through ­donations has increasingly become a reality.

With every purchase of a CmiA product, the customer makes a valuable contribution to Africa’s long-term future and helps to ­improve the living conditions of s­ mallholder farmers and their children. Thanks to a most recent collaboration between Nilorn and Cotton made in Africa, the consumer now

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also has the option of taking a piece of Africa back home. A recently ­published A ­ ugmented Reality video integrated with the hangtag of CmiA products gives a moving insight into the origin of our key raw material and the people who depend on it. This is win-win for everybody - for the f­armers in Africa as well as for consumers and textile companies worldwide.

How to use augmented reality:

Download »Aurasma« to your device.

Open app, search and follow »CMIA«

Scan the front of this hang tag

ARTICLE

THE DESIGN DOCTORS WORDS: BART VAN TRIMPONT

In an ever changing world creativity, straightforwardness and simplicity remain key to success.

The Design Doctors inspired visitors to Nilorn Belgium with the latest Nilorn Branding and Design collections Following the memorable »Villa Nilorn« event held in its offices several years ago, ­Nilorn Belgium invited clients and prospects to its »Design Doctors« day in the beautiful town of Ghent on 31 October.

As the team at Nilorn Belgium has proven once again, creativity alone isn’t enough to attract interested visitors and decision ­makers. You also need a splash of fun. It was this sense of enthusiasm and fun that drove the team to create a special mini event that took place from 11.00 am to 2.00 pm. The short time slot was a deliberate choice to make sure that people arrived on time and focused on the collections presented.

THE DESIGN DOCTORS APPEALED In mid September, staff members at Nilorn Belgium came up with the idea of inviting along designers, buyers and directors from both existing clients and prospects from throughout Belgium, the Netherlands and France. Rather than being a large-scale event, this would be carefully crafted mini-event.

The invitation was intended to catch the recipient’s attention and featured a neat ­ and clean design presented in a 23 x 28 cm white wooden frame. It would be almost ­impossible to throw such a unique i­ nvitation away, even if it had fitted into a normal ­paper bin. The invitation was clearly s­ uccessful.

TO THE BASIC HUMAN SENSES: SIGHT, HEARING, TOUCH AND TASTE.

People were invited to see, feel and touch the latest branding collection, showing ­different styles in varied segments, ranging from children’s wear to women’s and formal menswear, but also denim, sportswear and casual wear.

And what better location for such an event than an ancient and newly refurbished port building that was recently converted into an oriental cooking studio. The ­ combination

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of old brick construction, glass and m ­ etal enhanced the feel of a ­ ­ design-inspired ­environment. The specific location in the port of Ghent, opposite old industrial ­archeological sites with an open-air ­graffiti exhibition and a huge blue crane, only a­ dded to the magic.

Driven by a desire to keep surprising their clients, the team at Nilorn Belgium are ­determined to keep investing both creativity and wit in their innovative annual events.

To be continued...

STORES YOU MUST VISIT

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STORES YOU MUST VISIT

YOUR ANTWERP

»World’s Best Fashion Retailer 2013«

by WeAr Global Magazine.

Photo: Cityzine ©

Five years ago Antwerp was enhanced with a unique, new shopping ­phenomenon: YOUR premium store – the biggest store on Kloosterstraat, with exciting and enticing ­ brands and products, situated in the city’s vibrant antique district.

MORE INFO: www.your-antwerp.com

OPENING HOURS: Tuesday till Saturday 10-18h30

YOUR premium store already has a global reputation after being awarded »World’s ­ Best Fashion Retailer 2013« by WeAr Global Magazine. People from all over the world ­visit the store every single day to experience the »YOUR way of shopping«.

YOUR premium store is a unique and exciting shopping ­ experience where the customer and carefully selected products are king.

»...With ‘PREMIUM’ in our name, we are constantly developing your shopping experience and doing everything we can ­ to raise every detail of our concept to the next level. That’s what we love the most. At YOUR, we are never finished. The sky’s the limit and we won’t settle for less...«.

Sundays 13-18h30 Closed on Mondays

KLOOSTERSTRAAT 90 2000 Antwerp, Belgium Tel +32 3 33 77 110 Fax +32 3 33 77 112 hello@your-antwerp.com

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YOUR offers a fantastic mix of top and lesser-known brands across an entire ­ range of products and prices: watches and jewellery, books, fashion, gadgets, ­ ­ shoes, bags, music, home accessories and art. ­Regarding beauty products and fragrances YOUR can show off with their large range.

STORES YOU MUST VISIT

JOHN VARVATOS BOWERY, NEW YORK Words: Rikard Häll.

Menswear designer John Varvatos took the opportunity to buy the old punk club » CBGB« in the East Village from a bank.

Photo: Rikard Häll

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STORES YOU MUST VISIT

NEW YORK, BOWERY 315 Bowery New York , NY 10003 United States www.johnvarvatos.com Mon - Fri - 12:00 pm - 8:00 pm Sat - 11:00 am - 8:00 pm Sun - 12:00 pm - 6:00 pm

Photo credit: John Varvatos

CBGB became a famous venue for punk rock and new wave bands like the Ramones, Patti Smith Group, Blondie and Joan Jett & the Blackhearts. John Varvatos did not want to see all that history from 1973 onward go to waste. When you visit the store at 315 Bowery, New York, you can still find elements of that dirty, rock and roll atmosphere and look.

In addition to selling high-end clothes, the store also hosts live rock concerts and sells vintage and contemporary vinyl records.

Photo credit:

2005. nt looked in How the fro Carlo.

by Adam Di Photograph Photo credit: John Varvatos

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lo

Adam Di Car

STORES YOU MUST VISIT

A unique, original store in the hip and s­ tylish district of Antwerpen Zuid. The ­great mix of brands that are both contemporary and ­relevant and the sprawling space make Hospital a must visit shop for both men and women on a shopping day out. This is a f­ eel-good store for people who truly want to enjoy beautiful things in an inspiring ­interior.

Good to know: the shop is open on S ­ unday and there’s plenty of parking space on the ‘kaaien’

MORE INFO: www.hospital-antwerp.be DE BURBURESTRAAT 4, 2000 Antwerp, Belgium Tel +32 3 311 89 80 info@hospitalantwerp.be

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b o g n e r. c o m

INTERVIEW

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ST Y LE IN D IC A TOR Interview with Meta Struycken

www.styleindicator.com

& DESIGN

BRANDING

INTERVIEW

Describe yourself in three words.

What are you most proud of in your career?

Passionate, creative, perfectionist…

I’m proud of the fact that I made a living in fashion over the years but always managed, more or less, to go my own way.

Tell us the background to why you started Style ­Indicator?

I started Style Indicator in January 2014, bringing all of the experience I had gathered during the past 25 years in fashion – I worked as a designer, a forecaster and an editor in chief of my own magazine, newStyle - together within this web magazine.

What does a normal work week look like?

I get up at seven, do some yoga exercises and work till late in the evening. If I’m in the studio I walk the dog ­somewhere during the day to clear my head. Dinner is another break ­because I like to cook and enjoy nice, healthy meals.

What is the next big trend in fashion?

What is the goal of Style Indicator?

I initiated Style Indicator because there was no platform on which fashion is not related to the well-worn commercial path, to celebrity culture, to fashionistas and to superficial bloggers.

For me, profound information on trends, craftsmanship and creativity are the main focus. I aspire to tell the ­consumer – in words and pictures – the stories behind innovative and wayward directions within fashion design and show them that there is so much beauty around the world created by both famous fashion houses, renowned brands, almost unknown labels and individual designers. I follow the international trends but also my own intuition.

You seem fearless?

I take that as a compliment!

I really hope that the interest in real craftsmanship ­continues to grow. For me, true fashion is about beauty, vision, ­tradition & innovation, authenticity, emotion, eclecticism, culture, ­texture, colour, shape, tailoring, handicraft techniques etc. and I think many in the fashion world have forgotten this.

The big retail chains will stay, but the middle market has to reinvent itself for the growing amount of people looking for creativity & quality.

Can you give us three strong fashions for next spring?

Three is difficult, but ok: Seventies revival, softness & ­romance and utility wear.

The consumer is becoming more and more ­environmentally conscious, what are most people talking about right now?

What is the best about your profession?

The best thing about my work is that it is so varied. ­Fashion is my main focus, but for me it is also related to other ­creative disciplines, such as interior design, art, a­ rchitecture, photography and food. By delving deeper into sources of ­inspiration, craft techniques, cultural and historical aspects and lifestyles – which are the basis of a trend, a product, a collection or brand – I hope to inform and inspire other ­people and help them realize what creativity is all about.

Do you have any role models?

No. What does your team look like?

I don’t really have a team and work mainly by myself. My husband Simon is taking care of the commercial side of Style Indicator. In the future I would love to work with experts in the fields of design, art, food etc.

You are good at networking; your best tips?

Always talk to people that you are intuitively attracted to, because they often have a good story to tell. I read a lot and visit exhibitions, trade fairs, etc. For me it is important to be well informed so that I know who is interesting, who to meet and talk to.

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I’m not sure yet, but I hope so. We have to be, because things really are going wrong with our earth. I believe in good ­design that you want to keep and wear over and over again …fashion that lasts What happens in 2015, have you any new challenges and projects in the pipeline?

I discovered that Style Indicator is not only a source of inspiration for consumers, but also for many creative ­ professionals. That’s a compliment and my challenge is ­ ­therefore to expand Style Indicator further. To realize this I will start asking a small contribution of a few euros monthly in 2015. People are not used to pay for the internet yet, but it is the only way to keep on publishing high quality content online.

How do you see the future and the way you might inspire it?

The world changes rapidly. I think fashion, design and ­lifestyle in general will be more and more defined by the sign of the times. I hope I can contribute by informing people about interesting themes, developments and products that anticipate on the world in transition and add some beauty to our daily life.

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PRODUCT DEVELOPMENT

COLLECTION Nilorn product development On the following pages, we will present our latest collection. Our aim is to provide our customers with inspiration and ideas on how they can take their labels and branding to a new level. We are always on the lookout for new materials and production techniques, whilst in the background fine-tuning the interaction between design, production and logistics.

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PRODUCT DEVELOPMENT

PHOTOGRAPHER Olof Händén STYLIST Andrea Albertyn

In this issue we asked photographer Olof Händén and stylist Andrea Albertyn to interpret one of our latest collections La Bohéme. On the following pages you can see the result of this boheme photo shoot.

Creative, eclectic and social - this is the ethos of La Bohème and the nature of the female clientele it attracts. Whether they live the bohemian life or simply assume the style, La Bohème embraces everyone without cynicism or judgment.

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PRODUCT DEVELOPMENT

Dress Pringle Of Scotland Hat Simon And Mary

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PRODUCT DEVELOPMENT

La bohéme collection Necklace card - Earring card - Enameled metal plate

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Dress Black Coffe Necklace Iracema Boutique

PRODUCT DEVELOPMENT Hat Billabong Top Frances Pauls Skirt Clive Rundle Shoes Havaianas

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PRODUCT DEVELOPMENT

Dress Stefania Morland

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PRODUCT DEVELOPMENT

Hat Simon And Mary Dress Pringle Of Scotland

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PRODUCT DEVELOPMENT

Jumpsuit Nicci Boutiques Necklace Iracema Boutique Shoes Mimco

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PRODUCT DEVELOPMENT

Hat Simon And Mary Dress Stefania Morland

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PRODUCT DEVELOPMENT Gilet Yarra Trail Dress Pringle of Scotland Belt Patrizia Pepe Shoes Mimco

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PRODUCT DEVELOPMENT Photo Olof Händén Styling Andrea Albertyn @sncm agency Hair and Make up Nandi Kai @sncm agency Model Alexa / Boss Model agency

Gilet Anna Scott

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PRODUCT DEVELOPMENT

Rigby is one of several brands sold through an international retail chain. Rigby has managed to attract a fashion-conscious clientele. The collection is divided between men, women and children.

The style can be described as neutral and minimalist, while the clothes’ minimalist style ispeppered with smart and stylish details. The focus is on interesting materials that often give the skirt a futuristic feel.

But customers will also find classics, such as the longsleeved cashmere sweater, at attractive prices.

Basic garments of good quality, using muted or strong colour scales, are also among the best sellers.

The graphical style of the label concept is inspired by geometry, typography and industrial design.

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PRODUCT DEVELOPMENT

Jeremiah Jones established his company in 1954. He began making winter coats and later expanded the business to include quality suits. Jeremiah’s grandchildren, Zac and Jack, have now taken over the ­family heritage of experience and years of knowledge of well-made suits to start their own business.

Well-tailored suits and jackets and also shirts and accessories fight for attention in Zac & Jack’s first collection. The collection is cocky and striking from the start. Modern cuts and styles are mixed with influences from the 80s. Details in lovely pastel ­colours are Zac & Jack’s signature.

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PRODUCT DEVELOPMENT

Tsoo [zu:] is a new and upcoming brand of children’s clothing, gifts and accessories. Garments for every age group are based on a heritage of quality and ­playful fun. Textures, patterns and colors are perfect for mixing and matching through sizes and seasons.

durable ­materials which are »perfect play fitted« and can be washed carefree with no worries of bleeding.

The brand hopes to invigorate children’s senses and social interaction through clever use of color and materials. Play friends are encouraged to trade and display and assortment of accessory patches. Make every day as fun as a first trip to the zoo!

Children don’t have a lifestyle, they live every ­moment to the fullest. Tsoo collections all feature

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PRODUCT DEVELOPMENT

PLANTS

FOLLOW

THE

SEASONS,

AND

THESE PRETTY LITTLE THINGS ARE JUST RIGHT FOR YOU.

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The clothes are designed with young women in mind.

A woman who cares about how she looks and what she wears.

A woman who wants to be femininely elegant, but with a pioneering touch.

Simplicity and rawness p 足 ermeate the materials that are paired with colours that remind us of particular tones, e.g. soft peach and metallic rose gold.

This makes this concept young and modern.

The collection, which finds its inspiration in the shapes and processes of Nature, has a light and clean style with 足floral imagery without being too 足 足romantic or girly.

Plants follow the seasons, and these pretty things are just right for you.

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PRODUCT DEVELOPMENT

Merchant Wallace is a high-quality brand, built upon a design heritage stretching from 1942. The ­philosophy has always been to deliver inspiration, quality and ­genuine craftsmanship to their customers. Well d ­ ressed mature men are their primary target group. The ­ ­garments are classic styles with traditional cuts. ­Tailored shirts, ­blazers, chinos and leather accessories are always available in Merchant Wallace stores.

The brand exudes timelessness and masculinity; in ­every detail. Traditional designs together with a hint of a mature, preppy style makes this a timeless brand for the classy man.

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Razor Denim stylish denim brand.

Using only the finest Japanese selvedge denim.

The entire collection is characterised by real qualityand the designs are basic but with a tailored finish.

Tough quality fabrics are generally used.

Another way to describe the brand is raw chic or street chic.

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Aylin Demiz’s trademark look is known for its contemporary, somewhat different, take on feminine clothing. It has even been called »The New Look«.

A master in the technical construction of clothing, known for its emotional and romantic power, but remaining determinedly contemporary in nature!

Aylin Demiz targets the feminine but strong woman. The creative professional or the professional mother. No nonsense clothing for the modern woman who wants to be taken seriously, without having to dress like her mother!

INSPIRATION Minimalist art, unusual textile mixes and structural cuts and architecture.

Strong independent women, such as Tilda Swinton and Cate Blanchett.

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PRODUCT DEVELOPMENT

You’ve had a rotten day – whatever. Stay on target!

Stay consistent, keep training and keep pushing.

We understand that success isn’t easy. Getting in shape and living better takes hard work, an iron will and strong determination but we can’t give up when things get busy or difficult.

Looking good and working out with

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the best tools on the market will ­maintain your focus.

The inspiration comes from the »new« health movement. ­Eating ­clean and training hard. ­ Inspirational quotes in the centre. And some ­ colour inspiration from movies such as 300.

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TAKEN TO HIS HEART.

EXACT, BORÃ…S, A CITY HE HAS

LIVES IN SWEDEN. TO BE MORE

ISRAEL, TO THE US AND NOW HE

HIM AROUND THE WORLD. FROM

A PASSION THAT HAS TAKEN

SHAI DAHAN LIVES FOR HIS ART;

Interview with Sahi Dahan

S HI NE IN SWEDEN

STREET-ART

NO LIMIT MAKING

INTERVIEW

Shai was born in Israel, where he got his first introduction to art. »My mother was somewhat of a famous watercolour artist in Israel. Our house was always filled with art. We would go to art shows as kids and I think that really set me on the path to ending up where I am today«.

When Shai was about 10, the family ­moved to Los Angeles and his interest for street art began. »I was introduced to the graffiti scene in my early teenage years. Picked up my first spray can and went around vandalizing here and there.« It is not something Shai is proud of today, but he says it opened his eyes to how you can use public spaces to deliver messages and art.

The skateboards ended up getting a lot of attention and he met other artists.

Started painting walls

Eventually the skateboard thing came to an end when Shai began working together with other artists on other projects. He found his true passion in painting walls outdoors. »Once I started to really return to my roots of outdoor public art, I couldn’t stop.« He began to do art projects in Los A ­ ngeles and in New York. One of them was the ­Underbelly Project in which 100 artists from around the world painted an abandoned subway station in the heart of New York City. »It ended up in the New York Times Newspaper. That was a real game changer in my career.« In his early 20’s he got into the skater and When Shai moved to New York he was surf culture in Los Angeles. greatly influenced by the gritty lifestyle. »I was living in Venice beach, which was That is where he began on his Birdgun series full of art, surf and a lot of sunshine. I began (depicting birds with guns for heads). to experiment with painting on skateboards. »It was a very New York thing, ’badass The very first surfboard I painted was of a birds who will rob you for your sandwich’ woman surrounded by hibiscus flowers. kind of attitude. I think being where you are That painting was donated to an art auction, really does change how you work«, Shai says. and musician Jason Mraz ended up buying Shai met his Swedish wife-to-be when she it.« was studying fashion in New York. They Shai had a whole website called Deck moved to Sweden in 2010.

Yourself, where people would order/­ »When I got to Sweden I fell in love with commission art on blank skateboards. the natural feel of it and the history of things. »I would spend my daytime working as a Some of my best work and ideas came from graphic designer and my evenings painting me spending time at my wife’s family skateboards for people all over the US.« ­summerhouse.«

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Nobody really knew Shai when he a­ rrived in Sweden, but when he painted his own interpretation of the Dala horses, he got a lot of attention. »I saw these wooden Dala horses all over. I assumed it was a famous Swedish artist who had made them. I remember thinking ’Wow, the guy is kind of lazy. He does not even put the shape of the horse into the wood. It is all blocky and square’. E ­ ventually, my wife explained that it is a very Swedish staple in Sweden’s history and culture. That it d ­ erives from years and years of villages creating ­these things, each with their own colours and patterns.« Shai went around Borås and Gothenburg and began The Dala Project which was to ­paint as many small red horses as possible. »It was illegal and fun«, says Shai.

He put them on electrical boxes on ­sidewalks, on construction walls, on public toilets, on walls and surfaces across the city.

In 2012 he was asked to paint a mural for the Borås international Skulpturbiennal. He did two Dala horses. From there it began to take on momentum and he still does some horses today. »I think it really gives a whole new ­generation of people an appreciation for it.«

I WOULD SPEND MY DAYTIME AT MY WORK AS A GRAPHIC DESIGNER AND MY EVENINGS PAINTING SKATEBOARDS FOR PEOPLE ALL OVER THE US.

INTERVIEW

RIGHT IMAGE: 5-METRE MURAL OF AN ARAB BEDOUIN ON THE WEST BANK BARRIER.

BOTTOM IMAGE: FROM THE PROJECT PLAYGROUND CHILDREN IN SOUTH AFRICA.

Change a place using art In May 2012 Shai travelled with a ­journalist friend, David Fried, to Bethlehem in the Palestinian territories. He painted a large ­ 5-metre mural of an Arab Bedouin on the West Bank Barrier. »My initial thought was that we would be painting in Israel. But, David wanted to get me to paint on the Palestine side, and on the wall that separated Palestine and Israel.« As Shai intends to enjoy challenging projects, he went along. The law, states ­ that an Israeli citizen cannot enter into the ­country of Palestine. So the first challenge for them was how to get inside without being caught and possibly arrested. The ­second challenge was to remain anonymous once they were inside.

A family which very much supported peace in that region housed him. »I didn’t grow up hating Palestine or wanting to occupy it. I felt that I had an ­opportunity to make something m ­ eaningful.

I could sit and paint in the safety of my Swedish studio and express my frustration in my art or I could go and do it where it ­makes the most impact. So, I flew to Tel Aviv.« »I kept thinking someone will figure out I am from Israel and there are only four p ­ eople on the planet who know I am here.« We spend the first day there just location scouting.

»I remember how scared I was when I first went in there. I kept thinking someone would figure out I am from Israel and ­there are only four people on the planet who know I am here: My wife, my parents and the ­journalist guy who is here with me. If something were to happen, nobody would know.« »I decided to do a painting that the locals can connect with. My journalist friend ­David had a few photographs of people he ­encountered during his time in the Middle East.« »I looked through his photos and found one of a man tilting his head with a c­ igarette.

You couldn’t tell if he was tired, sad or ­exhausted.« After they finished the painting, Shai ­explains how they sat down with a group of old Palestinians at a cafe across the street. »They had nothing but nice things to say about the artwork. I wonder if they had known I was Israeli, would the c­ onversation have been different. At some point D ­ avid ­turned to me and whispered to me ­saying »You are probably the first person in your ­family to sit across from a group of ­Palestinians and enjoy a drink with them«.

The project made a deep impact on Shai, as, he says, they changed a place using art.

When he returned to Sweden he was invited to speak at TEDx about his time there. He ­became the opening keynote speaker.

This is also why he later did a charity project for the Project Playground children

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in South Africa, in which he created outdoor mural works with the children; also teaching them art classes. The project ended up as the art exhibit »Recollection« in Stockholm, where all sales went to charity.

INTERVIEW

FOR MORE INFORMATION, VISIT: www.thevacantwall.com www.east39.se

UPCOMING: Gothenburg in April 2015 A-Gallery www.agallery.se TEDx Stockholm in Feburary www.tedxstockholm.com

Putting Borås on the map Shai was on assignment as Curator for the No Limit festival in Borås. The festival ­became a tremendous success.

The idea of painting murals in Borås was something he mentioned in an interview a long time ago in a newspaper. He said he would love to do this after he had done ­murals around the world in other c­ ountries for a few years. But to do something that big in Sweden was nearly impossible at the time. However, after the interview he was approached by the Borås Museum who ­ made him contact with the people of Borås.

Once they gave him the green light to do it, he assembled a team. »It was a dream came true and I ­literally could not accomplish this without them.

We put Borås on the map worldwide and the city will never be the same again. It is all thanks to a lot of people who really believed

in my crazy idea of ’hey, can I invite some friends to paint some walls?’« The Swedish artists who painted some of the walls, such as Ekta, Ollio and Simple are all good friends of Shai. »I had painted with them before and have been a fan of their work for a while. The street-art world is very small in the grand scheme of things. We all cross paths at one point or another.« After the success in Borås, Shai has ­received more requests for similar projects, but he wants to stick with Borås. »I am proud of this city. It took a risk by doing this and being one of the first ones to do so. I would prefer to stay here and ­continue to help our town with this. I will still go and paint murals in other cities and other countries, as I love doing large murals.

But hosting the festival is something that I

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feel I have a real connection with this city for now.« The No limit festival got a great ­response worldwide and was even written about in the Huffington Post, which is one of the ­largest papers in the US. »It is a huge success when we see the rest of the world appreciating what we are doing and recognizing Borås around the world.

We may be a small town, but we have big things happening.«

I AM PROUD OF THIS CITY. IT TOOK A RISK BY DOING THIS AND BEING ONE OF THE FIRST ONES TO DO SO.

INTERVIEW

I TOLD MY WIFE THAT I DON’T WANT TO CREATE A CLOTHING BRAND. I WANT TO CREATE ART THAT HAPPENS TO BE ON CLOTHES.

Entering the fashion world Since 2013, Shai also has his own clothing brand, East 39th, which he started with his Swedish wife. »I have always loved the fashion world. It is an art form in its own right. There is such beauty in the process of creating a garment.

Borås is known all over Sweden for its textile manufacturing and its contribution to the Swedish fashion world. There are multiple fashion houses there and the city is ­rooted in the history of its textile industry.

My wife is a big part of the reason we ­started East 39th. She knows the business inside and out, while I support things on the creative side. We basically looked at the Swedish Menswear market and decided not to follow what everyone else was doing. We searched for the gap, what was basically missing in the market.«

for a Swedish market. »I told my wife that I don’t want to c­ reate a clothing brand. I want to create art that happens to be on clothes.« All of East 39th’s garments come with original artwork. All of the prints on the menswear tees come from original artwork Shai created on canvas. »I wanted people to feel they were buying a work of art, not a t-shirt. When we ship our online orders, they come in brown ­shipping bags and I personally hand-stencil each individually. The labels inside our shirts ­ read »Original Art for Original People«.

We make art and sell it to people who enjoy ­something special.

The couple wanted to create something ­original, something unique and fresh that people had not seen before. »I think Menswear fashion in Sweden lacked something I have seen in New York: art-inspired garments. Something that ­makes you stand out and makes a statement.

So we decided to create East 39th.

The name is named after the street where Shai and his wife lived in New York. They wanted to remind themselves what they are doing: creating a New York urban attitude

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Living the graffiti dream After finishing the No Limit Festival in 2014, Shai and his team were approved for doing it again in 2015. »I’ll get to put together things like art ­festivals and teach kids about art, which I feel great doing. Shai says he gets to live out his dreams, as he gets to make art for a living everyday. »I get to wake up and go to my studio, and that is something I am excited to be part of.

I never imagined when I was 14 years old, running around Los Angeles with a spray can breaking the law doing graffiti, that 20 years down the line, that I would do it for a living. I guess crime does pay.«

ARTICLE

NO LIMIT FESTIVAL 2014 www.nolimitboras.com

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11

10

NILORN HEAD OFFICE

1

9

1. P E E TA or Manuel Di Rita has a beautiful style between street art and graffiti ­exploring the potential of sculptural lettering, both in painting and in sculptures.

2. SIMPLE He uses his surrounding environment to influence his style, seen in his technique of blending clean lines, surrealism, and geometric shapes that relies heavily on his use of discarded wood.

3. APPEAR37 is our very own local graffiti master.

Despite his young age he´s done a ­great amount of walls and are known for a colourful and sharp graffitistyle.

7

4. NIRA DAHAN is a watercolor painter with a career that spreads over 30 years. With her art ­reflecting her passion for peace between nations, love, and harmony among ­people, her art has been able to reach international recognition and be in ­demand for galleries worldwide.

5. ECB is well known for his highly poetic and brilliant black and white portraits painted on either canvas or large buildings.

6. NATALIA RAK often paints colourful humans and ­faces with inspiration from fairytales or a kind of imaginary world.

8

7. THE LONDON POLICE or TLP are well known for their ­ironic LADS characters and precision ­marking. A very unique style almost always presented in black & white.

10. EKTA works mainly with painting in a very special an abstract form, but also ­sculptures in material such as concrete and wood.

8. KOBRA paints with bright colors and often portrays well known and famous ­people with characteristic kaleidoscope styled themes throughout his art.

1 1. ETAM CRU are »Sainer« and »Bezt« often portraying real objects and figures in untypical contexts of a world of imagination where meanings are not strictly defined.

9. CAROLINA FALKHOLT has an artistic process on site that is fierce and exact. Often with intricate meshworks and typical motives are ­semiotic imagery and female body.

12. OLLIO or Jonathan Josefsson, well known for his impressive organic forms and ­patterns often with a playful touch.

NO LIMIT FESTIVAL 2015, September 3-6

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100% DESIGN

100% DESIGN 100% DESIGN: THE UK’S ­LARGEST AND 100% DESIGN 23-26 SEPTEMBER 2015

LONGEST RUNNING ­CONTEMPORARY DESIGN EVENT.

Olympia London

www.100percentdesign.co.uk

Now in its 20th year, 100% Design is the ­centrepiece of the London Design Festival, which consists of 350 events and exhibitions held all across London and is one of the world’s most important annual design events.

100% Design is officially the largest and longest running contemporary design event in the UK, with over 30,000 visitors, including architects, ­interior designers, product designers and retailers.

Opened this year by Philippe Starck and held over 4 days at the Earls Court Exhibition ­Centre (for the last time) before moving to the iconic London Olympia next year, you enter the event through a central tunnel and emerge into a bar where the ­individual entrances to each of the fair’s 7 areas are revealed.

• Interiors • Workplace • Kitchens & Bathrooms • Eco • Design & Build • Emerging Brands • International Pavilions Upon choosing your desired area, and venturing through, the fair instantly opens up into a vast array of inspiration and visual stimulation, abuzz with people and product.

The event showcases a great mix of modern ­design processes, such as 3D printing alongside more traditional themes, such as ceramics but all with a contemporary twist.

There truly is something for everyone in all fields of design. On the following pages you can read about a small selection of what we thought was interesting.

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100% DESIGN

OOOBJECT Recycling is one of OOObject’s ­important concepts. It does also represent their question towards recycling. »We aim to deliver the green message to everyone, especially our next generation.« MID dumbbell handle

More info: www.ooobject.com

DAM We are the brand that combines materials and traditional techniques with creative drawing.

Every DAM piece is produced in Portugal.

PIPO stool or side table

More info: www.dam.pt

ANNE KYYRÖ QUINN The bespoke art of acoustic textile wall installations.

100% wool felt made. Cut, sewn and finished by hand, our unigue choice of luxury matural fabrics are crafted into interior textiles designed to harmonise timelessly with any settings.

More info: www.annekyyroquinn.com

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100% DESIGN

LOZI Geometric, organic and completely unique, Lozi handcrafts individual pieces that embody simplicity and elegance.

LOZI is also a zambian word meaning ‘plain’

More info: www.lozidesign.com

OOOBJECT Our future depends on the next generation who shoulder the responsibility of protecting the scarce environment for saving the earth.

We integrate recycled materials in toys, serving as an early education to our children.

NOOD toy car

More info: www.ooobject.com

NOMADKA Nomadka is a multifunctional bag that successfully combines usefulness with d ­ urable material, protection from ­unexpected and aesthetic completeness.

More info: www.studionomadka.com

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PANTONE

Color inspiration often comes from unexpected places.

Which color is your favorit?

PAPYRUS

Willow Salix

HERBAL GARDEN

Green Bell Thlaspi

STILT GREEN

Eucalyptus Poppel

MARSALA Skimmia Japonica »Rubella«

KIWI Parrot tulip »Tulipam psittacus«

® PANTONE

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INTERVIEW

Designer Mads Nørgaard is a household name in Denmark. His clothing brand is a synonym for high quality design, not only in the Nordic fashion world, but all across Europe. In addition to fashion design, he is also known for his designs for theatre and ballet, articles, reviews, and is a member of several ­committees, including the Roskilde music festival.

Branding & Design met up with the designer for a face-to-face interview at his atelier in Copenhagen to find out more about the Mads Nørgaard universe and its philosophy…

Interview by Damien Lynch Images Courtesy of Mads Nørgaard

What is the philosophy behind Mads Nørgaard?

What you wear should support you in your ways and beliefs, and by that we mean it should empower you and strengthen you.

It shouldn’t overrule your p ­ersonality; it should compliment your personality.

Therefore, we make affordable, understandable and wearable clothes. Original designs at affordable prices that you hopefully like the minute you see them. ­ Producing clothes in the Western World today only makes sense if you do something new and original! People need to fall in love with it instantly. Almost everybody today has enough clothes, and if

all of the shops closed down tomorrow t­ here would be enough clothing to last the next three or five years. I am a true Modernist and I do believe that things improve! You know that hedonistic impulse when you see something you did not know existed, never knew you wanted it, and suddenly you need it. That’s the feeling when you fall for it! I am sure there is a God above and when he invented Fashion that was his idea of how Fashion should be!

Your first store opened in 1986 and over the years your brand has ­successfully expanded from men only, to include woman’s and children’s ranges and

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t­ oday is sold ­internationally. What ­makes Mads Nørgaard such a long ­lasting company?

Hopefully a little talent, definitely a lot of stubbornness and probably a little bit of luck! Others would have to judge that? But when I started out in this business I always thought and hoped that it would be a long lasting thing. I am the third g ­ eneration of a family involved in the textile i­ndustry. My grandfather had a shop selling ­ mourning clothes, and when he died in 1944 my father took over. Then, he opened his own shop in 1961. So the idea of owning a long lasting company has always been in my thoughts.

INTERVIEW MADS NØRGAARD WITH INTERNATIONAL TOP MODEL HANNE GABY.

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INTERVIEW

PHOTOS FROM MADS NØRGAARD MANS & WOMENS COLLECTIONS FOR SPRING SUMMER 2015.

BOTTOM IMAGE: MADS NØRGAARD AS HIMSELF IN THE DANISH VERSION OF THE DONALD DUCK COMIC. COURTESY OF EGMONT CREATIVE CENTER.

© DISNEY

With your years of experience in fashion, what do you think has been the most positive change in the ­fashion industry over the last 20 years?

For me this definitely has to be the evolvement of men’s fashion and how it has progressed over the last 20 years.

When I started out in 1986 it was brand new that men could be tough guys, but also have a softer side. This was brand new at the time. Today this seems banal. Both men and woman have been empowered by the way fashion has developed, but e­ specially the way we look at men’s fashion. One of the most visible features is that there are far less men wearing suits than 20 years ago. Today most men don’t need to wear a suit, and they wouldn’t unless they have to go to a wedding, funeral or to the bank to ask for a bigger loan. Also, the way street wear and sneakers have integrated themselves into the fashion world, and the way men have a very clear voice in fashion. I think this has been the most radical change. ­Women, especially in the northern c­ ountries, now wear their clothes in a way that ­allows them to be both mothers and have

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ambitious careers! Women wear clothes in which they can cycle to work, feel sexy and be practical at the same time.

This is done to perfection in Scandinavia.

Whereas if you look at France, Italy or Spain it’s still like you either do one or the other. If they are dressed up, she will have to be picked up in a car to get to work and so on. Whereas in Denmark the two genders are completely even and I think that is a great achievement.

What do you think has been the most negative change in the fashion ­industry over the last 20 years?

I think the most negative thing in the fashion industry today is the way ­fashion has conquered the world. Every aspect of ­cultural and fashionable life has been ­infected by it.

Whereas, in the old days, ­fashion-thinking was only for fashion i­nsiders, now it’s everywhere and in e­verything. Today, ­fashion-thinking is in almost every aspect of our lives; so much so that people expect change and want ­something new every three to six months!

INTERVIEW

What has been your professional achievement?

greatest

There have been several highlights, but the thing I am most proud of is that ­today we have a company that is on-going, customers that are paying, produces ­something that people want, and that we do this with our own standards and values. But of course nothing beats being in a cartoon spread in the Danish version of Disney’s ­Donald Duck!

How is your relationship with Nilorn Denmark?

STORE IN COPENHAGEN

It’s really, really good! For example, I ­wanted to change my logo and adjust it for our spring 15 collection and there had been a misunderstanding between our ­production department and myself, resulting in a very tight timeline. Michael from Nilorn ­Denmark fixed things and had everything ready for us just at the right moment, saving all of our ­asses at once!

Where do you see yourself in 5 years time?

Here I hope! I love working here and I hope that we still have a relevant place in fashion in five years time, hopefully with some more shops of my own, and hopefully with the same staff who are as committed and as good to work with as they are today!

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RECAP

PEBBLE CREEK

AMELIA

EZ CARGO

SPROUT

PB 016

AM 008

EZC 103

SPROUT 018

GRINDSTONE

BEAT 2

SMYTHÉ

BEAT 2

GST 12

BEAT 305

SMYTHÉ 08

BEAT 205

BEAT 2 BEAT 405

PEBBLE CREEK PB 014

YAMA 105

LINNEA HANSEN LH 207

BARRY RAGS BR 109

SMYTHÉ

ETC

SMYTHÉ 07

ETC 111

YAMA

ZIPPER PULLER COLLECTION BY NILORN

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PEBBLE CREEK PB 015

M O

O F

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IT

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fam B C ily b elgia A usine n L ss

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McAlson: a family company specialising in a very classic product, but with a vision anything but traditional. Pierre Deren: businessman and patriarch who encourages his children to find their own path, within or without his company. It’s a combination that seems to hold the key to success, because Belgian boxer shorts label McAlson from Ghent is still steadily growing on the European market 17 years after its ­establishment, and looks ready to conquer the rest of the world. Nilorn is proud to count McAlson as one of its clients, and we had a little chat with founder and owner, Pierre Deren.

RIGHT NOW I COULDN’T IMAGINE LEAVING THE BUSINESS, UNLESS MY CHILDREN KINDLY ASK ME TO.

Deren has fashion and e­ntrepreneurialism running through his veins. As his c­ hildren are becoming involved in the family business, it turns out they are the third ­ ­generation to leave their mark on Belgium’s fashion industry. »Both my parents and my parents-in-law were from families active in the textile industry«, recounts Deren. »My father-in-law started a company in Brussels in the 60s, and my wife and I took it over in 1981. At first we were an agency that ­distributed English products to the Belgian market. In 1997 we decided to launch our own product line, and that’s how we started making sweaters.« Shortly after that venture, the couple decided to further expand their business. ­ »We also distributed an underwear brand at the time, but weren’t satisfied with its level of innovation. So we decided to start a new brand of underwear, too, and that is how McAlson started. We first ­concentrated on Belgium and then slowly crossed the borders to the Netherlands, France and ­ ­further afield. In Europe, we’ve managed to create quite a satisfactory presence, so that we can now focus on going even further.« Survival and growth Like many other small to medium enterprises, times have been tough over ­ the past decennia, but McAlson lived through both the crisis in 2000 and that of 2008, and survived. »Especially in 2008, we ­immediately felt the effect of the crisis. We even experienced a moment of panic, but in 2009 our sales picked up again and went back to the way they were before«, ­explains Deren. »Today the European ­market is still in a bit of trouble, but McAlson has ­succeeded in steadily growing throughout the past few

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years. The market has changed though, and it’s become a lot more difficult to sell your products. Before, when a c­ustomer l­iked your product, he would place an order immediately discovering it. Now, he/she needs some time. There’s a waiting period of at least six months - they’ll wait to visit one more trade fair and only then place their first order.« According to the founding father of ­McAlson, the true strength of the brand lies in the uniqueness of its product. »First of all there is the special comfort system: the inner soft cotton jersey pocket. We were the first to have an exclusive licence for that. T ­ oday we see a lot of copycats, but they don’t r­ eally bother us. That’s probably because we ­offer so much more than just a comfortable b ­ oxer.

Our entire collection is exclusive: we ­create all of the designs ourselves, and work with a Belgian artist from Ghent, who c­reates illustrations just for us.« Every season, ­ McAlson offers new designs, and manages to surprise even the most loyal of customers with its new collections. »I think that is the main reason why we’re still enjoying growth in Belgium, even after 17 years. We follow trends, of course, but whatever happens, we always make sure we have a large selection so that everyone can find something that ­suits them.« A look into the future As mentioned, two of Deren’s children have joined him in the company. They are poised to continue their father’s story for ­ many years to come, but seem more than happy to work alongside him for now. »I have 30 years of experience, so I’ve seen and ­experienced a lot. We work in an industry that thrives on renewal, but at the same time I’m seeing the return of things that I know from when I just started. Sometimes I have to explain to my children what I see coming down the tracks thanks to that experience. It can be a bit of a struggle, because they don’t always believe me (laughs). When we were starting our new project, I had to explain to them that it’s better to debut with a brand new style rather than to start with a style that won’t survive into the future. It’s b ­ etter to bet on something that will take a little time to become popular, than to play it safe and end up being a follower. Followers are always behind.« A couple of years ago, Deren thought of quitting and enjoying a different kind

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of ­family life, but he has since changed his mind again. »Right now I couldn’t imagine leaving the business, unless my children ­ kindly ask me to«, he laughs. »They are young and they see things I don’t see. The past few years I’ve learned so much from them about the ­ evolution of the m ­ arket.

Perhaps that is the best advantage of ­ ­running a family ­company: you don’t think short-term. The fact that we are not a listed company of course means that we have less capital to work with. But it also means we are free to follow a long-term strategy. If we experience an off-year, we just pick up the pieces and continue. A listed company has to show results every three months...«

WORKING WITH NILORN Labelling is an integral part of McAlson’s look and branding, as it’s what makes the boxers ­recognisable at first sight. Our close ­collaboration with Nilorn has not only ­ensured an efficient process, but has also provided ample opportunity for creative brainstorming. »We have been working with Nilorn for a very long time, and it’s always been a very positive experience. Two years ago we started ­working with a stock system, thanks to which labels always arrive within 24 or 48 hours«, says ­Deren. »But what I love most about Nilorn is the ­creativity of its team. People sometimes say ’a label is a label’ but, especially to us, it is so much more than that. It is fundamental to our product! I think it’s a nice feeling to know that the people at Nilorn are specialists in what they do and they always come up with the most ­creative solutions. Even when I don’t always need that, it’s a really good feeling to know that it’s possible. With every new project, I can flip through their inspiration book and be amazed by the possibilities. I can easily point to examples and go ’Yes, that’s it!’«

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shop online at oscarjacobson.com