oki-ni Volume Three

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Volume Three SPRING / SUMMER 17 www.oki-ni.com






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Volume Three

CONTENTS

22 Incoming

12 Spring/Summer ‘17 Propositions

Say hello to the new brands joining the oki-ni line-up this season.

The trend guide that isn’t a trend guide; we present our SS17 style propositions.

28 Add To Basket

34 Suits You, Sir

The technical jacket. The short-sleeved shirt. The statement sneakers. Your SS17 must-haves.

We sit down with Thom Browne as he explains the inspiration behind his fantastical new collection.

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CONTENTS

44 The New Standard

52 Behind Closed Doors

Our STYLED shoot showcases the everyday staples that are anything but ordinary.

Maison Margiela allow us a glimpse at what happens dans le Maison in our exclusive shoot.

62 On The Road

69 The Sarcastialist

Book your ticket and pack your bag— we’re heading to Georgia this summer.

Fashion ‘observer’ The Sarcastialist presents his take on this season’s street style.

72 Grime In The Live Arena

78 Best In Show

We look at the nights that paved the way for the underground to make it overground.

Your guide to the best exhibitions coming up in 2017.

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E D I TO R ’S L E T T E R

It’s here. Welcome to oki-ni Volume Three

It’s an exciting time at oki-ni. As we head towards the spring, we’re looking forward to welcoming a host of the most highly-regarded, forward-thinking designers to the family, as they join our already-established brand line-up for SS17. We speak to a few of them—including J.W.Anderson, Junichi Abe of kolor and E. Tautz’s Patrick Grant—in Incoming so you can get to know them before they hit our (digital) shelves. Our STYLED shoot The New Standard showcases the best of the rest; Stella McCartney’s debut menswear offering and new-for-2017 styles from Junya Watanabe amongst them. We’ve also been hard at work when it comes to our creative editorials this season—we’ve gone bigger and better than ever before, if we do say so ourselves. Working collaboratively with some of our longest-standing brand partners, we present two exclusive shoots demonstrating the spring-summer collections from Thom Browne and Maison Margiela respectively. In Behind Closed Doors, we enter the Margiela fold, shooting the collection where it all began, before taking a closer look at the history of the enigmatic brand. We were also privileged to shoot Thom Browne’s couture looks as part of Suits You, Sir, before the offkilter designer talked us through his fantastical, surf-inspired collection. And finally, in anticipation of the launch of our forthcoming lifestyle platform, we present a new CULTURE chapter of Volume—reflecting a new chapter for oki-ni. We’re booking tickets to Georgia this summer, and we’re pretty sure you will be too once you’ve read our guide to the country currently establishing itself as a go-to for art, architecture and techno. As part of our MIX SERIES, we look at grime in the live arena, before finishing everything off with a round-up of our must-see exhibitions coming up in 2017. Read on…

Sam Smith Creative Director

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M AST H E A D

CREATIVE DIRECTOR Samuel Smith HEAD DESIGNER Josh Magee FEATURES EDITOR Emma Davidson CONTENT EDITOR Harry Doncaster FASHION ASSISTANT Miles Brown CONTRIBUTORS Greta Ilieva Jason Hughes Lewis Chong Lou Rolley Ted Stansfield The Sarcastialist Tomas Fraser PUBLISHER oki-ni

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PRINTING

Seen something you like? Get £100 off your next order when you spend £400 or more. Enter Code: VOLUME3 at the checkout to redeem your discount. Valid on SS17 collections only. Ends 31st May 2017. Brand exclusions apply. Cannot be used in conjunction with any other promotion.

Logical Connections

All items in this publication are available to purchase at oki-ni.com Simply use the product code (#000000) found within the pages of the magazine to search for your product online.

All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in this magazine are those of the contributors and are not necessarily shared by the magazine.

For all general enquiries: enquiries@oki-ni.com For press enquiries: shawn@oki-ni.com

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Volume Three

Spring/Summer ‘17 Propositions

This is the opposite of a trend guide. Style updates not overhauls; personal proposals over the all-prevailing; developments not dead ends. 12


FOCUS

The concept of ‘trend’ works on an industry-wide level, a means for editors to easily rationalise the hundreds of collections and garments they see in any one season; fashion’s common denominators. For a consumer however, trends can be a bit impersonal. Most individuals build a wardrobe with integrity, stocked with reliable pieces that work altogether. Consistency matters. A wardrobe can be quite inseparable from its owner; an ongoing dialogue between wearer and worn. Devotees of minimalism or technical sportswear aren’t suddenly going to splurge for ruffled shirts because they become ‘a thing’. That’s not to suggest complacency or middle of the road-ness. Out of character moments do happen. Especially when desirability comes into play. A leftfield tie-dye might take the pattern averse by surprise. The sworn-to-slim trouser wearer might suddenly crave the movement of a wide leg. They’re style developments, not anomalies; a much-needed contrast. So think of these Spring Summer 2017 suggestions as a sartorial expansion pack: the wardrobe 17.0.

Words by LEWIS CHONG

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PANTS

Marni High-Waisted Trousers £385 #403556

Tim Coppens Side-Stripe Chinos £396 #404297

J.W.Anderson Baggy Trousers £450 #403903

kolor Asymmetric Trouser £550 #404265

High-Waisted & Clipped

It’s interesting how a classic garment like the trouser, with such an established tradition, can seem so original once twisted somehow. Two types of trousers resonate most for summer. A high-waisted flatfronted workwear style loose in the thigh through the ankle—fitting the description of slacks—is one. Marni’s

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are cut in virgin wool, E. Tautz’s in utility cotton, J.W.Anderson’s in denim. Some pool about the ankle and some stop just short of it, but all touch upon a sense of the ordinary made strange by being too crisp, too generous.


FOCUS

PROPORTION

Bigness & Slouch

The anti-fit. It’s dressing beyond your body. Drastically dropped shoulders, trailing sleeves and architectural proportions radicalise classic menswear forms; sweatshirts and jackets so boxy they almost become temporary structures. Oversized is a key message for Raf Simons’ this season. Distorting the silhouette is a signature of his, it’s one of the ways the Belgian designer best articulates his fascinations with

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boyhood and manliness, with outsiders and youth culture. Clothing as body modifiers. Hulking knitwear and tented shirts become frame and canvas for Robert Mapplethorpe’s controversial photography—whose portraits also explore the makings of identity. The late artist’s foundation approached Simons to collaborate and the pairing couldn’t be more genius.


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PALETTE

Raf Simons x Robert Mapplethorpe T-Shirt £225 #403746

Maison Margiela Hand-knitted Sweater £600 #403783

OAMC Overshirt £380 #404165

kolor Asymmetric Jacket £905 #404260

Pinks & Naturals

Neutral colours are usually presented as the supporting cast for the core primary shades. For SS17 overlooked shades of sand, taupe, ecru, bone, chalk and more are recast as the main players. It’s a holistic approach to colour, all a bit weathered. And when applied to fabrics like tumbled cottons, washed linens and brushed

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silks there’s a richness, a rawness. To counter the harmony shades of pink from dusty to magenta are incorporated. Meaning style staples— the sweater, the bomber jacket, the shirt—seem wholly brand new. A refreshing counterpoint to the usual darkness of menswear.


FOCUS

PATTERN

E. Tautz Striped T-Shirt £165 #404132

Marni Geometric Sweater £600 #403554

Haider Ackermann Asymmetric Jacket £1265 #404571

Olaf Hussein Digital Low Anorak £158 #404408

Maximalist Stripes & Lines

These kinds of stripes aren’t so straight down the line. The precision and sequence expected from this pattern is deliberately disrupted through a garment’s deconstruction. Fabrics are cut at conflicting angles to fragment the simplicity of the breton; seen at Lanvin, E. Tautz and Marni. A piecedtogether shirt from Stella McCartney’s

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new menswear collection contrasts versions of the classic pyjama stripe. And at Marni sweaters are made up of wool panels that, when arranged geometrically, evolve the humble stripe.


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Volume Three

SHORTCUTS

High Summer The call of the beach is unavoidable this season as frenetic florals and tropical palm prints modernise warm weather essentials: the swim trunk, the bowling shirt, the square-cut tee and much more.

New Outerwear Loosened in fit, fluid in structure and removed of heft, the everyday coat is updated in summer-weight fabrics like fine gabardines and developed cottons. Most are left unlined for optimum hang.

Decades It’s a revival of the late 20th century. The 1970s—roomy tailoring, bright knits, kitschy patterns—and the 1990s—stonewashed denim, retro sportswear, logoed everything—make their presence felt throughout.

For regular trend updates, head to oki-ni.com/en/focus

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40436 GARMENT DYED CRINKLE REPS NY BOMBER JACKET IN LIGHT NYLON REPS WITH AN ULTRA-TIGHT WEAVING CONSTRUCTION. THE RESIN COATING OF ITS INNER FACE MAKES IT WIND RESISTANT AND MILDLY WATER RESISTANT. THE UNEVEN PENETRATION OF THE DYE BATH IN THE RESIN-COATED FABRIC GIVES THE SURFACE A BLURRED, MARBLED APPEARANCE. THE ADDITION OF A SPECIAL AGENT TO THE DYE FORMULA MAKES THE PIECE ANTI-DROP. RIBBED JERSEY COLLAR, CUFFS AND BOTTOM HEM. TWO VERTICAL ENTRY POCKETS WITH ZIP ON NYLON TAPE ALONG CENTRE FRONT CLOSURE. ZIP FASTENING ON NYLON TAPE.


10245 NYLON METAL COLOUR WEFT OVER SHIRT IN NYLON METAL WITH COLOURED WEAVED YARNS. THE DISTINCTIVE METALLIC AND CHANGING SHEEN OF NYLON METAL, ONE OF THE MOST VERSATILE FABRICS BORN OF STONE ISLAND TEXTILE RESEARCH IS ENRICHED WITH SHADINGS CREATED BY THE COLOURS OF ITS WEFT YARNS. THE FINISHED GARMENT UNDERGOES AN ELABORATE DOUBLE-DYEING PROCESS THAT ENHANCES THE CHROMATIC IRIDESCENCE OF THE PIECE. TWO POCKETS WITH FLAP AND BUTTON FASTENING ON CHEST. BUTTONS ON THE SLEEVES. HIDDEN ZIP FASTENING. FLAGSHIP STORE: 79 BREWER STREET_LONDON_W1F 9ZN


INCOMING

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Volume Three

The new season is upon us and, as ever, the beginning of SS17 heralds the arrival of a host of fresh talent ready to join the ranks of oki-ni’s already established brand line-up. Hailing from all four corners of the globe—from Singapore to the United States by way of Belgium to just around the corner from our London HQ (handy for meetings)—each has been chosen for an innovative approach and a progressive outlook. After all, spring is no time to be looking backwards. With a grand total of eleven brands joining us in the coming months, we sat down with the designers behind our favourites—J.W.Anderson, E. Tautz, Tim Coppens, Études Studio and kolor—and asked them to introduce themselves. Clear a space in your wardrobe and meet the newcomers.

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FOCUS

E. TAUTZ Patrick Grant took the helm at E. Tautz in 2009, declaring himself ‘bored with how traditional suiting looked’. Eight years on, that traditional suiting has been reimagined for a contemporary audience—reinvigorated in unexpected materials and with the distinctive, relaxed silhouette the London brand has become known for. Influenced by all angles of English heritage—from John Bulmer’s photojournalistic essay The North to a picture of the young Duke of Edinburgh disembarking from his boat in Mallorca—this season, Grant looks to Hans ven der Meer’s images of the crowds at lower-league football matches in the mid-‘90s for inspiration. Can you talk us through your inspiration this season, what was it about Hans van der Meer’s photos that stood out? Despite E. Tautz aristocratic heritage, I’ve always been more inspired by the clothes of ordinary men than I have been by the clothes of the aristocracy. In the past we’ve been inspired by the clothes of everyone from draymen to coal miners. But everyday clothes are equally as interesting and the clothes for sport offer great scope. These photographs had both, and an atmosphere that we found compelling. There was also the very looming threat of the Brexit vote hanging over us as we designed the collection, and as someone still very staunchly for the European Union, the photographs brought home just how alike we all are across the continent. We loved the Talking Heads on the show soundtrack. What else were you listening to when you were preparing the collection? Lots of the stuff I listened to in the ‘80s. Talk Talk, Talking Heads, Simple Minds, Tears for Fears and Fine Young Cannibals. Plus a bit of War on Drugs and Sleaford Mods for balance.

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Who will you be backing in lower-league football this season? Darlington (the nearest club to my school) are looking a decent shout for promotion from National League North. What would the E. Tautz football chant go like? Not specifically a chant for E.Tautz, but the one chant that always made me laugh was the West Ham fans singing ‘In your Liverpool Slums’ to the tune of ‘In your Liverpool Home’ (You look in the dustbin for something to eat, You find a dead rat and you think it’s a treat). Very funny, despite the fact I’m actually an Evertonian. What’s your stand-out piece from the collection? The Chore trousers in the natural indigo denim. Why them? They’re such a lovely easy shape, I love the cross-pocket detail, and the denim is such a beautiful blue. We have the denim woven for us by Cone Denim in North Carolina, and it’s dyed with natural indigo, which is expensive and very rare in denim these days - it’s nearly all chemical indigo. Who is the E.Tautz man? He’s just a man. He might be a bit like me. So a very nice man.

Shop E. Tautz at oki-ni.com/en/e.-tautz


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What’s your stand-out piece from the collection? I would say the Mike Oxyd sweater, the oversized Nomad pants or the Stranger Cape. Those pieces sum up the tone and spirit of our 10th collection. And then there’s the Études x oki-ni capsule collection which we’re really excited about—but we’ll leave that to you guys to unveil.

ÉTUDES Études Studio is the forward-thinking design collective directed by Aurélien Arbet and Jérémie Egry, two graffiti artists who met in the late ‘90s. Encompassing a menswear line, a publishing house and a creative agency based between New York and Paris, the collective is committed to reflecting and engaging with the contemporary landscape. Known for their luxurious take on streetwear, Études join forces with a selected collaborator each season—with the likes of iconic skateboarder and poet Mark ‘The Gonz’ Gonzales and Los Angeles-based artist Matthew Chambers making up the alumni.

What’s the concept behind your SS17 collection? The collection centralises around a single theme: travelling. Travelling as a movement and the time spent in transit from one place to another. That suspended moment, the state of floating between two places that provokes a feeling of disconnection.

Could you tell us about how the collaborative works with painter and sculptor Jonathan Binet and the Paris-based atelier Lazar Cuckovic Couture came about? Why did you choose to work with them? We knew Jonathan’s artistic approach in relation to gesture and the simplicity of the colour and materials he uses, and we decided his aesthetic would work well within our SS17 collection. In terms of realisation, we needed to work with the best atelier in Paris to achieve the kind of pieces we had in mind. The savoir faire and professionalism of atelier LCC made it possible. We crafted a set of five pieces including a shirt, a blouse and a pair of trousers all imagined in white linen canvas paired with off-white cotton. The understated construction provided the perfect backdrop on which to stamp a spray-painted black circle, replicating Jonathan Binet’s artwork. There’s a distinct political undertone to your collections, and you’ve used the European flag as a motif previously. Do you think it’s important for brands to speak out on the causes that they’re passionate about? Our role is not to comment directly on political or societal issues, but to suggest a certain way of thinking. It’s important to us to defend engaging and strong ideas. It started when we first used the Europa logo and has woven throughout each of our collections—in some of our upcoming projects, we’re moving closer to some more fundamental topics. The next capsule offering centres around the anti-nuclear movement. For us, art and fashion are connected directly

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to the reality of society and it’s normal to react to what is happening. How does working as a collective differ from working under one head designer? Working as a collective has always been part of our process. We start with a long meeting just presenting ideas, then each of us is in charge of a different part of the work that follows. The collective allows us to take on more projects and explore different mediums and collaborations. What were you listening to when you were preparing the collection? We invited the French musician Flavien Berger to compose the soundtrack for the runway show. We were listening a lot of his music and we shared a few names with him; Jean-Claude Vannier, Joanna Brouk, Pierre Henry, Midori Takada, Edgard Varese. That, and the sound of the train at night. Who is the Études man? What does he stand for, what is his style? The Études man is curious, he likes to meet new people. He’s a free spirit, he likes to travel and to learn from new cultures. He seeks to be engaged with the world around him and his wardrobe is made up of pieces that have a story behind them.

Shop Études at oki-ni.com/en/etudes


FOCUS

KOLOR A graduate of Tokyo’s Bunka Fashion College and one-time protégé of the powerhouse that is Comme des Garçons, Junichi Abe launched kolor a little over a decade ago. The Japanese designer is at the forefront of innovative design and technique, with each piece from his collection having more to it than initially meets the eye. Amidst the age of the celebrity designer, Abe is notably low key and private in his affairs—married to Chitose Abe of Sacai, the two are rarely if ever seen together, preferring to keep their private life under wraps and let the clothing do the talking. With strong emphasis on colour—perhaps not surprisingly, given the brand’s name—and the finer details, Abe’s collections are designed to set moods, not trends. Can you tell us about the concept or inspiration behind the SS17 collection? This season, the collection brings a sense of Asian tradition together with kolor’s signature modernity and elegance. There’s a mix of oversized coats, cropped shirts and low-rise Sarouel-like pants. When it comes to the details, there’s emphasis on Asian motifs, a subtle checked pattern and symbolic designs woven through lace and embroidered to the inside of the garments. Core colours are grey and navy; viridian green and fuchsia are used as accents. Loose shirts and open sandals evoke the feeling of the hot Asian climate. A lot of your pieces have interesting features that can’t be seen upon first glance—can you tell us a little about your favourite ‘secret’ details from the SS17 collection? There are a few jackets with Chinese-style cutwork embroidered that subtly show the colour of the clothing worn underneath that I like. The classic Madras check used throughout features vertical nylon and horizontal hemp yarns, which results in a unique, crispy texture. There are lots of enjoyable elements hidden within the collection—I hope you’ll discover them for yourself. Which pieces really stand out as ‘key’ styles from the collection? Maybe the Thai-style wrap trousers or the wool Sarouel pants.

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What were you listening to when you created the collection? I don’t actually listen to music in my room when I’m working, I work better when it’s quiet. But when it comes to deciding on the music for the show, I exchange ideas with the stage director, sharing the kind of music that I think will fit. During those times, I listen to music like crazy. I used to really like ‘80s progressive rock and more specifically, I really like Battles. If you’re feeling uninspired, where do you go or what do you do to motivate yourself again? I shut myself in my room and try not to go outdoors. You recently presented your third collaborative offering with adidas. How has working with the brand impacted your collections for kolor? It’s hard to explain because kolor and adidas by kolor are coming from completely different places and have a totally different purpose. Therefore, the way of making them differs and my judgement when I say ‘okay, that’s done’ for each is very different, but I’m realising more and more that strangely there are some similar aspects to the process. Where I used to think that working with adidas and the work that I do with kolor didn’t have any commonalities, I now feel that both works influence each other to some degree.

Shop kolor at oki-ni.com/en/kolor


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TIM COPPENS Tim Coppens graduated from Antwerp’s revered Royal College of Fine Arts—whose past students include The Antwerp Six, Martin Margiela and, more recently, Demna Gvasalia— before moving to New York and founding his eponymous label in 2011. The Belgian designer is known for his progressive, streetwearinspired collections and unparalleled attention to the technical details, a skill honed in his time working in conceptual development for adidas. In recent years, Coppens has gained quite the following, with Drake and Pusha T both namechecking him as one to watch. The SS17 collection is inspired by your ‘90s upbringing and club culture, and fashion as a whole is looking to the ‘90s for inspiration. What is it about this era that makes it so appealing? For me personally it’s the period I started going out and travelling. Going to clubs and digging really deep into what was going on in the music scene. It’s the period in my life when I just did things without giving a lot of thought to what the future would bring. In the ‘90s it wasn’t just about what would look great on Instagram. I guess that was one of the differences with now—there was no Instagram, no Twitter, very few mobile phones, which is appealing. What about the Japanese influence behind this collection, where does that come from? It’s always been there, I’ve always had a love for Japanese design. A lot is created with a tremendous amount of patience and accuracy. What are your stand-out pieces from the collection? The ACID tee. ACID has become secondary branding for me and I use it for the coming fall season too. It represents an era, but most of all a mood and an attitude that is part of the DNA of Tim Coppens. The layered trench is also a key style this season. What were you listening to when creating the collection? The radio. Lots of hip-hop. Lots of ‘70s

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classics. Nothing clubby really; we only listen to that on Saturday afternoons, when we have StuBru (Studio Brussel) on in the studio and they play club stuff. Because of the six-hour time difference we get very late night tunes in the afternoon; coffee and acid. What was your favourite clubbing experience? I don’t really go to clubs the same way as I used to. I loved Fuse in Belgium. But generally the best spots were temporary, when people just felt it was going to be that place that was going to explode at some point. What can we expect from the brand in the coming seasons? We’re working on expanding our women’s offering and generally building the brand, making sure people know about us. We have a lot of projects coming up in the next couple months: We’re launching a book and we’re working with MYKITA on a collaboration for AW17. Exciting things. Who is the Tim Coppens man? He’s a free thinker, which is critical when it comes to what’s happening in the world today. Interested in fashion but also down for a deli lunch in a slack suit. Above all, he’s someone that appreciates detail and quality. We really strive to design pieces with a different point of view.

Shop Tim Coppens at oki-ni.com/en/tim-coppens

“ In the ‘90s it wasn’t just about what would look great on Instagram.”


FOCUS

J.W. ANDERSON J.W.Anderson needs little by way of introduction. The Northern Irish wunderkind emerged onto the fashion landscape in 2008, launching his eponymous menswear label to widespread critical acclaim—his was a vision that challenged the notion of masculinity in the modern age. Following on from his menswear offering, Anderson presented his first collection for women in 2010 and was appointed creative director of Spanish luxury house Loewe in 2013. Alongside his fashion endeavours, Anderson is something of an art aficionado—in addition to ongoing exhibitions hosted at his Shoreditch workshop, this spring the designer curates Disobedient Bodies at The Hepworth Gallery in West Yorkshire. Your SS17 offering draws influence from Antoine de Saint-Exupéry’s novella The Little Prince. Is this a recent read or a book that you read in childhood and revisited around the time you designed the new collection? I think of it as a book that can be read at any time or at any stage in a person’s life. It holds many strong messages and teaches a number of moral lessons that should not just be restricted to children. What’s your favourite quote from the book, or notion that you took away from it? “All grown-ups were once children... But only few of them remember it.”

What are your key pieces from the SS17 collection? The tunics, the bomber jackets and the lightweight knits are some of the key pieces I’d say. Dip-dye was a strong feature within the collection too, so any pieces that bear dip-dyed finishes are integral to the offering. Who is the J.W.Anderson man, both this season and in general? It’s hard to pinpoint exactly who he is this season. There are daring, gender-neutral pieces within the collection, but also quintessential J.W.Anderson pieces. I think it’s safe to say that the collection has a childlike feel to it, which is juxtaposed against certain classic and grown-up silhouettes. The J.W.Anderson man is difficult to define. All we know is that he is not too serious about following stereotypes. You’ve collaborated with a diverse series of artists throughout your career - including rapper A$AP Rocky, ceramicist Giles Round and photographer Alasdair McLellan— and play host to a number of considered exhibitors. Who’s next? We’ll continue to host ceramics by Joanna Wason in our Shoreditch workshop space, but in regards to what’s coming next you’ll have to wait and see I’m afraid! Your first exhibition Disobedient Bodies opens at The Hepworth Gallery in Wakefield in the spring. Can you tell us a bit about it? Why there and not London? The Hepworth approached me about two and a half years ago. They knew me as an avid fan of the collection that’s presented there, and of Barbara Hepworth herself. It made sense to host the exhibition there instead of in London. It was not clear what the outcome would and will be, only that they wanted me to combine art and fashion as one within the space.

Shop J.W.Anderson at oki-ni.com/en/j.w.-anderson

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Volume Three

Add to Basket Not strictly trend pieces but not quite staple styles either, we select the three items you should consider adding to your wardrobe as we head toward spring—the short-sleeved shirt, the technical jacket and the sneakers of the season.

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Valentino Studded Sole Sneakers £525 #403483 2. Raf Simons High Top Sneakers £525 #403751 3. Maison Margiela Flyknit Sneakers £355 #403772

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SHOPPING

THE SNEAKERS Make a quiet statement in Eytys’ understated Ace silhouette or stamp it loud for all to hear with styles from Rick Owens and Yohji Yamamoto’s latest Y-3 collection—there are no rules when it comes to sneakers this season.

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4. Rick Owens Jacquard Geobasket Sneakers £690 #403383 5. Y-3 Qasa High Sneakers £270 #404363 6. Eytys Ace Sneakers £205 #403754 7. Y-3 Qasa Sandals £220 #404370

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THE SHORT-SLEEVED SHIRT At the hands of Lanvin, Haider Ackermann and Stella McCartney, the short-sleeved shirt continues to enjoy something of a renaissance. Cut boxy and loose, the bowling silhouette is still going strong after three seasons in the spotlight.

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Tim Coppens Bowling Shirt £285 #404296 2. Stella McCartney Floral Print Shirt £400 #404035 3. OAMC Printed Bowling Shirt £360 #404174

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SHOPPING

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4. Rick Owens Baseball Shirt £369 #403364 5. Marni Elasticated Collar Shirt £295 #403550 6. kolor Nylon Shirt £347 #404262 7. Tim Coppens Striped Bowling Shirt £285 #404293

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THE TECHNICAL JACKET Panelled styles in bold primary and secondary hues are key this season. Combine that with the unrivalled technical know-how of Stone Island and Junichi Abe of kolor and you’ve got the ideal pieces to see you through the transitional months—and beyond.

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Stone Island Garment-Dyed Reflective Jacket £750 #404203 2. OAMC Windbreaker With Detachable Hood £1,240 #404162 3. J.W.Anderson Bomber Jacket £595 #403901

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SHOPPING

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4. Tim Coppens Panelled Trench Coat £1,300 #404302 5. Valentino Harrington Jacket £1,150 #403461 6. E. Tautz Torquay Shirt-Jacket £485 #404144 7. Tim Coppens MA-1 Bomber Jacket £525 404300

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SUITS YOU, SIR

Photography by GRETA ILIEVA Styling by JASON HUGHES Hair by ALEXANDER SOLTERMANN Make-Up by PAULA MAXWELL Model DAN STEWART at Models 1 34



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F E AT U R E

Thom Browne has never played by the rules. In a world where a uniform of t-shirt and jeans is favoured, he offers an alternative—and a fairly radical alternative at that. Tailoring, which is both individual and off-kilter. According to the American designer and modern dandy, it’s no longer the t-shirt that signifies an act of rebellion; slipping on a jacket is the new antiestablishment stance.

Words by TED STANSFIELD

Browne’s anti-establishment attitude doesn’t end with his clothes; it also spills over into his shows, which are among the most imaginative in fashion. Instead of simply sending models down the runway, he choreographs presentations that border on performance art, season after season. Past shows have seen his muses emerge from coffins, take their places at a long banqueting table and prepare for lessons in a Japanese classroom. With each show that passes, the designer succeeds in evolving his strange, fantastical and, ultimately, highly compelling world. At his SS17 show, this world took the form of a desert island, beginning with a model sitting under a palm tree, wearing a unique suit-wetsuit hybrid. The scene looked like a film still, not least because it was in black and white. As John Williams’ original Jaws score started playing, another model emerged wearing a suit, a shark mask and fin, and

circled his counterpart. More appeared, wearing large suitlike onesies which were promptly peeled off to reveal Browne’s trademark tailoring—short suits and tailcoats in tropical shades. Continuing the tropical theme, the show closed with models dressed as parrots and surfers carrying boards which matched the bold-hued stripes and florals of their retro bathing suits. It’s the tailoring, particularly the more delicate pieces, that photographer Greta Ilieva and stylist Jason Hughes have focused on in this dark and slightly macabre story, shot in the empty corridors and rooms of a Georgian bathhouse in Manchester. Alongside the images, Browne reflects on the collection—from the surf references to the Stephen Jones millinery—and weighs in on film directors, First Ladies and the true essence of style.

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“My dream person to dress would be anyone who has a true sense of themselves.”

Can you tell us about your Spring/Summer 2017 menswear show? Thom Browne: I was exploring the idea of a wetsuit being translated into tailored clothing, but also the charming idea of guys undressing themselves.

Michelle Obama wore a coat and dress you made at the second swearing-in of her husband, Barack, as U.S. President. How did that feel? I felt honoured. There’s been a lot of debate between fashion designers over whether they’d dress Melania Trump. You said that you would dress her. Why is this? It would be an honour to dress any First Lady of the United States.

Several models wore wings and bird masks, and flew (so to speak) around the catwalk, while another wore a fin and shark mask. What did these outfits symbolise? They symbolised pure fantasy. Your shows always blur the line between fashion presentation and theatre. Why is this? Why don’t you do shows in the traditional way? Because I like to tell a story with my collections.

Who would be your dream person to dress? I don’t have one. My dream person to dress would be anyone who has a true sense of themselves. You’re known for your unique approach to men’s tailoring. How would you describe that approach? I think my approach to men’s tailoring has always been individual.

When it comes to fashion presentation, which people (designers or otherwise) have inspired or shaped your practice? It’s not so much designers who inspire me, but directors of films.

For you, what is the most important thing to consider when designing men’s clothes? For me, the most important thing is quality.

Did any films or film directors inspire this show? There were no films or film directors that inspired this show, but generally film directors do stimulate me. Stanley Kubrick, Fritz Lang, Luchino Visconti, Federico Fellini, Jonathan Glazer, David Fincher inspire me, to name a few.

You once said that putting on a jacket is the “antiestablishment stance”. Can you tell us what you meant by this? At the time when I started, everyone wore jeans and t-shirts and they wore them to everything. So in a sense that became the attire of the ‘establishment’.

Why did you select John Williams’ Jaws score as the soundtrack for the show? It was mainly because of the surf reference.

Would you say you’re an advocate for the suit? Yes. I want to show how tailored clothing can be unexpected and cool, and different from what they may have perceived it to be.

Can you tell us about the headpieces Stephen Jones created for the show? What brief did you give him? Simply that I needed swimming caps, but also head pieces of a parrot, a seagull and a shark.

What do you hope you bring to fashion? I think that is for everyone else to say. But I hope people will see that quality is the most important aspect in any piece of clothing.

You’ve worked with Jones before – in fact, an exhibition was held in Hong Kong in 2014, showcasing the hats he created for your AW14 show. When did you first meet and begin to collaborate? Our first collaboration was in 2014. His dedication and his knowledge make him such a unique talent.

Finally, how would you define style? Confidence.

You also requested a moment of silence for Bill Cunningham at the show. What are your memories of Bill? He was one of the most classically and beautifully understated person anyone could have known.

Shop Thom Browne at oki-ni.com/en/thom-browne

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The New Standard

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Previous Page: J.W.Anderson Knitted Sweater £545 #403894, Maison Margiela T-Shirt £184 #400720, E. Tautz Field Trousers £230 #404142 Matthew Miller Echino Shirt £188 #404074, Matthew Miller Echino Trousers £242 #404081 This Page: Maison Margiela Knitted Sweater £600 #403783, E. Tautz Pleated Trousers £395 #404137, Common Projects Retro Low Sneakers £264 #403308 Wooyoungmi Printed Bowling Shirt £386 #403264, J.W.Anderson Pleated Trousers £395 #403893, Common Projects Achilles Sneakers £248 #033012

We enlisted the boys from SUPA to demonstrate The New Standard of dressing; everyday staples made anything but ordinary at the hands of Tim Coppens, Raf Simons, CMMN SWDN and more. Photography by LOU ROLLEY, Styling by SAMUEL SMITH, Grooming by PAUL DONOVAN at CLM, Models LEO, LYE & YANNICK at SUPA. 45


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Raf Simons x Robert Mapplethorpe Oversized Shirt £795 #403729, Études Wide Leg Trousers £375 #403192 E. Tautz Utility Jacket £895 #404130, Raf Simons Oversized Shirt £435 #403744, Marni High-Waisted Trousers £385 #403556

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Haider Ackermann Bleach Sweater £385 #404584, E. Tautz Field Trousers £230 #404143, Common Projects Achilles Sneakers £248 #033012

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E. Tautz Car Coat £995 #404144, Fanmail Cotton Sweater £135 #403877, AMI Cropped Trousers £225 #404099, Common Projects Achilies Sneakers £248 #033012

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E. Tautz Linen Stripe T-Shirt £165 #404132, Matthew Miller Drawstring Trousers £242 #404082, Common Projects Retro Low Sneakers £268 #403308 E. Tautz Pleated Shirt £190 #404133, CMMN SWDN Stripe Shorts £150, #403606, Common Projects Achilies Sneakers £248 #033012 Raf Simons Oversized Shirt £435 #403744, E. Tautz Field Trousers £230 #404143

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Marni Panelled Jumper £730 #403554, E. Tautz Pleated Trousers £395 #404137 Tim Coppens Stripe Shirt £285 #404293, AMI Cropped Trousers £225 #404099 kolor Tech Jacket £1300 #404260, kolor Asymmetric Trousers £675 #404265

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Stella McCartney Psychedelic Shirt £400 #404035

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Behind Closed Doors

Volume Three

Words by EMMA DAVIDSON As one of fashion’s most enigmatic brands, it’s rare for Margiela to offer a glimpse at what happens dans le Maison. This season, however, the house invited oki-ni inside, allowing us the chance to photograph our SS17 edit within the walls of its Paris headquarters. Here, we present our second STYLED of the season—accompanied by a look at the history of the secretive brand—as we go behind closed doors.

Photography by LOU ROLLEY Styling by SAMUEL SMITH Model JEAN LEMERSRE at Bananas Hair by ELVIRE ROUX 52


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Striped Reversible Hooded Boxy Jacket £965 #403787, Cuffed Slim Trousers with Stitching Details £420 #403777, Oversized Buckle Sandals £290 #403771

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Hand Knitted Cable Crew Jumper £600 #403783

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There have been countless articles written on the history, the legacy and, above all else, the mystery of Maison Margiela. The house and the absence equals presence ethos that lies at its heart continues to intrigue almost 30 years since it opened its doors. Or rather, since it made the commitment to keep them firmly shut. Many of us know, of course, of the unconventional practices that go on behind the doors of its Rue Saint Maur headquarters in the 11th arrondissement of Paris; its interior painted entirely in whites, the signature palette of the house. Then there are the atelier staff, each of them wearing blousons blanche, the starched white lab coats usually reserved for couture seamstresses but adopted by all in the spirit of collectiveness. This practice, it should be noted, must help when it comes to regularly whitewashing their desks; each individual is responsible for re-painting their own workspace as and when the need arises. It’s also widely known that, until recently, press requests were dealt with via a fax machine—an almost antiquated method and a concept that feels bold in that it so starkly contrasts the spirit of innovation for which the Maison is known. And then there’s Martin himself, the Maison’s founding father, at the centre of it all. As the house launched in 1988 and landed on the Paris catwalks in ‘89, Margiela has remained private and discreet as all around him the new age of the celebrity dawned—to this day, only one public image of the designer exists, although its authenticity has never been verified. It’s this sense of anonymity in a time when we are anything but that has cemented the allure of Margiela. There are no re-grammed images of influencers posted on their Instagram, no shout-outs on Twitter. Unlike most, it is the clothing that emphasis remains placed on. That inconspicuousness has become the Maison’s strongest asset, the boldest facet of its (non) personality; a value that even John Galliano— notorious for his flamboyance—has upheld since his appointment as creative director in 2014.

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The brand itself attracts not just customers but disciples, a group of people for whom the finer details are key. The details that aren’t necessarily shouting from the garment, but instead whispering from seams, between layers, through button holes. They’re not interested in the ephemeral nature of trends, what matters to them is integrity; clothing with consideration behind it, garments with a concept and a story. In place of excessive branding, each of the stand-alone Margiela stores is unmarked and unassuming; garment labels are blank and tacked in place with a white stitch to each corner. Purchases are placed in unbranded white cotton bags; which, for those in the know, speak almost louder than their logo-emblazoned counterparts. Margiela’s early Artisanal offerings were the antithesis of the more is more aesthetic of the late 1980s, with its imposing glamour, ostentatious use of colour and unapologetic maximalism. Quietly, the collective redefined the fashion vocabulary and blazed a trail that presented deconstruction and, inevitably, reconstruction to the industry and beyond. Some of the first collections comprised vintage tulle gowns—found by Martin and his business partner Jenny Meirens on their frequent trips to flea markets and antique fairs—stripped down and reinterpreted as a series of sharply-tailored suit jackets. A butcher’s apron was reimagined as an evening dress that wrapped sinuously around the body; leather belts were stitched together to become coats; Victorian dress gloves found themselves reappropriated as delicate vests.


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The signature masks, themselves a statement of anonymity, made their first appearances in the early days—long before a certain Mr. West would adopt them, extending them a new and unexpected narrative; the notion of being anonymous juxtaposed against the standing of arguably one of the most famous men in the world. Following the establishment of the brand as a fashion tour de force throughout the 1990s, it expanded to incorporate a series of unique lines, defined by the numerical system displayed on each garments’ label. Line 10, a men’s collection, was introduced in the spring/summer season of 1999. In the same vein as the women’s Line 1, the collection sits just below that of the Artisanal offering and challenges the convention of contemporary masculinity, exploring form, silhouette and proportion. Within both the women’s Line 1 and its male counterpart sits REPLICA. Each season, Margiela debuts a capsule collection of around thirty original garments, all of which are remade in the brand’s atelier and presented without modification

or adjustment. Each piece relies on the principle that their design has stood the test of time and have thus become timeless, the idea being that they were relevant yesterday and will remain relevant well into tomorrow Punctuated with poignant and timely quotes from Leonard Cohen’s classic song Last Year’s Man, Margiela presented the notion that masculine fragility need not hide behind closed doors this season. Silhouettes are soft, shoulders are rounded and fabrics flow loosely, taking the form of dress shirts painted with watercolour landscapes, depicting hunting scenes and the English countryside. Heavier textiles still evoke a certain lightness. Brocade and jacquard-style coats in shades of pale blue are offset by Prince of Wales checked styles, including a billowing trench coat and wide-cut trousers, in a clash of textures that somehow sits together perfectly. It was, however, the Maison’s development of the classic two-piece suit, a number of which were part of the REPLICA line that shone the brightest. Crafted from robust cotton-canvas and turned inside out, the suits showed their inner-workings and were all the more interesting for doing so. With cuffs left artfully unfinished and trousers turned up with tacks, it was if they’d not quite had the time to finish in the frenetic minutes leading up to the show. It was a collection of modern classics, albeit classics with that characteristically Margiela edge; an edge that raises eyebrows and invites us in for a closer look. As the house continues to evolve under the guidance of John Galliano, one thing seems sure; that the Maison’s values of anonymity and secrecy continue to be of the utmost importance, and those doors will remain—for the most part—closed. But then, perhaps it’s time we stop trying to unravel its mysteries and instead employ that outwardlooking attitude that makes Margiela so intriguing in the first place. It’s what’s coming out, not what’s going on inside that’s key to this house. To create without explanation. For work to stand alone. Martin really was on to something.

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Re-Edition T-Shirt £245 #403784

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Striped Reversible Hooded Boxy Jacket £965 #403787 Foxes Print Silk Shirt with Poppers £885 #403776, Cuffed Slim Fit Trousers with Stitching Details £420 #403777, Brushed Effect Derby Shoe with Folding Heel £475 #403435

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Re-Edition Inside Out Canvas Jacket £1,245 #403782

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Suit Jacket with Stitching Details £1,245 #403778, Cuffed Slim Fit Trousers with Stitching Details £420 #403777, Pollock Paint Drop Replica £370 #403409

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Oversized Patchwork Sweatshirt £410 #403781, Silver Replica Badge £360 #403789, Drawstring Pants £385 #403780, Slip On Boot £675 #403774

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On The

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GEORGIA Electro Clubs & Luxury Living: A Modern Travel Guide to a Former Soviet State

Words by LEWIS CHONG

A clue to the culture and hospitality that awaits when visiting Georgia is given as soon as you clear passport check—the immigration officer hands over a bottle of local wine. The grape vines here are the oldest known, and the region’s 8,000-year-old wine making traditions have helped it gain an international standing amongst connoisseurs. It’s just one of the many superlatives this country will reveal to travellers. Flanked by the Black Sea and the Caucasus Mountains, the Eurasian country of Georgia has been at the crossroads of culture and conflict for hundreds of years. It’s a neighbour to Turkey, Armenia, Russia and Azerbaijan—that Eurovision Song Contest favourite—and lies close to the Middle East, Mongolia and China. The region has been ruled by Christian kings, conquered by the Mongol Empire, dominated by Persian and Islamic Ottoman forces, until it was finally annexed by Russia in 1801. By 1922 Russia’s Soviet Union closed the country to the rest of the world.

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Georgia’s chequered history has left a truly unique fingerprint on the place, and it’s apparent in everything from the local arts and architecture to the people and their cuisine. That cultural pull might just be why Georgia has become such a desirable destination in recent years. That, and its unlikely electronic music scene and emerging fashion credentials. Designer Demna Gvasilia, co-founder of Vetements and Balenciaga’s creative director, was born in Georgia and has in recent years shone a light on his home country. “Up until 1991, Georgia was part of the ex-Soviet Union, so I had a Soviet childhood. I was brought up with Stalinist, Leninist, and Communist ideas and deprived of any kind of real information,” Demna told 032c magazine. “There were only two magazines that had some vague fashion references in them, which of course had nothing to do with what was going on in the West. Then the Soviet Union collapsed, and Georgia opened up. It was like an explosion, suddenly you had Fanta and Coca-Cola, and Vogue. There was a glut of foreign influences.”


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CITY STAY

TBILISI

Georgia rivals the world’s most established destinations. And its capital Tbilisi, which was a major trade stop on the ancient Silk Road, contrasts and combines the country’s many identities in one truly spectacular setting. 64


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SEE

Architectural junkies rejoice. Tbilisi combines a wealth of buildings that contrast in eras, origins and styles. At the top of the list should be The Bank of Georgia headquarters, once hailed by The New York Times as a ‘Surprising Discovery of the West’. Recently renovated, this colossal Brutalist building consists of interlocked concrete structures undertaken in a ‘post-constructivist’ style. Architects Giorgi Chakhava and Zurab Jalaghania designed the building to occupy as little ground as possible, spreading the building upwards and outwards over 18 stories to preserve the woodland below. After you and the horizontal skyscraper capture a decent selfie together, head over to Dry Bridge flea market for proper souvenirs. Open 7 days a week, it’s an informal affair where anyone can set up a blanket and sell, so depending on your luck you might find Soviet era coins and photographs and not-so-customs-friendly weapons, tribal rugs and antiques, historical medals, musical instruments and more. Surprisingly, Tbiliisi is also home to an incredible music scene. Come midnight, the bar/restaurant Cafe Gallery turns into a 24-hour, gay-friendly nightclub on weekends playing electro as well as DJ sets from homegrown talents like Tomma Chaladze and Gogi Dzodzuashvili of Post Industrial Boys. The big venues, like Bassiani and Mtkvarze, play host to the international stars of the music scene.

STAY

Georgia’s historic and modern identities are somewhat reconciled at Fabrika Hostel & Suites. Formerly the Soviet sewing factory Nino, today it is a huge hostel welcoming locals and travellers alike. Authentic finishes, eclectic furniture and industrial details furnish the space. As well as facilities like a 24-hour reception and bicycle rental, there are

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many cafes, bars and artist’s studios in the courtyard. Even a barber shop. “The notion of hospitality has always been very important to Georgian’s,” advises Fabrika’s Tina Gagnidze. “The locals welcome visitors who take an interest in their unique culture, a culture with great warmth that will leave a lasting impression through its centuries of history, art and eclectic architecture.”

DO

Many head to Tbilisi’s ancient district of Abanotubani for its equally ancient sulfur springs. The hot springs, developed into Orientalist domed brick bath houses over many decades, are claimed to be the reason why King Gorgasali founded Georgia’s capital city here in the mid 5th century, crowning it Tbilisi, which translates as ’warm location’. After a scrub down session find an alfresco seat under the canopy of giant pine trees at the popular Café Littera. Found behind the historic Georgian Writers’ house, this hidden garden-cum-restaurant is owned and headed up by chef Tekuna Gachechiladze, who after training in New York returned to her homeland to modernise Georgian cuisine.

Try the trout carpaccio with adjika, a spiced red pepper paste, and the seafood chakapul, a traditional stew updated with wild Black Sea mussels. Tashre, which serves typical Megrelian food from the Samegrelo region of western Georgia, is another local hotspot. Found on the bank of the Mtkvari River, we’ve heard great things about the kveri—dumplings filled with sulguni, a salty smoked cheese similar to mozzarella. For a nightcap with a difference visit Tbilisi Hilltop; this perfectly appointed spot serves great drinks high above Tbilisi Old Town. Framed by mountains and overlooking St. Nicholas Church, which sits within the ruins of the 4th century Narikala fortress, this is the place to sample local wines until the wee hours.


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Volume Three

MOUNTAIN ESCAPE

KAZBEGI

Framed by the Caucasus Mountains and sunk into its valley, Kazbegi is a mountain town that should not be missed. Here, there is really only one place you should stay: Rooms Hotels. The restored Brutalist building was formerly a resort for Soviet party officials. While it has retained a Georgian authenticity the hotel has added a rugged sense of luxury, part gentleman’s lounge, part rustic lodge. Spectacular views of the snow-capped peaks

of the nearby Mt. Kazbek might just trump the hotel’s 30ft heated pool and wool panelled library. The splendid green landscape surrounding Kazbegi is made for hiking. Discover local forests, secluded villages and isolated churches, like the 14th century Gergeti Trinity Church perched high in the Kazbegi mountain range—a spiritual symbol of the region.

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BEACH BREAK

BATUMI

The coastal city of Batumi offers a sub-tropical climate of sun, sea and sand. It’s a testament to the natural splendour of Georgia. A prime resort of the Black Sea, where Georgians and Turkish come to holiday, there’s casinos and a golden Ferris wheel, skyscrapers, famous architecture, a seafront boulevard and perhaps most unexpectedly: a host of festivals nearby. The best? Heat Batumi and GEM-FEST. The latter, an acronym for Georgian

Electronic Music Festival, is a five stage spectacular that accommodates 10,00 revellers and over 500 artists. The month-long festival showcases the world’s biggest techno, trance and house DJs—headliners have included Fedde Le Grand, David August, Paul Van Dyk, Agoria and loads more. Established in 2015, GEM-FEST is only at the beginning of its international stardom.

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Available at www.oki-ni.com


C U LT U R E

Sporting a full-look from Gosha’s latest offering or the season’s most-hyped Vetements piece? Head to toe in the sickest of Rick Owens? Wearing that Gucci sweatshirt? It makes no difference to The Sarcastialist, who takes no prisoners when it comes to his critique of the fashion set. By way of his eponymous Twitter account, The Sarcastialist offers a unique—and often hilarious—take on what might be going through the minds of the editors, influencers and models as they dash from show to show and go about their daily business. Think wondering whether they’ll make it to the big Asda before it shuts, if there’s any mini kievs in the freezer for tea, or what they’re texting their nan in those ubiquitous shots of them engrossed in the contents of their phone. Choosing to remain completely anonymous, depending on who you ask this ‘fashion observer’ is either the scourge of the serious business that is street style, or a retired taxi driver from Bootle with a little too much time on his hands. Here, he presents his take on our shots from the AW17 shows in Paris, Milan and London. All—as our creative director will attest to, when he spotted himself on the @sarcastialist earlier this year—in good humour, of course.

Words by EMMA DAVIDSON & THE SARCASTIALIST

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Volume Two

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“Did you just say he could come back to ours? Absolutely no chance - I’ve got work tomorrow & he’s a fucking menace.”

“Hang on kid, some old biddy wants a quote for doing her gutters – only half a day but it all adds up, don’t it?”

“I know it’s shite without her & the kids, but getting bladdered & watching Pointless in your undies isn’t the answer.”

“Lad, I’m tryna tell you about a fucking boss dream I’ve had here & it’s like you’re not even listening.”

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“Tried to get out of ours without me scarf, but me Nan collared us & was all “Ooh Graham, you’ll catch your death”

“Found a bottle of Tippex while I was off me cake last night – any idea if it comes off in the wash?”

“Me Ma’s text us to say me tea’s nearly ready. I can’t just fuck it off lad — it’s corned beef hash.”

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IN THE LIVE ARENA

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MIX SERIES

Grime has enjoyed more commercial shine over the last two years than ever before in its 15 year history, culminating in Skepta winning the Mercury Prize for his 2016 album, Konnichiwa—five years after he parted ways with his then label, 3Beat. Add to that award-nominated albums like Kano’s Made In The Manor, and Wiley’s latest full-length, The Godfather—the first UK Top 10 album of his career at the 11th attempt—and it’s fair to say that grime, once vilified by the press and wider industry alike, is at the core of everything currently good about UK music. This success, especially when viewed through a mainstream lens, might appear to be of the overnight variety, but that would be to downplay the years of hard work, sacrifice and struggle grime has endured, much of which came from the same place it was made—the underground. The culture of grime has since spread nation-wide— there are blossoming city-centric scenes in Birmingham, Manchester, Nottingham and, for those who watched Noisey’s documentary film, even Blackpool—but the DIY, underground ethos at the heart of its latest resurgence manifested itself in the live arena. For some, grime might just be about MCs—aggressive, fast-paced and electric. For others, particularly those of a dance persuasion, grime might be more about the sonics and the weird and abstract guises the instrumental side of the music has come to adopt. And for the many, grime might just be listening to DJ Logan Sama on the radio, or locking into Mode FM to hear Spooky roll out banger after banger for four hours in the small hours of Saturday night. Whatever grime means to whoever is listening, without independent promoters, labels, clubs and venues up and down the country, it wouldn’t be where it is today. With that in mind, we spotlight the four key club nights and live shows that helped pave the way for the underground to make it overground. Words by TOMAS FRASER 73


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ESKIMO DANCE

Originally established by Wiley in 2002 and a night unlike any other in the country, Eskimo Dance was a space for MCs to go at it on stage in front of huge, packed-out audiences. Held at Area nightclub in Watford until 2005 before taking an enforced hiatus, they fused the concept of a live, paid gig with the freedom of a club night and for every aspiring MC of the era, were the holy grail of live shows. Every MC wanted to go to Eskimo Dance and have the DJ reload their bars, or even better, have the crowd recite them back.

seemingly still determined to win their own battles just as Skepta et al did before them. Now also a nationwide event, with shows happening across the UK’s major cities, as well as overseas ventures in clubbing spots like Ayia Napa, Eskimo Dance remains grime’s ultimate proving ground—and a place from which careers are still launched.

After seven years on the back-burner, Eskimo Dance relaunched in 2012, bigger, better and with renewed vigour — all aided by a dedicated team behind the scenes. Although the original Eskimo Dance raves saw names like Skepta, Kano, D Double E and Riko Dan billed, the new focus is on the future — as pointed out by Wiley in an interview with Boiler Room in 2015. Novelist, AJ Tracey, Elf Kid and countless other defining MCs on-the-rise have all performed at Eskimo Dance over the last two years,

Photo: DJ Logan Sama by Ashley Verse

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BUTTERZ

Butterz, founded by DJs Elijah & Skilliam in 2010, was one of the first grime-orientated club nights intent on bringing the music back to dance floors. After the Metropolitan Police introduced draconian legislative measures in Form 696, a risk assessment form designed to curb what the Met saw as a spike in violence at ‘urban’ music events in 2008, grime suffered in a live sense, particularly in London.

newcomers like Mr Mitch, Notion and countless others. MCs were also a feature, with JME, Skepta, D Double E, Kano and Wiley all having made appearances on set (not performing tracks, but spitting live with a DJ) at Butterz shows at Cable and later, fabric—some feat considering Skepta, Wiley and Kano’s recent trajectories in particular. Butterz parties quickly took off nationwide, culminating in their Jamz party series, which saw them run a monthly residency in Leeds for nearly two years from 2014-2016, and Elijah & Skilliam now have both Rinse FM and fabriclive mix CDs and two definitive, annual grime compilations under their belt. As a label, Butterz were also vital in establishing grime within the wider electronic world, releasing defining records from Terror Danjah, D.O.K, Royal-T, Champion, Swindle, Flava D, P Money, Trim, Rapid and most recently, TQD — a bassline supergroup consisting of DJ Q, Royal-T and Flava D.

Butterz, through a combination of raw new talent; see instrumental producers like Royal-T, Swindle, Champion and Flava D, and a knack for throwing parties, welcomed a new generation of grime ravers into London’s clubs instead, acting as a vital gateway into the music and culture. Musically, they were inspired by grime’s past but never wholly defined by it and at their events — most notably a run of parties at now-defunct South London venue, Cable— they’d explore this ethos fully. It was commonplace to see them book iconic grime DJs like Logan Sama, Terror Danjah and, even further afield, Kode9, alongside new talent like the aforementioned Champion and Royal-T, as well as then

Photo: Skepta by James Gould

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Volume Three

BOXED

Established as a club night for heads Slackk, Oil Gang, Logos and Mr. Mitch to simply play records they liked, Boxed celebrate their 4th birthday in 2017. Beginning life in a dark, dank basement in Peckham, the first night playing host to an audience of 20-30 blokes in Carhartt raincoats but, over time, became a vital cog in the instrumental grime machine.

their sell-out parties, but also on their weekly Rinse FM show, itself a hub for those looking to check the pulse of where instrumental music is headed. Now also a label—they’ve released two records, both of which sample beats from four different producers on the come up—Boxed have been crucial to fostering grime’s underground spirit in a completely different way.

The ethos was simple, instrumental grime music only— and by all accounts, the weirder and grittier the better —a mantra that opened up grime’s sonics to a worldwide network of producers, some of whom have already gone on to do amazing things within wider circles. Producers like Rabit, now signed to TriAngle Records, Mumdance, now signed to XL Recordings and head of his Different Circles label alongside Logos, and Murlo, signed to Mixpak, all benefited from Boxed’s open forum policy and the space to play whatever sort of grime they wanted. It was from the Boxed platform that new beat makers were also given a chance to be heard, not only at

Photo: Mr. Mitch & Mumdance by George Quann-Barnett

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MIX SERIES

THE DEN

The newest club night of the four on our list, The Den, is held on Sunday nights in East London and helmed by Boy Better Know MC, Frisco, garnering cult status in London since first opening its doors in 2015. Having recently celebrated its second birthday, the concept is simple — a strong line-up of MCs, with guest DJs on rotation each month.

Rudekid and Boy Better Know’s Maximum, who join monthly residents SK Vibemaker and DJ Corey. Away from the spotlight of the industry glare, The Den seems to factor in the live buzz of events like Eskimo Dance in a smaller, more intimate space, giving established and promising acts alike the chance to perform to dedicated fans, which in itself creates its own valuable momentum for those involved.

Focused on spotlighting not only established MCs, but breakthrough artists from across the grime and UK rap spectrum too—their second birthday event saw established mic-men Frisco, President T and Killa P share the stage with hotly-tipped Kojo Funds, Big Zeeks and Shaqy Dread for example—the Den, as with Butterz, Boxed and Eskimo Dance, has established its own community within a community. Previous guests reel off like a who’s who of UK underground music; Elf Kid, Sneakbo, Newham Generals, WSTRN, Meridian Dan, JME, Flowdan, Ghetts, Splurgeboys and YGG are just some of the names that have passed through The Den’s doors, alongside DJs like Logan Sama,

Photo: Pres T & Flirta D by George Quann-Barnett

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Volume Three

Best In Show From a politically-charged immersive experience courtesy of Turner Prize winner Wolfgang Tillmans to an exploration of Martin Margiela’s reign as womenswear director at Hermès – we round up the 2017 exhibitions we’re most excited about. Words by EMMA DAVIDSON

Wolfgang Tillmans, Toucan (2010)

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C U LT U R E

Jamie Hawkesworth, The Thinleys (2015)

Jean-Michel Basquiat, Untitled (1982)

Disobedient Bodies Wakefield, if you’re familiar with it, is not necessarily the place you might think of when it comes to innovative, boundary-pushing art galleries. As home to both the Yorkshire Sculpture Park, which played host to KAWS’ first UK exhibition last year, and The Hepworth Gallery, it’s definitely somewhere you should start to however—you’ll be in good company. Long-standing Barbara Hepworth admirer J.W.Anderson presents Disobedient Bodies at the artist’s namesake gallery this spring; a collection of both his own work and that of artists that have influenced him throughout his decade-long career. In addition to a multimedia ‘research lab’ showcasing pieces from his gender and identity-questioning collections, photographs by regular collaborator Jamie Hawksworth and video projections of past inspiration, the exhibition also hosts a specially-commissioned interactive installation and works by sculptors Louise Bourgeois, Henry Moore and Naum Gabo, and designers including Helmut Lang, Christian Dior and Jean Paul Gaultier.

Basquiat: Boom For Real As one of the most-anticipated shows of the year, we’ve still got a while to wait until the first major exhibition of Jean-Michel Basquiat’s work since his death in 1987 opens at The Barbican this year—until September, to be precise. Boom For Real will see over 100 art works on display, from his most famous paintings to lesser-known pieces, sketches and notebooks. The exhibition will also partially reconstruct Basquiat’s debut presentation which appeared as part of PS1’s New York / New Wave show in 1981. Exploring Basquiat’s meteoric rise within the 1980s New York art scene when he went from SAMO graffiti collective member and post-punk poet to revered neo-expressionist artist and close friend and collaborator of Andy Warhol, the retrospective focuses on his relationship with politics, music, film and television and how these elements influenced the body of work he created in his short life.

18th March—18th June 2017 The Hepworth Gallery, Wakefield

21 September 2017—28 January 2018 Barbican Art Gallery, London

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Volume Three

Hermes, AW Campaign (1998) Wolfgang Tillmans, Serralves (2008)

Comme des Garcons, Runway (SS 1997)

Margiela: The Hermès Years

Wolfgang Tillmans: 2017 Following on from his outstanding pro-EU campaign and two criticallyacclaimed techno-inspired EP releases in 2016, Wolfgang Tillmans presents a diverse collection of works spanning his career at the Tate Modern this spring. With 2003 the point of departure— this being the time the world changed following the invasion of Iraq and numerous anti-war demonstrations— the Turner Prize-winning artist’s 2017 exhibition will bring together photographs, digital video and slide projections, publications and music, culminating in an immersive ten-day takeover and a series of live events in the iconic building’s South Tank. Demonstrating his innate ability to make the mundane extraordinary and exactly why he’s one of the most important artists of our generation, this show is not be missed. 15th February—11th June 2017 Tate Modern, London

Rei Kawakubo / Comme des Garçons: Art of the In-Between Sort out your flights to New York and get your Airbnb booked immediately— this is the big one. The Metropolitan Museum of Art’s 2017 Costume Institute exhibition will centre around Rei Kawakubo and Comme des Garçons. A pretty huge deal when you consider it’s only the second time the institution has chosen to pay tribute to a living designer – the last being Yves Saint Laurent way back in 1983. Illustrating Kawakubo’s career-long exploration of ‘in-betweenness’ and the way in which she has continuously sought to blur the lines between East and West, past and present and male and female, the MoMA exhibition will play host to over 120 pieces; from her debut 1983 collection right up to the present day. 4th May—4th September 2017 The Museum of Modern Art, New York

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Opening at Antwerp’s MoMu fashion museum in March, Margiela: The Hermès Years documents the iconoclastic designer’s six-year tenure as womenswear director of the French haute-luxury house. Marking 20 years since the beginning of the somewhat unexpected partnership, the exhibition will showcase a considered edit of the most striking pieces from the collections Margiela created from 1997, before he parted ways with the company in 2003. Demonstrating his aptitude for deconstruction in a way completely unique to that of his own eponymous label, The Hermès Years brings together a collection of rarely-seen pieces that will be sure to satiate Maison Margiela fans until his major retrospective opens at Palais Galleria next year. 31st March—28th August 2017 MoMu, Antwerp


BRANDS

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Master & Dynamic Maison Margiela Marni Matthew Miller Mykita Miansai Neil Barrett Nike Number 288 OAMC Officine Creative Officine General Olaf Hussein Our Legacy Porter Puma Raf Simons Reebok Rick Owens Rick Owens DRKSHDW Satisfy Shinola Shoes Like Potttery Spalwart Stella McCartney Stone Island Stone Island Shadow Project Stutterheim Sunspel

Helmut Lang Haider Ackermann

Thierry Lasry Thom Browne Thom Krom Tim Coppens Tom Wood

IIUVO

Valentino

Junya Watanabe J.W. Anderson

WANT les Essentiels White Mountaineering Wooyoungmi

kolor Lanvin Levi’s Vintage Clothing Linda Farrow

Y-3 Yeezy Yves Salomon

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