ISSUE #3
A Unique Angle to Fashion www.thecartel.me
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DISCLAIMER
The authors, designers and photographers reserve their rights in regards to copyright of their works. No part of this work may be reproduced, copied or sold without the express written consent of the cartel. The views and opinion expressed in the articles Editor In Chief / Founder are those of the authors and do no necessarily reflect those of the Creative Driector / Founder cARTel. Designers and their parties provide all articles. Peter Richweisz May Barber Peter@thecartel.me may@thecartel.me 6 Al Serkal Avenue, Dubai, UAE | Phone : +971 4 388 4341 | www.thecarte.me Designed by Anoop Prasad | anoop@thecartel.me
O ur Designers
W o m e n s w e a r
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nne Sofie Madsen
Anne Sofie Madsen graduated from the Royal Danish Academy of Fine Arts and trained under John Galliano in Paris, before moving to London to work for Alexander McQueen as a Junior Designer. In 2011 she started her own label and presented her first collection at London Fashion Week in February. The following season she opened Copenhagen Fashion Week and has been showing there ever since.
She won Danish Fashion Award and GenArt’s Fresh Faces in 2012 and was chosen to exhibit with Italian Vogue during Milan Fashion Week the same year. In 2013 she won the prestigious DANSK Design Talent prize. In 2014 the brand presented its first fashion show at Paris Ready to Wear Fashion Week.
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Anne Sofie Madsen Brand is drawn by the point where fashion replaces the body with something abstract, an idea or ideal instead of an organism. The designs are built on contrasts and ambivalence. The woman has to be both inviting and out of reach. She is streetwise and ladylike, boyish and feminine at the same time. Resulting in designs that straddle between fanciful fun and a serious intricacy of details.
Photo Credits “Anne Sofie Madsen�
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Deteriorating Silhouettes The collection’s theme of being both intimate and revealed completes the “Coming Undone” feeling. The silhouettes, inspired by “cybernetic organisms that embrace both organic and technologic components” have equal parts of nostalgia and futurism on a first glance. When observed more, the garments expressed complex mixture of lightness and strength in how the leather, linen, hand-painted silk, and mink fur were shaped, molded, and placed. The collection with its avant-garde takes on sportswear and its integration of a range of textiles incorporating devoré techniques, quilting, ruffles, and smocking made on a 1950’s domestic machine, all to create a deteriorating feminine silhouette.
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W o m e n s w e a r
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H
ussein Chalayan Hussein Chalayan is known a fashion storyteller, his multi disciplinary approach bridging the gap between design, art and technology. He is one of the world’s finest contemporary fashion designers and widely recognized around the globe.
From his future gazing garments that live outside trends to his thought provoking and unique pieces, Chalayan continues to offer the discerning consumer iconic collections. His collections are known for innovative design, impeccable tailoring, drapery and an elegant minimalist aesthetic playing with the narratives constructed around culture and anthropology. He uses techniques that reference past skills and crafts combined with current technology whilst exploring shapes and details that critique fragmentations and dislocations in contemporary environments.
Photo Credits “Hussein Chalayan�
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A ‘Gaze’ Into Fashion The collection consists of Moorish inspired weaves and jacquard patterns in light fresh colours providing rich ingredients for extensive texture mixing. Colours this season are white, silver green, ivory, cobalt blue and grey. Design elements such as folding, pleating, colour blocking and layering are examined and worked into outerwear, jackets, skirts, tops, pants and loose dresses. Prints are inspired by the idea of the “gaze” in Moorish environments where secret zones are looked at through apertures, in this instance revealing budding courgette flowers or hidden riad courtyards revealing shadows of tangerine trees on tiled floors. Another pivotal print is a display of tangerine trees themselves lined up in a Moorish water irrigation grid inspired by the church courtyards of buildings that were once mosques. The collection has a minimal feel, whilst providing many ingredients for a more playful mix with prints and lightweight transparent fabrics. The Chalayan woman is someone who has a diverse range of interests and knows how to dress for the occasion but follows no particular rules. The collection is conceived with a spirit of innovation, practicality and precision cutting combined with a sense of playfulness, inviting a variety of individuals who can pick and choose to make the the collection their own.
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W o m e n s w e a r
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areth Pugh
English-born fashion designer Gareth Pugh has received global recognition for his approach to redefining modern luxury. Gareth Pugh’s designs such as his famous inflated balloon garments, are inspired by shape, proportion and process. In 2004, Pugh’s ‘Inflatable Creatable’ installation was chosen as the sculptural center piece for the Dazed & Confused exhibition showcasing designers including Stella McCartney, D&G and Hussein Chalayan. The brand has created a name for itself through its dramatic, often sinister, constructed creation.
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Pugh’s clothes have been described as wearable sculptures and experimental forms, volumes and fabrics are all signature to his ever evolving style. A textural mash up where trash bags, Perspex and PVC meet luxury silk, leather and cashmere. Pugh’s design aesthetic illustrates the oppositional forces representing a dark menacing vision: a Pagan anarchy, black and white, positive and negative, chaos and control that are all signature to his work. Pugh has worked with some of the world’s most innovative artists and respected institutions, and recently returned to the world of theatre and dance in a collaboration with feted choreographer Wayne McGregor at the Royal Opera House, Covent Garden. He has also worked with some of the most popular artists of our time, including Beyonce, Lady Gaga and Rihanna. He continues to collaborate with the leading editorial and creative forces in the fashion and entertainment industries.
Photo Credits “Gareth Pugh”
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Teasing Folklore The collection revolves around the obsession with the British folklore and its many rites and rituals. The handwork, the ceremonial aspects, the playful and sometimes outlandish practices embodies an unnerving notion of an outsider society. From the delicate chiffon ribbons referencing summer rites and the raising of the maypole and the hard graphic lines of pentagram harnesses that call to mind pagan ritual, to the tailoring pieces adorned by mother of pearl appliquĂŠ a reference to Pearly Kings and Queens. This season, the fabrics have a handmade quality. Sackcloth hessian, deconstructed cotton, and a specially woven linen jacquard come together to form a collection that is rooted in the visual codes of British folk tradition and the needlepoint philosophy of make do and mend.
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M E N S W E A R
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enrik Vibskov
The name Henrik Vibskov is most commonly associated not only with a fashion label, but a multitude of twisted yet tantalizing universes created in relation to each collection. As a fashion designer Henrik Vibskov has produced fourteen collections since he graduated in 2001, and he is currently the only Scandinavian designer, since January 2003, on the official show schedule of the Paris Men’s Fashion Week.
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Henrik Vibskov designs include pattern T-shirts, colored socks, checked fabrics, folk inspired ponchos and colored pants all combined to produce surprising, highly unconventional collections that resist any categorization. Henrik is a unique artist that marches energetically to the beat of his own drum.
Photo Credits “Henrik Vibskov�
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Eclectic Universe
Henrik Vibskov is a designer for those with a more conceptual eye. His abstract creations are unconventional simple designs punctuated with unusual prints and textures. Collection balanced perfectly between eccentric innovation and wearability. Vibskov made a lot of effort in creating incredible prints, storytelling 3D sweaters, knitted patterns and admirable cutouts with paying attention and care to detail that has gone into each and every look Vibskov is known for his eclectic knits that this season saw fonts blown up popping out in 3D as pieces of artwork and a reoccurring brick motif creating a building-blocks element. Silhouettes were round and curved, with a beautiful representation of the spring summer color palette consisting of strong oranges, mint and clinical whites against dark blues.
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A C C E S S O R I E S
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alaleo
Italian Born Luisa Leonardi Scommazzoni (Leo) comes from a construction background and decided to merge her experience in the field with her passion for fashion by creating the brand Dalaleo. When holidaying oncc in Brazil, she was struck by the rawness and infinite possibilities of the aluminum cans’ pull tabs. Giving them a second life, the brand Dalaleo integrates recycled pull rings from Brazil with various design functions creating everything from bags, cuffs, collars to belts and ponchos. The sustainable angle to the brand’s mission along with the playful simple aesthetics makes it a unique contemporary accesoories brand with fresh styles and colors introduced every season.
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Photo Credits “Dalaleo”
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I n t e r v i e w
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Photo Credits “Diane Pernet”
On the
Shaded
Side of
Fashion Diane Pernet Interview by May Barber
E
legant Black Widow look vs. Arabian woman in black abaya, what is the difference in your opinion?
The abaya is a traditional dress where as my look is just a personal expression. The abaya is normally a loose over-garment and although my look is black and long it is not one piece but rather in layers.
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rabian fashion is not the notorious Lebanese couture only; any iconic arab designers on your radar besides the traditional school of couture?
This past season I met Ahmed Abdelrahman in his showroom with his Thamanyah collection of traditional arab clothes with a twist. While I was there there were many people trying on his pieces and they looked amazing. He has Michele Lamy behind him as his mentor and has had her support for several years I believe.
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n existentialist question: Does the world need more fashion designers? Where there is real talent, yes , there is always room.
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ave you seen any of Peter Richweisz fashion films? What
are your thoughts on his visual language? Definitely someone to watch, his films were always short listed. I like his sci-fi approach to cinema. My favorite was ALCHEMY. It felt more like a film where as Amato Courture would be best presented
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as an art installation. It is only my opinion and should be taken as such. s it more liberating to sport black everyday? No branding, no names, no prints or colors, do you blend or block?
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You already are a fan of Rad, I’m sure you appreciate Iris Van Herpen as well. I love the work of Norwegian Rain, it mixes function with expert tailoring and it is beautifuly conceived and constructed. For accessories I love 1-100, Bijules, Bliss Lau, Shaoo, she designed my black jade ring, I am a devotee of Mario Salvucci who makes my spiders, Valentina Kova and brand new.. Cosmo Gonik and Holy Faya by Nelly Zagury.
In fact I just got a beautiful LUTZ spring coat that actually has some grey and white along with the black. I love black, what can I say, it is the color that I feel strong in. Lately I’ve been wearing a bit of KTZ and sometimes that has mirror or metal on it so that is a bit wild for me.
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hich new comers in the fashion industry should we in the cARTel keep an eye on?
One of the accessory brands I
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echnology is increasingly integrated into fashion-making and the traditional design tools have been completely revamped, where is fashion going?
Photo Credits “Diane Pernet”
just mentioned, Holy Faya makes beautiful 3-D printed accessories, that is something of the future or maybe already strong, kids in school now have 3-D printers in their class rooms. I wait for the wearable technology that looks good, for sure that is not too far away. I like the technological advances like fabrics that make you cooler, I forget the name of the producer of the black fabric that is made to make your body temperature drop. Adam Jones makes knits that have something in the cashmere that relaxes you. I think these are the techniques that make sense for the future.
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hat is/was the golden age of fashion?
Most decades have their moments, the 30’s were great, so were the 20’s for that matter, couture hit it’s peak in the 50’s, the 40’s put women into power dressing in the same way that the 80’s did. 60’s were about liberation, maybe the ugliest period was the 70’s. The 80’s had the contrast of disco vs Japanese couture and then the 90’s were about Belgium and deconstruction.I think most of the decades have some wonderful moments. Now it is more about technology and let’s see where we can go with that.
Providing the factory workers are not children and that the conditions are decent and the factories respect the environment. Reality is many people love fashion but can only dream about it they could never own designer pieces so when H & M or one of the other High Street brands collaborates with a designer it is more or less a win win situation. Naturally there is no comparison between a designer piece and a cheaper version but…each is destined to a different market. I personally am not into throw-away clothes but that is not to say that I never put a foot into Uniqlo.
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ave you ever been in Dubai before? Do you think Dubai can become a fashion capital one day? I have never been to Dubai and certainly the interest in couture and fashion is there but becoming a fashion capital takes time. Look how long Paris has existed as the mecca of fashion, it does not happen over night.
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an the shifting powers of economy transform fashion capitals?
Yes, I believe so.
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ill haute couture survive?
I think they have been doing a pretty good job at it so far.
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hat are your ‘shaded’ views on the new fashion
royalty?
I guess you mean Hedi, Raf , Nicolas and Alexander Wang? We needed new blood the old guard is not going to be around forever so let’s see where this goes. Hedi is selling like hot cakes with Saint Laurent, Raf is maturing as a couture designer something that is relatively new for him, Nicolas is doing a great job at Louis Vuitton and so is Alexander Wang at Balenciaga so I think we are in a good way.
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ast fashion on the rise. Retailers like the cARTel are on the slower ‘more shaded’ side of fashion. Where are the speed bumps? Can we have real fashion police? There is no protection from copiests but I think the idea of designer collaborations with high street is not necessarily a bad thing.
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A Ghost
Affair
Photographer: Saeed Khalifa Styling By: Basma Al Shunnar & Jose Ramon Almacha Hair & Makeup Provided By Pastels Salon Model : Maha Sulaiman
Model Wears Trench Abaya By Pose/Arazzi Skirt By Hellen Van Rees
Model Wears Top By Amber Feroz Vest By Bint Thani Trousers By Ilja Necklace & Cuff By Hellen Van Rees Bag By Lamat Shoes By Kaal E.Suktae
Model Wears Coat Dress By Ilja Unisex Shorts By Rad Hourani Boots By Rynshu
Model Wears Abaya By HF Boutique Maxi Skirt By Iris Van Herpen
Model Wears Trousers By Bint Thani Abaya By HF Boutique Shoes by Kaal E.Suktae Belt & Shoulder Piece By Una Burke Backpack By Solid Gray
Model Wears Treated Leather Jacket By Sandrine Philippe Shoes By Ilja
Model Wears Cape Abaya Pose/Arazzi Dress & shoes By Ilja Shoulder Bag By Oh! By Kopenhagen Fur
Model Wears Cape Abaya Pose/Arazzi Dress & shoes By Ilja Shoulder Bag By Oh! By Kopenhagen Fur
W o m e n s w e a r
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ax Tan
After studying fashion Design at the Nanyang Academy of Fine Arts, Max went on to create a line experimenting with quirky cuts and expanding on an extremely simple idea: “Maximising on Minimalism�.
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Serious but never severe, minimal but never simple, fragile but never weak. Max experiments with quirk cuts and expands on extremely simple ideas defining the max.tan language. Much of the label’s attention is paid to tailoring and draping while creating unexpected silhouettes and austere moods. The garments play with volume, modified shapes and use, masculine, feminine, oversized, undersized, deconstruction, reconstruction and transformation. These factors form the underlying DNA of Max Tan. The label advocates an alternative playful fashion lifestyle.
Photo Credits “Max Tan”
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Maximising Minimalism Will it be possible for a garment to have no ends? No conventional hems, nor cuffs? Max Tan’s Spring/Summer 2015 collection introduces the abstract concept of everything probable and impossible, the limitless, the unbounded, and the unconventional. Infinity may be everything, but it’s also nothing. The exploration of this vast idea results in hybrid garments with no hems; end of garments are lengthened and flipped up, transforming into another garment, e.g the hem of a shirtdress is extended into a jacket bodice, morphing a two-piece garment into one. Sleeves are conjoined together with fabrics flowing one side to another, leaving a drape behind the wearer. Inspired by the curves of the Infinity symbol, curved seams are tactically used to create the main silhouette of the collection; Infinite Volumes.
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W o m e n s w e a r
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atasa Hrupic
Nataša Hrupic graduated in 2007 at the Faculty of Natural Sciences and Engineering Ljubljana Department of Textiles. That same year, the University of Ljubljana awarded her with Prešern Prize in the field of Art for her innovative approach in her research work titeled City Shapes. In the year 2005 she established her own fashion label Nataša Hrupic, and since then she has been successfully representing her fashion label at various fashion shows and exhibitions.
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Photo Credits “Natasa Hrupic”
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Organic Sensibility The concept of the collection is based on imitating the simplicity of body shapes and complexity of the individuality, creating its own authorial dual vision. Subtle details, which are complex and thoughtfully constructed, are inserted into simple silhouettes which are transformed into an overall organic web. Organic shapes, sculptural forms and network of graphic lines are creating balance between the opposites; the uniformity of clothing and the subtle individual elements implicating classical beauty and avant garde sensibility.
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W o m e n s w e a r
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inghe
Ping He attended Suzhou University, one of the leading art and design universities in China. While at university, Ping won numerous awards including Shanghai Fashion Week award for womenswear design and SAGA design award. After studying a Masters degree at Nottingham Trent University, Ping went on to work for labels such as Camilla Staerk and Alexander McQueen before taking the position of Head of Design at the global fashion brand Aftershock. At Aftershock Ping oversaw the fastest sales growth in the company’s history, gaining clients such as Madonna and Uma Thurman, and winning the BFC award for ‘Best Rising Star Brand’. Ping went on to launch PINGHE, establishing a London based office and a Beijing factory, geared towards creating luxury womenswear of the highest caliber.
PINGHE was launched in September 2012 with the support of Harvey Nichols CEO Joseph Wan and former Chairman of the BFC Harold Tillman. The brand signature style derives from its designer’s love of architecture; structured silhouettes combined with eye-catching details form the label’s aesthetic. Employing contradictory concepts, her collections see soft and strong, elegant and powerful elements, expertly blended in subtle, neutral hues.
Photo Credits “Pinghe”
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A Soft Dialogue
Tastefully striking, PINGHE designs offer timeless style and enduring elegance. Employing contradictory concepts, her collections see soft and strong, elegant and powerful elements expertly blended in subtle, neutral hues. Ping designs for women ensuring femininity, form and functionality are in a constant dialogue, resulting in clothing that truly empowers and flatters.
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M E N S W E A R
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rdjan Jankovic
Srdjan Jankovic is a fashion designer from Belgrade. He graduated in Contemporary Fashion at the Faculty of Applied Arts. His creations are presented in several fashion shows and exhibitions in Belgrade, Ljubljana, Kopar and Florence. Sharp and slightly shifted patterns are just some of the features of his fashion statements. His clothes are for men who want to rebel against social codes and uniforms, commonly imposed by commercial brands.
Photo Credits “Srdjan Jankovic”
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Man of the ‘Twilight’ Hour Srdjan Jankovic is a fashion design label for the twilight hour – the time between busy daily routine and the temptations of the night. The collections are made with eloquent designs and dark nuances catering to the experimental man in every season and time.
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A C C E S S O R I E S
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aison Martin Margiela
Presents “Héritage”, a new line of Jewellery inspired by traditional, emblematic family jewels. The “Héritage” collection recasts the conventional symbols of wedding and heirloom pieces, blending uniqueness with luxury in an unconventional way. In giving classic tokens of love and lineage a new twist, this collection rewrites sentimental and ancestral codes, infusing them with an air of mystery, versatility and freedom. The traditionally closed circle is literally broken, cleaved down the middle, for a breath of fresh air, a transition, a new place within time and space. These jewels defy the norm, re-orientate the gaze and step off the pedestal while asserting the uniqueness of each union, the specialness of every bond. They narrate their own story.
Photo Credits “Maison Martin Margiela�
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A C C E S S O R I E S
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abriella Ingram
Trained as a theatre designer in London, Gabriella Ingram worked on a great diversity of projects including TVCommercials, pop videos and opera. In fact her handcraft skills led her to make costumes for The Royal Opera House and English National Opera. She is currently designing a show for Broadway. Statement handbags created for the discerning customer interested in luxury and individuality, Gabriella Ingram Handbags are very much not traditional leather bags. They can be seen as wearable art, taking their inspiration from the very different materials she works with from etched stainless steel, acrylic, wood to rubber.
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Photo Credits “Gabriella Ingram”
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A Journey through Time The collection is all about combinations and contrasts: digital technology and traditional methods, laser and water jet cutting with handmade horsehair tassels, hard and soft materials, acrylic, beads and feathers. Combining the inside and the outside of the bag to be viewed simultaneously: function and art merge into the object. Each collection has a different starting point combining the past and the future. Eighteenth century lace has been recreated in etched nickel silver, antique baroque drawer handles have been given a new lease of life on MDF wood bags. This and her inherent love of architecture and cabinets of curiosities are predominant and reoccurring themes.
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A C C E S S O R I E S
Oh!
By Kopenhagen Fur
OH! By Kopenhagen Fur was established by the Danish fur auction house Kopenhagen Fur. Throughout its 75 years, Kopenhagen Fur has established itself as the world’s biggest fur auction house. The brand encompasses more than just innovative luxury accessories, It is a life philosophy. Oh! by Kopenhagen Fur’s unique handcrafting technique as well as its approach to life are about combining and living the contrasts the world and life offers. The brand’s concept is to combine high quality natural materials with extraordinary craftsmanship.
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Photo Credits “Oh! By Kopenhagen Fur”
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Photographer : Peter Richweisz Hair Stylist & Make-Up Artist: Shirly Shan Styling By Jose Ramon Almacha Model Wears Dress By Iris Van Herpen Shoes By Kaal E. Suktae
Nargiza Mur Wears Dress & Shoes By Ilja
Model Wears Dress By Liz Black, Cuffs By Una Burke Shoes By Jailjeans
Model Wears Sunglasses By Andy Wolf, Dress By Liz Black Shoes By Ilja
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hulood B in T h a n i
The UAE’s Rising Star of Fashion Interview by May Barber Photographer : Eugenia Applebum
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ou run your own independent fashion label BINT THANI. How do you maintain a distinct identity for it in a world where a new label is born everyday? In terms of contemporary brands, we are one of the few contemporary fashion brands in Dubai. We are one of the first brands to push the boundaries when it comes to contemporary fashion. BINT THANI offersstructural yet comfortable
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ne of the things we mostly admire about you work is the elaborate research process you go through before designing every season, how important are historical resources in art and fashion in your creations? This is something continuous for any creative people, I always try to visit art exhibitions and museums locally or abroad, and try to understand and gain knowledge about the history, If knowledge is a power, then having a great background in arts and culture is a “creative power”. In terms of a process of design, I like to go through
pieces with certain defined design techniques. I believe that luxury should be “comfortable”, and we should enjoy luxury on daily basis. Lots of our inspirations are coming from history and art movements, gladly last year we have won the Middle East Excellence Awards, for the “Fashion and Art” category. One of our latest collections for the Ready-to-Wear SS15 collection was themed as “Cubist Moods”, because it combines the cubism movement and the modern architecture of Dubai. fashion trend forecasting reports to validate if my ideas and concept are going with the overall trends, then I like to develop my own design techniques that are purely owned by the BINT THANI, such as developing our own laser cuts that are inspired from BINT THANI mood boards, I like to keep the styles consistent.
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our latest project involves collaborating with an architect to integrate architectural processes with fashion making. Can you please share with us more about the project and where it will be launched?
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I’m working a certain project with the architect, Amer Aldour, the founder of INTER | ACT, the project will be displayed soon in an event that will be happening in Dubai. The exciting part of this project, that it involves a technology aspect within its final outcome. s a designer born and based in Dubai, how do you see the transformations that Dubai has undergone through the past decade?
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I consider myself from the very lucky people who has been witnessing and taking part in this transformation. For me, Dubai is a major inspirational and motivational aspect on personal and professional level.
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hat are some of the key challenges that you faced having based your production in Dubai?
Some of the challenges that mainly designers face within the production are sourcing the fabrics/ materials and the production in terms of finding the right partner. In my view, this should be manageable once a designer starts to understand the process of the production from design, to sourcing materials, and finding the factories that understand his/ her style.
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ou are no stranger to the International fashion fairs especially Vicenza. Can you share your latest venture? I have been picked by the international contemporary fashion platform, NOT JUST A LABEL, to be part of Origin. Passion & Beliefs 2014, as the only designer from the Gulf (one of 3 designers from the Middle-East), last year, I kept my story about the UAE nature, called the story “Between the Dunes”, which is a dress made of sand dunes laser cuts and un-conventional accessory that’s made of a camel leather. Gladly, I will be again in this great international platform again (Origin. Passion & Beliefs 2015 - 15th to 18th of May).
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n a contemporary fashion scene where the traditional fashion making tools are continuously evolving, what are some of the latest techniques you are learning and adapting in your creations? I like merging stories and inspirations of old stories and revive them through a contemporary approach, such as the story of the “Between the Dunes” that have used the sand dunes laser cuts.
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ho, from the fashion scene, inspires you and challenges your momentum? It’s really hard to mention a name, there are a quite of good international designers brands, who I like to view their collections, like Maison Martin Margiela and Comme des Garçons.
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W o m e n s w e a r
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iz Black
Following her graduation from Central Saint Martins College and a highly-acclaimed press show, Venezuelan-born Liz Black chose to set up her own label to give her the freedom to express her individual creativity. Having gained experience working alongside Emilio de la Morena, Elisa Palomino and Diane von Furstenberg in London and New York, she created Liz Black in 2010.
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Liz Black label reflects conceptual creativity with an elegant aesthetic. Its focus is on wearable statement pieces with a timeless appeal, emphasizing chic and impeccably tailored structures that complement the feminine silhouette. The Liz Black woman is sophisticated, elegant and cosmopolitan. A daring dresser, she is independent, empowered and fashion-forward.
Photo Credits “Liz Black�
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A Bug’s Life Both texture and colour play a key role in evoking the odd beauty of the insect world, Strange yet sensational insects, with their bright colours and captivating anatomies, set the basis for this collection. Exoskeletons are translated into bold lines that emphasize the neck and enhance the shoulders, whilst ample dresses with accentuated muscular waists, inspired by the beetle’s segmented plates, offer a distinct take on the traditional hourglass silhouette.
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A C C E S S O R I E S
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ibe Harsløf
Copenhagen-based jewelry designer Vibe Harsløf is celebrated for her imaginative and urban jewelry. Harsløf’s universe is fearless and distinctively playful, which mirrors in her accessories that are strongly influenced by contrasted gritty sub-cultures and classic Scandinavian design tradition. Hence, the jewelry also functions as design objects. Her signature is the “foot jewelry” that add a statement touch to the foot itself as well as her add-on accessories for pumps and sneakers.
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Photo Credits “Vibe Harsløf”
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A C C E S S O R I E S
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amat
is a product of the creative mind of Serbian jewelry designer Ivana Damjanovic. The idea for the fashion label started in 2009, while studying interior and furniture design at University of Arts in Belgrade. Lamat Handbags are immediately recognized for their unqie architectural language and solid geometry. Integrating leather and wood using hand-made techniques, the handbags immediately became an artistic expression integrating architectural forms with monochromatic futuristic shapes.
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The Dark Bag Rises The Dark Bag Rises Collection is clearly inspired by Christopher Nolans’s ‘The Dark Knight’ Trilogy. Developed in monochrome leather using handmade processes and traditional craftsmanship, the collection creates a hybrid between old school techniques juxtaposed against futuristic forms and avant-garde aesthetics.
Photo Credits “Lamat”
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W o m e n s w e a r
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andrine Philippe Sandrine Philippe studied fashion design in France and worked as a designer with Popy Moreni and Courrèges after which she created her own brand. Five years ago Sandrine opened up her collection to menswear, in search of a new aesthetic combining comfort
and poetic sensibility.
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Photo Credits “Sandrine Philippe”
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A Second Skin Sandrine’s work is notorious for the heavy textural work that involves handmade techniques and leather treatments processes combined with human sensibilities and artisanal aesthetics. Fabric manipulation is the root of her creations and materials can often be found burnt, hand-dyed or re-stitched, or combined together creating a second skin of visual textiles, profound, raw and mysterious.
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ris Van Herpen
iris van Herpen is a Dutch fashion designer. She studied Fashion Design at Artez Institute of the Arts Arnhem and interned at Alexander McQueen in London, and Claudy Jongstra in Amsterdam. Van Herpen immediately caught the eye with notable shows. In 2007 she started her own label. Since July 2011, she is a guest member of the prestigious Parisian Chambre Syndicale de la Haute Couture, which is part of the Fédération Française de la Couture. She participates in many international exhibitions and recently launched her ready to wear line.
Text And Image Credits “Karla Otto”
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On Magnetic Forces Iris van Herpen explores the interplay of magnetic forces. By thoroughly examining the representation of dynamic forces of attraction and repulsion, the designer fuses nature and technology. “I find beauty in the continual shaping of Chaos which clearly embodies the primordial power of nature’s performance,” says Van Herpen describing the essence of the collection.Emphasizing light and shadow play, the minimalist color palette of black, white, midnight blue, and nude allows the designer to concentrate on the garments’ structure. Micro webs of lace and veil reveal the luminescent glow of crystal forms, while triacetate feathers punctuate the soft drapes and volumes. The controlled structure of the clothes is offset by the chaotic structure of the accessories, where, due to the nature of magnetic growth, no two items are alike. The shoes, belts, necklaces and clutches were “grown” using magnetic fields.
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ris Van Herpen Exhibition At The cARTel
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For the first time in the Middle East, the cARTel proudly presented a Solo Exhibtion by International AwardWinning Designer Iris Van Herpen in November 2014. Beating through the heart of Art Season in the UAE, the exhibtion exclusively showcased a curated mix of Van Herpen’s most Iconic Haute Couture pieces from her collections: Capriole, Biopiracy, Wilderness, Voltage and Micro including an artwork from the world’s first 3d printed haute couture collection. The haute couture dresses hung beautifully from the ceiling in a poetic mobile mechanism that lasted in a 10 days public exhibition. The high-tech intricate pieces incorporated technologies such as 3d printing, glass blowing and magnetizing techniques showcasing the desigenr›s supreme talent in engineering fashion towards an avante garde direction and redefining the realm of haute couture.
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Project Paperclip Photographer : Peter Richweisz Hair and Make-Up: Jojo Dantespadua Models: Tania and Olga of Wilhelmina Models Dubai
Tania Wears Couture Vest Jacket, Shredded Jersey Top and Leggngs By Sandrine Philippe
Tania Wears Exho Halter Dress by Iris van Herpen & Shoes By Ilja
Tania Wears Dress-Coat By Ilja
Tania Wears Waterfall Jacket By Srdjan Jankovic
Olga Wears Smock Dress By Anne Sofie Madsen
Olga Wears Face Blouse By Henrik Vibskov & Shoes By Rynshu
Olga Wears Top By Ready To Fish By Ilja, Rop Vest, Gundam Trousers By Anne Sofie Madsen & Shoes By Kaal E. Suktae
Tania Wears Signature Jacket By Rad Hourani & Smock Belt By Anne Sofie Madsen
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xocet The name Exocet, signifying a flying fish, is thus inspired from this metise and unbrideled origin. It is a symbol of their hybrid creations. Exocet aims to create the first brand based on 3D printing that proposes a line of luxury and innovative hand-bags. The theme of mĂŠlange and
hybridization is an integral part of their identity; Exocet is a union between fashion and technology and each bag holds a hybrid animal or a vegetal figure 3D printed in France.
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Photo Credits “Exocet”
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I n t e r v i e w
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Photographer: Peter Richweisz Nez Wearing Vest By Rad Hourani
Nez Gebreel
CEO of Dubai Design and Fashion Council Interview by May Barber Photographer: Peter Richweisz
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n your opinion, what are key strengths of the current fashion and design scene of Dubai? Dubai’s design industry has a great opportunity to invigorate the regional design scene. There is a great energy, openness and therefore willingness to collaborate. The level of creativity and passion and quality of work is also high. Dubai is very strong in terms of retail especially when it comes to international brands. To unlock the industry’s full potential we must build the foundations and strategically develop a framework for the design industry that allows it to grow and thrive. In doing this, we need to focus on nurturing talent so we start to see more and more brands that are born in Dubai, grow into an internationally renowned names. Realizing the potential of the regional design scene, last year, His Highness Sheikh Mohammed bin Rashid issued a Royal Decree to establish a Dubai Design and Fashion Council. We have been working and building on our purpose, promise and strategy to support all this. We aim to guide and nurture the growth of the industry, driving innovation and that the creative industries play their part in Dubai’s success story. Of course expectations are high but I know all those involved in the design industry in Dubai, including the Government, realise that it won’t happen overnight, but we are focused on achieving this ambition.
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hy does Dubai need a Design and Fashion Council?
The design sector has been a subject of growing importance globally, as governments and organizations across numerous cities, regions and countries wake up to the value and potential of design segment within their local economies. The DDFC was established to invigorate a worldclass design community in Dubai. By working
together with every sub-sector and stakeholders of the design industry, bringing together our collective spirit, we can create a strong industry that is globally respected, one that we are proud to represent. We have developed a strategic framework to shape the industry and as such, we aim to drive towards establishing Dubai as a hub for design that offers the structure for emerging talent and SME’s to grow to become leading brands of the future. What we are aiming to achieve in cultivating and driving credibility of our design industry is exciting and ambitious, but definitely achievable.
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ow would the DDFC benefit independent players in the Design and fashion scene, including designers, retailers and design spaces? In our role as a champion of the design industry, it is our responsibility to listen to experts and the designers themselves so that we may identify and address the challenges they face, whilst ensuring that all the mechanics are in place. We are launching different platforms for this. One of them being our Urban Majlis which is a quarterly platform to have direct dialogue and in addition discuss important industry updates and developments. I see it as the industries Board meetings’. Our first one in December welcomed everyone from architectural companies, independent fashion designers, multidisciplinary design studios, big brands like Chanel, to street wear designers, Dubai Tourism, Dubai Culture, educational representation to the press. It was important to integrate eveyone. We aim to empower independent players in the design and fashion world by creating and implementing a talent development strategy including our DDFC Talk and DDFC Mentors as
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well as prizes and awards to nurture talent, provide guidance, offer and deliver mentorship, training and access to resources. We will maintain a yearly calendar of events related to the design and fashion industries in Dubai, endorse those whose ambitions mirror our own objectives.
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n a fast growing city that always aims for scoring records and attaining the best in everything, tallest tower, biggest mall, what is the DDFC’s strategy to attain its objectives realistically?
One of our key ambitions is to invigorate a world-class design community in Dubai. We are committed to shaping good governance and providing support for designers and brands so that the industry can deliver sustainable growth that benefits both the designers themselves and the local economy. From the decree we highlighted four main goals and from there 6 strong pillars to execute. Our strategy to achieve our ambitious goals is to break down the objectives one by one. With the support of the Board we highlight the key initiatives for the next 5 years. For example, with each key initiative for 2015, we created sub committees with our Board so that we can develop and deliver an effective plan. For example, driving and improving education in the design industry is a key part of our mandate and therefore, we are dedicated to creating a worldclass school of design and speaking with other educational facilities and universities that will nurture designers of the future and encourage them to remain in the country once they graduate. We are also committed to establishing a level of credibility for our design sector, both locally and internationally and therefore, we are in the process of establishing a criteria that provides a ‘stamp of approval’ on events, initiatives, collaborations and designs that emerge from our region to highlight those that represent a particularly high level of quality, one that we want the rest of the industry to benchmark against.
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hat are the upcoming plans of the DDFC to nurture the local fashion and design scene? As mentioned, we are in the process of establishing a design school and more details on this will be available later in the year. We are also formalizing our talent development programs to nurture up and coming designers. This particular area is a passion of mine so I highlight talent I feel has the potential and keep a personal eye on them and offer one to one’s. The DDFC mentors will put a structure in place to develop talent and help them reach their potential. We will continue with our Urban Majlis events that bring together all areas of the industry for discussion, debate and to address the challenges we all face. We will also be establishing a workshop series DDFC talks to provide relevant advice on the business of design for those who are starting out and looking for advice in developing their business.
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s a successful business woman with extensive experience in humanitarian and design management backgrounds, how different is this role/challenge compared to your past responsibilities? My background includes roles across a wide range of the creative industries and therefore, I am able to bring ideas and connections that are based on my experience developing businesses across the world. I have managed global brands and worked in fashion, music, sport and television as well as mentoring emerging designers. Which means I can have a very big picture strategic view but also understand all the levels to get there. I am very passionate about talent and also feel the same about Dubai. In developing the strategy for the DDFC and shaping the objectives that we will follow, I have combined my previous experience with, emotional intelligence and lessons I learn every day about Dubai’s design scene in particular. Dubai is truly unique, a melting pot of cultures, influences and inspirations and therefore, there is no one set path for aiding creativity. I am therefore working
industries, we are putting together initiatives that focus on the ‘business of design’, to enable designers to showcase their creativity through viable business models. For example, we will enable workshops and educational sessions for our members and the wider community to offer advice on specific areas such as intellectual property, contracts and finance. The school of design that we will establish is also going to ensure that from early on, our future designers have first-class training in all areas so they can go on to be a success.
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ow do you think the local market will respond to the increasing supply of local designers in a place used to importing design? There is a definite appetite as it just adds value and layers to the community. There is room for everyone in Dubai’s design space. It is busy and vibrant, but one that still offers huge potential. Whilst the retail sector in Dubai is well established and world-renowned, there is a dearth in accessibility to local designers and this is one area we are keen to develop. We want to move from a position where local designs are only available to those ‘in the know’, to ensuring that all our designers are given a platform to showcase their creations in front of the local audience.
with my team to establish and drive the DDFC’s framework and the vision from Dubai’s leadership for the industry to make sure that we capitalize on thriving new talent and support the wider industry, building a full ecosystem.
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hat was the most striking design element you admired about the city when you first arrived?
For me I love when modernity embraces the heritage of the region. That doesn’t mean design has to be traditional. We have to remember our history in the region we were always the pioneers and I believe that Dubai is striking that balance.
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We are working on ways in which we can facilitate this but this is not a change we will see overnight, it is one that will take time and consideration to achieve. But with partners such as Dubai Mall, Design Days and there is a fast movement towards this changing.
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hen will we be able to export talent internationally? Are there any success stories? Dubai’s designers has a great opportunity to reach the global markets. The DDFC is working to grow and nurture creative talent so that it encourages greater global interest in the local design and fashion industry, enabling it to make a significant contribution towards Dubai’s overarching economic, social and cultural ambitions.
ne of the key challenges faced by creative people and/or institutions sometimes is the ability to operate the right business mindset and model to effectively support the talent, how does the DDFC plan to address this issue and support in that matter?
The DDFC works closely with businesses and other Photographer: Peter Richweisz partners from around the world to help facilitate Nez Wearing JacketinBylocal Rad Hourani and increase their engagement and interest design and fashion talent and eventually we to Scarfwant By Nawal Gebreel see a huge increase in the level of regional Shoesdesigns By Kaal E.Suktae exported overseas. Bag By Lamat
One of our objectives is to guide companies and institutions working in the field of design and fashion and we are here to support and facilitate this by all means. To ensure sustainability of our creative
Once the revamped calendar comes into effect this will highlight our talent and we are also working on establishing Dubai showrooms and collaborations internationally. There are many success stories but I want to be in a position where I lose count.
To book call EASTERN MANGROVES promenade, ABU DHABI TEL: 02 449 4044 ARABIAN RANCHES GOLF CLUB, DUBAI TEL: 04 420 7700 the blow dry bar, THE LAKES, EMIRATES HILLS, DUBAI tel: 04 399 5336
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