2 | ON THE COVER
Editor-in-Chief/ Creative Director
Jacqueline Carlisle
Design Production
Samm Jordan
Wearable Technology Editor
Stephanie Meng
Contributing Design Editor
Alexander Horne
Contributing Design Editor
Karyn Linnell
Contributing Fashion Editor
Jacqueline Carlisle
Web Design
James Daniel
ON THE COVER Photographer - Bibo Aswan Stylists - Tengku Syahmi & Jonathan Liang Model - Tengku Jamidah (ULTRA Co-Founder) Dress - ULTRA (ultra.com)
ISSUE 009
By happenstance our celebration of the Earth
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IN THIS
has a butterfly theme running through it. It was
ISSUE
a wonderful design coincidence that started to show itself once the issue went into production. The cover is a human butterfly shot in Malaysia by a team put together by lifestyle brand Ultra. The other butterfly story takes inspiration from the morpho butterfly’s vivid blue wings and transforms the idea of the wings into non chemical dyes. How is that possible? I am always amazed at how far technology has come and the infinite possibilities it presents for the future. In architecture it couldn’t be more obvious with the Art Gallery of Alberta. I handpicked this building for this issue because of its organic shapes and use of energy efficient options, the article touches on numerous debates about architecture at the moment and the competitive nature of the industry. I also handpicked Peter
Fashion
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Design
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Ultra
Makela’s homage to crop circles, a brilliant idea I would like to include in my own home. Crop circles will always be a visual delight something I find fascinating and curious about. Through this magazine I have learnt the use of nature in design always has a design impact like nothing I have ever seen therefore. The butterfly a natural wonder in itself can teach us it is quite possible to renew the Earth through lessening human waste. When I started this magazine I wanted to show the readers you can actually have great design that is luxurious, stylish, and timeless without compromise.
Mysterious Carpets and Magic Lamps
On the Ropes and Building Hope
Technology
Donna Sgro: The Teijin Fibers
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ultra What is Ultra? ULTR A is a wearable bit of consciousness, or...fashion, by the We Are ULTR A Collective. We, the collective, are a team of designers, thinkers and makers grounded in living sustainably. The ULTR A Fashion Collections are an extension of our greater understanding that
our choices are important in, quite simply, benef iting us all for the long haul. ULTR A looks to use the best in innovative sustainable fabrics, greatlooking tailoring, sharp aesthetic and ethical-innovative production to make long-lasting beautiful fashion that is clear on the conscience and great to look at.
14 | TEXT: JACQUELINE CARLISLE editor
How did the concept of a lifestyle brand manifest? It was a journey. We started off at http://weareultra.com simply cataloguing the things we found interesting, design, innovation, fashion, and how they all intersect with sustainability. This evolved into an online retail experience, into events, into our own organic skincare line, now the fashion, an independent sewing workshop, and we’re always looking to indulge more avenues!
What are some of the materials used? Biodegradable Tencel from woodpulp, Freshwater Fish Skin, Salmon Skin Leather, Bamboo mixes...
Is this sustainable luxury? We began the ULTR A journey looking to give ‘sustainable’ a more ‘attractive’ look for a contemporary crowd - spreading the word wider so to speak. So perhaps you could
say it’s contemporary sustainable fashion for the ULTR A woman, someone who has her knowledge and f ingers in all things forefront and innovative. Sustainability being at the core of what is very relevant in our current state.
How did started?
you
get
As how our ‘brand’ manifested, it was simply a meeting of friends exploring ways to do and stand for the things we are passionate about. Jamidah called me over one day, we got talking about her new-found direction in a sustainable lifestyle and we grew and grow from there.
Are all the pieces made to measure? At this time, they are all made under our watch in Malaysia - to order. But there’s a special project in the works where all our pieces could be highly made to measure through some innovative online technology. Keep posted!
Photo credits S/S11 Photos: Photographer - Mi chele Yong (http://micheleyong.com) Stylists - Tengku Syahmi & Jonathan Liang Makeup and Hair - Wong Ping Model - Olia F
Mysterious Carpets and Magic Lamps The modern world is continually drawn toward beauty, ingenuity and the unexpected. Great appreciation is held for those who inspire a sense of wonder through their remarkable displays of creative talent. Accordingly, such appreciation is easily rendered to the work of designer Peter Mäkelä. When f irst introduced to Mäkelä’s collections, one might f ind his or herself immediately drawn to several solid-colored rugs with geometric lines and shapes in the cut of the f ibers. They are showpieces, equally as suitable displayed on a wall as they are resting on a f loor. The designs are unique and
appealing, but are not completely original. Upon further inspection, the familiar nature of the patterns is recognized, impressing the viewer with the cleverness of the designer. Each carpet is a scaled-down replica of different famous crop circles, huge and mysterious land sculptures based on a complicated marriage of mathematics and artistry. As soon as the inspiration is recognized, what was once an attractive piece of functional art becomes a humorous and whimsical modern magic carpet. Peter Mäkelä is a green designer with a f lare for multifaceted designs with hidden depth and playfulness. Welltraveled and passionate about telling
TEXT: KARYN LINNELL contributing design editor
enjoys creating work that ref lects the richness and excitement of his own life. He is the winner of the 2011 Green Furniture Award of Honor, the creator of the Paizano Expo which allows artists to display work free of charge, and although born in Stockholm, he has won two state tae kwon do championships in the United States. Clearly he is a force to be reckoned with, and his works ref lect his enjoyment of fresh creativity and competitive excellence. In 2010, Mäkelä won the RFSL Honour Prize for his Pride Collection. Consisting of furniture, f ixtures and wallpaper, the Pride Collection combines black and various vibrant colors with ornate, damask-like patterns displaying Mäkelä’s experience in graphic design. Ref lecting one of his most mesmerizing talents, Mäkelä’s wallpapers extend beyond his Pride Collection, and are the epitomical example of why wallpaper has made a recent comeback in modern interior design. Mäkelä’s 2011 Green Furniture Award
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was captured with the creation of the Rendezvous chandelier. Eye-catching and delicate, Rendezvous conveys the elegance of traditional formal lighting with clean, contemporary lines. Thirty-two curvaceous pieces of thin wood climb upward like tender vines, each individually creating the outline of a human prof ile before smoothly cascading down again. When brought together in a circular pattern, the faces meet, as if telling their story to one another. The wood is outwardly painted black while the inside is a light-ref lecting natural color, indicative of the warmth one feels when drawn into conversation with a friend. Although he carries f ifteen years of experience in commercial art and design, Peter Mäkelä’s visionary and professional values inspire him to continually look forward in his passion to create beauty. Being a green designer expresses those values on a deeper level. A master of creativity and ingenuity, Mäkelä is certain to amaze and improve the world for years to come.
On the Ropes and Building Hope
TEXT: ALEXANDER HORNE contributing design editor
In the lead up to Earth Day 2011 recent global events have scarred, united and jolted local and international communities into varying degrees of reactionary movement. It has been a startling reminder of both the fragility and reciprocity of humanity in the face of extreme situations. As the winter bite begins to thaw, spring approaches with a glimmer of opportunity to evaluate the consequences, what could have been and what will be for those affected by such incidents. But, what of the role of design in these situations? There has been much f inger pointing at a design miscalculation being at fault for the escalation of a Nuclear problem in Japan but, beyond this immediate issue what of the massive restructuring that must take place in the long term? New buildings, master plans and fresh hubs of attraction to bring people back and make desolate expanses of land a productive and self-reliant gathering space once more - design has a large part to play. Not only is design a key aspect of rebuilding hopes and dreams though. For the past twenty years, ‘star-
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chitects’ such as Canadian born Frank Gehry have been leaving their mark on cities that envisage new architecture as key to developing a positive cultural brand. The ‘Guggenheim’ effect is evident in anywhere from the old towns of historical European destinations to brand new art galleries in the ‘Tabula rasa’ developments of the Far East. In Gehry’s own backyard metropolis, plenty has been made of the positive and reviving effect architecture has had on the downtown district of Los Angeles (his Walt Disney concert hall design being a leading part of it), but what of his land of origin Canada? Montreal and Toronto maybe picking up plaudits from culture hunting punters of recent, it is eye catching new buildings such as the Art Gallery of Alberta that are reaching out to a wider audience and leaving an impression on locals though. Ironically, the architects of the newly opened Edmonton gallery project are from Los Angeles. With futuristic organic curves and gleaming space ship-esque materials (patinaed zinc), there is also a
distinct nod toward the style of the aforementioned Canadian architect. For Randall Stout Architects though the comparisons stops there as hidden beneath the inviting steel and glass clad curves lies an original 1960s Brutalist building. By retaining elements of the original museum building and weaving a continuous wave of steel that subtly suggests directional movement to visitors, Randall Stout have managed to sew an internationally relevant structure dedicated to contemporary art and culture into a hard edged and less than spectacular surrounding. Gazing out toward the remaining off ice blocks that still surround the building gives the visitor a realization that such buildings do not only bring and excited injection of cultural interest but, also a certain pride and most importantly for some of the previously mentioned extreme situations - hope.
graphic design / illustration / brand HOLA@ALEXANDERHORNE.CO.UK WWW.ALEXANDERHORNE.CO.UK
Donna Sgro The Teijin Fibers
While the rest of the world was preparing fundraisers and promoting ecological strikes, Donna Sgro was creating a new kind of style with an edge to her side of the Green movement, with the help of her conservative side kick, The Teijin Corporation; they began to take on a new kind of fashion battle. The mass impact came from around the world, gearing up to save planet Earth. We use recycling bins, energy prof icient cars, solar panels on our houses, all to come together for one simple purpose; to help the Earth’s
atmosphere survive another century to move toward. But, the clothes today you are wearing could be damaging or endangering the natural settings around you. In the key message, Donna has come up with an idea to end all wasteful fabrics and textiles that may harm the environment, as she teams up with the support of a Japanese based industrial company, the two take on the f ight against global warming, while preserving the Earth’s natural materials in products.
38 | TEXT: Stephanie Meng wearable technology editor
Donna Sgro’s clothing line f inds inspiration and technical beauty in the ways that are both upcoming and surprisingly elegant to our day and age. While just a wandering college student just a few years ago, she studied and graduated from the University of Technology in Australia. Where as of right now she is one of the university’s lecturers and is a powerful advocate in the latest generations inf luence in today’s fashion clash. The contemporary trend hit London’s Science Museum, when Sgro presented the “Morphotex” Dress. It was displayed at the museum for the collection of Trash Fashion, from July 2010 to this year of March. The dress was inspired by the translucent wings the Morpho butterf ly, found by the Amazon River; the light makes the colors known to the eyes of the spectator. The fabric used to benef it this look, is a design that has the world awing, no pigments or dyes went into making this item. When the right light f ixtures hit it; the dress seems to spread its own wings and comes to life.
The fabrics and essentials to manufacture just the right look can’t be made up in the regular backwoods sewing shops in Shanghai. The Teijin Fibers contribute to this image, with their amount of ecological materials and recyclable substances. Some greater than others, they carry a high variety of these products for consumers such as Sgro’s line of blueprint. The company has started with a new artifact called, “Purity” which strays away from heavy-metalfree polyester materials. This new change in direction has signif icantly impacted to revolutionize the foundation of a healthier look out for trends around the world. Diverse paths and journeys, take us on very unique roads. To the clothing designer from Australia to the Ecofriendly business in Japan, they make the strides to change the direction of throw away fashion. In today’s cycle of life, we are determined by what we wear, and occasionally making a statement for nature can be done without dressing in leaves and branches.