2 | ON THE COVER
Editor-in-Chief/ Creative Director
Jacqueline Carlisle
Design Production
Samm Jordan
Contributing Technology Editor
Jacqueline Carlisle
Contributing Technology Editor
Erich Zainzinger
Contributing Design Editor
Alexander Horne
Contributing Fashion Editor
Karyn Linnell
Guest Contributer
Stylesight
Logo Design
Sunny Fong
Site Services
Samm Jordan
ON THE COVER Graphic Designer: Alexander Horne
ISSUE 007
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IN THIS
10 years into the 21st century and it is full steam ahead in the design world. Even though the
ISSUE
economy remains in a dismal state, the year is ending on a high note for design. This year saw a lot of pioneers come to the surface bringing with them their A-game, and a movement similar to Post-Modernism. The Godfather of light Moritz Waldemeyer gave us an interview about his work and a glimpse inside this growing trend. It was a wonderful experience to see his work and learn more about him as a designer of light. I also had a tip to speak to a budding designer by the name of Ceren Tesckent a master of draping and cutting and who is currently working for Organic by Roman a Turkish chain of stores that saw the potential in selling timeless tailored clothing made from organic materials.
Bucharest is
steadily showing signs of reinventing creative collaborations through music and graphics, events are popping up more frequently.
Our
wearable technology article is about upgrading our clothing through technology in the future. A three part trend report from Stylesight makes its debut in this issue again showing evidence of future collaborations between continents.
Fashion
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Design
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will wear and how we will live. Maybe there working together but in design it couldn’t be clearer where the future lies.
9
Technology
Evidence of the future is apparent in what we isn’t enough political signs pointing to a world
Organic by Roman Stylesight
An Interview with Moritz Waldemeyer Tomorrows wardrobe will be upgraded not replaced
Eastern Promise: The Bucharest Beat
embraced by nature Organic by R o m a n c r e a t e s t i m e l e s s beauty thro u g h e n v i r o n m e n t a l l y susta i n a b l e f a s h i o n .
TEXT: Karyn Linnell contributing fashion editor
It can be diff icult to determine whether or not the work of a designer will have the approval of current culture and whether or not it will have the longevity to be appreciated in future generations. Good fashion must, if anything, be current. While it may be memorable and inspiring, it is usually temporary, worn for only a season or two before being retired to make way for the next new thing. Although it may be seen again
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in some reincarnated version in the future, its life is usually as f leeting as that of the butterf ly. Because of its short-term nature, it is unique to f ind a fashion collection with farreaching vision. Organic by Roman has created just such a collection. Through its equal commitment to both enduring beauty and our environment, Organic by Roman has created sustainable design designed to sustain the test of time.
Ceren Taskent is the lead designer for Organic by Roman. A native of Turkey, Ms. Taskent obtained her visual art degree from Sabanci University in Istanbul and spent time in London, Florence and Milano to further her education. After f inishing her degree, she joined Roman and has been instrumental in every stage in the creation of its organic line including the design and production of the fabrics used to create each piece. Upon observing this stunning collection, one might be surprised to discover it is the f irst of her professional career. It is clear that she is a very talented individual.
Ceren Taskent’s 2010 line is most accurately described as pure. The color palate of black, gray, navy and creamy white is universally appealing and timeless. The lines of the fabric are clean and elegant with lovely, often subtle embellishments. It is graceful. It is both classic and modern, a perfect balance of opposites that seamlessly blend to create a peaceful tension that both soothes and excites the senses. Essential to the beauty of the pieces, the f ine fabric used in the collection is rich and soft, embracing the body with delicate draping. Embodying the designer’s vision for sustainability, the f inely-woven
material is made of certif ied organic cotton and bamboo, ensuring not only long-term comfort and enjoyment to the wearer, but protection for and minimal impact to the environment. As one touches each beautifully crafted garment, he or she is left with the impression that this is the f inest that nature and mankind has to offer: exceptional construction, impeccable taste and absolute purity. Organic by Roman is a line devoted to investment pieces, works of art with vision for the future. It is inspiring rather than shocking, preferring to be enduring instead of faddish. Its appreciation grows over time. Organic by Roman is fashion with a conscience, unwilling to steal from the beauty of the earth in order to promote itself. It instead preserves the harmony and wholeness of the natural environment throughout its process of creation. The f inal result is visually exquisite, luxurious, and timeless. Both the designer and the wearer’s soul remains’ clean, resulting in fashion that is at its core, completely pure. Organic by Roman is design not only for our times but for our future.
About Stylesight: Stylesight is the leading online provider of trend content, tools and technology for creative professionals in the fashion and style industries. Founded in 2003 by apparel manufacturing veteran, Frank Bober, Stylesight targets style professionals involved in the creative design and product development processes, assisting through useful tools that make the design journey more efficient, less costly, faster and accurate. Stylesight is headquartered in New York, with a Forecasting Atelier in Paris and satellite offices stationed in style capitals spanning the globe. To learn more about Stylesight, please visit www.stylesight.com
In Stylesight's Futurist Reports, Stylesight stretches our wings beyond fashion to identify MACRO TRENDS that are shaping our world and influencing design. Each idea taps into our collective consciousness to bring the most persuasive movements across all design disciplines Fashion, Architecture, Food, Technology, Beauty, Textiles, Interior, Art, Active, Industrial Design, and more. These are big picture ideas that are dreamy and not limited to a season but can cross over when dreams become reality. New FUTURIST reports are launched each month and compiled by Stylesight's Forecasting Team in Paris.
This concept reveals the energetic initiatives of a new generation of Indian artists sophistication is apparent, as rising stars seek to expose alternative cultural devel industry. Traditional turbans have inspired the likes of Junya Watanabe, but modernize the old alone. Many young people are proud of their heritage yet find system or with political corruption. This questioning of Indian norms while enco exposes the dichotomy of contemporary India.
s and designers. A heightened level of lopments other than India’s Bollywood new cultural players do not seek to d fault with the hypocrisy of the caste ouraging the talent within the country
A range of contemporary designers looks eastward to the rich cultural heritage a and pattern and has become an expert at assembling and juxtaposing diverse wrapping with reference to traditional Hindu garb and sari silhouettes. Layering a Boris Bidjan Saberi plays with contrasts, merging contemporary urban silhouet new cultures.
and tradition of craftsmanship within India. Dries Van Noten has an eye for color materials to develop chic and fresh looks. Damir Doma explores drapery and and tonal hues echo simplicity and purity with a distinctly Indian flavor. Similarly, ttes with draped pieces to develop a style that bridges the gap between old and
Many fashion designers are emerging from India with the potential to rival new become an international name and showcases her collections at London Fashion Color and texture are priorities in her work and she is an example of the kind of designer Zubair Kirmani fuses contemporary minimalism with ethnic silhouettes a nod to his Indian heritage.
w designers in any established fashion capital. Anamika Khanna has already n Week. Her outlook is global yet she retains ethnic, Indian craft as her mainstay. f young designer that straddles two worlds of tradition and technology. Likewise, s to create sophisticated collections. He still retains elements of craft detailing as
Gaurav Gupta feels that fabric is an extension, a form that can be abandoned elements in his work while his design philosophy merges Indian traditions with the and draping techniques is what makes his design aesthetic relevant today. Simila his roots in craft, making garments with faultless lines and careful detailing. He a develop India’s finest cashmere.
d to meander and grow on its own. Contradiction and experimentation are key e Western world. The unprecedented use of fabrics like jersey and chiffon, leather arly, Rajesh Pratap Singh has developed a signature style that subtly draws from also experiments with textiles, working to technically improve khadi fabrics and to
Cue by Rohit Gandhi & Rahul Khanna initially filled the gap for the demand filled fashion market. Cue draws inspiration from linear structures, geometric lin ornamental embellishment for modern and chic silhouettes. Ashish N Soni h sharply defined and deceptively simple aesthetic. Ashish was the first Indian des the Olympus Fashion Week in New York. The label is directional but governed by reflections of Indian surroundings.
d for chic Western wear in an otherwise ethnicnes, wallpaper and contemporary art, eschewing has carved out a distinctly original niche with a signer to be invited to present a runway show at personal philosophies and experiences, bearing
an interview with moritz waldemeyer
How did yo u s t a r t i n t h i s industry? After university I started working as a research scientist at Philips. I got involved in some very cool futuristic design projects that involved wearable electronics and home entertainment systems. When I left Philips I started freelancing in the design industry, initially doing a lot of well known Swarovski projects.
What is you r e d u c a t i o n a l background ? I studied Mechatronics at King’s College London. The course is as cool as it sounds; it covers mechanical engineering, electronics and some computer science. I think every designer should take that course. What inspires you to create? It’s probably driven by my short attention span paired with a relentless curiosity about how the world around us functions.
Tell us abo u t y o u r w o r k w i t h Hussein Ch a l a y a n . Working with Hussein was a bit of a crazy roller coaster ride into an unknown universe. I had never in my
TEXT: Jacqueline Carlisle editor
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life been to a fashion show before and here I was in the middle of the technologically most complex endeavours that Paris has ever seen. With the shortest deadlines... There was no sleep for days and huge amounts of adrenaline to get things working reliably for the show.
and engineers on the other. The two groups would hardly ever mix. Now it is more commonplace to cross the boundaries and that’s why there are a lot more multi-disciplinary projects out there.
I’m working on several show biz projects right now, always trying to innovate in the area of wearable show effects. I’ve also been asked to get involved in a design project for a private jet interior, this is something I am very excited about.
I’m sure that there is a bright future for free-thinking multi-disciplinary designers, especially with some huge design challenges lurking on the horizon, such as climate change and peak oil. These will have a massive impact on all aspects of life and the qualities to prosper will be to be small, smart and f lexible.
Do yo u t h i n k t h i s i nd u st r y w i l l co nti n u e to g r ow i n t h e Wh a t a r e yo u wo r k i n g o n n ow ? f u t u r e?
Wh a t wo u ld yo u r p ro j e c t l oo k l i ke?
dream
I don’t really ever ask myself this question, so far every single project had some dream quality. I f ind myself in the amazing position where reality surpasses my dreams with unbelievable frequency.
Ar e yo u s u r p r i s e d g row t h i n t h i s f i e ld?
by
the
I have the feeling that there was a gap in the market that had classically trained product designers on one side
Tomorrows wardrobe will be upgraded not replaced There are many ways how the emotional clothing factor can be kept but at the same time paying more attention towards a sustainable consumerism. Using renewable resources to create fibers and textiles or environmentally less polluting production methods are some of the options towards sustainable fashion. Technological advancements in fiber, weaving and wearable technologies add new functionality to clothing reaching far beyond the traditional purpose of clothing such as regulating temperature differences, protecting against injury and personal expression with different shapes and colors. Among emerging technologies in the apparel sector is the integration of technology into garments. At
first this sounds counteractive, using more different materials for a piece of clothing than we do already but there is a catch, an opportunity in doing this in the long term. We are used to upgrading our technology before we replace an item, applying this principle to garments could open a new avenue to satisfy our emotional expectations and extending the life cycle of clothing by transforming the functionality and appearance in sync with our emotional and social mood swings. An innovative designer with technological background like Di Mainstone who created in collaboration with Joanna Berzowska at XS Labs, created shape shifting elements on garments.
TEXT: Erich Zainzinger contributing technology editor
The SKORPIONS design demonstrates how kinetic electronic technology, integrated into textiles, can transform the shape of the garment in slow organic motion, adjusting the outlook based on environmental stimuli or on demand by the wearer. Shape and color shifting clothing can be made by upgrading in a similar way we make upgrades to our electronic devices. Such clothing upgrades are not a radical change like transforming summer to winter clothing but allow adjusting to the mood swings inside a season, an adaptation triggered by emotion and the surrounding environment. Clothing of the future could comprise of a basic garment, different cuts for different seasonal needs - like a mother board of an electronic device. This basic garment is made of high quality materials with a long wearability lifetime, comfortable to wear, pleasant to look at, representing the functional aspect of clothing. Adding to this basic garment various layers and modules of functionality will give the garment the emotional touch we desire and cherish so much.
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These modular layers and functions can be designed for the purpose of altering the color or adding color shifting accent to clothing based on surrounding conditions or our own personal mood swings. Integrating into the appearance of our clothing the digital social connections and interactions could be used by technology enhanced clothing to weave the new dimension of social networking into the fabric of our digital lifestyle and clothing. As we have to make changes in our lifestyle in many areas towards a more sustainable way, clothing and how we use it might very well have to change too. This change does not mean less comfortable, less stylish or less emotional, on the contrary, technology has proven over many years, when applied sensibly it has the power to enrich our lives. As exotic and futuristic wearable technology might seem today it does and will have not only the ability to add more senses to our lifestyle, it will be upgradeable rather than to be replaced.
Eastern
Promise:
The
Bucharest
Beat
In recent years ‘change’ has been the order of the day for decision makers in the Western hemisphere. Whether or not these ‘changes’ are an aperitif of what is to come, the motive appears to be a reactionary consensus to an adapting economic and social climate. While the West has toiled with transition, new
emerging economies have come to the fore and in particular from the East. From the manufacturing prowess of China, the IT boom in India to the mass of ‘tabula rasa’ (completely new) urban developments in oil rich Arabian countries such as United Arab Emirates and Kazakhstan; evidence of a readdressing of global
power is apparent. But, what of those countries bridging East with West and their prospects? While Turkey has been favorably touted as a key link between East and West, their Black Sea neighbors have been on the receiving end of some heated reaction to the
diaspora population of indigenous Roma dispersed around the globe. Romania, once known as ‘The Tiger of the East’ for the rapid economic growth in the early 00s, has had a hard time of it - reeling from some undeserved attention for the Roma issue at the same time as becoming the largest debtor to the
50 | TEXT: ALEXANDER HORNE contributing design editor
International Monetary Fund. The Tiger’s legs maybe moving wearily but its spots could be priceless, ones which new found wealth cannot buy nor help understand. In fact, these spots (the burgeoning creative scene) could be seen as a positive example to those in the Western hemisphere fretting over cutbacks in the Arts sector or dependent on large slabs of state funding. The capital of Romania, Bucharest, is home to some two million people and is the heartbeat of this home made creative pulse. Architecturally, the city is a bricolage mix of romantic Nouveau classicism from the past (from the days when the city was known as the ‘Paris of the East’), desolate villas, unf inished paving and the tabulaesque structures from the Ceauşescu era. An apocalyptic and eclectic canvas for Romanians borne into the environment, returning from self imposed exile or studies abroad to form their own brush strokes. One young architectural practice, Square One, describe how they set up in 2001 “when there was still a great deal of confusion regarding
the position of architecture in society.” They go on to explain that they created their “own system of values in a situation where you were almost unable to f ind any within our own professional environment.” As if representing the mixed palette of their surroundings; Square One design buildings, interiors and objects. Perhaps unsurprisingly though due to the collage look of the city itself,
Bucharest is getting the knack of producing an abundance of graphic talent. From V Js to street artists to poster designs for en vogue electronic music events - you will inevitably catch sight of some visually alluring graphics when hitting the patchwork streets. You don’t have to look far into the multi-talented Miha Miha’s folio of work to f ind examples of all of these aforementioned projects. One of the 100 emerging Romanian artists highlighted in the excellent 100 to
watch website and book project, her portfolio showcases anything from surrealist illustration to websites, typefaces, posters, books and company identities - all in her unique remixed style. “Fashion is so much about surface and so little about soul” says Bucharest fashion designer LÜ, another of the home grown talents introduced by 100 to watch. The emerging East and reshaping West could learn a thing or two from this tiger and it’s multitude of spots.
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