2
ON THE COVER
Editor-in-Chief/ Creative Director
Jacqueline Carlisle
Design Production
Lindsay McWilliam
Fashion Editor
Jacqueline Carlisle
Contributing Fashion Editor
Vanessa Voltolina
Design Editor
Alexander Horne Madelaine Lutterworth
ContributingWearable Eric Zainzinger Technology Editor Valerie Lamontagne Circulation Director
Peter Walsh
Web Design
James Daniel
ON THE COVER Graphic Designer Lindsay McWilliam
ISSN 1929-6517
ISSUE 014
I get really excited when I discover design that is closer to what I thought to be 21st century design. We are a global publication in all facets of the word. Our content and contributors span the globe from Europe to Asia to the Americas, we are always hunting for designers who fit in with the Think criteria, designers who debut at the top of their game. This issue brings together a global gathering of taste -makers; who are changing the way we will purchase. It’s always fascinating to see what people can do, and how they envision materials like rubber or electronic parts that may be discarded as waste. They are the pioneers of the 21st century and they see the future of design. Just as social media is shaping the way we communicate, design also changes to include how we communicate. What seemed farfetched now seems sensible, like the ping dress by Electric Foxy’s Jennifer Darmour. When I first heard of this dress, I thought it had the potential to become quite popular, just like texting. Only now you can receive messages on your garment if you prefer. Does this seem impossible or unrealistic? To those text addicts this may be ‘digital euphoria’, being hands free and still staying plugged into the matrix. I won’t go into all the designers featured in this issue, you’ll have to browse through and learn for yourself. Marvel as I do at the work one person can create, and think about how they arrived at their discovery. Think magazine continues to bring you the best in design and service, as we prepare for some radical design changes, I hope you enjoy this summer issue.
3
Th s ssue Cultivating the Khanga Beyond Skin Going Glo-cal : “Global actions on a local level” Seung - Yong Song Pauline van Dongen Kinetic Landscapes How is today’s fashion influenced by technology?
glo al atio
ob liz on
TEXT : Vanessa Voltolina contributing fashion editor
It’s no surprise that Africa is getting a lot of attention from the fashion industry lately. From L’Uomo Vogue’s recent Africathemed issue to e-commerce sites that tout products inspired by and made in Africa, it’s definitely a market on the rise. This was seen clearly when GenArt, an incubator that nurtures up-and-coming new designers (helped launch the careers of Zac Posen and Phillip Lim, among others), took a trip to Nairobi, Kenya in spring 2012. There they donated clothing to an orphanage and held a fashion show featuring seven emerging African designers, including Adele Dejak, Lalesso, Bella MATATA, Katungulu Mwendwa, Nike Kondakis, Modahnik and Aryam Designs. Of all of the inspired up-andcomers, Lalesso is of particular interest. Founded in 2005, the brand was formulated by co-designers Olivia Kennaway and Alice Heusser after a holiday to Lamu Island, one of the oldest and best-preserved Swahili settlements in East Africa. During their time in Cape Town studying fashion design, Heusser and Kennaway were compelled to harness the beauty of the East
11
African “khanga” -- also known as “lesso” -- to create a vibrant and carefree summer collection. Originally named “La Kanga,” Lalesso is best known for its use of the East-African Kanga in creating chic resort summer clothing. In stark contrast to the incredible designs and rich resources that come from their native land, over 50% of the population live below the poverty line. This, according to the duo’s website, was another compelling factor in their decision to form the brand and use the business to not only help create employment, but provide fair wages that will allow women to considerably improve their standard of living. To actively spur this change to improve a standard of living for its employees, the pair traded its inhouse workshop to institute SOKO in 2009. Ethical factory SOKO helps achieve the mission of increasing the number of jobs and creating export quality garments. It’s now an independent, charity based, eco and ethical clothing production unit that supports local talent and provides employment to Kenyans. Lalesso, as well as many other international designers, use SOKO
TEXT : Vanessa Voltolina contributing fashion editor
14
for all of their garment production. In addition to SOKO, Lalesso uses the talent of Kenyan artisans in many aspects of the designs, incorporating various design initiatives and supporting them in doing so, including beaded bracelets on the swing tags, hand carved coconut buttons and masai beading. Our favorite, inspired pieces from
While the brand has done its part in being an ethical fashion brand that keeps the local artisans and environment in mind, that doesn’t preclude it from being one that more mainstream celebrities show off. Style icon Kate Moss and singer Estelle, as well as Rihanna and Sienna Miller, have been featured in magazines including
Lalesso’s spring/summer 2012 collection include the Tafadhali dress featuring vibrant colors and movement, and creatively cut Pilipili dress with a beachy, flowy upper body.
Cosmopolitan, Vogue, Elle, Marie Claire, Glamour, to name a few. The only requirement for wearing Lalesso? Find your inner khanga.
Photographer - Andrew Verster Cohen Assistant and Videographer - Ernst Heusser Digital Assistant - Riyaad Jamal Stylist - Crystal Birch Hair and Makeup - Daleen Stewart Production - Big Sky Productions, Cape Town
g global
for
g
O
is
Beyond
Skin
TEXT : Jacqueline Carlisle fashion editor
You've been designing vegan shoes for 10 years now, what propelled you to do so? Created in 2001 by Natalie Dean, Beyond Skin was a manifestation of a transition from long time vegetarian to vegan. Essentially, Beyond Skin was born from a combination of frustration and vanity as 10 years ago there were no stylish nonleather shoes available so she set about to fill a gap in the market.
Where do you find inspiration? All around – we are very much inspired by all things vintage; from clothes, footwear, & accessories, to buildings & interiors. This is a strong feature and starting point for our collections.
Many designers have tried and failed what is your key to success? There brands to be Have a
are so many footwear out there so you have different to stand out. USP and shout about it.
Tell us about the Jubilee Collection. We did not have a specific We did not have a specific Jubilee
23
Collection this SS’12 but of course, being Brits, we had to have a few red, white & blue colour combinations in there!
Who is your customer? Our customer is incredibly varied; we did an online survey recently & the age range is from 18-70 from cucumber pickers to lawyers! We don’t always hammer home the fact we are a leather free label, as we have found that it tends to turn non vegetarians off before you have even introduced them to the product. We prefer to approach our sales with the aesthetic of the product first, and the leather and cruelty-free element comes later.
What type of materials do you use? Beyond Skin produces a large amount of its collections in a sustainable faux suede alternative called Dinamica. This fabric is made from 100% recycled PET and does not require the use of solvents in the making process. It has the look and feel of real suede yet unlike its real suede counterpart, can get wet and due to its incredible durability it is used in the high-end interiors of
TEXT : Jacqueline Carlisle fashion editor
brands such as Jaguar and Mercedes Benz. We are the first footwear label to utilise this material, which we hope, one day will replace the real thing. Our other materials are all sourced from the EU & the components are all sourced as close to the factory in Spain as possible.
Do you think the vegan shoe industry will continue to grow? Thankfully times are changing and with the influence of designer labels such as Stella McCartney brandishing their high quality Italian PU’s and proudly stamping ‘suitable for vegetarians’ on their soles, attitudes are changing. This alongside the growing awareness of the impact of the meat and dairy industry on our planet means people are becoming more open to alternatives. Media and celebrity endorsement of vegetarian and vegan lifestyles has been pivotal to this shift and the more acceptable a no meat diet and a non leather wardrobe becomes the more fashion brands will step up to meet the demand. Beyond Skin continues to pursue its goal of becoming a worldwide brand demonstrating
25
that fashion and ethics can tsuccessfully go hand in hand but design and quality is paramount for our long-term success. We hope to continue to contribute breaking down the leather equals quality myth and will continue to forge ahead as a high end, fashion footwear brand with our vegan credentials as an added bonus! More and more larger retailers are providing non-leather options, or at least reduced their use of exotic skins & leathers. ASOS for example have added an independent filter option of leather/non leather to their site. Other large companies, such as International etailer Zalando have updated their policies and endeavour to avoid anything produced with real exotic skins due to its often dubious traceability. These are all huge steps forward and prove that times are changing.
What does luxury mean to you? Luxury means having the time to enjoy the relaxing coffee culture of Brighton, & being able to go on fun adventures. It’s being able to recklessly treat yourself & not feel too guilty afterwards!
glo
o-cal
Summer is here for most in the Western Hemisphere but, Spring through to Autumn are busy months on the creative industries trade fair calendar. From the Salone Del Mobile in Milan kicking off a trail of big and small designrelated events in April to the London Design Festival, Design Miami and Maison et Objet rounding up the most relevant of happenings in late Autumn. There are plenty of places to be seen and be heard at for those interested and working in the world of design. The glitz and glamour of such events are alluring and important. However, it is not easy for everyone to attend. Whether it be due to financial or time constraints; young creatives, breakthrough designers and small studios are changing the tide and making local design action to rival the global-scale equivalent. Dezeen is a leading online resource for design and architecture news masterminded by design critic Marcus Fairs. The online magazine publishes up to 5 projects a day from all corners of the earth and were recently acknowledged for their global reach by being included in Time magazine’s
TEXT : Alexander Horne design editor
That hasn’t stopped them from taking care of the design talent on their London doorstep though. ‘Design in Hackney’ is an initiative by Dezeen to celebrate local designers’ work and create events that include design-themed talks, walks and workshops. A refreshing initiative for a global minded organisation. Across the Atlantic, in a North American city recently acknowledged as one of the best in the world for music by The Independent newspaper, Atlantan designer Megan Huntz shares the collaborative spirit of Dezeen in working with her local and international contemporaries. A fashion designer with a CV that takes in stints working in Italy, Spain and studying industrial design in New York, Huntz most recent eye catching collaboration includes a famous musician, his performance artist wife and a photographer - all based around Atlanta. The project, a curated photo shoot for Huntz’ dresses, was made with performance artist Kiki Blood and shot by local photographer Jamie Hopper on location at Kiki’s
36
Cabbagetown home that she shares with her partner Cole Alexander from the Black Lips. These are just two isolated examples of an exciting trend that is evident all over the world, and long may it continue.
Seung Son
g-Yong ng
TEXT : Jacqueline Carlisle fashion editor
To design on a global scale is not only smart but necessary for today’s challenges currently faced in the fiercely competitive design market. One has to continually make their mark to stand out from the pack. You are as good as your last offering, unless you design an unforgettable product that could end up in an influential exhibition. One such designer is Korean born Seung-Yong Song who has had such good fortune to be invited to exhibit at the Salone du meuble in Paris, France. Choosing to study at the École Supérieure d’Art et de Design de Reims in France where he received his BFA, MFA, SeungYong Song later went on to assist at the prestigious and internationally known Claudio Colucci studio, (a highly respected designer in his own right).There he learnt to challenge what is traditional Korean furniture by honing his humble style of highly desirable home furnishings. The Green Panier series for example is an imaginative seating system that steps outside the parameters of typically designed furniture. Made of crisp, clean, white birch, the multifunctional ladder chairs have
44
endless additional uses, from hanging clothes, to displaying books, or plants. Light in weight, the series is meant to work as a singular module or a group taking the everyday boring chair to a completely new level. Inspired by the traditional Korean grill, the Dami collection is a contemporary collection of furniture and lighting made from an eco friendly material called Valochromat. Consisting of forest waste, recycled pine, timber mill leftovers, Valochromat is a sleeker more pliable material that is produced as a thin fibre board. It can take on a variety of shapes, and according to the company who use organic dyes in the process; it can be finished in various ways. In this case creating basket like structures into durable conversation starters offer a more striking collection that is not only functional but beautiful with a timeless approach. The same can be said for the Green Boksh a series. Perfect for city dwellers still wanting to connect with nature when space is of a premium, this indoor mini garden restores a basic need for a natural green space to admire and relax in. Elegant pots produced
TEXT : Jacqueline Carlisle fashion editor
in corian appear as a natural rock formation and do not require a water hole.�People have a basic need to feel free and comfortable in nature and leave the nature beside them. But having a garden became a privilege of few in fast-changing city life and decreasing residence .I don’t divide garden with daily life space.
45
TEXT : Jacqueline Carlisle fashion editor
Dami The ‘Dami’ is named from Korean verb means ‘put in’. Dami series are consist of basket forms and covers and available for different and various usage depending on form and size. It shows visual beauty as well as the structure of Korean traditional grille which has light and sturdy durability, and the combination of new eco-friendly materials called Valchromat and CNC processing technique make it possible to materialize modern objet with traditional beauty. Material : Valchromat Size Floor stand: 400x400x1270mm Table stand: 355x355x505mm Stool: 440x440x450mm Bench: 1400x380x450mm Table(L): 748x748x365mm Table(M): 600x600x300mm Table(S): 485x485x252mm
Nature in daily life: Green boksh, Green panier, Table cailloux common design concept People have a basic need to feel
47
free and comfortable in nature and leave the nature beside them. But having a garden became a privilege of few in fast-changing city life and decreasing residence. I don’t divide garden with daily life space. The little plant on desk and a flower on table give us the nature flavor in our daily life. Shelf, table or chair… these usual furniture have a potential as a tool of garden. They are tools which can harmonize with daily life, garden and all these space. My works are forms of process which seek the way to materialize these possibilities and imagine and realize their own green space for users.
Green Boksh : Indoor mini garden. Flowerpot produced by corian which reproduced greatly the pattern of native rocks. It can use separately and collectively by users to make indoor garden in various shapes. Green Boksh is 12cm height which can grow plants without a water hole. Material : Corian Size 500x184x275mm, 300x184x275mm
TEXT : Jacqueline Carlisle fashion editor
51
Green Panier Flowerpot produced by corian which reproduced greatly the pattern of native rocks. Minimal form with handles can be matched naturally around existing furniture. Material: Corian Size 440x295x180mm 440x245x180mm 440x195x180mm 440x145x180mm 440x90x180mm
Table Cailloux Table produced by which reproduced the pattern of native
corian greatly rocks.
This table was inspired by organic shape of pebble. Each steam-lined table with various sizes can be reorganized by user and space. Material: Corian Size 1125x686x350/ 859x556x350/ 652x555x350mm
SEUNG-YONG SONG Sydesign.info@gmail.com
Pauline van Dongen Kinetic Landscapes
TEXT : Valerie Lamontagne contributing wearable technology editor
The Benelux region has been an incubator of avant-garde fashion creating such sartorial luminaries as the Dutch duo Viktor & Rolf, 3D-printed fashion visionary Iris van Herpen, and the legendary “Antwerp Six,” which include Walter Van Beirendonck, Ann Demeulemeester, and Dries van Noten. Pauline van Dongen, an upcoming Dutch designer, has been building on the legacy of this creative dynamism to carve a place for an emerging generation of fashion designers exploring new approaches to materialities and technologies. A graduate of Fashion Institute Arnhem, Dongen has already presented a number of international collections, of which she gained notoriety with her 3D printed “Morphogenesis” shoe fabricated in collaboration with the Amsterdam 3D design studio Freedom of Creation in 2010. Dongen’s recent “Kinetic Landscapes S/S 2012” collection features an evocative array of design structures situated at the juncture of art, sculptural science, and body extension. Inspired by natural and abstract forms found at the sites of erosion of
59
landscapes and organic materials, Dongen’s goal was “to capture the strength of two powerful elements— air and water—and their impact on our surroundings.” This musing on the slow transformation of seemingly immutable matter over time is in marked contradistinction with fast-fashion’s consumer culture of corrosive material practices. A need for an awareness of the unsavory and dangerous consequences of fast consumption cycles and cheap material exploitation existent in popular clothing brand manufacturing is at the forefront of Dongen’s critique.Kate Fletcher, author of the recently published “Fashion & Sustainability: Design for Change,” muses how: “in spite of our best efforts, it is still unclear whether as a society (and a sector within that society) we [the textile and fashion industry] are moving towards greater ecological integrity, human empathy, interconnectedness with each other and the natural world...”Fletcher questions our fundamental choices as consumers and makers to suggest that a change of resource uses and worker efficiencies in the fashion industry is incumbent on a perception change shaped
TEXT : Valerie Lamontagne contributing wearable technology editor
over a “long time frame” solution. Given the fact that corrosive mainstream apparel production is likely a mainstay for some time to come, Dongen’s designs propose an aesthetic vision of future fashion focused on the slowing of time and the re-valuing of natural elements. Bringing together innovative design structures with a sustainability ethos, “Kinetic Landscapes” elicits the wearer and viewer to contemplate organic shapes handin-hand with bespoke production practices, suggesting a more gentle and slow-culture usage of resources. The garments further solicit a critical stance on practices relative to the environment, design, fashion and materiality by embracing the
61
transformative and destructive powers of natural forces (such as the carving of rock formations over time by water and wind) as opposed to those of humans. Hence, “Kinetic Landscape” places us at the centre of the ecological debate—the collection’s undulating organic shapes and structures transmuting into a highly wearable collection where fluid forms, abstract shapes, hug and tug at our mortal shell and conscience. PAULINE VAN DONGEN.NL
Photographed by Mike Nicolaassen Model: Macha at Fresh Model Management Hair styling: Tommy Hagen at House of Orange Make-up: Vera Dierckx at House of Orange Styling: April Jumelet Jewelry: NAT art & Jewelry
Beta Testing
WWW.ISSUU.COM/THINKMAGAZINE
TEXT : Eric Zainzinger contributing wearable technology editor
68
How is today’s fashion influenced by technology? A world formed by technology, called Cyberspace has taken over many aspects of our lives. We do part of our business, shopping, informing, and entertaining online, most notably, we socialize in Cyberspace, forming friendships by looking and judging online personas. Fashion styles in the pretechnological and social networking world have been locally focused, expressing local heritage, culture and social values.With our networks of friends spanning across the globe we see, hear and share opinions about trends, likes and dislikes on a global scale. The ease of sharing information in an instant around the globe cross-fertilizes and influences
our likes and tastes on a global scale. In the not so distant past clothing styles have been defined and used on a local scale seldom reaching a truly global audience, but with the emergence of online communities enabling the active participation in opinion building and information flow, the traditionalboundaries between localized and globalized started to blur. Weblogs and Social networking platforms have opened ways to share local clothing trends with a worldwide audience easily and instantly. People from all corners of the globe engage themselves by adding their views, rooted in their respective local traditions, to form new fashion
TEXT : Eric Zainzinger contributing wearable technology editor
styles. This interaction led to the creation of the ‘Street-Fashion’ trend reflecting the views of people with very different cultural backgrounds. To be able to find the answer to the opening question, we need to define the fundamental definition of clothing which is primarily to cover up nudity and protect against the elements. But as important as this might seem, there has always been another important function to clothing; to express social status and belongings. Belongings that reflect geographical and cultural diversities can also reflect our status and beliefs. To interact with the virtual world and our network of friends around the globe, requires new forms of expressional design for clothing that connects with our global community. The emphasis is here in ‘with’; meaning clothing does not connect without us. Technology enhanced clothing is digitally covering up our nudity in Cyberspace. In the ‘real’ physical world our clothing communicates visually to people around us who we are. To include our friends in the virtual world a visual representation generated by smart clothing is
69
beamed up to compliment our online identity in the virtual space. In the ‘real’ physical world our clothing communicates visually to people around us who we are. To include our friends in the virtual world a visual representation generated by smart clothing is beamed up to compliment our online identity in the virtual space. Clothing that communicates with the online world, can share information of what we are doing, where we are and how we are feeling. Clothing that can receive and visualize our online presence, showing how much we are engaged with our global community by sending visual indicators to our clothing. Our friends transform to a certain extent how we are seen from people around us. Visualizing status updates made on social networking sites on a dress like the ‘PING - social networking fashion’ by Jennifer Darmour serves as one example how wearable technology can be used to add digital dimension to our clothing like decals have been used for many years to show which university or organization we are attached to.
TXT : Eric Zainzinger contributing wearable technology editor
Interweaving technology with fashion attracts not only the fashion designer, it also attracts the wearer. Traditional technology companies like Microsoft explore the merge between online and offline life. The ‘Printing Dress’ by the Wearable Tech Lab at Microsoft is an example how to integrate our communication flow into clothing blurring the boundaries between our online and offline personas. Sport apparel with integrated sensors transmits our activities ranging from location, to fitness level, to online communities to share. It can compare and compete with friends living on the other side of the globe. Currently we can only imagine how wearable technology will influence and define the way our clothing will look and work in Currently we can only imagine how wearable technology will influence and define the way our clothing will look and work in the future. The expectations and potentials of wearable technology in the clothing sector are high. The global citizenship many of us already adopt by befriending and interacting with people all over the world requires new functionality from such basic items
72
like clothing. One can debate about the advantages or disadvantages of globalized fashion. Localized, traditional fashion design might play a smaller role today as they have done in the past but technology enhanced, globalized fashion will reflect the very fabric of life, expressing and reflecting the digital lifestyle of today and tomorrow.
