VOIX MEETS MODE by Voix Meets Mode

VOIX MEETS MODE

‘SPRING’ INTO AUTUMN/WINTER 14

Footwear Designer

GENĂ&#x2C6;SE ISSUE: Genesis: the origin or mode of formation of something. #ORIGIN #SOURCE #ROOT #BEGINNING #COMMENCEMENT #START #OUTSET This is our #GENESIS, our beginning, the Commencement of something inconceivably greater than we could ever comprehend Welcome to the outset of the rest of our creative lives.

LET THE GOOD TIMES ROLL

CREDITS: Producer & Fashion Stylist: Sophie Etchegoyhen Brancher (colorsens) Photography: Juan Pablo Gonzalez Cabrera (colorsens) Art Direction: Manu Rey (colorsens & ddb) Make Up: Gervasio Larrivey Clothes: Ejercito de Salvacion Photographer Assistant: Litus Marciales (colorsens) Assistants: Evelyn Campos y Natalia Martinez Bon Models: Binta y Tao Conrad

Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed, And every fair from fair sometime declines, By chance, or nature’s changing course untrimmed: But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st, Nor shall death brag thou wander’st in his shade, When in eternal lines to time thou grow’st, So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

SHAKESPEAR’S SONNET 18.

Enchanting dawn of autumn days, So clear, so cool, so calm, O’er all creation breathing forth Thy sweet refreshing balm! The woodland dons its brightest hue, Its rainbow-tinted gown; Each soft and dreamy breeze that blows Brings showers of crimson down. Old earth now groans beneath her load Of grain and fruited vine, That thickly hangs o’er orchard wall, And drips with mellow wine. The birds fly lazily above, Bathed in thy misty light, While on the hillside loll the kine In morning’s gold delight. Wrapped in thy folds of golden mist, This restless soul of mine Is lulled into a blissful dream Of peace and love divine.

Found in “Autumn (From a book called ‘Snowflakes’)” authored by Esther Nelson Karn

We wrap up Spring/Summer in a voluptuous for her to hibernate, regain her strength in showcase. It is that time to let her withdraw off surplus beauty and regain her glorious through rebirth ready for the next season as adornment of Autumn/Winter 2014.

cocoon of love, the wake of her in order to shed blossoming nature we showcase the

CREDITS.................................................................................. Curation & direction.............................................Stephanie Legend Photography & Editing.............................................Edvinas Bruzas Post Production ...............................................John Paul Zampetti Hair & Makeup................................Moni Balogun & Leo De-Valentino 29

MASTHEAD............................................................................... Editor In Chief....................................Thomasina-Stephanie Legend Creative Director....................................................Edvinas Bruzas Art Directors................Edvinas Bruzas & Thomasina-Stephanie Legend Fashion Directors...................Rachael Ryan-White & Paulema Gaspard Beauty Director..............................Moni Balogun of Monique Artistry Post Production Team.................Kelly Morrison & John Paul Zampetti Location..................................................London, United Kingdom Contact.............................................press@voixmeetsmode.co.uk VoixMeetsMode â&#x20AC;&#x201C; VMM, is a self-published bi-annual online publication and film portal dedicated to discovering, collaborating, promoting and showcasing new luxuries within Fashion, Film and the Creative Arts. Emerging talents from all over the World are an integral part of our foundation, heart and soul of what we do and who we are. VMM is a strong supporter of sustainability, continuously seeking out new ways to improve oursustainable footprint and at the same time further be at the forefront of promoting and educating through our platform the high importance of sustainability. All layouts and designs are the properties of VoixMeetsMode All work submitted and images have been published with the authority of the owners and permission given to be used on all VoixMeetsMode site, blog and social media platforms. Property of www.voixmeetsmode.com Copyright ÂŠ 2012-2014 30

CONTRIBUTORS “ TEAMWORK IS THE ABILITY TO WORK TOGETHER TOWARD A COMMON VISION.THE ABILITY TO DIRECT INDIVIDUAL ACCOMPLISHMENTS TOWARDORGANIZATIONAL OBJECTIVES. IT IS THE FUEL THAT ALLOWS COMMON PEOPLE TO ATTAIN UNCOMMON RESULTS.” - ANDREW CARNEGIE

MALIN M. RUBERG

VIKTORIJA MACKINYTE

Professional dancer and VMM’s Model for Free Spirit and Transitions editorials

Fashion Media student at London College of fashion and VMM’s Empowerment editorial model.

SAFFRON THORNHILL

ANNA DRAY

Makeup artist

Fashion Illustrator

YANA DAVYDOVA

IVANA PETRIISKI

Fashion Photographer & student at Istituto Marangoni

Model for VMM’s Winter’s tropical heartbeat

INGRID ASONI

YEN KIM

Founder & CEO of Asoni Haus PR.

VMM Model

MASTERPIECE PR

ANASTASIJA ZUKOVSKA

“COMING TOGETHER IS A BEGINNING. KEEPING TOGETHER IS PROGRESS. WORKING TOGETHER IS SUCCESS.” - HENRY FORD

CONTENTS............................................................................ LET THE GOOD TIMES ROLL....................................................11 SPETLOVA..........................................................................49 UNA BURKE..........................................................................57 ROBERT WUN.......................................................................67 ANJA FRERS.........................................................................79 YOUNG BRITISH DESIGNERS......................................................89 MAREUNROL’S.................................................................93 ZARA OXBOROUGH...............................................................105 EKI ORLEANS......................................................................107 AUTUMN’S FREE SPIRITED GLAMAZON.....................................111 THE LIGHT THAT DEFINES THE DARK.......................................119 DESTRUCTIVE GLORY...........................................................127 EMMA ALINGTON.................................................................139 EMMA EDGAR......................................................................149 SAYAKA GANZ....................................................................155 AMY DAVIDSON...................................................................165 HYUN SEON JEON................................................................167 KART POLDMAN SHOES.........................................................169 KIM KWANG LONDON.............................................................171 LORENA SOSA....................................................................173 CHULO.............................................................................175 SEUNG MI KIM.....................................................................177 ROSIE GAULT......................................................................179 SANGMIN PARK...................................................................181 EVIE CHEUNG......................................................................183 MAGDA-SIMONA DANILOAIA...................................................185 SILVIA FADO SHOES.............................................................187 YOUNGWON KIM..................................................................189 MELINE KATCHI SHOES..........................................................191 TAESOK BAGS....................................................................193 JOSEPH ALEXANDER............................................................197 35

VMM FOR NINA RAI..............................................................203 CARMINA BLANK.................................................................211 MARINA HOERMANSEDER......................................................221 LAUREN GOLDING................................................................231 GUYHYUN JEE....................................................................241 MIGUEL MESA POSADA.........................................................251 EDEN DIODATI.....................................................................259 YOUNGWON KIM X GROUND ZERO..............................................271 SILVIA FADO ......................................................................279 MICHAEL AZU.....................................................................285 CAROLIN HOLZHUBER..........................................................289 ORARE..............................................................................295 ELINA GLEIZER...................................................................305 MOMENT...........................................................................311 PAPIROGA.........................................................................317 MAI THEORY.......................................................................323 BAGS BY M.........................................................................333 LIAT BRANDEL GILON...........................................................339 PRISON BREAK...................................................................343 TOMBOY BY KIMBERLY HAWMMOND........................................253 MODERN GEISHA BY SIMON-HARTMAN ......................................359 TRANSITIONS....................................................................365 THE SHAPE OF THINGS TO COME...............................................379 PHENOMENAL WOMAN.........................................................385 PIPPA DAVIDSON................................................................405 CHIARA CAPOCCI................................................................413 MIN WU.............................................................................421 CHINYOW ZHANG................................................................433 YASYA MINOCHKINA............................................................443 THE DARK KNIGHT...............................................................453 WINTER’S TROPICAL HEARTBEAT.........................................461 36

CHINYOW

ZHANG

EDITOR’S MUSINGS Dedicated To: VIJA VILCINS ANABELLE ENOS-EDU Thank You For Pulling Me Back On The Track In The Face Of Rejection. Thank you for believing in me and believing that I was much more than I saw myself.

INVICTUS Out of the night that covers me, Black as the Pit from pole to pole, I thank whatever gods may be For my unconquerable soul. In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeoning’s of chance My head is bloody, but unbowed. Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds, and shall find, me unafraid. It matters not how strait the gate, How charged with punishments the scroll. I am the master of my fate: I am the captain of my soul.

William Ernest Henley (1849 - 1902 / Gloucester / England)

When you have a vision, that vision stays with you. It bombards you day and night. It even has the ability to upset your sleep at night when it believes that you are not doing everything within your capabilities to make the vision come to life. Visions have a profound heartbeat of their own, a heartbeat that controls your own heartbeat. That heartbeat that implodes fear into our very veins when it feels us slipping away from the designated path of our true purpose in life. Visions are embedded deep within us as purposes. Purposes that must be fulfilled before we can find peace. But the fact still remains that no matter what vision, dreams, goals and or ambitions we have, the journey is never that simple or easy. There will always be storms and challenges thrown at us to alter the course of our path or even attempt to alter our directions even when you are on the right path. Sometimes it can be as bad as life itself backing you into a corner and waiting to see what you would do. Will you just stay in that corner and accept defeat willingly or will you go within yourself and search for that lifeline and come out lashing out and fighting to the death as your life, your entire being depends on it? Well for me, my vision, dreams, ambitions and all that is within me have been on a battle constantly for years. At the beginning it was due to me not wanting it enough to chase after it and when I finally realized how much I wanted my vision to come alive, for it to lead me towards the path of my destiny, my purpose, worse battles began. Even when I have been on the right path, I have been backed into various walls by life. Giving up has never been an option and will never be an option. I have had to learn to search deep within me and possess that which has been embedded in me. I have had to overcome my fears and replace them with believing not just in myself but in the power of my dreams, my vision and thanks to being backed up against a wall in the face of almost reaching my dreams and it all being snatched away in the split of a moment, a new â&#x20AC;&#x2DC;GENESISâ&#x20AC;&#x2122; was born. 42

When my colleague Eddy (creative director) and I sat down to discuss what we wanted for this issue, I remember saying to him, it was time to start at the beginning. To show the world our â&#x20AC;&#x2DC;GENESISâ&#x20AC;&#x2122;, our true vision for VMM both in content and in style because we both believed that as much as we put a lot of love, effort and hard work into our first issue, it did not reflect the vision we have for this platform and it was time to go back to the very start and create that which we want to portray and depict to the world. Even after looking back on this issue, we both believe that we still havenâ&#x20AC;&#x2122;t hit the nail on the head but we are pleased that we are on the right path to creating that which we envision to be the next big thing within online publishing. As creators, it was highly important that we brought to the forefront our creative and collaborative abilities and this issue gave us that playing field to experiment, learn and broaden our creative foresights giving us greater scope to develop our ideas and concepts further for issue3. The best part of this issue for me has been the interviews. When we decide on a topic or theme to focus on for an issue, I start researching and looking out for names that I would love to interview to get a level of understanding about what they do, how they do it, their experiences and struggles, what keeps them afloat and what advice they would give to people that would like to follow in their footsteps and its really fascinating to either read or listen to their answers and responses. This issue is packed with some of the most exciting interviews one can imagine and I can only ask that everyone take the time to read through each interview because there is so much you will learn from them.

Newham College o Hat: Malih Dress: Leti Accessories: Vikt Illustration:

fFurther Education ha Khanom icia Ngaiula torija Agne (LCF) : Anna dray

Working on this issue has been a tremendous blessing and pleasure because it has opened my team and I up to some of the most amazing creativetalent out there. Individuals those are just as passionate and hard working as we are from all around the world. Collaborating with them has been mind blowing and we celebrate them through our Genesis because in reality it is their beginning as well. A big thank you to everyone that contributed in making this issue comes alive. I truly appreciate each and every single one of you. Thank you to team VMM for putting up with me and my crazy demands and ideas because when I think it, I know it can be done and I refuse to take no for an answer and unfortunately they have had to experience it and fortunately have come to see the lengths of which their creativity stems and has no bounds or limits. Thank you all for realizing just how amazing you all are and believing in the vision of VMM. I could spoil it all by going on and on about what is in this issue and who we featured and all that, but I rather not. I rather you take a ride through the pages of our genesis and discover for yourselves, enjoying each page as you turn it. We appreciate all the support we have gotten from our readers, the positive feed back, the critics that have positively influenced our growth and those that have patted us on the back for taking the right step in a direction that needs broader awareness and light thrown at. We appreciate all of you and hope that this issue, this genesis is the real beginning of greater things to come for both sides of the mirrors. Thomasina-Stephanie Legend Founder & Editor-In-Chief

“A MAN WHO WORKS WITH HIS HANDS IS A LABOURER; A MAN WHO WORKS WITH HIS HANDS AND HIS BRAIN IS A CRAFTSMAN; BUT A MAN WHO WORKS WITH HIS HANDS AND HIS BRAIN AND HIS HEART IS AN ARTIST” LOUIS NIZER

ALUMNI

They sought for the sky, reached the sky, touched the sky and keep soaring high.

Meet the Aluminiâ&#x20AC;&#x2122;s making it happen. 48

SPETLOVA What sort of woman are your pieces aimed at? “Any woman who appreciates craftsmanship, high quality and who wants to stand out from the norm.” via telegraph online. Dubbed the “London queen of texture” by the Telegraph online, Martina Spetlova truly is majestic with her creative flare and prudent infusion of textures and colors. What we love about Martina is how she continually explores significant signature strengths that she strives to perfect in each collection. Through her collections, one can see the poetic themes of refinery – where she never tires of refining the techniques that intrigue her with their sense of mystery and complexity. Having previously studied chemistry in Prague, Martina’s decision to study fashion was birthed out of a strong desire to create. Graduating from Central Saint Martins in 2010 with a well-deserved distinction in Fashion textiles, Martina solidified her signature style, which is the patchwork with mixes of bold block colors of textile and leather. When one takes a journey through her archives of amazing garments & collection, quality craftsmanship springs out at you giving you the intricate notion and sense of distinct design coupled with an essence of boldness & power. Each collection has an independent chemistry that has the ability to communicate its story both on its own and collectively. CREDITS: Photographer Adam Goodison Creative consultant & stylist Cynthia Lowrence-John Hair & make-up Maria Asadi @ Phamous artists Model Flo@select

UNA BURKE Úna Burke is a multi-award winning Luxury Leather Accessories Designer and Artist. Born and brought up in North County Roscommon, the West of Ireland, Úna studied and completed a BA in Fashion Design at the Limerick School of Art and Design in 2003. In 2007, Úna received a distinction for her MA in Fashion Artefact and her graduate collection, ‘RETREAT’, won the London College of Fashion ”Off Catwalk Award for Design 2009”. Ms Burke’s journey has been one of positive influence with the strong desire and conviction to showcase and emanate change through the telling of specific stories embedded within each collection she creates every season. Each piece produced in Úna’s South London Atelier is crafted entirely by hand using British and Italian Vegetable Tanned leathers, earning the brand the ‘Positive Luxury Butterfly Trust Mark’. With her work being concept based there are often human stories behind the designs and influence is taken from psychological, military and medical sources meaning her styles are timeless, elegant and sculptural. These pieces are designed for the discerning customer who appreciates quality and creativity.

ROBERT WUN Robert Wun’s ideal girl >> “I envision my muses in my dreams when I am designing,” he says. “They must be striking, independent and bizarre in a sophisticated, yet appealing way.” Robert Wun is a luxury fashion label, based in London and aimed at creating ingenious garments with a sophisticated vision, to inspire independent individuals with original beliefs and strong identities. The chaotic interplay between Nature and artificial forms is the centre of the design ethos: through resourcing in the novelty of nature and the revolutionary forms of the artificial world, Robert Wun believes in such contradictions – promising ideas generated through the process of complexity. Dictating the new ‘futuristic’ through innovative manufacturing yet with uncompromising attention to traditional values; creating harmony by combining enlightening ideas with sophisticated craftsmanship, bringing a new dimension to luxury garments and also to the young London fashion industry. After graduating from London College of Fashion in 2012 with a graduate collection that set him apart from the crowd entitled “BURNT”, Robert Wun was ready to lay out his vision for redefining his ideas of wearable art that depicted a strong inter-relation with Mother Nature. Strongly inspired and awed by the long standing relationship and love between man and Nature, his follow up collections after Burnt, explores and seeks to understand how this fascination and bond between Man and Nature has evolved over time focusing his attention on specific themes and concepts. Robert’s AW14 collection “VOLT” highlights innovative construction techniques with ultra modern silhouettes and eye-catching accessories. Fusing futuristic surrealism with exaggerated silhouettes, bold daring colours and carefully executed fine tailoring that captures the intricate but purposefully placed subtly and yet very visible custom made trimmings that convey Wun’s classic signature to a tee, Robert proves yet again that he is more than capable of creating luxury garments that can essentially become wearable art pieces. His uncompromising attention to detail and traditional values in tailoring pulls through his ideas of depicting the processes of complexity through sophisticated craftsmanship that builds firmly on his design aesthetics which becomes beautiful and breath-taking to watch as it develops into real form luxury. 67

“THE

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EMOTION IS A STRANGER, WHO CAN NO LONGER PAUSE TO WONDER AND STAND RAPT IN AWE, IS AS GOOD AS DEAD; HIS EYES ARE CLOSED.” ALBERT EINSTEIN

ENTREVUE

Part

“The best way to predict the future is to create it” - Peter Drucker PB

ANJA FRERS

Fashion photographer Anja Frers is a budding artist with a visual talent so strong yet subtle. Her images are soft with hints of sensuality that define the characters of her subjects. She makes it her ultimate goal to create images and visual stories that are not just beautifully stunning but packed with semiotic symbolisms that depict the importance of humanity and how to her, models are a whole lot more than just clothes hangers representing the newest trends. Anja has perfected her skills and expertise in pulling through and critically portraying varying characters with an embedded soul within all her images even when itâ&#x20AC;&#x2122;s a simple beauty headshot. Her work is not only always accurate in portraying sensuality, character and identity, it also captures a precision that flows with a depth of incredible beauty and aura of luxurious sophistication that can never be under sold. Anja Frers style to us is sensual, picturesque and fluidly poetic with strong elements of a confident creative whose love for creating meaningful visuals with the model whom she places at the center of her inspiration and allows her to set her creativity loss. VMM sits down with the phenomenal artist to find out a bit more about her passion for photography.

VMM: When did you get into photography?

want to be. When you begin, the ideas you have, they are phenomenal. You are buzzing to create beautiful images but the reality is as I said, getting the team together at the beginning is hard.

I really started photography at the age of 20. VMM: Why photography? What do you enjoy about it?

VMM: You have won a lot of awards which depicts how amazing you are, what would you say is the secret to your being so successful?

As a child, I loved to sketch. Drawing and sketching were a favourite pastime and I could not get enough of it. I was deeply engrossed in art and beautiful paintings. Trying to recreate them through sketching and drawing. Always pushing myself to get the images I was trying to sketch and or draw develop into other forms or stories. For me photography is a different way of “drawing”.... it starts with an idea that I have and that idea just keeps developing.... and often I find myself still sketching storyboards.

It is very important to stick to ones way and believe in it, to find your style and to keep going with that and develop that style and aesthetic no matter what others might say, the negative comments that will be thrown your way, it should not stop you if you know what your style and aesthetics are. It’s a question of personal taste if someone likes your photograph or not and you can’t please everyone, otherwise you become mediocre.

VMM: Was it a difficult process starting out?

VMM: What advice would you give to young people trying to get into photography as a career?

In the beginning it is very difficult to find good models and great styling. When you are in this industry and you are not that well known yet, it is nearly impossible to get a styling-letter from a magazine and with that a great model for a fashion story that is up there with where you

Always pay strong attention and look at which direction/medium of photography makes you excited and you would wish to follow. Not every photographic style and its approach is the same, so

really make sure you understand and know that it is what you really want to do. Secondly, have a little financial nest egg prepared before you go out there because you are not going to land that advertising job in the first week of being a freelance photographer yourself. Like everything else in this business, landing that first paid big job as a freelancer takes time. It takes a lot of sacrifice, dedication, commitment, motivation, staying strong and inspired, being consistent and continuously keeping your work fresh with new ideas that push mediocre boundaries and are up to date with industry standards. It is a lot of hard work and if you are not prepared for any of that, then do not go into it. Fundamentally, stay on top and do not let events overwhelm you. Endeavour to always work on yourself, your photography and find and keep the joy you experience within what you are doing. Finally please don’t sell yourself short and or under value yourself or your work at anytime in order to please anyone. Know your worth within the industry because you are not doing yourself and others in the market any favours by undervaluing yourself.

YOUNG BRITISH DESIGNERS

Life is all about ‘moments in time’. Some of those moments are more significant than others; sometimes we have the opportunity, in one of those moments to do something new, something brave, something unique and something that will change our own life or those of others. These are the moments that really matter, when we have to decide whether to take a brave step into a new world, or remain with the familiarity of habit. These are the special moments in our lives...Young British Designers is all about those special ‘moments in time’. It started with a small group of people with differing ages, differing backgrounds, some shared experiences...but most importantly a real thirst to pursue a vision about which all were really passionate: original brave design, new talent, a fair way to work and the opportunity to take a risk; a life changing risk.Which is exactly what our new British

designers do every day - they take brave steps, every time they create a new design, every time they show their own, very personal creation to a critical world. We love British design, there’s just something about it, it’s not the sophisticated je ne sais quoi of our European cousins, or the highoctane desirability of our US counterparts. It’s just so cool, so ground breaking, so ‘chuck away the rule book’ and all with a British twinkle in the eye.Young British Designers is proud to have created the first dedicated retail environment purely focusing upon young talent working in this country (and by young we mean still in the formative years of their brand, we don’t really mind if they start designing at 60 or beyond). Our designers are at the core of the Young British Designers retail experience. We believe that their talent speaks for itself and in doing so gives us the chance to present our customers with something new and unique: a perfectly curated collection of the best that emerging British fashion has to offer - a wonderful place to create a highly individual style statement and to love the wearing of it. The best of fashion starts at a ‘moment in time’ - this is that time.

VMM: How does YBD work in terms of buying? Do you approach who you like or want or can designers contact you?

have around 15 new designers write into us most days. We also keep everything peeled on Twitter/Instagram etc. to pick up any brand new talent that may have been hiding its light under a bushel.

We work in every way we can to uncover/discover the very best of emerging British based design talent. We visit LFW, GFW and the degree shows but we also

VMM: What do you look for in a designer’s collection? Is there 90

a specific thing that makes you know that this is the one?

possible as quickly as possible. Some of the biggest names in retail do this and, whilst we can always understand exclusives on colour-ways or a few pieces, to insist upon exclusivity at such a crucial stage of a designer’s career is incredibly short sighted. We have known this happen and then brilliant young talent get dropped after just one season because the return didn’t meet the algorithm. This leaves the designer in a potentially fatal situation with other retailers having walked away and placed their commitments elsewhere.

Yes. But it’s inexplicable. Our designers are both fiercely Avant-garde and also gently romantic. They range from the rule breaking J.W.Anderson to the quietly unconventional Renli Su who is joining us for AW14. But you do tend to know within seconds of opening a look book email. Does it make me thrill to the very core? Am I excited? Maybe even uncomfortable, a little scared? Does this look like a brand new label in the making? Do we long to have them as part of Young British Designers?

VMM: All retailers have a responsibility to nurture our blossoming talent and ensure it succeeds. We take ours immensely seriously and would never insist upon an exclusive. What advice would you give to young people or anyone who would like to go into fashion/ product design?

VMM: Since setting up YBD, what are some of the challenges, problems or issues that you have faced whilst running the business? There are many day-to-day issues that face a business like ours, not least because we actually invest our own money in the talent we believe in as opposed to offering online rental to emerging designers. But there is one huge issue that really riles us and that is of other stores, online or not, insisting upon exclusivity with a new designer. This happens again and again and is so detrimental to a fledgling brand that needs to gain as much exposure as

Don’t just want to go into it. Need to. Know that this is the only direction that will fulfil you, overwhelm you, exhaust you and energise you. And reach out to everyone you can for experience, support, chocolate and tea. But then don’t compromise on your vision. Just reach for those stars.

MAREUNROL’S Marite Mastina-Peterkopa and Rolands Peterkops are the creative duo and founders of the luxury design brand Mareunrol’s. Both from Riga, Latvia, which is rich in culture and history and has one of the oldest Indo-European languages, the duo studied fashion design at the Design and Art College of Riga, the Latvian Academy of Art and the Royal Academy of Fine Arts in Antwerp. This creative duo became the first brand to ever win two main awards back to back at the Hyères International Festival of Fashion & Photography in 2009. Their creative partnership stands on the solid foundational aim of showing that “the impossible is possible”. They continuously push the boundaries of art and installations infusing every creative medium known possible into the presentation of their garments to communicate a story. Stories that are vividly inspired by diverse and various things coupled with moments in time captured in thought and created into space. Being truly inspired and captivated by almost anything that seems interesting or peculiar at a certain moment. That could come from their own emotional experience, misunderstandings and coincidences, or the stories conjured up in their fantasies. They tend to focus on the very trivial of things that due to the haste and rush of everyday routine life that we are so used to and become accustomed to, we tend not to pick up on or notice. Their approach to their creative story could be influenced by an empty kitchen, dull elements, a moment captured in a hundredth of a second. “Sometimes we are influenced by strong personalities who are able to be who they actually are, and are not afraid of being misunderstood; the ones who welcome the challenge of breaking conventions, thus having inconceivable input in the future”(Via NJAL). Their clothing and collections are never unaccompanied when presented to the world. On the contrary, the talented duo always make sure that there is a powerful story visually recreated into a spectacular art form be it in film, photography, exhibition and or live combination of curated mediums of the afore mentioned always accompany the Mareunrol’s clothing with specially designed sets, scenography, video projections, installations, photography - any creative output that helps to communicate their story. 93

VMM: What attracted you both to fashion? Why fashion design? What is it about fashion design that stood out collectively for you both?

For us, inspirations come from anywhere. It really varies. Sometimes the approach we take can be influenced by something as trivial as an empty kitchen. Other times it can be dull elements, or a moment captured in a hundredth of a second. Sometimes we are strongly inspired by strong personalities who are not afraid to be themselves and or be misunderstood by society. We tend to lean close to those that do really challenge and break

We see fashion not only as clothing, but also as an entire embodiment of visual emotions. It is the combination of things and feelings, looking for undiscovered emotions and tastes. There are various tools we use to find it - set design, sound, photography, sculpture, coincidences, misunderstandings and culture. That’s what we want to emphasize in our works. Our aim is to show that the impossible is possible.

conventions and redirect their own destinies. Great people in cinema, music and photography have influenced and inspired the outcomes of our work greatly. From the likes of Jacques Tati who is a master of composition in cinema to Roman Polański who was our main muse when we made our puppet project titled ‘Tenants’. We channelled inspiration from his well-acclaimed film The Tenant and Repulsion.

To us, Fashion is the building of feelings in the most inconceivable ways and of all sorts of tools that manifests in the form of visual ‘language’ - material, space, and sound or even set design. We are attracted by the vastness and the opportunity to combine and connect various disciplines through which we can disclose reveal the message of fashion, our visual ‘language’.

VMM: How does your partnership work? Are you both happy working as a partnership and would you advice young creative to do likewise if they could?

VMM: Where do you get your inspiration? Who would you say is a big influence on your design aesthetics?

We are very different therefore we are very critical of each other and we think it that is the plus

that truly makes our collaboration work and thrive so well. It is important for us that the design and the things we create have strong argumentation and they live their lives in the long run. If our ideas can withstand our self-criticism, the idea is worth creating and developing further. To work in tandem with someone, one has to trust, listen and be able to hear criticism and not get offended by it but rather see it as a positive channel towards

like to follow in your footsteps? What should they do differently?

development.

VMM: What would you both do differently if you had the chance to start again or do this all over again?

The advice would be not to become complacent with what you do, always keep the desire to strive for higher goals. It is worthwhile to assess the time and opportunities that are given. Real work experience is what develops thinking and the ability to manage the real world the best.Â

VMM: How hard was it setting up the business? Was it difficult to break into the industry?Â

Probably nothing. The greatest difficulty for beginners is the financial kickstart, which affects both starting a business and retaining it. Another difficulty in this business is the issues of economical barriers. Young designers are forced to adapt to the market to survive. Most buyers seek low prices, while the cost of fabrics and materials is increasing, resulting in a direct and intrusive commercial dominance. The Internet has reduced the value of magazines, publications and fashion photography.

VMM: What is next for MAREUNROLLâ&#x20AC;&#x2122;S now that you have more or less conquered every area of the creative industry from fashion design, to film, installations but to name a few? Currently we are in collaboration with some of the best young Latvian architects we are invited to work in a team to design the pavilion of Latvia for Expo 2015 exhibition, which will take place in Milan.

VMM: What advice would you dish out to anyone who would

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ALL

APPRECIATION

CRAFTSMANSHIP,

LOVE

BUT

FINE

MOST

NOT HAVE A REFERENCE POINT OR ACCESS TO EXAMPLES OF IT… THE INTERNET… AWAY

HAS

DRAWN

FROM”MAKING

VICARIOUSLY

MANY

THINGS”

EXPERIENCING

WHAT

OTHERS HAVE CHOSEN FOR US IN LIEU OF US IDENTIFYING AND PURSUING A

UNIQUE

PERSONAL

JOURNEY.”

WILLIAM L. GOULD

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BEYOND THE RUNWAY

“I want to make clothes that people will wear, not styles that will make a big splash on the runway” - Oscar de la Renta

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ZARA OXBOROUGH

Zara Oxborough is a fashion Innovation graduate from University of the Creative Arts Epsom, specialising in womenswear. Her final collection entitled ‘The Inuit’ was shown at Graduate Fashion week 2013. ‘INUIT’ is a minimalistic and textile focused collection inspired by the cultural influences of the Inuit people and the arctic landscape. Fabric choices were inspired by the arctic landscape and terrain, featuring soft sheepskin and rabbit fur, wool, leather and coated waterproof cottons. 105

WHITE, GLORIOUS WHITE

Always fascinated with Japanese fashion and the concept of ‘wabi sabi’, her designs feature the concept of space between body and cloth. Minimalistic and chic silhouettes that don’t necessarily highlight the curves of the female form, but remain feminine and sophisticated. Classic designers remain solid influences in her design work, which are often merged with her intrigue of travel and exploring different cultures.

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EKI ORLEANS

Imagine the hypnotic beat of African drums, the seductive rhythm of salsa and dancing to samba on a balmy night in Rio, and you have the spirit of the Eki Orleans AW14 collection. Music has always been a powerful source of inspiration for Eki Orleans Designer, Hazel AggreyOrleans and this season she translated her love for Afro-Cuban music into an extraordinary collection, aptly named ‘Rhythm’.

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RHYTHM

Featuring the Eki Orleans signature silks and ethereal chiffons, the Rhythm collection is replete with exquisite garments that seem to move to their own harmonious beat. â&#x20AC;&#x153; I wanted to capture the rawness of the African drum and the melodic elements of samba, in a way that inspired spontaneity, fun and playfulnessâ&#x20AC;?, explained the designer. Using a dazzling array of golds and blues in sensual and sophisticated silhouettes, the designer created modern and elegant pieces that are indeed fun and playful.

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AUTUMNâ&#x20AC;&#x2122;S FREE SPIRITED GLAMAZON

CREDITS: Photography: Edvinas Bruzas Styling & Curation: Stephanie Legend Hair & Makeup: Moni Balogun (Monique Artistry) Model: Malin M. Ruberg Editing: John Paul Zambetti Dress By: Carlotta Zeitelhack (Newham College Of Further Education) Coat By: Charlotte Barrett

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““YOU

CALL

YOURSELF

FREE

SPIRIT, A “WILD THING,” AND YOU’RE TERRIFIED SOMEBODY’S GONNA STICK YOU IN A CAGE. WELL BABY, YOU’RE ALREADY IN THAT CAGE. YOU BUILT IT YOURSELF. AND IT’S NOT BOUNDED IN THE WEST BY TULIP, TEXAS, OR IN THE EAST BY SOMALI-LAND. IT’S WHEREVER

YOU

GO.

BECAUSE

MATTER WHERE YOU RUN, YOU JUST END

RUNNING

INTO

YOURSELF.”

TRUMAN CAPOTE, BREAKFAST AT TIFFANY’S: AND THREE STORIES

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THE LIGHT THAT DEFINES THE DARK

CREDITS: All Clothing Designed by Rachael Ryan-足White Curated & Directed By Stephanie Legend Photography: Gianluca Pantaleo Styling: Katharina Geisler Hair & Makeup: Katharina Geisler Model: Martha Haywood

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DESTRUCTIVE GLORY

CREDITS: Hair: Angela Plummer www.angelaplummer.com Photographer: Abi Oshodi www.ao-photography.co.uk Make Up Artist: Flora Losilo using Mac & Nars Stylist: Crystal Deroche www.crystalderoche.com Model: Bryony Robertson

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“WE DON’T CATCH HOLD OF AN IDEA, RATHER THE IDEA CATCHES HOLD OF US AND ENSLAVES US AND WHIPS US

INTO

THE

ARENA

THAT WE, FORCED TO BE GLADIATORS, FIGHT FOR IT.” ANNA FUNDER

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ENTREVUE

Part

â&#x20AC;&#x153;Art-making is not about telling the truth but making the truth feltâ&#x20AC;? - Christian Boltanski 138

EMMA ALINGTON

Emma established herself as a ceramic designer after graduating in the summer of 2013 with a First Class Honours Degree from Central Saint Martins College of Art and Design. Following on from the success of her graduate show, she has since had her work featured in London Design Festival, Red Magazine, and her work is currently stocked in a handful of independent retailers. Working from her ceramics studio in Berkshire, Emma is building her own brand as a designer-maker working on her own collections, as well as on custom orders for retailers, specialising in high end handcrafted functional ceramics. She is also working in collaboration with Londonbased Little Carousel Gallery, producing a line of luxury bespoke children’s tableware gifts. Emma also works on commissions - working on commercial projects with clients from restaurants and retailers, as well as private commissions from the UK and New York. Quality craftsmanship and emphasis on creating beautiful, functional pieces are central to her design process. Sharing how and where her pieces are made build integrity. She hopes that by bringing both material and sentimental value into her work, a timeless appreciation is created. An integral part for all of Emma’s work is her back stamp and logo. It includes her ‘Alington’ family heraldry, which is a striking design feature as well as her unique branding and identity. Turning the traditional into something for the contemporary home is an element that she aims to bring into her work. For Emma, “designing is creating gifts for people”.

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VMM: Why did you decide to go into the field of Ceramics? What appealed you to it?

opportunities you have along the way which help to lead you to where you want to be.

I have always been creative. When it came to sixth form, I took ceramics as one of my A levels. At this stage, ceramics was still rather an alien topic to me. That was definitely the spark that got me into the field.

Learning material and technical knowledge about ceramics was obviously a huge part of my course, but learning how to work with others, how to think professionally, building a network, and just being in a creatively fuelled campus with like-minded people for 3 years – these are the things that count.

VMM: Has it been breaking into the field?

difficult

So far I think it’s been more about finding where I want to sit within the field, rather than ‘breaking into it’. There are so many different pockets within the British ceramic industry; trying to establish myself / my brand with a completely clean slate – that’s been the difficult part so far.

VMM: What is the ceramic industry like? Would you describe it to be as cutthroat as the fashion industry? The ceramics industry in the UK has an enormous amount of heritage attached to it. In recent years many factories have had to close, and sadly even many degree courses in ceramics have ended. I think people who work within the industry have a mutual and loyal appreciation for ceramics, though. I feel it’s the responsibility of this generation to get it back to where it was. It is very encouraging to see the ceramic industry having a revival in recent years – but even with competition ever on the increase; it’s far from the cutthroat ways in fashion!

VMM: Do you think having a higher education qualification helps in breaking into the field of ceramics? My time at Central Saint Martins gaining a degree in ceramic design has undoubtedly led me to where I am now. However I think the qualification or grade you graduate with only scratches the surface of what you truly gain - it’s about the experiences and

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VMM: What are some of the difficulties/challenges you have faced since trying to establish your brand after school?

Alington family crest and coat of arms has been a decorative feature on many of my designs, as well as being a prominent part to my branding and logo. It’s very personal and has a strong narrative, something which I hope stands out.

I completely threw myself in the deep end in running a business. Yes – I had ceramic knowledge at my disposal, but I had no idea on how to run, let alone start a business. After graduating, I was aware of the ‘business head’ I was lacking in order to push forward. I was enrolled onto

In terms of inspiration, I try and balance a traditional shape or style with a contemporary aesthetic. Something that has more than one function is important to me

a local scheme, which helped me write a business plan, and provided funding for start-ups. Another constant challenge is managing to juggle many different aspects of the business at the same time; accounts, marketing, PR, following up leads, communicating with clients etc. – and then there’s the actual time spend designing and making. I try and plan my time very carefully.

– for example, something that could be used in any room of the house. Bringing a sense of longevity into a product is what I hope adds sentimentality and appreciation. VMM: Where do you source your raw materials? Is this difficult to do especially for your collections as they are so unique and different, am sure you put a lot of effort into making sure that the raw materials are the best of the best.

VMM: Your collections and pieces are so unique and different each with a story of their own. Where do you get your inspiration? What inspires you to create this unique and very avant-garde looking ceramic pieces? They are nothing like we have seen in a long time.

I source all of my materials from various companies in Stoke On Trent; the home of the potteries. Despite the vast array of different clays available in the UK, I am always drawn to porcelain. It has a beautiful material quality; though it does have its challenges! Cracking and

My family’s history has played a huge part in my recent work; the

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warping can be a problem with porcelain.

I think firstly, be very aware of your strengths. These are things that will help you get off the ground. Whether it’s whom you know, or what resources you have, or any initial ideas for future projects/business ideas etc. I think it’s especially important to keep the momentum going from after you graduate. Secondly, it helps to ask yourself the difficult questions; it really does help. Things like - What is your niche? What are the short/long term

VMM: What is your vision for your brand? Where do you see it going, becoming or yet still how big do you envisage your dream? I absolutely aspire for ‘Emma Alington’ to be a highly established home wares brand, with a good design, high quality and passion at the heart of it. I would love to venture into things other than just ceramics, but that’s way down the line!

goals? How sustainable is your way of practice? How do you plan to expand? How are you going to price your work? All things which are easy to hide away from, but they all help get the ball rolling.

It’s early days so far, so my next step is to look into getting my designs handcrafted in larger batches in Stoke on Trent, which will enable me to target larger shops and hopefully expand as a brand.

Having a balance of passion, determination and enthusiasm is vital.

But even in these first few months, I have learnt that my ‘business rudder’ has a certain sense of self-direction! I try and stay open to any opportunities and not to be too ‘tunnel-visioned’ on what is or isn’t in my plan. It is very daunting at times, but excitement and determination fuel me through.

VMM: Do you think there is a lot of awareness about getting into the ceramic industry especially for young people still at sixth form and college? Sadly, no. I can remember back doing my ceramic A Level thinking ‘why don’t more people know that you can do this as a career?!’. It links back to my comment above about this generation being the driving force of the ceramic industry. I have a huge amount

VMM: What advice would you give to aspiring ceramic designers?

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of respect for all of my ceramic tutors over the years for inspiring so many people to do ceramics. I feel a certain responsibility now to try and inspire/raise awareness of this and future generations. VMM: What is next for you after such an amazing entry into luxury ceramics? What should we be keeping our eyes peeled out for? I will be launching my new collection at Pulse 2014 in May this year, and I also have some new stockiest lined up which will hopefully help to raise my profile. Though success wonâ&#x20AC;&#x2122;t happen overnight, Iâ&#x20AC;&#x2122;m a firm believer that the harder I try, the luckier I get. And so far, that approach seems to be paying off.

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EMMA EDGAR

Emma Edgar is a fashion and knitwear designer from Northern Ireland. Her custom designs emphasize handwork, craftsmanship and appreciation for raw materials. Emma graduated with a BA Hons degree in Textile Art, Design and Fashion from the University of Ulster in 2013. Her graduate collection titled “Native Notions” shows off her structural and patterning potential which includes a combination of knit techniques, embracing weave like patterns as well as chunky textures. The designs focus on the visual spectacle while attempting to push the limits. After graduating, Emma has worked along side the costume department of the Universal Pictures production of Dracula: Year Zero, a studio assistant for London based designer Christopher Raeburn and Fashion Designer for Art on Fashion Ltd. VMM chats with the budding designer about herself, her vision and the industry as she navigates her way through it as a graduate.

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VMM: Tell me about yourself, in your own words.

On a personal level I would describe myself as being a people person. I enjoy being around and meeting a lot of different people. On a professional level I am a creative thinker. I like to explore alternative solutions to problems and have an open mind about what will work best.

I am a young ambitious, hardworking and passionate designer - a BA (Hons) textile art, design and fashion graduate from the University of Ulster. After graduating I have worked as a costume trainee for Universal Pictures - Dracula Untold, a studio assistant intern for Christopher Raeburn & a fashion designer for Art on Fashion Ltd.

VMM: What made fashion design?

you

study

I knew from a young age I would further my studies in design, Iâ&#x20AC;&#x2122;ve always loved sketching my ideas and expressing myself through my designs. When I was studying my degree is when I knew that

VMM: How would you describe yourself first on a personal level and then secondly as a professional? 151

was the area I desperately wanted to work in! And I have growingly become more passionate about it.

In the past I have always appreciated different cultures, which I investigated through previous projects. Native America greatly inspired my collection ‘Native Notions’ The romanticism of my childhood playing cowboys and Indians also created inspirational memories -I have shown this through the combination of knit techniques, embracing weave like patterns as well as chunky textures. The designs focus on the visual spectacle while attempting to push the limits.

VMM: Why knitwear? Why this sector of fashion designs? I never intended on specifically designing knitwear, but throughout my degree I became largely passionate and inspired about knitwear design. For me, knitwear is an exciting form of expressing my ideas, these allowed me to emphasise handwork, craftsmanship and appreciation for raw materials.

VMM: What are some of the challenges you have faced as a recent graduate designer?

VMM: What are you passionate about?

As a recent fashion graduate designer I have had the challenges of my work being seen. It’s difficult for a graduate designer to show their talent and passion.

I am extremely passionate about fashion! Working from the beginning, with trend research at the very beginning to producing a final outcome gives me great satisfaction. VMM: What inspires you as a person and also what inspires your work?

VMM: What changes would you like to see improve within the industry especially patterning to students, graduates and freelancers?

As a person I am always greatly inspired by various cultures around the world, I love to research the ways many different people live and show this through my designs. VMM: Where do you get your ideas for your collection?

I would like to see changes in the opportunities given to those who are student, graduates or freelancers. For me, I feel that the industry is all about whom you know or if you are a recent graduate you haven’t gained enough experience. Which I 152

personally feel hasn’t given us the best chance to prove our talents. You need experience to gain experience but with the limited number of design houses and other businesses not wanting to take certain risks, we the graduates end up suffering. One has to then take matters into their own hands and do whatever they can to gain experience. This can be by starting something small, even if it’s the one off you make when you have the funds,

Also take the time to enjoy every painful journey because funnily enough, there is always a lesson in it that will elevate you to the next stage and or level. If you fail to enjoy the moments, both good and bad, you fail to recognise the opportunities that are opened through those situations. This has always ben challenging for students and creative all over but when you master the act of appreciation, you end up truly seeing the best even when it is

you just have to keep at it. That is all I can do. It’s important for changes to take place, changes towards graduates and freelancers. Positive changes that will help both parties.

clearly going wrong. 11.Whats next for you for the future? I do not know what the future holds for me, being a recent graduate, I have gained a lot of experience from the time I left university and hope to continually grow and further my talents within the fashion design industry. I look to embrace great opportunities to expand my skills, experience and vision. We will see what tomorrow brings.

VMM: What advice would you give anyone who is interested in either going into fashion design (knitwear) or going to study fashion design at higher education level? For anyone who is interested in any fashion related study, they have to have a passion for the industry, as it is a very difficult qualification, which entails long sleepless hours, painful sacrifices and dedication and unfortunately it is not a fairy tale. You have to really put in the work to see the results and sometimes this takes years but the results will show.

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SAYAKA GANZ “CREATING ENERGY AND HARMONY FROM DISCARDED PLASTIC OBJECTS, TRANSMITTING A MESSAGE OF HOPE” HER PHILOSOPHY “I believe it is very difficult to think far into the future in terms of our ecological foot print. So often our predictions are wrong, and there are not guarantees for anyone’s future. I do not want to condemn the use of plastic or our desire for a more convenient, easier life. However, we must be aware that convenience has hidden costs. I believe the best way for artists to help reduce waste is to show how beautiful these materials can be, and what can be done with these mundane objects and materials. When we think of these things as beautiful, we value them. If we value our resources we will waste less” HER STATEMENT “Driven by a combination of my passion for fitting odd shapes together and a sympathy toward discarded objects, I create animals from post consumer plastics. I spent my early childhood in Japan but I grew up in several different countries. Japanese Shinto philosophy teaches that all objects and organisms have spirits, and I was taught in kindergarten that objects that are discarded before their time weep at night inside the trash bin. This became a vivid image in my mind. The constant need to adjust to a new environment also gave me a strong desire to fit in and to create harmony around me. I only select objects that have been used and discarded. My goal is for each object to transcend its origin by being integrated into an animal/ organic forms that are alive and in motion. This process of reclamation and regeneration is liberating to me as an artist. Building these sculptures helps me understand the situations that surround me. It reminds me that even if there is a conflict right now, there is also a solution in which all the pieces can coexist peacefully. Though there are wide gaps in some areas and small holes in others, when seen from the distance there is great beauty and harmony in our community. Through my sculptures I transmit a message of hope”

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Sayaka Ganz is a Japanese sculptor born in Yokohama, Japan. She grew up between Japan, Brazil and Hong Kong. Ganz has explored various medias from ceramics to printmaking before settling on sculpture and welding as her expressive vehicles of choice that identifies elements of Japanese influence in her work. Using reclaimed plastic household objects as her materials, Ganzâ&#x20AC;&#x2122; recent sculptures depict animals in motion. Sayaka Ganz collects most of her working material from dustbins and charity shops, and friends and family donate the rest. She uses various forms of thrown away plastic, from cutlery to sunglasses and baskets, and sorts them into many different colour groups. Her work is collected and exhibited in London, Tokyo, Takaoka, Isle of Man, New York, San Francisco, Monterey, Toledo and Fort Wayne. VMM reaches out to the extraordinary and highly gifted and talented sculptor to discuss her work further.

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VMM: What inspired you to go into sculpting?

I was fortunate and got mostly very positive reactions from the start. They gave me a lot of encouragement and motivation to keep making more. It’s hard to say what would have changed if the reactions had been negative, or non-existent. I probably would have kept making something no matter what, but perhaps not in the same style. It’s impossible not to be influenced by people’s reactions at all.

I have always loved to build things with my hands and move shapes around in space, even as a child. It felt quite natural for me to explore 3D art, and once I started welding in a oneday workshop during college, something just clicked in my mind. VMM: How hard was it to get established in the industry?

VMM: What are some of the challenges you have faced since starting your career?

It’s difficult for me to gauge that. I guess it was not as hard or mean spirited or mysterious as I had imagined as a student. Once I started making sculpture, and had done it for a while, I naturally started to get to know other people in the field and they got to know me too. It definitely took time and effort, but not any more than what was healthy for me to be doing anyway for my own development. In addition to my skills in sculpture, I made a great effort to improve my communication and time management skills.

I’m a full time artist now, and most of my income is from commission work. Scheduling the right amount of work is always a challenge. Knowing my own capacity, inclinations and weaknesses is very important. I tend to have a hard time turning people or opportunities down, so when I’m put in a position where I have to choose between two jobs that can be difficult, and I’m also often in between jobs not knowing when I’ll get my next commission or pay check. Staying positive and motivated to work even with that kind of uncertainty is also a challenge.

How did people first react to your work? Were they positive and how has that spurred you to carry on?

VMM: How have you dealt with them and managed to keep going

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strong all this time? (The reason for asking is to let our readers understand that every business or career has issues and problems that will be faced. But it is important for them to know that nothing is easy and its all about working through your challenges to move forward)

crazy or not meeting any of the deadlines. Once it became a necessity I found it quite easy to say “no”, and I felt no hesitation what so ever. Now I look at each opportunity carefully and only say yes to the ones I am truly happy to do, regardless of who is asking me. When I decline I try to describe as accurately as possible the reason this opportunity is not right for me at this time, and I have not had any problems with people getting

My mother gave me a great gift, which is a positive outlook about life. I tend to not worry too much about the future and I find it relatively easy to trust the right people. I think that’s what got me through my struggles.

offended. VMM: Can you describe your sculptors and what you use to make them?

When I have to make a decision about something that I know will impact my future, I will find out everything about each option that I can but there are always some factors that are unknown or unknowable. Some of the most exciting projects I have worked on so far have happened because I decided to trust the person or the organization and move forward with the project with people I have never met face to face, or at a place I have never been to before.

When you see my work from the distance you only perceive the overall form, which is relatively naturalistic depiction of animals in motion. When you see them up close you start to notice the individual plastic items that all align and converge to create this overall impression. The individuals are some times bent, scratched, stained, or otherwise marked from use. I only collect items from thrift stores or from dumpsters or donations. I never buy any plastic items new. They are tied together with electrical wire and become three dimensional impressionist brush strokes.

On saying “no” to opportunities, I literally just kept saying yes until one day I reached a point where I physically could not take any more jobs without driving myself

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VMM: Are you a big supporter of the environment and eco friendly campaigner? Is that why your sculpting are made out of recycled pieces? How important is this to you?

you to make one sculptor (If you do not mind our asking)? It depends on the scale and complexity of the piece. It can take anywhere from 3 days to 10 months. The cost similarly varies depending on size, complexity and type of labour it requires. It costs anywhere from $500 to $50,000.

My philosophy aligns well with the environmental movement but my main motivation is slightly different than that. My belief is that there’s great potential in these waste materials. The Shinto animist philosophy teaches that

VMM: Where do you get your inspiration from for your ideas?

even plastic kitchen items may have spirits or souls and be alive in ways undetectable by humans and therefore should be treated with kindness and respect.

Inspiration can come from anywhere. It can be a place I happened to visit, or a conversation with my mother, or something I happened to see on TV.

VMM: What is your vision for your work? What should we be on the look out for?

VMM: What advice would you give to anyone who is interested in following your footsteps?

I’m always looking to expand the variety of reclaimed materials to use. I plan to continue to use plastic items and keep making animal forms, but for background elements there may be rubber bicycle tires, or wood objects, or vinyl. I would like to explore different ways of filling the exhibition space.

Always present the best quality in your work, be punctual and dependable, and help others whenever possible. VMM: Do you make orders for people all over the world? How does that work, as I am sure these are very heavy and having to transport and deliver them all over must be a huge task?

VMM: How long does it take you to make one sculptor?

Yes I do take orders from all over the world. Shipping can be quite

Roughly how much would it cost

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a challenge, and this is another thing I have learned to do over the years. There are laws and regulations you need to learn, about import duty, insurance and special documents just to name a few. The sculptures have to be crated or boxed in a certain way, and now I have a company that I use that can build boxes and crates for me but I still make the smaller boxes myself. The boxes have to be carefully measured and built around the sculpture to fit each strategic curve and pressure points to support the piece properly. Weight is usually not a problem with the plastic sculptures, but they do get quite large.Â

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“WE HAVE

WESTERN LARGELY

“OBSERVERS“

SOCIETY BECOME

RATHER

THAN

“DOERS“... I BELIEVE THAT THE DECLINE IN APPRECIATION OF CRAFTSMANSHIP IS AT THE ROOT OF THIS TREND, AND THAT THIS TREND MUST BE REVERSED FOR US TO SURVIVE“. WILLIAM L. GOULD

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EDITOR’S LUXURY DISCOVERIES

“I’m always thinking about creating. My future starts when I wake up in the morning and see the light.” ― Miles Davis

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AMY DAVIDSON

Amy Davidson, who graduated from Manchester Royal College of Art and won the Graduate Fashion week Mulberry Accessories Award in 2013, is an accessory designer whose incredible attention to detail and intricately impressive use of material has set her above the rest of her competitors. Amyâ&#x20AC;&#x2122;s collection of intricate laser-cut briefcase-style leather bags, were inspired by Gothic Architecture, a theme she discovered on her trips to France. She channelled inspiration from the intricate details surrounding the Cathedral buildings and the ceilings. Her fascination with the delicate nature of lace and its fine detailing, also contributed to the design detailed laser cut patterns that are strongly inspired by gothic architectural imagery. Davidsonâ&#x20AC;&#x2122;s mastery of the laser-cutting technique and use of idiosyncratic materials illustrates her versatility and is a refreshing take on artistic fashion.

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HYUN SEON JEON

Hyun Seon Jeon is a contemporary footwear designer brand that creates architectural, conceptual and unique designs for women who graduated with a BA (Hons) in Cordwainers Footwear: Product Design and Development from the prestigious London College of Fashion. The designer highly focuses and gets design influences from architectural shapes with clean-cut lines. Every design features its own uniqueness, delivering innovation and feminine look whilst still being simple with aspects of commerciality / ready to wear.Â This collection autumn / Winter 2013-14 collection consists of 10 different styles. The concept of this collection is architecture, mainly consisting of Gaudiâ&#x20AC;&#x2122;s works in addition to some other ground-breaking architecture. Both traditional and contemporary architectures are looked at for inspiration. The collection is inspired from the concept in terms of shape, pattern, material, colour, and heel structures.

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KART POLDMAN SHOES

Kärt describes: “Timeless shoes are simple and quiet, yet with an expressive mood to attract, like the twinkle in the eyes. Secretly gliding from modesty to the opposite extreme. These shoes are made in love”. Incorporating golden age paragons with reflections on the present, Kärt Põldmann’s footwear is driven by modern interpretations of another generation’s ideal. Educated at Estonia’s Tartu Art College and the Estonian Academy of Arts, each local shoemaker, using only the finest quality leathers from premium Italian tanneries, individually craft pair of Põldmann’s shoes. Working with local cobblers, she has developed a uniquely artisan production method for the creation of her collection, while her Nordic heritage continues to significantly influence her designs.

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KIM KWANG LONDON Kwang states >> “My first love is women’s footwear but I’m also passionate about womenswear. Inspired by natural materials, I create a contemporary and refined silhouette for the independent and sophisticated woman who isn’t afraid of standing out from the crowd. I push creative boundaries by combining masculine strength with feminine elegance juxtaposing sensual proportions with dominant structural high heels that exaggerate the female shape. My favourite sources are always natural materials as traditional connotations to create a tough and modern silhouette for the passionate yet modern and very contemporary woman” Kim Kwang gained an MA in Fashion Footwear from Cordwainers College (London College of Fashion), as a Jimmy Choo Scholarship student, and a Graduate Diploma in Fashion (Womenswear) from Central Saint Martins. Prior to London, Kim Kwang studied in Milan at Istituto Marangoni receiving an MA in Fashion Womenswear, as a scholarship student. Before establishing his own brand, Kim Kwang worked alongside Jimmy Choo on the Jimmy Choo Couture Shoe Collection, as a footwear designer.

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LORENA SOSA

2014 Handbags collection â&#x20AC;&#x153;Nothing to Hideâ&#x20AC;? by Lorena Sosa TucumĂĄn-born Lorena Sosa has developed a contemporary jewellery and accessories collection which seeks to blur the lines between garments and accessories. This effort to deconstruct boundaries aims to attribute new meanings to compositional methods and materials native to northern Argentina. The essecense of her work is to fuse together the idea of morphology, complex pattern-making, the use of technology and the role of human labour in metal making. She makes metal craftwork part of everyday life. Her poetic landscape is composed from timeless regional features, charged with feelings that take on contemporary forms. Laser-cut acrylics, handcrafted metals etched with acid, and cotton textiles are combined with delicate silk thread embriodery. All this results in design pieces conceived and produced in minute detail, redolent of aromas from the earth, mountains, forests, humanity, humidity and the sun.

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CHULO

The outer-most city limits, where urban culture gradually fades into the beginnings of a rural world; this is the place that inspired the range of designer handbags by Juan Cabrera and Carlos Chiarinoti, the founders of the luxury fashion label Chulo. Emblematic of countryside life, horses and cows provide the conceptual inspiration for cosmopolitan and contemporary pieces. The convergence of textures and materials such as leather and colt hair, as well as traditional hand finishes; make up the aesthetic and constructive essence of the work. A functional character pervades the pieces, created through the use of trims and straps reminiscent of saddles. The structure takes inspiration from observing the different ways in which peasants carry loads when trekking in the countryside.

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SEUNG MI KIM BA (Hons) Cordwainers Footwear: Product Design & Development (London College of Fashion) “Changes in form, illusion and technology” SeungMi Kim is a creative and very modern brand that stands to represent contemporary luxury. It is strongly inspired by a variety of art theories and art works that get interpreted into modern footwear. The value of the brand is enhanced through the combination of special skills with each design having its own unique and significant meaning. Her A/W13-14 collection ‘Cubism’ was inspired by the theory of cubism and cubic paintings and sculptures. The main objective of the theory of cubism is to reproduce the surface through three-dimensional views and the basic perspective rule is abandoned and shows the same object via different sides. This rule was combined with the brands design, which resulted in very modern conceptual and fashionable pieces. SeungMi Kim used and incorporated 3D printing, which is hidden on the inside instead of shown on the outside to give an element of change to the shape of the shoes. To create an optical illusion a point colour was used. On the whole, the collection shows dramatic elements of materials, colour and design.

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ROSIE GAULT

Rosanna Gault graduated from London College of Fashion in 2012 with a first class honours degree in Cordwainers Footwear: Product Design and Innovation. Her inspiration for her collection came from Victorian architecture and artefacts, which are found in her hometown city of London. She focuses her attention on the exact detailed structures that were created during the Victorian era. With strong attention to detail, she interprets the ideas and techniques that were incorporated in creating some of the finest artefacts during the industrial revolution and translates it into fascinating final products for a premium level consumer.

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SANGMIN PARK SangMin Park graduated from Royal College of Art, London in 2011. His love for designing shoes is eminently conveyed in every collection she creates. He constantly works on finding ways to create both comfort and genius style that is not just modern but artistically contemporary. His ‘Incomplete’ and ‘Gubi’ collection are amazing replicas of his constant search for creating comfort for the modern woman. “The Gubi Collection gives more freedom of movement to the wearer” To SangMin Park, footwear is an accessory that people use on a daily basis. Some are worn all day long, stood on for long hours, moved in over varying terrains, whilst at the same time the feet is put through rigorous forms of activities. According to him, there is an irony in the thought that shoes are meant to protect a wearer’s feet but at the same time does restrict the feet. With that thought in mind, SangMin Park designed the Gubi collection that gives individuals a greater level and freedom of enhanced movement within the shoes. His inspiration for the Gubi collection was derived from his fascination with the visual forms of stems and leaf, their structure, shape, and flexibility. He adapts the aesthetics of stems and leafs via technical construction to create the flexibility of the shoes thereby according the collection its combined elements of beauty, simplicity, elegance and more importantly functionality.

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EVIE CHEUNG

Evie Cheung graduated from London College of Fashion in 2013. Her handbags are simply beautiful and elegant pieces that would drive any woman crazy with desire to own one. Her collection is based on Origami and the colours and textures seen in butterflies. The materials used for this collection consists of leather and laser cut Perspex held in place by silver screws. Industrialism and nature is translated through the use of materials; two opposing ideas. The Perspex represents fragility and the screws give an industrious feel to it. The mood of the collection takes inspiration from minimalism seen in the clean lines and three-dimensional forms.

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MAGDA-SIMONA DANILOAIA THE CHANGING FACTOR Through their very ambitious first accessories collection – ‘Manifesto on Luxury’ – the new luxury leather goods brand is giving completely different meanings to what luxury is. Using intricate moulding techniques to create handbags out of one single piece of leather, the moulds being created by hand by the designer herself (Magda-Simona Daniloaia), the final result is nothing like what you would find on the high-street, or even in the most prestigious luxury boutiques. It is the luxury of the future. Not to mention their fully bespoke service, where creativity has no limits and you can create your own unique product from scratch with the designer. With an invitation-only group of customers, good luck trying to show off one of these items at your next dinner-party. Promoting style rather than fashion, the products do not reflect present trends, rather being items to be bought, worn, treasured and passed to the next generation. Furthermore, the lifetime warranty may not impress the fashion victims but will definitely impress the women who want to know what they are paying for. The collection – limited to 20 pieces per style - is made through intricate moulding out of one piece of vegetable tanned leather and has precious elements like hand stitching, silver plated hardware and suede lining. Not to mention the cutting edge way the products are coloured. All in all, it is just exquisite. As for the bespoke services, there is nothing more you could wish for. You can either order your favourite handbag that you have always had in mind but never found or play the game and unleash your creativity by working on the product with the designer. The Changing Factor already has bespoke projects for some of London’s up-and-coming and requests from socialites. How long is it going to take until we all fall under the spell?

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SILVIA FADO SHOES

With a strong interest in architecture and a background in knitwear design, Silvia Fado recently completed a Masters in Fashion Footwear at the London College of Fashion. For her latest collection, Kinetic Traces, Silvia was intrigued by the relationship between the movement of the body and Fashion footwear design on the one hand, and high performance Sports footwear and body movement on the other. She wanted to explore the philosophical and aesthetic consequences of changing the dynamic of that relationship. The principal functions of footwear are often sacrificed in Fashion. This project brought Sports footwear fundamentals to high-end fashion. Sports footwear design is based on function and wear ability, which are not features commonly applied in Fashion footwear. Silvia Fado has been analysing comfort elements in footwear, particularly impact absorption, shoe weight, traction (the relationship between shoe and surface) and upper durability. She sought to bring these concepts into the design of high-end women’s high heels. The central concept of the project development was impact absorption, which was studied from a mechanical point of view because heels are structures, which are affected by many different forces during the process of human motion.

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YOUNGWON KIM

The concept for Youngwon Kimâ&#x20AC;&#x2122;s MA collection can be referred to the broad notion of postmodernism. Since Postmodernism was too broad a concept, the creative and very talented designer narrowed her emphasis down to certain characteristics that are in direct opposite to the general ideas of formalism. Interested in designs that go beyond the existing framework and form, Youngwon Kim challenges and modifies what is already formalized as a form or a set of rules, that she tries to develop into a collection of new footwear designs that stretch the boundaries of visual, technical and functional forms to an extent to which the original wearable function of footwear is not undermined by the excess of design as she attempts to seek new possibilities of footwear design and develop these ideas consistently. The outcome of this collection is aimed to show a new form of footwear that is hard to be conceived in the industry. This is geared to illustrate some new possibilities and directions, at the same time, interact with the current trend without ruling out the functional aspect of footwear. In this Youngwon Kim intends to build a collection of designs with a realistic touch, which will feed new ideas into the industry and communicate with the customers through design. Moreover, living in the era of post-postmodernism with a number of much cherished and memorable designs, it is her personal aim to design shoes that will last through time with its beauty intact. Her collaborations include Kay Kwok London and Ground Zero 189

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MELINE KATCHI SHOES Meline Katchi is a Master of Arts alumnus of London College of Fashion, which she pursued on the prestigious Rectors Award. She has worked at Alexander McQueen Hq, London, Cole Haan, NYC, British Luxury Brand Teatum Jones as well as LD Tuttle, Los Angeles, who also creates footwear for Helmut Lang and VPL. She was the winner of the DATO JIMMY CHOO AWARD 2013 and nominated for VOUGE X MUUSE AWARDS 2014. Meline Katchi incorporates product innovation through process innovation, utilizing methods of tectonic architecture and challenging existing fabrication parameters to develop new methodological tools used to create modular transitional footwear that guides the consumer into a new era of flat pack footwear. The display is presented both as packaged flat packs and the footwear’s tectonic transformation onto the lasts. This is done intentionally to represent their inventive precision as well as visually attract the viewer/ consumer to the operational methodology and relationship form completely flat to a three dimensionally functional object. There is an adaptation here, a complete product that could potentially alter behaviour through the transformation of simple systems.

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TAESOK BAGS

This collection explores narratives of sexual human body and addresses the question of palpable sensations that manifest from the sexual instinct of a human being and the range of sexiness from subtle to extreme.Â

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“LOVE OF BEAUTY IS

TASTE.

CREATION BEAUTY

THE OF

ART

RALPH WALDO EMERSON

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‘imperfection est beauté’

“Everything has beauty, but not everyone sees it” - Confucius

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VMM FOR NINA RAI

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abiti creativi

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The costume elastic, the dresses gymnastic, The wonderful suits for the tricycle-e ss– Though skirts be divided, I’m clearly decided, It isn’t my notion of Rational Dress! See gowns hygienic, and frocks calisthenic, And dresses quite worthy of modern burlesque; With garments for walking, and tennis, and talking, All terribly manful and too trouseresque! And habits for riding, for skating, or sliding, With ‘rational’features they claim to possess; The thought I can’t banish, they’re somewhat too manish, And not quite the thing for a Rational Dress! Note robes there for rinking, and gowns for tea-d rinking, For yachting, for climbing, for cricketing too; The dresses for boating, the new petticoating, The tunics in brown and the trousers in blue. The fabrics for frockings, the shoes and the stockings, And corsets that ne’er will the figure compress: But in the whole placeful there’s little that’s graceful And gir ish enough for a Rational Dress! ‘Tis hardy and boyish, not girlful and coyish– We think, as we stroll round the gaily-d ight room– A masculine coldness, a brusqueness, a boldness, Appears to pervade all thi novel costume! In ribbons and laces, and feminine graces, And soft flowing robes, there’s a charm more or less– I don’t think I’ll venture on a dual garmenture, I fancy my own is the Rational Dress!

‘On Traditional Dress’ by Punch (1895) 210

CARMINA BLANK Carmina Blank is a Berlin based designer and ESMOD graduate. Her collection named “SOLIDS” is based on the manipulation of shape and material. She fuses elements of the fine line between wearable and unwearable, abstract clothing. The collection features a nude colour palette, accented with metallic elements. Feminine silhouettes under oversized shapes adding a very bold element to the collection in this dynamic combination of the organic and the manufactured. Her vision is modern, minimalistic and harmonious. The achieved change of shape and material alters the static perception of the viewer and creates a new state of reflection. Inspired by the artist Simona Pries and David Nash, the collection incorporates industrial materials including beech wood and acrylic glass. Laser-cut and blue-painted acrylic glass was shaped under heat and sewn into a narrow leather strip. This gave an otherwise completely static material a newfound flexibility. The result was three-dimensional belts, necklaces and cuffs. Further understated fabrics were used to ensure a harmonious combination of different materials. Two-ply silver insulating material was separated and through the isolation of the flexible and sew able cotton wool used as an outer material, lining and shoulder padding. The triple bonding of the fine cotton jersey created a neoprene-like material. The grain of wood was taken up and further developed through the use of Moiré silk taffeta. The lining of all pieces with a two-ply net also resulted in a moiré effect. The described change of material and shape finds a foundation in the entire collection, further strengthening the concept and its relevance.

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MARINA HOERMANSEDER

After discovering her talent at Central Saint Martins London, graduating from Esmod Berlin and interning at Alexander McQueen, FrenchAustrian designer Marina Hoermanseder presents her Autumn/Winter 2014 collection. The leather corsets molded to the body, orthopedic support apparatuses, naked cats and brain structures inspire variations of leather straps and twisting buckles as well as flowing fabrics. These themes are dominant throughout her designs. The color scale includes muted nude shades such as beige, grey, rosĂŠ and taupe and is accentuated by blueberry and green elements. Leather skirts made of straps and buckles are contrasted with draped blouses, elaborate leather capes combined with cashmere shorts and leather bodies with winter coats. Details like leather buckled sleeves put the designerâ&#x20AC;&#x2122;s individual stamp on the entire ready-to- wear collection. The fetish elements and progressive cuts of the clothing are bound to stir up the fashion industry. CREDITS: Art Direction: Mody Al Khufash Photography: Bernhard Musil Postproduction: Dimitri.jp Hair & Makeup: Patrick Glatthaar Graphic Design: Patrick Mason Models: Nala (M4 Models) Tamy (Izaio) Styling Assistant: Julia Birkenstock, Jessica Cervonaro Photography Assistant: Falko Saalfeld Location: The Regent Berlin Website: www.marinahoermanseder.com Sales: sales@marinahoermanseder.com 221

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LAUREN GOLD NG

“Abstract Distortion” Lauren Golding a British design graduate from Kingston University, with an independent flare developed from an interest in travel and an ambition to achieve personal goals. Her minimal approach to womenswear takes on elements of menswear and sportswear to create a new modern edge, perfect for the no frills, no fuss girl who isn’t afraid to mix it up with a bit of boyish style. Her graduate collection “Abstract Distortion” was an exploration of minimalism and unconventional trendsetting, inspired by storms and tarnished landscapes, taking menswear foul weather clothing out of context, to create an air of femininity that’s underpinned with androgyny.

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GUYHYUN JEE “FRAGMENT” Guyhyun is a menswear designer, who studied at London College of Fashion BA Menswear. For A/W15, Guyhyun Jee takes to investigating the concept of fragments. Jee uses this concept to represent an incomplete human development and fragmented memories of human history, through different textures, fabrics and diagonal pattern cutting. ‘FRAGMENT’ in futuristic modern society is a representation of seeking traditional and primitive authenticity within humanity that we lost, against the lifestyles of modern society, which is lacking freedom, sameness or uniformity via large-scale manufacturing. In this collection, Jee incorporates key fabrics such as fur against metallic silver leather and high tech bonded fabrics. Fur is used within the collection to symbolize human authenticity from primitive and folk imagery and crafted with futuristic fabric. Fur sponsored by Saga Furs Zip sponsored by Lampo Italy

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MIGUEL MESA POSADA

“POTOS Í ” Photography: Estudio Silva/Moreno Model: Marcela Tano Hair & Makeup: Susana Parra In Spanish Potosí means immeasurable wealth, and it is also the name of the richest silver mine ever known on earth, located in Bolivia. Commercial mining has meant a loss more than anything else for the greater part of Latin American people, excavations are seen as metaphorical scars to America’s territory. It is a collection about woven and non-written stories, where the fiber’s “geology” covers and heals those mining lacerations, The feeling of caryatids with aboriginal traits come to life with paths that simulate geological strata in open pit mining. Because the real wealth of Latin America is not in precious metals but in the ritual way of living and weaving within communities. What satellites can see is everything but the real wealth of people. 251

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EDEN DIODATI

In a world jaded by mass marketing and cynical exploitation, women seek the opportunity to experience luxury fashion that stirs the soul as well as the senses. Eden Diodati fuses timeless design, the innovative use of natural materials with centuries old craftsmanship. Marrying pret-a-porter with progressive philanthropy, Eden Diodati manufactures ethically in social cooperatives in Italy and now Rwanda providing sustainable employment to formerly marginalised women. A collection inspired by the transition from darkness to light; from the void to new beginnings. Genesis - a story about the creation of life and our collective origins. Founder and creative Director Jennifer Ewah’s breathtaking designs and ethical commitment are producing unique high-end garments and accessories, handmade by newly trained artisans in partnership with Eden Diodati’s social cooperative and ngo partners. Blending aesthetic innovation with intricate craftsmanship, Eden Diodati embodies the future of luxury: stunning fashion with a compelling, compassionate heart. AW14 draws inspiration from the elemental components of life, the iridescent incandescence of light, DNA and molecular biology, and the spirit that breathes life into souls as well as cells; a notable example of which is the clasp of the “Trust Molecule” bracelet, modelled on the molecular structure of oxytocin, the hormone that makes us love and trust others. Featuring printed silks, GOTS certified organic silk in jewel shades, alongside intricate jewellery and accessories; Eden Diodati is bringing deeper meaning to luxury.

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“THESE ARE MY NEW SHOES. THEY’RE GOOD SHOES. THEY WON’T MAKE YOU RICH LIKE ME, THEY WON’T MAKE YOU REBOUND

ME,

THEY

DEFINITELY WON’T MAKE YOU HANDSOME LIKE ME. THEY’LL ONLY

MAKE

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HAVE

SHOES LIKE ME. THAT’S IT. CHARLES BARKLEY

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SCARPE

Forrest Gump:

Those must be comfortable shoes, I bet you could walk all day in shoes like those and not feel a thing. I wish I had shoes like that. Nurse at Bus Bench:

My feet hurt.

Forrest Gump:

Mama always said there’s an awful lot you can tell about a person b their shoes. Where they’re going, where they’ve been. I’ve worn lots of shoes. I bet if I think about it real hard, I could remember my first pair of shoes. Mama said they’d take me anywhere. She said they was my magic shoes.

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YOUNGWON KIM X GROUND ZERO An amazing collaboration between Youngwon Kim and Ground Zero for Ground Zero’s A/W14 collection sees footwear designer Kim creating four unique pairs, heals and boots that truly portray the unique edge, sculpture of beauty that is the resonant foundation of Ground Zero’s design aesthetics. The talented brothers Eri and Philip Chu established GROUND-ZERO in 2003. Each collection is like a new experiment to which no rules apply. Like a physicist GROUND-ZERO believes that each and every garment represents a mix of elements. The unique graphic print has become a signature. Merging creativity with craftsmanship, each of the two brothers is combining his fortes to give a strong direction to GROUNDZERO. “Zero could be everything” – GROUND-ZERO will not limit itself to being just a fashion brand. It can be diverged into anything, from graphic arts, music, video, art installation and more. The possibilities of GROUND-ZERO are endless. For their A/W14 collection, GROUND-ZERO, incorporate their well known bold and unique graphic prints that intersect with clean, irregular-cut silhouettes with artwork prints based on a revival and distortion by social media of their childhood cartoons and the digital age. Distorted check patterns are translated onto matte neoprene for a contemporary take on fabrication, as well as their graphic prints are transformed as it surfaced on wool texture, resulting metaphorically as the colour fades, the memory is restored with something new. Reflective and light fabrics such as satin and silk are enhanced as panels for the bold and heavier materials wool, neoprene and leather. Contrasting colours are sweet in ivory, citrus and cucumber, in playful silhouettes where side seams and hems are shaped forward. This collection reveals the fragmentation of their memories, playfully combined to create a new collage of imagery which are collected from the past, applied with modern techniques that captures the moment, and followed by the finished ensembles which represents the future.

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SILVIA FADO “KINETIC TRACES” Working with an architect helped her study the interacting forces in the structure of the high-heeled shoe during movement. Also collaborating with a photographer made possible to see the continuous movement broken down into individual parts as a diagram. To realise the absorption function, Silvia introduced an element of internal movement into these structures. She collaborated with an engineer partner to develop these mechanisms and an industrial partner to enable production of the final product to an appropriate standard for the target market. Impact absorption was then developed using different mechanical methods not typically used in Fashion, adding features such as springs, rubber balls and, pneumatic hydraulics and metal rings. The metal ring function is a new system developed by the industrial partner that she worked with, allowing regulation of the absorption effect depending on body weight. The methodologies used in the creation of her collection include traditional making (leather work, traditional machinery making, metal work, wood shaping) and rapid prototyping (3D milling machine, laser cutting and 3D printing). CREDITS: Photography: Elixabete Lopez. Photographer assistant: David Salas Hair stylist: Miky Mani Di Forbice

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M CHAEL AZU

“FOOL’S GOLD” Michael Azu graduated with a masters degree in fashion footwear from London’s Cordwainers in 2013. Inspired by his many visits to the Père Lachaise cemetery in Paris, his final collection, ‘Fools Gold’ explored the corrosive yet beautiful effects of nature on decaying materials. Initially, Michael’s plans were to design and dedicate each pair of footwear to a famous residence at the cemetery for example, Frederic Chopin, Eugene Delacroix, Edith Piaf, Jim Morrison, and Oscar Wilde etc. However, after several visits he realised that he was more drawn and attracted to the abandoned and decaying graves and mausoleums. Whilst, most of the tourists flocked to all the famous graves, Michael started to think more and more about the abandoned sites. He truly wanted to pay homage to the forgotten people at Pere Lachaise. The people whose graves no longer got a visit by friends, family or loved ones because their lineage had ceased at some point. It made him think about the value we as human beings find in things, that no matter how precious or valuable we may find something, nature will eventually find a way to erase all traces of it. This corrosive effect nature has on the grave’s materials such as the wood, limestone or metal, most visitors to Pere Lachaise may find repellent, but Michael Azu found a way to celebrate the beauty that he saw reflected within it.

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CAROLIN “CONJOINED ILLUSION” The footwear collection ‘Conjoined Illusion’ is based on reflection, mirroring, visual illusions and conjoined twins. Every pair of shoes consists of four carbon fibre soles that are connected, conjoined in different ways. The idea of reflection, mirroring and optical illusions can be seen in the design of the uppers respectively in the design of the heels/ platforms. Visual illusions and mirroring are arduously to understand for our brain. Our cognitive faculty gets irritated. If we look at objects from different perspectives they seem to change their shape, but they are still the same. The intention behind the designs is to somehow confuse, or disturb, or grasp the spectator for a long time. With her work, Carolin wants to challenge the eyes and the mind. The collection ‘Conjoined Illusion’ shows that footwear can be a work of art but nevertheless conveys clearly the grace of a pair of shoes. Photographer: Thuy Phan

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JOSEPH ALEXANDER

ōā r re I plead, beg I pray, entreat

For his ōrāre series, Los Angeles based photographer Joseph Alexander, takes inspiration from religious icons and religious garb. The elegant collection beautifully modeled by Nigerian-American model Eromomen Esoimeme, is breathtakingly striking. CREDITS: Photography/Retouching: Joseph Alexander Model: Eromomen Esoimeme Head Piece Designer/Stylist: Christine Clauson Makeup: Lena w/ Sokora Vora Digi-tech/Set hand: Mikoro Fujihara w/ Sokora Vora

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“KNOWLEDGE ALWAYS PANIED

ACCOMWITH

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CESSORIES OF EMOTION AND PURPOSE” ALFRED NORTH WHITEHEAD

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PRIEDAI

“Conformity is the only real fashion crime. To not dress like yourself and to sublimate your spirit to some kind of group identity is succumbing to fashion fasccism.” Simon Doonan

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ELINA GLEIZER “ALTER SELF” BE DIFFERENT, EXPRESS YOUR LOUD SILENCE Elina Gleizer is an Avant-Garde jewellery & accessories designer and goldsmith born, bred and educated in Israel. She graduated with a BA in design from Shenkar college of Engineering and Design from the Jewellery Design department, in Ramat-Gann, Israel. Gleizer’s designs have a continuous dialogue with human anatomy, form and ergonomics. They integrate a profound technique and material research; HAND-MADE traditional goldsmithing with varied technologies and materials such as: metal, wood, leather, semiprecious stones, textiles and plastics, all creating contemporary and fashion forward pieces of wearable art. She is very passionate about making extraordinary people express themselves in a rebel but modern elegance. Her designs are targeted at extraordinary individuals with strong unique identities who are looking to STAND OUT through innovation, originality and high product quality. CREDITS: Model: Avital Gleizer Photographer: Marina Moshkovich Chris Makeup: Roza Shwartsman 305

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MOMENT Our lives are ‘MOMENTS’ stretched’MOMENTS’ that seem to hold our time in eternity. To transition through our desires, hunger and passion. Pulling together so many memories and episodes of fashionable times thrown together by the spur of the ‘MOMENT’. By T.S Legend VMM proudly introduces ‘MOMENT’ a brand new luxury accessory brand created by designers Iva Stojković and Maja Miletić who describe their collaboration as a somewhat representation of an instance where their design skills meets the other halfway between strict, precise forms of Plexiglas combined with somewhat cold steel and fluid, gentle muslin fused with strong textures of rope. Their style and aesthetics are developed individually to create the identities of each piece they make. They use the advantage of their opposite technical skills and experiences in depicting the inevitable contrast of soft and hard as a direct representation of the world as we know it. The elements they use in the construction of their accessories are purposely connected with the theory of hard and soft depicting that we cannot exist without the other. As in human character or nature itself, the opposites fulfil, replace and support each other. Moments, blinks on the timeline, are created in the same way. If they are real, we remember them forever.’ Photo: Franjo Matkovic Photography Make up: Kristina Pavlov make up Model: Nikolina Ljubičić and Roberta Milevoj

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PAPIROGA Every day is different. There are days you would love to jump on the bed exultant whilst others hide under their quilts. Days you feel you are the soul of the party and others you’d rather turn the phone off and stay in peacefulness by yourself. Days where you will wear a suit with your best smile and others were you’d self-indulge until the break of dawn. Those days that you’ll rather sit down with a cup of tea, blanket while watching a film on your own, taking in the pleasure of your own company or the days were you just want to go out and sing under the rain. Days when you feel a lot more fragile. Much more stronger and or cheerful. You truly love and adore the catwalks but know deep down that real beauty does not have anything to do with the spotlights. It is around the corner, in any street. You rather not ask for a loan to enable you to be trendy, but at the same time, dressing like the rest of the world is not an option. You dream of being able to renew your wardrobe every morning, but you do not want to ever have to pawn your grandmothers ring just so you can have the pleasure of feeling unique. You love being yourself and being able to transition in looks and appearance everyday. Achieve your goal because you can. You are everyone and no one at the same time. The beauty of it all is, you are uniquely you - irreplaceable and truly, madly, deeply beautifully unique and totally out of this world. VMM welcomes you to enter into the world of PAPIROGA. Papiroga is a handicraft brand that offers statement accessories with exclusive designs and limited pieces, which strives to change the moods of the powerful, elegant and unique women that wear it. Estefania de Oliveira, Leire Urzaiz and Daniel Coma-Cros founded it in September 2011.

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MAI THEORY

Founded by Patcharakan Vongprasert and Sylwia Mikinka, both current students at University of the Arts London, Mai Theory is a London based statement jewellery brand that creates stylish pieces made to enhance any outfit. Each handmade design embodies personality through rich textures, a sophisticated colour palette and sourced tactile materials, found in the likes of shoes and handbags. With a fun presence for any occasion, their world-traveller eclecticism feel allows Mai Theory to effortlessly carry you throughout day and night, wherever you are.

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BAGS BY M Illustrations by Anna Dray for VMM “In a good book room you feel in some mysterious way that you are absorbing the wisdom contained in all the books through your skin, without even opening them” — Mark Twain By M. is a new brand of Ladies Handbags designed by Maria Marigliano Caracciolo. VMM is proud to bring to you the launch of their first collection of bespoke book shaped clutches. All of their products are made in Italy and inspired by the country’s culture, heritage and traditions: made and customized for you by Neapolitan craftsmen, according to a centurylong tradition developed in the area. Each detail of your Book Clutch is personalized according to your preferences: colour, material, decoration, and of course the title you wish to carry with you. The bookbinders technique, patience and pursuit of excellence have remained unchanged over the centuries being passed down over the generations: The culture, heritage and traditional craftsmanship still remain to this day. By M. uses only the finest leather, silks and gold leaf to create beautiful and elegant clutches which are a pleasure to touch, like books of past centuries. Drawing from an extensive background in the history of bookbinding, By M. Book Clutches are made using the same techniques as the original workers. Only where modern practices are indispensable to the quality does By M. make adjustments. Quality remains at the forefront of their practice. The exquisite By M. book clutches are handcrafted in a traditional Neapolitan bookbindery located in Palazzo Marigliano, Maria’s family home. Palazzo Marigliano, built in the XV century, is situated in the heart of Naples on Via San Biagio dei Librai – literally the “Street of the Book Sellers”. It is in fact this street that sparked Maria’s inspiration for her first collection. Visit www.bagsbym.com to get your very own 333

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L AT BRANDEL G LON

“FAKE REALITY” Liat Brandel Gilon is a Fashion Designer based in Tel Aviv. She graduated from Shenkar School of Engineering and Design, Israel. Fake Reality, Liat’s graduate collection is inspired by the digital revolution and the tension between our virtual personas verses our actual one. 2 dimensions represent the First while 3 dimensions represent the last. Optical illusions, pixelization, laser-cuts, pop-ups, hidden folds and patterns on one hand and vivid colours on a white surface on the other.

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PRISON BREAK

CREDITS: Curated & directed by Stephanie Legend Photography: Edvinas Bruzas Styling: Paulema Gaspard Hair & Makeup: Leo De-Valentino Accessories by: Suraporn Pasaprates Clothes by grad designers: Tracey Sampson, Anna Yates-Housley, M-SEW by Meagan Wellman and Rachael Ryan-White. Shoes: Michelle Hartmann Shoes Model: Yen Kim

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TOMBOY BY KIMBERLY HAWMMOND

CREDITS: Model: Taiwo Kayy Photography: Kimberly Hawmmond Styling: Kimberly Hawmmond Hair and Makeup: Kimberly hawmmond

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MODERN GEISHA BY SIMON-HARTMAN

The Simon-Hartman brand was born in 2009 from a vision by founder Melissa-Simon-Hartman, a London College of Fashion / University of the Arts London graduate who was determined to create statement footwear and accessory pieces which could be seen as works of art rather than just something to wear. The essence of Simon-Hartman is to capture the spirit of artistry, creativity and great craftsmanship. The aesthetic of Melissaâ&#x20AC;&#x2122;s shoes and accessories are anything but simple, each design is painstakingly crafted with intricate details, beading and embellishments, every material carefully sourced to beautifully complement and adorn each creation. Making everything a show-stopping piece, that elevates every outfit. Each piece accentuates a womanâ&#x20AC;&#x2122;s natural beauty, from the curve in her arch, to the extension in her neck. Simon-Hartman is the brand that is coveted amongst those looking to make an everlasting impression. Simon-Hartman made its official debut in 2013 at the Mercedes Benz Fashion Week Berlin gracing the feet of the models showcasing the collection of British celebrity fashion designer and stylist, Romero Bryan. This received critical acclaim from fashion elite, making Simon-Hartman the must have shoe and accessory brand for those wanting to make a statement.

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“Change; we don’t like it, we fear it, but we can’t stop it from coming. We either adapt to change or we get left behind. And it hurts to grow; anybody who tells you it doesn’t is lying. But here’s the truth: the more things change, the more they stay the same. And sometimes change is good. Oh, sometimes change is everything. Grey’s Anatomy”

TRANSITIONS CREDITS: Curated & directed by Stephanie Legend Photography: Edvinas Bruzas Styling: Stephanie Legend Hair & Makeup: Moni Balogun of Monique Artistry Model: Malin M Ruberg Accessories by: Agne Viktorija & Amy Cheng Clothing designers: Tracey Sampson, Xianfen Gu, and Korlekie Illustrations by Anna Dray Bag by Evie Chung Editing: Tetyana D Head wear: Ayisha Danis (Newham College student)

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THE SHAPE OF THINGS TO COME

CREDITS: Photography and Editing: Kirsten Thys van den Audenaerde Make-up & hair: Citty Van AartDesigner: Clothes: Hannelore Slechten - graduation collection Models:Tatjana DN, Riona Noire, Sara Scarlet, Eline Vi

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phenomenal woman DEDICATED TO THE MEMORY OF LEGENDARY DR MAYA ANGELOU Pretty women wonder where my secret lies. I’m not cute or built to suit a fashion model’s size But when I start to tell them, They think I’m telling lies. I say, It’s in the reach of my arms The span of my hips, The stride of my step, The curl of my lips. I’m a woman Phenomenally. Phenomenal woman, That’s me. I walk into a room Just as cool as you please, And to a man, The fellows stand or Fall down on their knees. Then they swarm around me, A hive of honeybees. I say, It’s the fire in my eyes, And the flash of my teeth, The swing in my waist,

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And the joy in my feet. I’m a woman Phenomenally. Phenomenal woman, That’s me. Men themselves have wondered What they see in me. They try so much But they can’t touch My inner mystery. When I try to show them They say they still can’t see. I say, It’s in the arch of my back, The sun of my smile, The ride of my breasts, The grace of my style. I’m a woman Phenomenally. Phenomenal woman, That’s me. Now you understand Just why my head’s not bowed. I don’t shout or jump about Or have to talk real loud. When you see me passing It ought to make you proud. I say, It’s in the click of my heels, The bend of my hair, the palm of my hand, The need of my care, ‘Cause I’m a woman Phenomenally. Phenomenal woman, That’s me. Maya Angelou

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Mündigkeit IGALINIMAS EMPOWERMENT AUTONOMISATION EMPODERAMIENTO RESPONSABILIZZAZIONE

CREDITS: Curated & Directed for VMM by Stephanie Legend Photographer: Edvinas Bruzas Editing: John Paul Zampetti Hair & Makeup: Moni Balogun of Monique Artistry Styling: Stephanie Legend Model: Viktorija Mackinyte Designers: Korlekie, Xianfen GU, Charlotte Barrett, & Sarah Buchanan Accessories: Viktorija Agne & Amy Cheng & Charlotte Barrett Bags by: Evie Cheung Shoes: Stylist’s own 387

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“In youth, it was a way I had, To do my best to please. And change, with every passing lad To suit his theories.

But now I know the things I know And do the things I do, And if you do not like me so, To hell, my love, with you.” ― Dorothy Parker, The Complete Poems of Dorothy Parker 390

Madonna: “I’m tough, I’m ambitious, and I know exactly what I want. If that makes me a bitch, okay.”

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“Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, ‘Who am I to be brilliant, gorgeous, talented, fabulous?’ Actually, who are you not to be?” ― Marianne 393

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Maya Angelou: “Life is not measured by the number of breaths we take, but by the moments that take our breath away.”

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“Imperfection is beauty, madness is genius and it’s better to be absolutely ridiculous than absolutely boring.” ― Marilyn Monroe 397

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“Is it so bad, then, to be misunderstood? Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood.” ― Ralph Waldo Emerson 400

“When it’s over, I want to say: all my life I was a bride married to amazement. I was the bridegroom, taking the world into my arms. When it is over, I don’t want to wonder if I have made of my life something particular, and real. I don’t want to find myself sighing and frightened, or full of argument. I don’t want to end up simply having visited this world.” ― Mary Oliver 401

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“I HAVE COME TO BELIEVE THAT OUR INNATE PURPOSE IS NOTHING MORE THAN TO BE THE GREATEST VERSION OF OURSELVES. IT IS A PROCESS OF REFINEMENT,

IMPROVEMENT,

AND

ENHANCEMENT. WHEN YOU ARE ALIGNED WITH THIS PROCESS AND LIVING YOUR PURPOSE, YOU HAVE THE POTENTIAL OF CREATING SOMETHING AMAZING.” ― Steve Maraboli, Unapologetically You: Reflections on Life and the Human Experience

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THE ART OF CREATING “One of the strangest things is the act of creation. You are faced with a blank slate—a page, a canvas, a block of stone or wood, and a silent musical instrument. You then look inside yourself. You pull and tug and squeeze and fish around for slippery raw shapeless things that swim like fish made of cloud vapour and fill you with living clamour. You latch onto something. And you bring it forth out of your head like zeus giving birth to athena. And as it comes out, it takes shape and tangible form. It drips on the canvas, and slides through your amusical strings, and slips along the edge of the sculptor’s tool onto the surface of the wood or marble. You have given it cohesion. You have brought forth something ordered and beautiful out of nothing. You have glimpsed the divine. ― Vera Nazarian, The Perpetual Calendar of Inspiration

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PIPPA DAVIDSON

Pippa Davidson graduated from London College of Fashion - BA (Hons) Fashion Contour, in 2014. The female body inspired her graduate collection. It is the main reason why she studied contour design. The body presents endless possibilities for shape and construction; itâ&#x20AC;&#x2122;s a source of inspiration that constantly renews itself.

CREDITS: Photography: The VOW Studio MUA: Karen Spencer Model: Rose Channonâ&#x20AC;? 405

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CHIARA CAPOCCI

Chiara Capocci is a London based Italian designer whose love for simple distorted shapes is highlighted within her strong affection for minimalism. CREDIT: Photography by Gianluca Pantaleo

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MIN WU

Chinese born, London based designer Min Wu’s AW14 collection’Atmosphere and Automation’ sees the use of unconventional fabrics to better convey her concept. Wu’s inspiration for the collection was the skyline as seen from the window of an airplane, above the clouds.A vibrant palette of rich turquoise, sky blue, tangerine and fuchsia accents melded seamlessly into the cream and white of the garments like flashes of a beautiful sunset through the clouds. Wool, viscose, neoprene and power mesh made for an interesting textural collage. Wu’s designs are inherently futuristic with a ladylike twist. Wool pencil skirts with central splits to the thigh were teamed with laser cut tank and crisp white shirts.

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CHINYOW ZHANG

BODY FURNITURE Xinyao Zhang is a recent graduate from London College of Fashion where she studied fashion jewellery. Her final collection is based on the idea of comport and wearing furniture on the body for accessories. Furniture as we know, is a support or structure created to bring comfort but at the same time infusing pleasurable elements of interior design to make it creative and appealing. Zhang incorporates similar ideas for her collection where she wants to create unique pieces of body furniture that will help ease our discomfort and rather give us pleasure by taking away some of the stresses we undergo on a daily basis. CREDITS: Photographer: Vincent Cui MUA: Neko Wei Photography Assistant: James Stewart Model: Yen Guo

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YASYA MINOCHKINA

Yasya Minochkina was born and raised in Ukraine. After studying at Central Saint Martins and Royal Academy of Fine Art she moved to Moscow and founded a namesake-clothing brand. Yasya Minochkina’s style is a combination of femininity, wear-ability and modern approach to cut, color and shapes. The heart of every collection is a dress — mini, midi and maxi — accompanied with tops, skirts and suits. The designer tries to make cut look laconic and pure. The most common colors for her collections are black and grey, also she uses pastel shades: mint and pale blue. Yasya Minochkina practically doesn’t work with prints, except when she draws it herself or something very minimalistic and modest. Minochkina is strongly concerned about new technologies: she follows the innovations in the textile Industry. The designer buys fabrics from mostly from Europe and Japan. She prefers basic soft cotton, wet silk and a mix of wool and polyamide. She uses natural silk even to create lining and buys accessories of high quality for her clothes. Yasya Minochkina makes comfortable and high-quality clothes that put her at the driving seat of control of every level of the production.

CREDITS: Starring: Irina Lebedeva. Styled by: Margarita Zubatova. Hair & Make Up by: Ekaterina Stolbova. Production by: Liza Kologreeva. 443

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THE DARK KNIGHT

CREDITS: Curated & directed for VMM by Thomasina-Stephanie Legend Photography: Edvinas Bruzas Editing: Kelly Morrison Styling: Paulema Gaspard Hair & Makeup: Leo De-Valentino Models: Yen Kim & Anastasija Zukovska Clothes: Anna Yates-Housley, Rachael Ryan-White, M-SEW by Meagan Wellman, Accessories by Tracey Sampson Shoes by Michelle Hartmann Shoes

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WINTERâ&#x20AC;&#x2122;S TROPICAL HEARTBEAT

CREDITS: Curated & Directed By Stephanie Legend Photography: Davydova Yana Editing: Tetyana Styling: Rachael Ryan-White Makeup: Saffron Thornhill & Moni Balogun (Monique Artistry) Hair: Moni Balogun (Monique Artistry) & Rachael Ryan-White Accessories By: Looks Fashion Model: Ivana Petriiski

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MOD’S BY BOBBY ROGERS FOR VMM3

THE PRECIPICE ISSUE ...

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“I

WANT

SPENDS

TO A

THANK PART

ANYONE

THEIR

WHO DAY

CREATING, I DON’T CARE IF IT’S A BOOK, A FILM, A PAINTING, A DANCE, A PIECE OF THEATRE, A PIECE OF MUSIC

ANYBODY

WHO

SPENDS

PART OF THEIR DAY SHARING THEIR EXPERIENCE WITH US - I THINK THIS WORLD

WOULD

UNLIVEABLE

WITHOUT ART AND I THANK YOU” ― Steven Soderbergher

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A huge thank you to everyone that made this issue possible. From the designers that responded and replied my emails, to the creative artists that submitted work from all over the world and those that we have had the pleasure of collaborating with here in London. You all made this vision possible and we greatly appreciate each and every single one of you. We at VMM are truly honored and greatly privileged to have collaborated with all of you on different levels. Thank you all so much. I urge you all to continue to believe in the power of your dreams and visions as creative individuals and to continue making every effort possible to recreate yourselves into that which you want for yourselves. Team VMM is always here to help and support in every way possible that we can.

CONTACT US www.voixmeetsmode.com Email: press@voixmeetsmode.co.uk Twitter: @voixmeetsmode Facebook: voixmeetsmode Instagram: voixmeetsmode

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