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Styleguide Marrakech interview jason DenhaM 1 / 2013

FAShion buSineSS, brAndS And urbAn culture

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SY N O N Y M U S & A N T O N Y M O U S ch

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Content

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26

26

sTANDARDS

Content 44

10

Editorial / Contributors

12

Column Golden Oldies of the Fashion Scene

14

Booklookin’ 100 Years of Fashion & Pretty Ugly

16

Street Styles International

City Guide Marrakech

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26

Hot Spots A Place Named Desire

44

Street People Gateway to the World

bRAND fEATURES

54

48

Fashion and Technology Utopia Today, Reality Tomorrow

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Pleet The Ziggurats of Brooklyn

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Interview Jason Denham First Jeans in Space

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Interview Andrea Canè, WP Lavori in Corso “I follow my instinct and my passion”

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PME Legend Flying Dutchmen

60

Anvil Pimp your Tee

62

Sustainability Cotton Club 2.0

64

Denim Trends 2013/14 Pomp and Punk

66

Short Cuts

52 48 64

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Content

01/2013

Retail

120

76

Han Kjøbenhavn, Copenhagen

78

Man On The Boon, Seoul

80

F95, Berlin

82

Sluiz, Ibiza

Fashion 86

Content 102

86

Brooklyn Bohème Katharina Poblotzki

94

Morning Glory John Gripenholm

102

Gabriel René Fietzek

112

Meet you on Mott Street Nadia del Dò

120

Thelxinoe Gunnar Tufta

12

112

80

4

128

Where to find us

130

Index

76

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Imprint


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01/2013

Editorial / Contributors

Editorial Do you love surprises? Then we recommend a trip to Marrakech! Because this Moroccan city will confound even the most jaded of city hoppers. We definitely had to keep rubbing our eyes at all the sights and sounds – and that’s with 30 J’N’C City Guide productions under our belts! The sheer amount of incongruous contrasts that characterise the North African trading hub at the foot of the Atlas Mountains even had seasoned traveller Adriaan Louw, our photographer from Cape Town, lost for words. Exuberant luxury, the most colourful and opulent interior designs, as well as fashion boutiques, galleries and restaurants that would certainly not seem amiss in any western metropolis are all to be found here. And then, just two taxi-minutes away: street scenes straight out of the 18th century! Donkey carts, street vendors in traditional garb, artisans sitting working in front of their small shops. European-influenced lifestyles with fixed rules (and fixed prices) coexist peacefully with

a seemingly chaotic existence with archaic traditions and haggling for every last dirham. Find out more about how Marrakech pulls off this balancing act with ease and how the contrasting worlds help to inspire local fashion in our City Guide from page 26. J’N’C author Fredericke Winkler also brings a few surprises to light in this issue, albeit in a completely different field – although we should be used to that by now. She has, after all, been analysing the interaction between fashion and other social trends and phenomena for many years. This time the Berliner has turned her attention to the topic of fashion and technology. In her essay ‘Utopia Today, Reality Tomorrow’ she expresses surprise at the lack of innovative spirit in the world of fashion, which feigns a future-orientated outlook. So why are the realms of design and science so unwilling to cooperate and exchange ideas? Speaking of exchanging ideas: we took some time out to do just that with Jason Denham. The

eponymous Amsterdam cult label is celebrating its fifth birthday, and so, in an interview with Annekatrin Looss the smart designer talks about his top five heroes, his ‘Denham House’ concept and sending the first jeans into outer space. Andrea Canè, Creative Director of the Italian company WP Lavori in Corso, might not be planning a trip to the moon, but he has brought the label Woolrich to Europe. What other surprises do we have in the bag? Perhaps the latest denim trends of the big brands for 2013/14? Or the coolest fashion spreads of the season? You want it, we’ve got it! Browse the pages and prepare to be surprised. After all, here in the fashion business we are all part of an industry that thrives on surprises! All the best for the new season. Ilona Marx

Contributors Busy Bees

Gunnar Tufta

John Gripenholm

Bodo Ernle

A plastic flamingo in his neighbour’s garden served as the catalyst for Gunnar’s career. The London-based Norwegian is meanwhile a sought-after fashion and advertising photographer and has worked together with renowned colleagues like Steven Klein and Nadav Kander. Although his profession requires him to travel from one metropolis to the next – he is currently busy in New York – he still sees himself as a real country bumpkin. For him, nothing can beat trudging through the neverending darkness of a Scandinavian winter, wrapped up in half a dozen jumpers. For this issue of J’N’C Gunnar took photos of ‘Thelxinoe’.

John Gripenholm can still remember his first ever camera: it was black with an orange button. But it wouldn’t make the cut these days! After all the Stockholm-native is a sought-after photographer, shooting for labels like Lee and Monki and for glossy magazines like Dazed & Confused and Elle. He is a real perfectionist when it comes to lighting and light reflections. “Sometimes, when I’m talking to someone, I find myself paying closer attention to the light than on what they’re saying,” he admits. It seems that his profession has certainly left its mark on the non-blonde Swede.

Just like German film director Roland Emmerich (“Independence Day” and “The Day After Tomorrow”), stylist Bodo Ernle also comes from the lovely city of Sindelfingen near Stuttgart. Disaster films aren’t really his cup of tea though; his five years spent at Bravo Girl! were just far too harmonious for all that kind of drama. Currently Bodo lives in Berlin-Kreuzberg but is on the move a lot, jetting round the world for magazines like Celebrity, Mr Style and Indie. You can tell by his styling that Bodo likes contrasts – in his personal life too. Glittery jacket or graffiti shirt, frog’s legs or fast food? It doesn’t really matter: he’s quite happy as long as he has a trip to sunny São Paolo in the pipeline.

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Annekatrin Looss Someone who starts off their career as a Love Parade reporter is probably not someone you’d want to mess with anyway. But Annekatrin Looss is also an expert in kung fu and tai chi. But she only whips out her blue judo belt when someone really gets her goat. Which thankfully doesn’t happen that often, because the native Berliner is a real bundle of fun. And the smart jeans expert Jason Denham, whom she interviewed for J’N’C, thought so too. Currently the freelance journalist has plans to move to the countryside. Anyone who has a vacant, pretty house by a lake, for Annekatrin, her family, friends and assorted pets, should give her a call.


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Column Cheeky Tongue

01/2013

Golden Oldies of the Fashion Scene Text Gerlind Hector Illustration MatThias SeifartH

What is John Galliano up to these days? We haven’t seen or heard much about him since his inglorious expulsion from Dior in February 2011. But the rumour mill is churning: apparently these days he only wears ski underwear and breeds chickens on Long Island. Oh no, that was Helmut Lang – the darling of the 90s fashion scene and creator of purist, sombre unisex fashion, which was, above all, one thing: extortionately expensive! Even so, three years ago he was awarded an honorary Order of Merit for Science and Art in Austria. Yawn! So what else is in store for the common fashion designer when they come to the end of their tether following years or decades in the fashion biz? Very few manage to get a second mainstay off the ground – let alone to sit back and bask in their fame and glory as soon as they hit retirement age. Karl Lagerfeld kitted out with kidney-warmers and a rheumatism blanket on a cruise for senior citizens? Vivienne Westwood playing bingo in an old people’s home? Unthinkable! Jil Sander did actually try it a few times – with sailing. But the novelty of gazing at the horizon and throwing up over the railings soon wears off after a few days. Anyway Jil certainly couldn’t handle it anymore and is currently celebrating her umpteenth comeback. Even Hedi Slimane, whom we have to thank for our beloved King Karl shrinking from XXL to slim-line (only so he can fit into Dior Homme suits), packed his bags and tried his luck as a photographer in L.A. But surprise, surprise: now he’s back again and responsible for the collection of Yves Saint Laurent, now known as Saint Laurent Paris. So what should the fashion-weary head designer do? Leave while the going is good? And never come back? Cristóbal Balenciaga did just that: at the end of the 60s, which he considerably influenced with his mouldbreaking structural fashion, he stepped down – with the pithy words that there is no more room in the world for luxury and elegance. What an exit! Mona von Bismarck, one of his most loyal customers, is said to have barricaded herself in her home for days. And what about Paco Rabanne? After writing fashion history with his Barbarella costumes for Jane Fonda he also disappeared from the playing field. He was allegedly plagued by visions, and devoted himself only to esotericism from that point on. For the year 1999 he predicted the crash of the Mir space station, right over Paris! Since then things have gone rather quiet around him. Which is probably for the best! You’re probably better off spending another year in the Betty Ford Clinic, dear John. We won’t forget you, don’t worry.

Publisher B+B MEDIA COMPANY GmbH Hildebrandtstr. 24 d 40215 Düsseldorf Telefon +49 (0)211 8303 0 Telefax +49 (0)211 8303 200 info@jnc-net.de, www.jnc-net.de Managing Director André Weijde Editor-in-Chief Ilona Marx im Photography Nadia Del Dò, René Fietzek, John Gripenholm, Adriaan Louw, Sabri Noor, Katharina Poblotzki, Axel Siebmann, Gunnar Tufta

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Illustration Frauke Berg, Roman Klonek, ­ atthias Schardt, MAtthias M Seifarth Freelance Contributors Andreas Grüter, Jolien Deckers, Gerlind Hector gh, Annekatrin Looss, Nadia Saadi ns, Eva Westhoff ew, ­F redericke Winkler fw Translation Paula Hedley, Galina Green Design & Layout Martin Steinigen, chewing the sun; www.chewingthesun.com Image Editing Jean Pascal Zahn Copy Editor Eva Westhoff

Head of Production Uwe Schaufler Production Assistant Pia Schäfer Print Stürtz Druck, Würzburg Advertising Director Pierre D’Aveta Telefon +49 (0)211 8303 151 p.daveta@bb-mediacompany.com Price Germany 9,50 Euros A, NL, B 10,50 Euros; E, P, I 11,50 Euros Switzerland 15.80 CHF Bank Details BTV Bank für Tirol u. Vorarlberg AG Kto: 772898000, BLZ: 72012300

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Reviews Book Lookin’

01/2013

Left: Aldo Lanzini, Photo: Ivan Albertazzi Right: Jonas Liveröd 1980, two-tone fans in Coventry

Visual Rebellion in Design Pretty Ugly Cally Blackman 100 Years of Fashion ‘100 Years of Fashion’ also mean 100 years of cultural history. In the context of political and cultural events of the 20 th and 21st centuries, the art and fashion historian Cally Blackman gets to grips with the multifaceted phenomenon known as fashion – taking a trip through the epochs and styles, via Paris, London, Hollywood and Harajuku. Fashion, according to her working credo, is always a reflection of society. But instead of donning her professor’s hat, which considering the British academic teaches at London’s Central St. Martins College wouldn’t be surprising, she sticks to brief pithy explanations in the 400-page photographic book, allowing eye-witnesses from each epoch to have their say. “It’s no problem finding a pair of jeans if you’re looking for a flare, boot leg or wide leg. But try and get a good old pair of no-frills straight-cut jeans,” complained C ­ aterine Milinaire and Carol Troy back in 1975 in their style guide ‘Cheap Chic’. And there are plenty of people out there who can still relate to that now. Compared to this kind of pragmatism the opinions of Christian Dior twenty years earlier are rather different and certainly more eccentric: “Mannequins are what give life to my dresses, and above all I want my dresses to be happy.” Despite well-informed classification and cross referencing as well a good sprinkling of entertaining anecdotes, the real star of the show here is not the text, but the images. Adverts and catwalk shots are interspersed with fashion sketches and patterns. Snapshots of film stars and pop divas are flanked by street-style shots. There are two essays, one covering the years 1901 to 1959 and a second one about the time between 1960 and the present day, whereby Blackman places the cut firmly with the emergence of youth cultures and the democratisation of fashion and the rise of prêt-à-porter as a direct result. These two major chapters, both preceded by a short introduction, are subdivided into topics like ‘High Society’, ‘New Looks’, ‘Designer: Concepts’ and ‘Fashion and Fame’. That’s where the monkey fur shoes by Elsa Schiaparelli from 1938 come face to face with Marc Jacobs’ ‘Grunge’ collection of 1993, and the Gernreich kaftan from the late sixties is depicted as well as a New York subway conductor uniform from 1917. A must for everyone who has always asked themselves what Issey Miyake meant when he said: “I don’t design a fashion aesthetic. I create style from life and not out of style.” /ew

The English version of 100 Years of Fashion is published by Laurence King Publishers, London  and costs 24.95 GBP.

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Ever heard of the font ‘Kiosk Grotesk’, which is capable of conveying different emotions? Or of the ‘Tephra Formations’ by Robert Stadler, a hybrid form of sculpture and seating elements with a tufted leather surface that is a nod to the bourgeois sofa, whilst lava ejected into the air during a volcanic eruption provides a further designer inspiration? And then there are the simple labels on the bottles of ‘Casa Mariol’ that perfectly reflect the credo of the vineyard in Terra Alta, which has been in family hands for 100 years: always remaining true to the traditional methods of production and calling a spade a spade. Transparency and information instead of fanciful names and stylish posing. So are you really holding a compendium of ugly in your hands with ‘Pretty Ugly’? Or rather a manifesto, as suggested by the short introductory texts (in English), preceding the seven loosely connected chapters? Hardly. Even the title has several possible connotations. And if you take a closer look at the ‘objectives’ of the volume, comprising 225 pages, one thing is clear: they are as vibrant as the spectrum of works shown. Not only is there an emphasis on interdisciplinary aspects in ‘Pretty Ugly’ – from graphic design and PR, as well as fashion, product and furniture design down to sculpture and photography, all fields of creative design are covered. As announced on the sleeve, the “aesthetic riot by the pioneers of future design” is broken up by diverse conciliatory theses, like the one about “virtues” mistakes that ensure our authenticity and humanity remains intact. Chapter headings like ‘De-Constructed’ and ‘Neo-Artisanal’ are also a clue to the direction this book takes. Although non-conformism and provocation are at the focus, these art forms are less concerned with pure anarchy and are rather more an intentional disengagement from the strict dictates of ‘form follows function’. And the best example of this is the ubiquitous plastic chair that has been sold millions of times the world over and whose silhouette has long since attained cult status, which has been recreated in wood by the designer Maarten Baas with the use of traditional Chinese carving techniques. The unconventional (vintage) fashion by the Andrea Crews creative ensemble from Paris is also inspiring. Admittedly a still life by Courtney Reagor, consisting of Caesar’s bust, a plastic alien’s skull, a small colony of mushrooms and agave plants with a pink backdrop and decorated with a touch of gypsophila, is certainly strange, but ugly?? /ew

Pretty Ugly is Published by the Gestalten-Verlag, Berlin And costs 35.00 Euros.


Street Styles INternational London

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Street Styles INternational London

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Street styles International

london Photos Axel Siebmann

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Street Styles INternational New York

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Street styles International

New York

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Street Styles INternational New York

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Street Styles INternational Paris

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Street Styles INternational Paris

Street styles International

Paris

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Street Styles INternational Milan

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Street styles International

MIlan

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Street Styles INternational Milan

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City Guide Marrakech

01/2013 Illustration Roman Klonek

City Guide Marrakech HOt SPots Shops and More

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Street People Gateway to the world

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City Guide Marrakech

A Place Named Desire Text Ilona Marx Photos Adriaan LouW

Marrakech is a place of longing that elicits passion, especially amongst the avant-garde. In the face of globalisation and mass production the desire for handcrafted, authentic products keeps on growing. Admittedly a romantic notion, because even in the famous souks, the covered markets of Marrakech, not everything is authentic: there’s plenty of tourist trash too. So you do have to have a bit of a rummage to find the treasures this place has to offer: genuine antique hand-embroidered leatherwork, legendary precious rugs, pretty wrought-iron lanterns and babouches, the traditionally handmade leather slippers. Whether in terms of colours, materials, textiles, fashion or interior design – traditional North African artisanal work melds with western influences everywhere you turn. It’s pure inspiration for the newly awakened bohème, who, following in the footsteps of the hippy movement, are rediscovering Marrakech for themselves. Whereas in the 60s and 70s the red city’s charm was characterised by excessive parties and lavishly furnished orient hotels, contrasting starkly with the simplicity of the life of the local inhabitants, nowadays Marrakech symbolises, above all, one thing: the ultimate in exoticism with the shortest flight time. Like Yves Saint Laurent, who bought the famous Jardin Majorelle, saving it from falling into disrepair, more and more westerners come here and buy old townhouses, so-called riads, and renovate them – a dedication that the comparably liberal government of the Kingdom of Morocco encourages. And there’s no doubt that tourists in general have already woken up and smelt the coffee too. Nevertheless, within the city walls time seems to have stood still, especially in the northern part of the medina: market sellers nodding off over their dusty wares, tradesmen working away in their tiny open workshops as they have done for generations, donkey carts, traditionally clothed men and women – you really feel like you are time travelling in Marrakech, an experience which will really take your breath away. The frenetic hustle and bustle of street life in the old part of town, and the contrast of the New Town district of Guéliz, where fashion boutiques, elegant restaurants and galleries that wouldn’t look out of place in any European metropolis jostle for attention. Add to that the bedlam of the noisy lively traffic, juxtaposed with the quiet tranquillity of the inner courtyards of the riads, and the play of opposites is complete. Haggling market sellers and the kindness of the locals are two sides of the same coin: J’N’C editor-in-chief Ilona Marx and photographer ­Adriaan Louw from Cape Town were astounded by the contrasting scenes that unfolded before their eyes – and basked in the effusive Moroccan hospitality as well as enjoying the delicious local cuisine. Many thanks to Sonja Ludwig from the Moroccan Tourist Board, to Royal Air Maroc and to Andrea Kolb for her generous assistance. 26

01/2013


City Guide Marrakech

01/2013

A Blaze of colours. a trip to marrakech is not only a journey back in time, but also a feast for the senses.

Hot spots Marrakech Shopping

Kq Beldi Ks 33 Rue Majorelle Kt Nouredine Amir Lk Karim TASSI Ll ART/C – Artsi Ifrach Ln Akbar Delights/Moor Lo Stéphanie Jewels Lq Abury Ls [+michi]

S 32 S 33 S 35 S 35 S 35 S 37 S 38 S 40 S 42

Eat, Drink & Sleep

Kl Dar Moha Km La Maison Arabe Kn Riad El Fenn Ko Djellabar Kp Le Jardin Kr Kechmara Lp AnaYela Lr Beldi Country Club Mk Terrasse des Épices

S 29 S 29 S 30 S 31 S 32 S 33 S 38 S 41 S 43

Arts & culture

Lm Dar Al-Ma’mûn at Fellah Hotel

Lt David Bloch Gallery

S 36 S 42

Plus check these out La Mamounia The classic luxury hotel dating back to 1922. Favourite address of de Gaulle, Churchill and Roosevelt. www.mamounia.com Jardin Majorelle Don’t miss this wonderful oasis and birthplace of the famous ‘bleu Majorelle’. www.jardinmajorelle.com Fenyadi The interior design specialist, but located in the industrial district. www.fenyadi.com Dar Cherifa Great literature café but slightly hidden. Worth searching for! T +212 44 426463 Café Arabe Large restaurant-bar in the medina. Huge sofas on the rooftop terrace entice you to stay for one more drink. www.cafearabe.com Grand Café de la Poste Popular meeting point in the New Town, which is reviving the bygone colonial era. www.grandcafedelaposte.com Palais Namaskar A hotel palace, just like from 1001 Nights. www.palaisnamaskar.com Dar Zellij One of the best restaurants in the city. You can even dine under orange trees in the courtyard of the 17th century house. www.darzellij.com Lalla Beautiful bags by fashionista Laetitia Trouillet. www.lalla.fr

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City Guide Marrakech — Hot Spots

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City Guide Marrakech — Hot Spots

01/2013

Km Kl

Dar Moha

La Maison Arabe

There are countless restaurants in the centre and around the medina. But Dar Moha is and remains one of a kind. And not just because the head chef Mohammed ‘Moha’ Fedal is one of the most famous cooks in the country. He is also responsible for bringing nouvelle cuisine to Marrakech and giving it a Moroccan twist. His dishes combine international ingredients with regional vegetables, but he holds back on the use of typical Moroccan spices. Which isn’t surprising, as the charismatic Fedal learnt his trade in Switzerland, living there for 14 years before returning to his homeland in 1998 to open his own restaurant. The fact that he chose to do that in, of all places, the house that once belonged to French fashion designer Pierre Balmain is a sure sign of his instinct for good taste. Behind the thick walls of the several-storey building is a private garden and small pool. Here, just a stone’s throw away from the souks, one feels very close to paradise, amongst the birdsong and mouth-watering cuisine. We are pretty sure Robert De Niro and Oliver Stone, who have dined here, would agree. Nevertheless, Moha Fedal has not been dazzled by his success. On the contrary: the son of a farmer and a potter, he also runs three hectares of farmland, five kilometres outside of town. This is not just where the majority of his vegetables are grown – he also takes in guests!

Winston Churchill, Charles de Gaulle, Jackie Kennedy: La Maison Arabe has welcomed them all. Located in the medina and opened in the 1940s by two French women as a restaurant, the house’s reputation soon soared far beyond Morocco’s borders. In 1983, La Maison Arabe closed, and fell into a sleeping beauty slumber, only woken years later in 1998 by the present day owner Fabrizio Ruspoli. The offspring of an aristocratic Italian family, whose grandparents had temporarily lived in North Africa, he had the building extensively renovated and added new polish to its old charm. This resulted in Marrakech’s first boutique hotel, which, after various additions, currently covers six riads. There are 26 rooms and suites, all connected through a disorientating labyrinth of corridors, most of them with private terraces and their own fireplace, and all individually decorated. There is also a Moroccan and an international restaurant, a swimming pool and a wonderful hammam, open to anyone in search of relaxation, not just hotel guests. The same is true of the in-house cookery school located in the hotel’s country club. After a 15-minute shuttle bus journey from the medina, you can learn how to prepare the delicious tajines that you’ll also find on Maison Arabe’s menu – but simply relaxing in the pool or recovering from the heat and hectic under the fig trees of the restaurant Le Figuier are also tempting options.

Dar Moha 81, Rue Dar El Bacha 44000 Marrakech Medina T +212 524 386400 www.darmoha.ma

La Maison Arabe 1, Derb Assehbé, Bab Doukkala 40000 Marrakech Medina T +212 524 387010 www.lamaisonarabe.com

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City Guide Marrakech — Hot Spots

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Kn

Riad El Fenn A first-class style oasis, only a few steps from the central market square Djemaa El Fna: with its ancient walls that are over a metre thick, Riad El Fenn is built like a fortress. In 2002 the Brits Howell James and Vanessa Branson, sister of billionaire businessman and hot-air balloonist Richard Branson, bought the old townhouse and turned it into a modern boutique hotel whilst still retaining its historical substance: one that not only exudes comfort but also boasts some great artwork. One of the things Vanessa Branson is known here for is her work as initiator of the ‘Marrakech Biennial’, an international art festival that was launched in 2005 in the Riad El Fenn. But even during the rest of the year when it’s business as usual at the hotel, you’ll find works by contemporary European and African artists, including William Kentridge and Bridget Riley. The main building has meanwhile been extended by three ancillary buildings so the Riad El Fenn now boasts 21 rooms. One of which, according to the Herald Tribune, is the ‘Sexiest Hotel Room in the World’, a suite covering two floors, from the lower floor of which you can see the glass floor of the pool above. With handcrafted camel-hide flooring, freestanding baths or tubs sunk into the floor, showers under high domed ceilings, 50s-style kidney tables and art deco furniture, no two rooms are the same. Those looking for a pure orient feeling should head to the rose garden terrace and the rooftop pool with views of the Koutoubia Mosque and the Atlas Mountains. Riad El Fenn Derb Moullay Abdullah Ben Hezzian, Bab El Ksour 40000 Marrakech Medina T +212 524 441210 www.riadelfenn.com

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City Guide Marrakech — Hot Spots

Ko

Djellabar Marrakech is not only synonymous with centuries of oriental tradition but also for hedonistic western-style nightlife. So it’s no wonder that the mythical era, when the jet set of the 60s and 70s used to flock here, is still talked about to this day. And not only that: it is having new life breathed into it. Just like in the Djellabar for example. The location alone is spectacular: a wedding chapel in its previous life in the 1940s in the villa district of Hivernage, it was transformed by the two owners into a multifunctional temple of pleasure. ­Stéphane Atlas is a former journalist with a whole host of references when it comes to lifestyle and gastronomy, and Claude Challe, has been art director of the famous Parisian Buddha Bar, as well as running some of the coolest clubs in Paris and Ibiza and travelling the world as a DJ. They are both true doyens of the party scene. No wonder that their venue in Marrakech was received with such acclaim. The interior of the bar-restaurant-club follows the principle ‘orient meets occident’. Artistic mosaics and copper work details are proof of the skill of the Maalems, Moroccan artisans. The typical Moroccan hat, the fez, has been incorporated into the interior as lampshades or perched on the heads of the famous celebrities portrayed in pop-art style on the walls. And because it’s not the done thing to celebrate on an empty stomach in Morocco, the kitchen chef creates Moroccan classics and French specialities with a special twist under the heading ‘Cuisine Maroc ’n’ Roll’. You don’t get any closer to the Marrakech jet set than here. Djellabar Villa Bougainvillée 2, Rue Abou Hanifa, Hivernage 40000 Marrakech T +212 524 421242 www.djellabar.com

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City Guide Marrakech — Hot Spots

01/2013

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Beldi Kp

Le Jardin Anyone who has spent an afternoon getting hot and bothered wandering the dusty streets of the medina will know just how appealing a place called ‘Le Jardin’ sounds. Exactly one year ago, Kamal Laftimi, artist and restaurateur, had the brilliant idea of opening a well-signposted(!) restaurant in the midst of the labyrinthine alleyways. A place that exudes the allure of an oasis in the midst of a desert. Two riads were knocked into one and the inner courtyards were covered with green tiles. There is space for 200 guests here but the intimate atmosphere is retained thanks to the four different levels and small, tucked-away terraces. The kitchen is international: a mix of French, Italian, Moroccan and Asian influences, and the baked goods are said to be the best in town. Alcohol is the only thing missing on the list of sinful goodies. But to ensure that your visit to Le Jardin is still entertaining a film is shown on the rooftop terrace every evening after dinner, accompanied by a special non-alcoholic cocktail. Those still looking for a bit more variety: as well as Le Jardin, Kamal Laftimi also runs other locations, including Nousse Nousse in Guéliz, the Café des Épices as well as the Terrasse des Épices. And he will also be opening a new restaurant in the New Town in summer 2013. Le Jardin 32, Souk El Jeld, Sidi Abdelaziz 40000 Marrakech Medina T +212 524 378295 www.lejardin.ma

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Beldi means ‘traditional’ in Arabic – and this term certainly continues to characterise the Moroccan way of life. One only need be reminded of the ancient kaftan culture: to this day, both men and women still wear the extravagantly hand-embroidered floor-length robes. And, as is to be expected from a North African trading hub, there is an enormous choice of kaftans on offer. Especially in the confusing hectic of the souks there is an abundance of robes, but not all of them are very good quality. Unlike what’s on offer from the Baroudi brothers. Their shop, Beldi, is located right in the middle of the busy bazaar but this establishment stands out from the others. Not only do they have fixed prices, which is a welcome surprise for tourists unaccustomed to haggling, but the reserved, almost shy sales pitch from Abdel Hafid Baroudi also contributes to the success of the haute couture company, which is how they describe themselves. In his soft voice, Baroudi recommends one or other of the robes, which are designed by him and his brother and are partly sold prêt-à-porter, but are also available custom-made to specifications. Like their father, who founded the shop in 1940, the Baroudi brothers have concentrated solely on the production of high quality kaftans. Unlike their father, however, they now source their materials from abroad. The linen comes from Belgium and Italy, the cotton from India and the velvet from Thailand. Which explains why the Beldi creations, depending on material and finishing, cost around 3200 Dirham, roughly 290 Euros. Beldi 9-11, Rue Laksour, Bab Ftouh 40000 Marrakech Medina T +212 524 441076


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Kechmara Atypically for the gastro scene of Marrakech, this place makes do without a single ornamental embellishment. Instead of scenes from Arabian Nights, here at Kechmara they prefer purism à la Verner Panton, the Danish master of pop-futurism who has obviously provided the inspiration for the entire interior. High whitewashed walls, a long, simply designed bar and Murano glass lamps complete the picture. Everyone knows that this much style doesn’t just grow on trees, so it’s no surprise that the owners of the triad of café, bar and restaurant are two French brothers from Toulouse who have invested a lot of time and effort into their idea. Arnaud and Pascal Foltran arrived in Marrakech in 2000. Both had completed an economics degree and worked for NGOs in Africa for a while. They hadn’t been in the red city for long before realising what was lacking: a place where an international crowd could get together and party a little. Because they had already bought and completely renovated an apartment in Marrakech, which they then sold, they weren’t afraid of getting stuck into the whole DIY thing again: together with architect and interior designer friends they redesigned the house on Rue de la Liberté – the brothers even built a rooftop terrace. Today it is one of the few places in Marrakech where alcoholic beverages are served outdoors. Musical entertainment is provided by live bands and DJs and the culinary offer is out to impress too: burgers, Asian food, soups and salads have found their way onto the uncomplicated international menu. And opening hours from 9am to 1am are sure to please their active multicultural clientele. Kechmara 3, Rue de la Liberté 40000 Marrakech Guéliz T +212 524 422532 www.kechmara.com

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33 Rue Majorelle Until now Rue Majorelle was known mainly for one address: the famous Jardin Majorelle. The garden, designed by the artist Jacques Majorelle in the 1920s and later bought by the fashion designer Yves Saint Laurent to save it from falling into disrepair and being purchased by property developers, is one of Marrakech’s most popular sights. Which has a lot to do with the fact that it is home to an atelier building whose colour has gone down in history as Majorelle Blue, a colour theme visible again and again in the city’s architecture. For the past two years there has been an additional attraction across the road from the garden: offering accessories, fashion and interior design, 33 Rue Majorelle is without doubt the coolest concept store in the whole of Marrakech. More than 30 designers were convinced about the great concept of the several-storey corner store right from the start and contributed their designs. Nowadays the brains behind 33 Rue Majorelle can pick and choose who they wish to present, for example Lalla Mika who produce bags made from recycled plastic bags, and the London-based artist and designer Hassan Hajjaj, whose retro slippers are a homage to Moroccan culture as well as an ironic comment on it. This humour appeals to both tourists as well as locals, so 33 Rue Majorelle has lots of regular clientele. Adjoining the shop is the Kaowa juice bar, which serves delicious healthy food and whose terrace affords a perfect view of the entrance to Jardin Majorelle. 33 Rue Majorelle 33, Rue Yves Saint Laurent 40000 Marrakech T +212 524 314195 www.33ruemajorelle.com

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Nouredine Amir

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Wood, raffia, plant fibres, ultra-fine metal mesh, but also premium silks, wool and linen – since he was twelve years old, designer Nouredine Amir has been fascinated by the properties and combinations of unusual materials. Born in 1967 in Rabat, Amir studied at the ESMOD Casablanca for three years before presenting his first own collection in 1997. But he soon found the trend-orientated fashion world with its commercial nature and the tight timetables of the collection seasons too restricting. So when the opportunity arose to design costumes for film and theatre on an international level he jumped at the chance. Particularly inspiring for Amir was his cooperation with Iranian director, artist and photographer Shirin Neshat in New York. This collaboration inspired the designer in his creativity and helped him to find a freedom of expression that he has been cultivating ever since. In 2000, Amir made his comeback in the world of fashion – with haute couture and a prêt-à-porter collection that, with its sculptural look, is a nod to the designs of Issey Miyake, while also referencing the shapes and colours of the Moroccan landscape and architecture. In the production process of his fashion the designer, who lives and works in Marrakech, likes to integrate work from the craftsmen in the neighbourhood. The fact that Amir was invited to showcase some of his designs at the 4th Marrakech Biennale as well as in various international museums only goes to emphasise his special status.

With his Franco-Moroccan style, he is one of the most successful fashion designers in his native country, as well as on an international level: Karim Tassi knows exactly how to blend his own cultural roots with cosmopolitan flair. Whether coincidence or destiny – his career follows a 10-year cycle: after studying at the Institut International de Stylisme et de Modélisme in Casablanca, the city he was born in, the designer upped sticks and moved to Paris in 1989 where he went to the École de la Chambre Syndicale de la Couture as well as freelancing as a designer for the big fashion houses. In 1999, the French Institut du Monde Arabe hosted a Moroccan year – and Tassi seized the opportunity to establish his freelance career with his own collection. He then presented it in Morocco, and made the move back there in 2009. Tassi turned his back on Paris and all the freelance jobs and settled down in Marrakech with his business. He can live and work cheaply there and he has the contacts, the suppliers and his audience. His haute couture line, ‘Tassi Atelier’ comprises elegant silk clothes for her and suits for him, and his prêt-à-porter collection ‘Tassi’ is equally impressive. The highlight is industrially produced fashion with modern lines, which is then embellished with typical Moroccan elements by hand.

Nouredine Amir 226 Q, Semlalia 40000 Marrakech T +212 66 5296513 villaamir@gmail.com

Karim Tassi Immeuble RAK Liberté 18, Rue de la Liberté 40000 Marrakech Guéliz T +212 524 457709 www.karimtassi.com

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Karim Tassi

ART/C – Artsi Ifrach Fashion and Marrakech have been in a fruitful alliance for quite some time now. Couturiers like Yves Saint Laurent, Roberto Cavalli and Wolfgang Joop came here to search for an oasis of inspiration – and they certainly found it. The Israeli designer Artsi Ifrach, creator of the label ART/C, fell in love with the royal city and decided to seal the deal by moving there from Paris in 2011. He now welcomes his clients in the centre of the historic Old City, in the showroom of his riad. Nowadays the legendary of the medina are both a source of inspiration to him and a place to access great materials. Carpets, kaftans, cushions and bags make their way into his studio to become part of his highly individual garments. Ifrach’s family has Moroccan roots although they are Jewish and he started out running a large boutique in the centre of Tel Aviv. In 2009, the designer presented his first own show in Paris. The critics cheered, the fashion editors dedicated lots of column inches to the talented designer. In the film ‘La Petite Princesse’ Isabelle Huppert wears pieces from his collection and the US singer Kelly Rowland also ransacked his clothes racks for her video. Beth Ditto, the flamboyant singer of the band Gossip, also discovered the designer for herself and wore ART/C in the first row of a Dior show. As soon as you enter Artsi Ifrach’s showroom one thing is crystal clear: you don’t have to be a prophet to figure out how this success story will progress. /ns ART/C Riad El Arous 40000 Marrakech T +212 6600 36246 artsi.ifrach@gmail.com

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Dar Al-Ma’mûn at Fellah Hotel If you content yourself with merely visiting the medina and the New Town on a visit to Marrakech you’ll be making a serious mistake. As also beyond the city’s borders there are places that are just as impressive in their history and ambience. One such place is the Fellah Hotel. It’s not only more discerning tourists who make the journey to the surrounding area of Marrakech, in order to relax in the accommodation, which is one of the ‘Small Luxury Hotels of the World’. Of the ten dark aubergine painted villas, which are spread over a 14-hectare cactus garden with roughly 70 guest rooms, one is reserved exclusively for a non-profit project: the Dar al-Ma’mûn is an artists’ residence and the only cultural meeting place in North Africa and the Near East that is supported by UNESCO. Artists between 25 and 35 years old can apply for an Aschberg bursary for artists to be sponsored for a residency of several months. Residencies are also organised and financed by the Dar al-Ma’mûn itself, with enthusiastic support from the Fellah Hotel. Translation projects are also regularly supported and financed. Central to this is the translation of ancient and more modern Arabic scripts into English or French as well as the translation of texts into Arabic. Their workspace is the multilingual library that is used by students and scientists from the area as well as international translators and authors. Culture as the key to personal and local socio-economic development. Dar Al-Ma’mûn Km 13, Route de l’Ourika, Tassoultante 40000 Marrakech T +212 525 65002 www.dam-arts.org

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Moor/Akbar Delights Two French siblings in the medina: when brother and sister Yann Dory and Isabelle Duchet-Annez opened their boutique Akbar ­Delights in the souks in 2004, they were the first non-natives to try their luck so close to the Djemaa El Fna square, the beating heart of the local artisan trade. Fashion designer Dory had travelled extensively through the Orient, India and Asia – regions that traditionally have the most beautiful arts and crafts when it comes to textiles and interior objects. He had also lived in New York – a wanderer between the worlds. And so it wasn’t surprising that he sensed the western longing for handcrafted products somewhat sooner than others. Giving industrially manufactured goods the cold shoulder, Dory created the Akbar Delights label and sought out the best producers. He struck gold in India where his hand-embroidered silk, cotton and linen kaftans and tunics, which incorporate Moroccan design details, are made. The range is rounded off by typical Moroccan accessories like embroidered babouches (slippers) and pearl-studded bags, scarves and jewellery. In 2007, Dory and Duchet-Annez opened ‘Moor’ in Guéliz to go with their second own label of the same name. They have more space for their home items here: cushions, lamps, candles and blankets, which have all been added to their range – which even includes a large faceted mirror and an old Chinese bicycle. Moor 7, Rue des Anciens Marrakchis 40000 Marrakech Guéliz T +212 524 458274

Akbar Delights 45, Place Bab Fteuh 40000 Marrakech T +212 671 661307 www.akbardelights.com

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Ana Yela

It sounds a bit like a fairytale: Stéphanie Giribone, a young French jewellery designer designs one single golden bracelet – and really hits the bulls-eye where the taste of the style-conscious Parisians is concerned. The best shops in the fashion metropolis, such as Colette and Le Bon Marché, order her bracelet for their ranges and Stéphanie decides to design a whole collection – entirely in gold! She shows her first line, consisting of necklaces, bracelets, rings and earrings, at ‘Première Classe’ in Paris, the most important trade fair for accessories, and promptly acquires clients in Japan, Europe and the USA. After this success she decides to have her jewellery produced in Morocco, and moves her entire home base over there too. Not as rash a decision as one might think: due to their filigree and fragile style, Stéphanie’s designs stand out from the mass of Moroccan jewellery, guaranteeing her a unique status in her new home of Marrakech. Nevertheless, ethnic influences still play a role in her designs, just as inspiration. Speaking of which: Stéphanie’s small but lovely store, with its painted black walls, is slap-bang in the middle of the medina, on the first floor of a hidden alley of shops. If more than three jewellery fans are in the shop at the same time, she has to close temporarily to avoid a crush. But what the heck, as long as there’s enough space for her delicate designs, that’s the main thing!

The 300-year-old city palace is not only one of the highest buildings in the ancient northern part of the medina, but also provides spectacular views over the whole of Marrakech. It houses the Ana Yela, which has won the ‘World Hotel Award’ three times over in the category ‘Unique Small Hotels’. Three rooms, two suites – with only enough space for ten guests. Each room in the intimate location, each piece of furniture, each lamp, yes, even the tableware, has been individually designed. Responsible for the project was the German couple Andrea Kolb, a former PR manager, and her husband Bernd, who used to be on the board of directors at Deutsche Telekom. They bought the house in 2007, undertaking extensive renovations with local artisans. All the work was done without the use of electric tools. More than 100 experts on traditional Moroccan craftsmanship were involved. The final result is a place of tranquillity and inspiration, bathed in light cream tones. After the overwhelming barrage of new impressions and the hustle and bustle that the average tourist in North Africa is confronted with, any feelings of stress are left behind upon entering this unique space. There are lit candles everywhere, different aromas filling the air and a heated swimming pool in the middle of the courtyard. The good souls of the house, like the chambermaid and the cook, have been on board from the start and see the guests of Ana Yela as ‘their’ guests. After eating breakfast on the rooftop terrace under the nomadic tent from the Sahara, every European will feel like they have found themselves and a new home to boot.

Stephanie Jewels 15, Souk Cherifia, Sidi Abdelaziz 40000 Marrakech Medina T +212 524 383685 www.stephaniejewels.com

Ana Yela 28, Derb Zerwal, Zaouira Abassia 40000 Marrakech Medina T +212 524 386969 www.anayela.com

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Stéphanie Jewels

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Abury Andrea Kolb, the second: in 2011, the go-getting expat set up her social business company Abury – with the support of the ‘Club of Marrakesh’, an interdisciplinary network of business people, scientists, creatives and media professionals, which Kolb also helped to set up. With members spread all over the world, the club’s aim is to improve the world ecologically, economically and socially by being a part of the productive value-adding chain. And the Abury Foundation is pursuing this goal too, particularly on Moroccan soil. At the heart of the project is an almost lost craft – the production of Berber bags. Andrea Kolb discovered her love for these traditionsteeped products on her first trip to Morocco. She began to collect the handmade originals, some of which were decades old, in order to sell them on. Tortured by the idea that this skill could die out, Kolb finally created her own label and combined this with social commitment: meanwhile there are two Abury sewing schools in Morocco, one in Douar Anzal. Here, off the beaten track in the Atlas Mountains, young women – a demographic over-proportionally affected by unemployment in Morocco – can complete a course of training and are employed afterwards under fair conditions. Their speciality: high quality and customised clutches and iPad bags that combine traditional craftsmanship with modern lifestyle. They are available online, or in Germany in a few selected stores. Oh and by the way: 50 percent of Abury’s profits from the collection are passed on to other development projects in the region.

Abury www.abury.org

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City Guide Marrakech — Hot Spots

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Beldi Country Club Jean-Dominique Leymarie’s daughter’s wedding was not only destined to change her life, but also his. The Frenchman, who hails from a family of hoteliers, hosted the festivities at his riad in Marrakech. The guests were numerous – and so thrilled by the location that shortly after the wedding four more requests came. After the fifth, it was obvious: Marrakech didn’t really cater for large weddings. Monsieur Leymarie found and purchased a beautiful hall outside of the city along with 14 hectares of land. That was seven years ago. At that point Leymarie was not aware that he was laying the groundwork for the present day Beldi Country Club. First he extended the location with a pool and a spa, then he built an additional building for company events. And finally he added the villas for overnight guests, all designed by the charismatic Frenchman himself. Nowadays his daughter Geraldine runs the hotel and spa, including two restaurants and a café, whilst his son Alexandre takes care of the events. So the family legacy is very much alive and kicking in the Beldi Country Club, which is as luxurious as it is homely. But not just there: Jean-Dominique Leymarie also runs another hotel, the L’Iglesia in El Jadida, as well as a children’s swimming pool, a good 15 km away from the grown-ups seeking relaxation at the Beldi Country Club.

Beldi Country Club Km 6, Route du Barrage 40008 Marrakech T +212 524 383950 www.beldicountryclub.com

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David Bloch Gallery

Orient meets Occident, or to be more precise: North Africa meets Europe – in Marrakech this phenomenon can be observed on a daily basis. What is much more rare is the merging of the Far Eastern lifestyle with Moroccan tradition. The fact that the Far East and Morocco aren’t such strange bedfellows, aside from being thousands of miles apart, is proven by [+michi] in the heart of the souk. The Moroccan Hicham Ait El Aono and Masami Ishida from Japan have been running their little shop, which brings together the artisan talents of Marrakech with Japanese quality, since 2005. The unusual couple specialises in babouches. Unlike the neighbouring shops in the medina, where the traditional leather slippers are mostly sewn in a bit of a hurry, the selection at [+michi] is visibly of a very high standard. Hicham’s father also sold babouches locally. So it follows that the son became acquainted with the fabrication of this Moroccan classic from a very early age. The fact that he is now joining forces with his Japanese wife is manifested in beautifully simple design and also ensures an unusually international clientele. In addition to the slippers, Masami sells a whole range of the items sold at [+michi] in her Japanese online shop Warang Wayan, including, wooden cutlery and woven baskets. And at [+michi] you can also buy exclusive shoulder bags made from old flour sacks and Moroccan vintage vinyl.

Art is a high priority in Marrakech – not just as a traditional craft, but also in a contemporary and avant-garde sense: since 2005 Vanessa Branson, also the owner of the Riad El Fenn (see page 30), has been working with the AiM (‘Arts in Marrakech’) association, to organise the ‘Marrakech Biennale’, an international festival for literature, art and film. The ‘Marrakech Art Fair’, which also offers a platform for the aspiring art scene, has been taking place since October 2010. A large proportion of the galleries representing contemporary artists are based in the district of Guéliz. Here, where the severalstorey buildings and many street cafés exude French-style flair, the Matisse Art Gallery has its home. Founded in 1999, it represents three true classics of the Moroccan painting scene: Hassan El Glaoui, Mohamed Melehi and Farid Belkahia. Since 2006 the owner of Gallery Rê, Lucien Viola, has been dedicated to young artists who live in Morocco or in the Arab-Mediterranean region. One of the most progressive gallery owners is probably the Frenchman David Bloch. Architectonically, his gallery is an eye-catcher as well. A flat building with large street-facing front windows that doesn’t seem to fit into its surroundings at all. And the art on offer is also unwilling to bow to the norms: many of the artists shown here come from the street art scene, like Hamburg artist Heiko Zahlmann, or Steph Cop, who was a graffiti artist for many years and who is now focusing his attention on larger-than-life-sized wooden characters. In 2011, David Bloch opened another branch of his gallery in Casablanca.

[+michi] 19-21, Souk Lakchachbia 40000 Marrakech Medina T +212 61 864407 michimaroc.exblog.jp

David Bloch Gallery 8 bis, Rue des Vieux Marrakchis 40000 Marrakech T +212 524 457595 www.davidblochgallery.com

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Terrasse des Épices The so-called ‘Terrace of Spices’ can be found on a hidden rooftop in the middle of the souk. It all began when Kamal Laftimi and Nicolas Nancy opened a small establishment together on the spice market. Their ‘Café des Épices’ was so packed full of customers right from the very first day that the owners didn’t think twice: they had to open another one. In 2007 they had the location. Together with interior designer Anne Favier, who already had experience with café-interiors, they discussed colours, shapes and materials all the way down to the crockery which they designed themselves. Clear contours, warm spicy tones and traditional materials are the cornerstones of the interior. The terrace that gave its name affords spectacular views of the Atlas Mountains and the Koutoubia Mosque. And additional walls painted in chocolate brown add cosy little niches for intimate dinners. The menu is Moroccan-inspired, especially the Makfoul tajine with lamb, caramelised onions and raisins as well as various fish and vegetable tajines, which are very popular. The vibe becomes especially romantic after the sun has set. Following the muezzin’s evening call to prayer a calming stillness settles over the medina and when the moon and stars come up over the city’s rooftops even the most jaded traveller will be captivated by Marrakech’s magic.

Terrasse des Épices 15, Souk Cherifia, Sidi Abdelaziz 40000 Marrakech Medina T +212 524 375904 www.terrassedesepices.com

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Mehdi, 28, Director

Chaimae, 28, Camerawoman

Yassine, 25, Barkeeper

T-Shirt Buzz Jeans Avant Première Sneakers Asics

Shirt Massimo Dutti Jeans Zara Shoes Birkenstock

Marrakech is actually quite liberal when it comes to fashion – the people here wear whatever they like. Personally, I prefer to buy my clothes abroad.

What you can wear here in Marrakech very much depends on what part of town you’re in. Nevertheless, even quite revealing western clothing is not really taboo, the question is more whether you’d feel comfortable wearing it.

T-Shirt Zara Shorts Souk Flip-Flops Havaianas Necklace Bulgari Bag David Jones

Rachid, 30, Gallery Owner

Katrina, 25, financial analyst

Norya, 40, PR Manager

Shirt, trousers & shoes Zara Watch Diesel Glasses Alain Afflelou

Kaftan BCBG Max Azria Turban UNH Ankle Boots Boutique in Washington

T-Shirt Zara Trousers Chloé Shoes Havaianas bag Lalla

Unlike Casablanca and Rabat, Marrakech is a traditional city. Only very few people wear brand-name fashions. That’s why the look here tends to be more casual, and there are hardly any real fashion addicts.

The souks in Marrakech are an ‘open sesame’ kind of place for fashion addicts. Scarves, necklaces, dresses, bags, jewellery ... it’s all amazing! With unusual one-offs you can easily liven up simple basics.

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I work on the nightlife scene, in the VIP segment. Most of my guests are very stylishly dressed and place a great emphasis on their appearance.

For me Nouredine Amir, Hassan Hajjaj and Artsi Ifrach are the best designers here!


City Guide Marrakech — People

01/2013

Gateway to the World PHOTOS Adriaan Louw, Sabri Noor

Marrakech is not exactly renowned as a fashion metropolis – even within Morocco, Casablanca and Rabat are, according to locals, leading the way in the fashion stakes. But one big plus is that this city of dreams attracts a high density of international visitors, inspiring local fashion tastes as well as ensuring plenty of attention for the local traditional artisan scene and native fashion designers – which works as a kind of multiplier for Moroccan fashion design. A winwin situation!

Olivier, 33, Model

Askin Nadjer, 32, nurse

shirt Polo Ralph Lauren Trousers & shoes from the market Necklace from Africa Bracelet Karim Tassi

Kaftan Souk in Marrakech Sandals from a market in France

In Marrakech you can dress well for small change. This cotton kaftan cost around 15 Euros from the souk. I occasionally work in sales for Karim Tassi and have to say The embroidery is done by hand. that Marrakech is definitely coming along well in terms of fashion!

Karim, 46, Fashion Designer

Khalid, 32, Restaurant Owner & Designer

Artsi, 42, designer

Waistcoat, trousers, shoes & bracelet Karim Tassi T-Shirt Scotch & Soda

Shirt Zara Shorts Pull and Bear Shoes Dolce & Gabbana Bag Self-made, material from the souk Sunglasses Calvin Klein

T-shirt Urban Outfitters Shorts Oxfam Bag Lalla Hat Souvenir shop Glasses Souk in Marrakech

I buy fabrics in Marrakech and design my own pieces with them. The bag here is also one of my designs.

Marrakech has the most amazing manufacturing facilities.

I find Marrakech really inspiring – and it is greatly influenced by other countries. The whole world does pass through here after all!

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Brand Features

Today Utopia, Tomorrow Reality Fashion and Technology

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First Jeans In Space Interview Jason Denham

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Brand Features

Cotton Club 2.0 Sustainability The Ziggurats of Brooklyn Pleet

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“I Follow my Instinct and my passion” INterview Andrea Canè

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Flying Dutchmen PME Legend

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Pimp Yout Tee Anvil

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Pomp and Punk Denim Trends 2013/14

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Short Cuts

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Essay Fashion and Technology

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Essay Fashion and Technology

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Today Utopia, Tomorrow Reality Text Fredericke Winkler Illustration Frauke Berg

It’s no secret that fashion anticipates. Created by the pioneers of our social caravan on its journey through time, it gives all those who discover it a strong sense of the present. You could call it the visible surface of the here and now, or the smallest cog in the gearbox of aesthetic innovation. The one that turns the fastest. Despite all its ostensibly pioneering achievement, we do have to question, however, the truly innovative spirit of the fashion industry. Where does the unfettered dominance of cotton come from? Was the search for serious alternatives simply halted with the advent of polyester and viscose? And why are we stuck with production processes that lag far behind the realm of the possible? In terms of a technological ‘redesign’ of human beings, why is fashion still playing an apparently subsidiary role? Are the heroes of tomorrow expected to save our world in a state of undress? Who, if not fashion? It is really rather astonishing: we mollycoddle our Tamagotchi pets, invent computers that politely say goodbye before crashing and burning on us and we optimise our bodies with plastic surgery. And what does fashion do? Yes, fashion, where the creation of an article of clothing with more than one collar is considered highly innovative. “The development and use of new technologies is always like playing with fire. But, after all, even the discovery of fire itself must have involved playing with fire,” argues Hendrik-Jan Grievink, researcher, designer and co-founder of the ‘Next Nature’ think tank. Together with his partner Koert van Mensvoort he recently published the book ‘Next Nature’, which tracks the increasing overlap of (human) nature and technology. And Grievink is right: for quite some time now we have been moving in a world of identity-expanding products. So why is fashion seemingly happy to leave the development of new eyewear with integrated augmented-reality-systems to the likes of Google? Couldn’t Ray-Ban undertake such developments? Jackets that inflate like an airbag when you’re involved in a bad collision, integrated solar panels, LEDs, computer systems – all of these examples are feasible in terms of technological advances. Just like clothing that can be scanned using a smartphone. Why can’t we access background information about a production process by RFID code or at least be taken automatically to an e-commerce portal? According to Anina, ex-supermodel and passionate advocate of online technologies in the fashion arena, it wouldn’t even be a cost factor. “The appropriate equipment for such functions can be obtained for next to nothing in any electrical shop. Even the smallest fashion labels could afford to do that. It’s solely down to a lack of knowledge or inspiration that such ideas aren’t being turned into a reality on a larger scale,” according to Anina in a lecture she gave last November at the ‘Beyond Fashion Summit’ in Berlin. According to Gabriele Henkel of the Henkel dynasty: “Technological aversion can often be explained by the fact that user instructions are not understood.” Before you puzzle over the instructions it would probably make sense to pick up the said appliance: do rather than despair. For Anina, living in her chosen home, China, where there are seemingly un-

restricted possibilities, it is incomprehensible that the apparently futurefixated fashion industry can continue its slumber through the introduction of such wide-ranging technologies. With her platform ‘360Fashion.Net’ she wants to change all that by finding out about the latest communication tools. And that’s not all. Anina is developing an interactive online magazine that recently won her the title ‘Nokia Developer Champion’. Neither time nor money Fashion has what it takes to transform itself from a subtle form of communication to a concrete language tool. It has the potential to extend the reality of the wearer even beyond a narrow aesthetic framework. Why then does it leave these possibilities unexploited? A possible explanation is that even mass production processes hardly seem compatible with intelligent clothing, not even with serial production. Because these manufacturing principles form the basis for the leitmotif of short-term profitability. The industry is focused on launching new collections onto the market every six or three months or, at times, even every four weeks. The values of those collections have then, in essence, expired within the same timeframes. Indeed, innovation can often only be successful in the medium to long-term because it requires several phases of optimisation. Investment in new technology has to be a desired goal. However, if the interest in innovation is too superficial and producers, in the first instance, have their eyes only on additional sales arguments in order to maximise profits, then progress will only be relative. On top of that, consumers have to familiarise themselves with their own possibilities. They have to realise that by buying a new product they will be purchasing the opportunity of a better, faster or more comfortable life. With a smartphone this lasts only a few months – in the fast-moving fashion scene the timescale seems half an eternity by comparison. There, it’s sufficient to keep small fires burning, like thermo-active colours or nylon stockings with aloe vera molecules that are rubbed off during wear, pampering the wearer’s legs. But, let’s be honest: such novelties are a little like prescribing Diet Coke to the overweight, which only makes the issue worse. Is it presumptuous to criticise the introduction of such products for being based on questionable intentions? It’s possible that sports and outdoor clothing represents a certain exception. In the end, it does the trick for the daily struggle of breathability, insulation and moisture-regulation – meanwhile even up to double digit minus temperatures. The fact that it is occupied with solving specific problems, like the special demands of sport or extreme weather conditions explains its success only partially. Who needs specialised clothing if you’re just popping down the road to buy a pint of milk? The continuing expansion of the outdoor market can hardly be explained by arguing that we are increasingly confronted with extreme weather conditions in our daily lives, instead, it is much rather the perception that we will appear more adventurous with the right jacket. But should real innovation not pursue a higher goal and be capable of development for the future? If it’s not capable of saving the world, it should at least have a clear added value for the user, above and beyond saving time on applying moisturiser in the morning. And shouldn’t this 49


Essay Fashion and Technology

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able structural transformation. Not only cotton, but also PET (polyethylene terephthalate) can, meanwhile, be completely recycled, into shirts for example. And it is not the only reason to take this opportunity to emphasise that polyester is, in its application, far better than its reputation suggests. Open your eyes and go for it

added value concentrate on the everyday lives of the majority, i.e. those who live in climatically temperate zones? The car industry shows how it can be done. Here, increasingly, fibre-reinforced composites and technical textiles are now used. With these light materials they are hoping to make a significant contribution to the development of a new generation of energy-efficient cars. So it’s a question of new functions – just as in medicine, which is also conducting research into fibres. Heart valves made of textiles, clothing that alleviates skin ailments, warmth-conducting sleeves for physiotherapy, a shirt that functions simultaneously as an ECG and transmits the data automatically to the doctor – this may sound like science fiction, but it is already today’s medical reality. Cotton is not the last word Of course the textile industry has developed in the last few years too. However, if you examine these developments under the microscope, you will see that many are lacking in long term sustainability. The natural fibres were optimised during cultivation? Fine, as long as this wasn’t directly connected with the use of complex chemical cocktails for pest control and gene-manipulated seed stock. Gene manipulation, in terms of biodiversity and long-term agricultural activity, is certainly not a project for the future. In a very negative sense at the very most: almost 90 percent of soya bean and cotton production in the USA, two of its chief exports, are already genetically manipulated. It seems that a mixture of GMO-free and manipulated seed stock in agriculture is predestined. Moreover, cotton, as the textile industry’s most popular fibre, has been the subject of criticism in terms of its resource and cost levels. So it’s a good job that we now have numerous other raw materials from which fibres can be manufactured. However, whether it is soya, maize or bamboo – in most cases the new fibres are made using the viscose process. We’re talking about cellulose fibres, which are converted into yarn with the aid of various chemicals. During this procedure the original material is, to a certain extent irrelevant, as its characteristics get lost in the manufacturing process anyway. Bamboo, for instance, is a rapidly growing and uncomplicated plant. As a raw material it is really extremely resilient and sustainable but forfeits the majority of its ecological advantages during processing. One option that can be implemented on a large scale is fibre recycling. Although, as far as natural fibres are concerned, this will often be downcycling, i.e. the quality of the fibres becomes downgraded during processing. But the avoidance of further exploitation of raw materials is, in fact, in every sense, a pointer to the future and in it resides the chance of a sustain50

We are quickly realising that so-called new materials are only accepted by the industry if their mode of production follows old patterns. As only then investments do remain manageable. And, in addition, the top dogs amongst the producers and suppliers need fear no competition. And they avoid the risk of being sidelined by rationalisation. Because innovation can also mean going back to old, tried-and-tested methods, as with hemp, for instance. Just like bamboo, hemp requires much less water than cotton. Due to its cannabinoids, it can be cultivated without the need for pesticides. It is also obliging and versatile in its processing. “Hemp cultivation is suffering from a substantial developmental deficit because it was banned for many years. That’s why we need to invest generously in its research today, everything from the cultivation, to harvesting and processing,” according to Tilman Herzog, Press Officer for the label HempAge. However, working with hemp can be rewarding. Its basic characteristics hold great promise for the future, once the developmental bottlenecks have been overcome. Hemp is only one example from a whole range of natural fibres whose potential is nowhere near exhausted. With animal fibres it’s the same story. “There are many animals that build themselves cocoons,” notes Beth Mortimer in an interview with the specialist German magazine Textilwirtschaft. As a member of the Oxford Silk Group at Oxford University she conducts research into materials that can be made from spiders’ spun fibres. These are extremely resilient to tearing, but due to a tendency to cannibalism in spiders, and the fact that they are not easily domesticated, it is difficult to harvest their threads on a large scale, as Mortimer readily admits. Nevertheless, silk does have many facets. Cellulose fibres are a lot more than a mere typically aggressive chemical. The most well-known example is Tencel from Lenzing. This Austrian firm has developed its own process that works without the use of toxic solvents. Suzanne Lee is carrying out research at Central St. Martins College in London. She has found a way of taking a cellulose mat through a fermentation process using microbiological action on green tea, then drying it and processing it like a textile. Her research is only in its early stages, because the material absorbs readily and soaks up a lot of water (up to 98 percent of its own weight). Nevertheless, bacterially produced cellulose holds the promise of a finer texture than plant-based sources. An additional advantage is that the material produced by Suzanne Lee is completely biologically degradable. “The slow growth – as well as the fact that it is around 100 times more expensive to produce than plant cellulose – has hindered its industrial application up to now,” comments Dr. Sascha Peters from the Haute Innovation Agency. But today’s utopia, as we all know, may be the reality of tomorrow. Peter Waeber, the founder of the bluesign standard, speaks out in favour of synthetic fibres. For him the future holds enormous potential for synthetic fibres, much more than their reputation would indicate, also in the area of


Essay Fashion and Technology

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environmental protection. The traditional processes and usage of materials are far from truly reflecting the actual technological stage we are at. “Chemical processes are not bad per se, we just need the correct intelligent processes,” says Waeber. And let’s face it: for each kilogramme of textiles we use 1.5 kilogrammes of chemicals, and that’s for conventional vegetable fibre processing.

One vision, one goal!

Let’s summarise: in terms of material innovation, the functional extension of clothing and its finishing processes, we are technologically further advanced than the market reflects. The main reasons for the time delay lie in the ever-accelerating fashion cycles and the high price sensitivity of the markets. However, the wheel of technological innovation does not stop turning, even if the cog of aesthetic innovation loses momentum. It is the businesses that are particularly on the ball which are recognising the

time/price crisis and are placing their bets elsewhere. In doing so, they need to demonstrate humility before the task ahead of them and find the path to the supporting experts and scientists. Progress is possible, alongside a shift in economic interests, even if, to begin with, the consequence is deceleration. In addition to this it is important to educate the customer. They are the ones who need to be integrated in the developmental process. It’s not a mistake to explain innovation to them, demonstrate the advantages and give them a role in the process. In the case of the smartphone, as a comparison, this is a short process, despite the complexity of its function. So why in the fashion industry do we believe that people are only capable of understanding washing instructions? That they are too lazy to do anything other than unbutton the winter lining of their coats now and again? Surely the customer should be credited with more intelligence? Much more is possible as long as we invite them on the journey with us. To quote Saint-Exupéry: “If you want to build a ship, don’t drum up the men to gather wood, divide the work, and give orders. Instead, teach them to yearn for the vast and endless sea.”

Fredericke Winkler is a qualified fashion designer and college lecturer for marketing and sociology. As co-founder of the agency Beyond Berlin, she ­develops new marketing strategies at the cutting edge of ethics and aesthetics.

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Brand Features Pleet, New York

01/2013

The Ziggurats of Brooklyn

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Brand Features Pleet, New York

01/2013 Text Johannes Thumfart PHotos Paul Mpagi Sepuya

A visit to Samantha Pleet’s studio in Brooklyn’s Greenpoint neighbourhood is somewhat surreal. If she owned a time machine, the designer explains, she’d most like to travel to ancient Babylon. She really goes into raptures when describing the Babylonian ziggurats – the stepped temple structures where priests and priestesses prayed to the gods and observed the stars. It must have been incredibly mysterious and sexy, thinks Pleet. While elaborating on this image she stands up and does a little pirouette. The black dress she is wearing, with small diamond cut-outs around the midriff, is her own design, and takes its inspiration from this very same setting she is describing. It is called ‘Tabernacle’, after the holiest relict in the Catholic Church. And the fashion she makes is just as quirky as the designer herself. The 31-year-old dedicates each of her collections to historic epochs, which she reinterprets freely and eclectically. She likes to choose unusual subjects, far beyond the stereotypical Westwood-esque, repetitive baroque euphoria of fashion: next spring’s collection explores the topic of Babylon: black, brown and sand colours prevail, as well as classic dresses with opulent folds. “Goddesses” should wear these Babylon outfits, Pleet declares. A cluttered pin board in her studio shows the developmental process of her collection: images of headdresses and sceptres belonging to Babylonian priestesses hang next to shots of deserts and oases taken from the National Geographic, her favourite read. Feminine Wanderlust The range for spring/summer includes a couple of outfits reminiscent of the workwear of archaeologists or explorers – a reoccurring theme with Pleet. Last summer she launched a footwear collaboration with the outdoor label Wolverine as a celebration of female adventures. The robust yet sexy leather boots and shoes are named in honour of pioneering female adventurers like Karen Blixen and aviatrix Amelia Earhart, who challenged preconceived gender roles. Buckles and straps of various kinds impart a truly outdoor feel even though Pleet didn’t forgo the high heel in all of her designs. In contrast, for her autumn/winter collection 2012/13, she had found inspiration in 19th century Romantic art. Taking works like Arnold Böcklin’s ‘Isle of Death’ and Caspar David Friedrich’s ‘Two Men Contemplating the Moon’, the mysterious thoughtful element of the epoch attains a particular gravity. Pleet’s fashionable distillation: black and grey capes for the urban romantics as well as ankle-length dresses in crimson and black, with whimsical pleats. But the designer doesn’t just adopt this historical inspiration: she interprets it in forms that aren’t necessarily historically accurate but are suitable for everyday wear instead. In a sense Pleet is representative of the contemporary Brooklyn scene, which presents itself as much more retro-orientated than the German one. “In Berlin it’s all about the future,” is how the designer succinctly sums it up. With its red brick façades and disused factory warehouses Brooklyn really does seem a bit like a museum of the 20th century in places. And the same goes for the cultural zeitgeist here, where the past seems to have a special status. Americans consider themselves avant-garde hipsters merely on the strength of having rebelled against the faceless homogeneity of North American shopping malls and burger joints. And that’s not so random really, considering the enthusiasm evident for all things old, not only manifested in the present renaissance of homemade furniture and vegetable canning, but also evident in the classic fashion styles that continue to define the New York street style – sometimes by referencing traditional hipster styles of the 50s and 60s and sometimes in reprises on the flapper look of the 20s. Pleet takes this retro-mania to a wearable extreme by not only mining the 20th century for inspiration, but all the previous centuries before it as well.

during which she learns a lot. But no matter how vehemently she asserts that she never wants to stop learning – her experiment has already been successful: Pleet’s designs stand out because of their timeless quality. Her very individual style seems to have developed by distancing herself from the present: on the one hand firmly rooted in history but, through Pleet’s imagination, also detached from it. Another source of important inspiration for Pleet are her extensive travels – to South America, Europe, Asia and the untouched nature of Canada. “I hit on the idea with the explorers because I spend a lot of time travelling,” she says. “When you are an outdoor kind of person as well as being enthusiastic about fashion you soon notice that you have to resign yourself to looking not-so-great if you want to continue with your hobby.” She has taken a first step towards changing that with her shoe collection for the label Wolverine. You don’t have to make any compromises when it comes to aesthetics just to ensure functionality. The same goes for all her collections. “All of my garments are designed so that you can simply put them in your suitcase and then – without having to iron – just put them on,” says Pleet. “The more nonchalantly you handle the items the better they look.” Her ideal client is a “travelling, creative, self-employed woman who doesn’t have the time to spend longer than necessary on fashion”. Mysterious Worlds Pictures from Pleet’s travels lead us to hope that she will soon be designing more outfits for female ‘explorers’. Like a female version of Indiana­ Jones in Iceland or on the Peruvian plains, she can be seen mostly sporting a hat and sand-coloured tones. With the revival of this kind of classic explorer style it’s all about a whole attitude to life. “In terms of geography there really isn’t anything left to explore, but the exploration to the inner self remains,” she says. “If you travel with an open mind, the chances are pretty high that you will become aware of how amazing it is to be alive.” And the explorer style certainly helps with that, freeing you from your everyday fashion habits, adds Pleet – a reference to another one of her motivations: her irrepressible love of dressing up. As a child she never played with dolls, but enjoyed dressing up with her friends instead. She invented whole worlds, which is what she is still doing to this day. “They were mysterious worlds full of magic and secrets,” she enthuses and her eyes begin to sparkle. Later on she worked her way playfully though all kinds of subcultures from wave to grunge, changing her hair colour as she went along, from green to pink. She never really took these metamorphoses seriously, they were simply an extension of her favourite childhood hobby into adulthood – which she continued by studying fashion at the New York Pratt Institute and then founding her own label in 2006. In the future Pleet would like to delve further into the field of prêt-àporter. She would love to develop her own textiles, which she is already devoting a lot of her time to at the moment. Only recently she moved her studio from Greenpoint to the Garment District in Manhattan in order to be closer to the textile producers who make her designs. Many of the materials are ecological. And although she is working on an ecological architecture project together with her husband, fashion designer Patrick McGovern, and also collaborates with him on their own collection, she is still a little wary of using the constraining term ‘organic fashion’. Her husband, Pleet tells us, has sporadically helped her with the designs for men that she used to attempt. For the past few years, however, she has stuck to purely women’s fashion. “I still have so much to learn about men’s fashion,” she says with her very own particular brand of tongue-incheek diligence. www.samanthapleet.com

Fashion as a Permanent Study No matter how unusual her enthusiasm for art and fashion history may be, compared to the international designer scene the feisty Pleet sees it purely from a pragmatic point of view. “All great artists have reinterpreted art history in their own way,” she says. “Only through this confrontation with the past can one develop one’s own more intense, personal style.” According to her, her collections are first and foremost studies, 53


Brand Features Jason Denham, Amsterdam

01/2013

Jason Denham

First Jeans in Space Text Annekatrin Looss

With a name like that, it was inevitable: Denham sounds like denim. And so it’s more than just a coincidence that Jason Denham is one of the most interesting contemporary jeans designers of the present day. Ever since he can think, he has been obsessed with jeans, says the native Brit. A passion that has grown over the years. For decades now he has been collecting jeans; when he graduated from university in Manchester with a fashion degree he already had a jeans collection under his belt. And the next collection he designed was for the band U2. He founded the label Blue Blood, designed for Pepe Jeans. Five years ago he braved the market with his own label Denham–the Jeanmaker. “The truth is in the detail,” is the motto that Jason Denham started out with. Every stitch, every button, every pocket of his designs has been thought through. His multi-dimensional design philosophy is “Worship tradition, destroy convention.” The result is a bold mix between the legacy of blue jeans and a design that can be described as creative and innovative. But despite all of this love for tradition Denham never loses sight of the future: in 2013 he will send the first pair of jeans into space. We talked to him about the past and the next five years. What vision did you have when you started Denham five years ago? I had been observing the jeans market and thought it was time for a new exciting jeans brand. One that gives the jeans market a new twist, further developing the jeans themselves. I wanted to put together a good team and offer something brand new and fresh. In the past five years, what went better than expected? Definitely our shops. We have opened stores in London, Tokyo, Osaka and Amsterdam. They have gone down really well. That’s why we want to open more. And what didn’t go so well? The economy. We founded our brand and things started going downhill with the global economy. Back then we thought that this crisis would pass. But unfortunately that doesn’t seem to be the case so far. On the contrary in fact. But I am hoping that the global economy picks up momentum again in the next five years. And if you offer good quality items like we do, then it is possible to survive the recession. Why did you choose Amsterdam for your headquarters? Amsterdam really is a jeans capital. I’ve been living here for 17 years 54

now and can say that the people in Amsterdam eat jeans – for breakfast, lunch and dinner. It’s crazy. There’s this big jeans culture here, this spirit. It’s really a great source of inspiration for my work. It was also in Amsterdam that you invented your ‘Denham House’ concept. That was something I had always wanted: to have everything under one roof. The design, the production, PR, marketing, showrooms, retail – everything in one place. So when the buyers and customers visit us they can experience the brand in its entirety – in one building. And you get direct feedback … Yes, exactly. It was very important to me to be transparent as a brand. We have glass walls in our ‘Denham House’. So everyone can look into the design studio and watch the people working. Everyone can see what we are doing. Are additional ‘Denham Houses’ planned, for example in Germany? Germany is definitely on our radar. In 2013, we want to open at least one or two shops there. In which cities? In a lot, to be honest. I would like to see them in Munich, Hamburg, Düsseldorf. We’re currently looking for the right people and the right places. Do you have a favourite pair of jeans from the past five years? And a favourite detail? That’s a good question. Of course we’ve designed a lot of exciting jeans over the past five years. For example a model called ‘Skin’ – with details that are really characteristic of our brand. Like the seven-point back pocket in the shape of my hand. That’s one of my favourite details. What are the next important steps for the brand? The most exciting thing for us at the moment is the book that we are bringing out to commemorate our five-year anniversary. What can we expect to see in the book? A whole host of fantastic photos, interviews and features, with plenty of stories from the past five years. As this is our five-year anniversary, we’ve focused on the number five and realised that there are a lot of fives associated with our brand. First of all, we produce five-pocket jeans every day. We have our five stores that we are reporting on. Our head-


Brand Features Jason Denham, Amsterdam

01/2013

year anniversary, at the 14 oz. store on Ku’damm in Berlin. So that’s the first place you’ll be able to buy it, and then of course in our shops, on our website and from selected stores worldwide that stock our range.

Denham Womens Store, Amsterdam

quarters has five floors, and each one is being presented in the book. And I’ve also written letters to my personal five denim legends, the five people who have inspired and accompanied me during my career. And they sent me replies. Who are the five legends? One of them is Nigel Cabourn. Although the British designer isn’t a jeansmaker, he is the greatest when it comes to workwear and militaryinspired clothing. And that has a lot to do with jeans. He makes great garments and is one of the most experienced collectors of vintage clothing. His archive is fantastic! Collecting is another passion we share. I also have a big archive myself. And, just like me, he also comes from Newcastle in the north of England. Who is the next? Renzo Rosso. I think he’s the modern Levi Strauss – the biggest brand architect of our time. You’re also a big fan of Adriano Goldschmied. Yes, for me the greatest jeans designer of all time. A true artist. … and François Girbaud … For me, François Girbaud is the embodiment of a scientist. He invented stonewashed jeans, simply by throwing a pair of jeans and a few stones into a cement mixer – before becoming the pioneer of laser washing. ­Girbaud is a genius who is constantly inventing new techniques. He simply knows how to treat jeans. And the fifth in the pack? The brains behind Bread & Butter, Karl-Heinz Müller. He is a fantastic curator. In his stores and at his tradeshow he brings together fantastic brands, just like in a good exhibition.

What will the print circulation be? We are printing 1000 copies. Each one numbered and hand-signed by me. The first 20 copies are also being signed by my five jeans legends. We are going to donate the proceeds from these 20 books to charity: the money will go to fishermen in Japan, who lost everything during the tsunami in March 2011. You once said that you want to tell stories with your fashion. What kind of stories are they? We are currently working, for example, on the ‘Space Expedition Corporation’ project. The background is that Virgin Galactic Flights, the company owned by British billionaire Richard Branson, and the Dutch company Space Expedition Curaçao, SXC for short, are currently competing with one another for dominance in the market for commercial flights into space. Plans are being made for 2013. Denham has won the bid to kit out the passengers of SXC with outfits. So we’ll be sending the first jeans into space. This is the kind of thing we love being a part of. So what will the first pair of jeans in space look like? They are inspired by a British Vintage helicopter aviator suit. That was our starting point. The underside of the jeans will be made from a very light material, making it really comfortable to sit in. A heavier, stronger material will be used on top. A fantastic project. And where do you see the brand in five years? In five years we will hopefully be working on the book for our ten-year anniversary. I hope that we’ll have at least ten stores by then, or preferably more. And there’ll be a lot more tens, for our ten-year anniversary. We’ll see. Thank you very much for the interview.

www.denhamthejeanmaker.com

Where can we buy the book? We are launching our book on 15 January 2013, the exact date of our five55


Brand Features Andrea Canè/ WP Lavori in Corso, Bologna

01/2013

“I follow my instinct and my passion” Text Gerlind Hector Illustration Matthias Schardt

Recipes for success are always a bit tricky when it comes to the fashion business. Surveys are studied, trend researchers pestered and market conditions probed. But that’s all complete nonsense, according to Andrea Canè, for whom it has never been about the money, but about his two passions: fashion and travelling. In order to be able to combine the two, he quit his medical studies, looked for an investor and simply put his nose to the grindstone. Today, 30 years later, WP Lavori in Corso, which is based in Bologna, is one of the most profitable fashion companies in Italy. The company name ‘Work in Progress’ was unfortunately already taken when Cristina Calori, together with her father Giuseppe, wanted to make her mark on the fashion industry in 1982. But that didn’t matter, the Italian version sounds much nicer anyway: WP Lavori in Corso. Cristina Calori is still the owner and manager of the company. As far as its fashionable orientation is concerned though, Andrea Canè, today Creative Director, has always contributed a great deal and been involved right from the start. His vision: to bring international brands with a very specific DNA to Italy, perhaps even to the whole of Europe. It all started with Woolrich, Barbour, Paraboot and Filson. Back in 1985 WP opened its first store in Bologna. And what a surprise: it was exactly what the young locals were waiting for, especially as the mix of function, fashion and casual on offer positively set itself apart from the formally chic look that was popular in many places throughout Italy at that time. What followed next was not only a second store 56

in Milan. Throughout the WP success story countless other brands have also been added to the portfolio, including Khaki Jungle and B.D. Baggies. The company can meanwhile call twelve WP and nine Woolrich stores its own, as well as one Barbour store, and their retail activities are going to be further expanded in 2013. The same goes for Germany, where the opening of the Woolrich store in Munich last October is apparently only the beginning, promises Andrea Canè. He doesn’t want to give everything away yet, but one thing is clear: after the successful launch of Baracuta last year, WP is still on the search for brands that match the company’s DNA. And on top of all this Canè is also proudly presenting the birthday book to commemorate the company’s 30th anniversary. It includes a whole host of pictures, fascinating information – and perhaps even a few recipes for success that reveal how one can turn one’s passion into a long-term career. You have been working in the fashion business for more than 30 years. How big is your wardrobe? I don’t like hoarding vast amounts of clothes in my house. Luckily the company has its own big clothing archive. There are some really great things in it, and of the approx. 20,000 items a few hundred come from my personal wardrobe. Are there any favourite items that you would never part with? Of course there are a few special pieces that mean a lot to me – but I really wouldn’t wear them anymore. And I also bring them to our

WP archive and make sure that I know exactly where they are hanging in case I need to find them. My personal best-of list actually always remains more or less the same. I’m just not the kind of guy who constantly changes his tastes. How did you even get into fashion in the first place? Basically I’ve always been interested in fashion, and it’s always had an influence on me, even as a child. My father, for example, was a real classic forties dandy. That style and class really impressed me too. But as a young man you initially had other career plans … Yes, I originally wanted to be a doctor like my father. But then I suddenly changed my mind. When you look back today: what were the most important stages of your professional career? In 1982, we founded WP Lavori in Corso, then we took our time doing the research and checking out the international fashion market. In 1985, we opened our first WP store in Bologna and straight away began to stock lots of interesting foreign brands, especially of course from the USA. As a matter of fact you did bring several typically American brands like Woolrich and B.D. Baggies to Europe. Do you see a difference between American and European customers? Definitely! Their sense of aesthetics and perception of functionality are noticeably different. We Europeans combine items very differently


01/2013

Brand Features Andrea Canè/ WP Lavori in Corso, Bologna

Woolrich Spring/Summer 2013

to how the Americans would. I have also noticed that for us the function always has to have a fashionable aspect. Americans don’t see that as a high priority and mainly prefer the casual look. But overall I do think that the general dress code is becoming more international. It wasn’t that long ago that the fashionable differences between, let’s say, Germans and Italians were far more noticeable. But meanwhile that has balanced itself out. Your designers create their own styles for Woolrich, which are specially distributed in Europe. Are there specifications? We definitely try to design an internationally interesting collection. The inspiration comes from everywhere: Europa, the USA or Asia. But of course, our base is Europe, and that’s where it is most important to capture the typically European zeitgeist. Which criteria are important when you are selecting a new brand for WP? It’s important to ask what the statement behind the brand is. What does it want to convey? And what is particularly typical, perhaps even iconic about it? And of course the function always plays a big role for us. Does it fit in with us and the other brands that we represent? The WP DNA has to be right. In the selection of course I don’t just think like a classic salesman – my heart also has to beat for the brand. I simply follow my instinct and my passion. Of all these brands Woolrich especially conveys a real sense of heritage. Are you noticing that the sense of values and tradition has also grown amongst the end consumers?

That’s actually nothing new to us, as the core competence of a company that looks back on a certain tradition, of course promises a product with quality right from the outset. For example Woolrich has dedicated itself to the outdoor lifestyle since 1830. That’s something we have always emphasised, and has also always been very highly valued by our customers. In general I see the trend continuing in the direction of quality and fashion with a certain handmade character. The sustainability principle is also important, and at Woolrich we really focus on the durability of the products in particular. What does Woolrich have in store for us in autumn/winter 2013/14? A central occasion will of course be the launch of the newly oriented Woolrich women’s collection for autumn/winter 2013/14. Here our design team is going for an even more feminine and sophisticated look than before, in combination with the typical Woolrich quality. For the ‘gentlewoman’ we are mixing a pinch of romance with masculine influences – that’s going to be very exciting. We are also proud of the cooperation with Porselli, who have been the traditional ballet shoe supplier of the Scala in Milan since 1919. We are joining forces to bring ballerina slippers onto the market that are made from wool and specially produced in Milan. But my own personal favourite is a Teton parka, which comes from a capsule collection by Woolrich. Together with the Teton Group we have incorporated some very unique fabrics into our range, including laminated nylon, which is ultra-light and stretchy and also great to wear. It’s waterproof and breathable too.

Tell us what you have planned for WP Lavori in Corso in 2013? After Baracuta, which got off to a great start last year, we will be adding another brand to our portfolio. Of course we’ll continue to focus on our retail strategies. Last year we opened five Woolrich stores in Munich, London, Lille, Maastricht and Gothenburg. Together with one Barbour store and the WP stores in Italy that already adds up to 22 important points of sale. Our Munich shop is going so well that, particularly in Germany, we are going to further expand our retail activities. More stores, shopin-shops … just wait and see! 2013 is definitely going to be an exciting year for us. How do you recharge your batteries in between all of this activity? I love to spend time with my family. I also enjoy going up into the mountains and I’m a passionate diver. It’s a wonderful way to relax and also how I come up with lots of new ideas. Thank you very much for the interview.

57


Brand Features PME Legend, Amsterdam

01/2013

Flying Dutchmen Text Gerlind Hector

In the Benelux countries PME Legend is one of the top three fashion brands. Never heard of them? Then it’s high time you did, because the down-to-earth casual and denim wear label from the Netherlands is getting ready to take the rest of Europe by storm. And in order to create an authentic image and credibility, they’ve come up with some pretty cool ideas. Apparently those fashion labels that mourn the glorious days of the 1950s do still exist. The fifties were officially the last decade when ‘la grande inspiration’ came from the world of haute couture in Paris. So as soon as Paris announced that the A-line, H- or S-line was en vogue, the copycats would go into overdrive! With a few of the fashion industry’s big players, this is still a common routine these days too. But those who find all that beneath them and prefer to create their own individual brand profile are going to have to come up with something pretty impressive. Just like the makers of Just Brands, who are certainly not lacking in the imagination and knowhow department. The Dutch company, which has the labels PME Legend, Cast Iron and Vanguard in its portfolio, is currently preparing its big leap and, after Benelux, is planning on conquering the rest of the world. Germany is the first country on their list – and let’s be honest, their chances are pretty good. Since the company was founded in 1988 it has steadily 58

grown in Holland, Belgium and Luxemburg where, with its 1500 sales outlets, it is a widely known name. And PME Legend makes up 75 percent of their entire turnover. Every child from Dommeldange to The Hague is familiar with the memorable TV ads in which an oilsmeared hunk sands down his Douglas DC-3, better known amongst Germans as the “Raisin Bomber” because of its role in dropping down supplies in the Western part of Berlin during the blockade. And the look of these aviation pioneers, which will be starting its descent onto the German market from spring 2013, is also just as appealing. In the baggage hold: authentic casualwear, denims und cargos. Not forgetting the classic sheepskin aviator jackets and other casual leather jackets. Everything for the trend-­ conscious active man, who is aiming for more of a survival look rather than a suave one. And let’s be honest, there’s nothing less attractive in today’s economic climate than the conservative banker look, and ‘metrosexual’ was really only good for a summer fling. Now the time is right for real men who steer their aircraft through wild hurricanes and, don’t panic or lose their cool after a crash landing on some far-flung South Sea island. At PME Legend they’ve recognised the sign of the times and created a detailed story about the life of an imaginary freight pilot – and that should certainly be popular in Germany ac-

cording to Robert Theijssen. “Our label is totally fresh here and has massive potential,” states Theijssen, who has been the CEO for Germany, Austria and Switzerland and International Sales Director of Just Brands since November 2012. Edwin de Rooij, Design Manager at PME Legend, who got his inspiration for the 2013/14 autumn/winter season from old restored American freight planes and films like ‘Into The Wild’ enthusiastically adds: “The combination of authenticity and innovation makes PME Legend a brand that has its sights firmly set on the future.” And de Rooij doesn’t just mean that with regards to fashion. For Just Brands ‘the future’ also means the permanent development of their own CSR (Corporate Social Responsibility). Part of that is a product handbook that prohibits the use of various chemicals in the production processes, and a ‘Code of Conduct’ which is a guide to working times and conditions for the manufacturers they cooperate with. Even at the Amsterdam headquarters everything has been built to the latest ecological specifications. Thanks to motion sensors the lights go out automatically when no one is moving. Which doesn’t happen all too often as there’s still plenty of propeller polishing going on! So the Germans should start clearing the last of the snow from the runways ready for the arrival of these flying Dutchmen! www.pme-legend.com


Brand Features Anvil, New York

01/2013

Pimp your Tee Text Gerlind Hector

Higher, better, faster, stronger – if you want to keep up with the big guns in the garment industry, you will soon find yourself bowing to general consumer pressure. Anvil Knitwear, however, decided to take a different route and drew up a to-do list for itself: principles before profit is the maxim, and the consumer is also called upon to take a slice of the responsibility. “Do you wash your T-shirts at 90 degrees and then throw them in the dryer?” This is a question that Anthony Corsano, president and CEO of Anvil Knitwear, is all too fond of asking. And it certainly makes you think. Especially when you know the following: as far as the CO2 footprint of a T-shirt is concerned, 60 percent of the emissions take place after the purchase. At the end of the day, Mr Corsano doesn’t necessarily have to concern himself with that. After all, when it comes to the production of imagewear textiles his company is one of the market leaders. Polo shirts, T-shirts, sweaters, bags and caps – the offer is pretty impressive. And the customer has a wide choice of colours and styles, in top quality and at fair prices. No wonder that the company, which was founded in 1876, has more than 130 successful years under its belt. Putting people first The priorities list at the New York headquarters reads slightly differently to what one would expect: ‘People, planet, profit’. Exactly in that order! “Because people have to come first,” confirms Corsano, who was a recipient of the Metro New York Ernst & Young Entrepreneur of the Year Award in 2008, in the Retail and Consumer Products category. For Corsano, who 60

has spent a lot of time thinking about the topic of corporate social responsibility, sustainable economics start with the farmer working in the cotton fields and continue all the way to the end consumer, which covers us all. “As a company we have taken on responsibility, with the aim of making the world a better place to live in,” emphasises Corsano. In 2007, he set the first milestone by launching the initiative ‘Anvil Sustainable Manufacturing’ (ASM). With the ‘Anvil Organic’ product range the company has meanwhile been catapulted into the spotlight as one of the biggest buyers of organic cotton worldwide. The ‘Anvil Recycled’ product series is made from recycled materials. ‘Anvil Sustainable’ is a line that uses organic cotton and recycled polyester to make the products. Many of the Anvil products are also certified according to the Oeko-Tex Standard 100. Since the beginning of 2010, it has been possible to precisely track the origin of each Anvil T-shirt on the interactive website TrackMyT. com. Which working steps were necessary, how many miles of transportation were required for the distribution? Who worked on the production? How much energy was used? Anvil is constantly improving and working on reducing environmental damage and guaranteeing absolutely fair production methods. According to Corsano, fair trade wages and working conditions as well as maximum efficiency when it comes to energy resources are all essential parts of the whole. The criteria are strict and often not feasible at the speed Corsano would like. So there is no big PR party being celebrated at Anvil Knitwear – simply the facts. In addition to recent successes in terms of energy savings there are also deficits listed, and reflections on which priorities in which areas have to be put into prac-

tice in the near future. We, the end consumers, are being called upon to ‘pimp’ our tees, rather than simply buying new ones. Social responsibility – worldwide Anvil is committed to social responsibility on a worldwide scale. In Germany the company is a sponsor of the ‘Nichtrauchen-ist-cool’ project (which means ‘Not smoking is cool’), aimed at preventing nicotine addiction amongst children and young adults. After initially attracting mere sniggers from its competitors a few years ago, the company’s persistent sense of responsibility has long since paid off. Last October in Hong Kong they were the recipients of the ‘Future Shaper’ Award from the ‘Textile Exchange’ organisation – a prize for companies that take the issues of sustainability, ecology and social responsibility especially seriously. For Anthony Corsano this is an incentive to continue making sure that each and every one of us does our bit. And of course he has a whole raft of useful tips at the ready – for example when it comes to old clothes. “Don’t just throw them away,” he says. “Donate them to a charity, have a clothes swap party or just get creative and make something new out of old T-shirts.” After all, Corsano is convinced that even small steps can have a huge impact. www.anvilknitwear.com


Photographer: Beate Hansen 2012©. Dress: Erb et Boe. Ladies knit jacket: Maiami. Men’s trousers: Strellson. Men’s knit jacket and light sweater: JOOP!

Embrace Nature. Choose Cotton. cottonusa.de


Subject Sustainability

01/2013

Cotton Club 2.0 Text Gerlind Hector

Organic cotton seems to be the material of the moment and the demand for ecologically correct clothing is big. But ‘organic’ doesn’t necessarily mean ‘sustainable’. And after the latest scandals the consumers are also realising that. It’s proving a challenge for the textile industry and the search is already on for alternatives. Let’s compare an apple with our favourite T-shirt. The fruit has to be ‘organic’ of course. After all, we’ve learnt that it not only tastes better but is also healthier for us and the environment. Meanwhile, word has even gotten out that the pesticide-free and ecologicallycorrect apple from South Africa doesn’t really offer a solution. After all, it has to travel a very long way before it lands on our supermarket shelves. So if you want to be more aware of your ecological fingerprint, you should be opting for local fruit. So far, so good. But what about the smart new T-shirt that we want to treat ourselves to? It only needs to be trendy and have a cool brand name, right? Times are changing. Meanwhile there is a growing consumer sector attaching great importance to sustainability and environmental protection and also proving that they have a certain power. Consumers don’t ­ ecessarily have to n make ­sacrifices In the year 2000 the American sociologist Paul H. Ray described the LOHAS phenomenon for the first time in his book ‘The Cultural Creatives: How 50 Million People Are Changing The World’. The representatives of the ‘Lifestyle of Health and Sustainability’, according to Ray’s thesis at that time, are cultivating a new lifestyle shaped by the principles of sustainability. And this new type of consumer has indeed not only influenced the food industry within just a few years, but, surprisingly, also the fashion industry. But this new, 62

conscious consumer attitude doesn’t necessarily mean having to go without, as Matthias Horx from the Hamburg Future Institute explained during a Zurich media event in July 2012: “Here it’s simply about a new form of consumerism, in which people are actually on the lookout for meaning and balance – within society and of course within the environment.” Important prerequisites for such meaningfulness are transparency and reliability. And that’s exactly what the non-profit organisation Cotton Council International (CCI), according to their own statement, has been trying hard to achieve for some time now. Founded in 1956 in Washington D.C., they see themselves as a representative of the American cotton industry and, at the same time, as a strategic partner of industry and trade. One thing’s for sure: if you’re talking about clothing and fashion, you’re going to inevitably wind up on the subject of cotton, which constitutes 33 percent of the production of textile fibres worldwide. With a quantity share of around 75 percent, cotton is also the most frequently used natural fibre for interior and clothing textiles. Thanks to the ongoing organic boom, organic cotton is regarded as the material of the hour. “Although the share of organic cotton still represents less than one percent of global cotton production, harvesting and processing are growing rapidly,” says Kirsten Brodde, textile expert and author of the book ‘Saubere Sachen’ (Clean Clothes). The demand for ­ ‘organic’ is challenging the ­industry The fact that this trend may pose new problems in the long term was recognised by the textile industry a long time ago. Let’s face it: the worldwide annual turnover with organic textiles has more than quadrupled in the past four to six years; production has increased from 20,000 tonnes to around 180,000 tonnes. On the German

market alone around 15 to 20 percent of the fairly traded textiles are made of organic cotton, estimates the TransFair association. Sooner or later organic goods will therefore have to be produced in much larger quantities so that the demand can be met. The ecological benefits are obvious, or at least one would think so: classic organic cotton works with crop rotation systems instead of pesticides. On a rotating basis, fruit, vegetables, sunflowers and cotton are planted, and only organic fertiliser is used. This increases the humus content of the soil, which can then store more water and CO2. But that’s only one side of the coin: ecologically cultivated cotton generates much lower yields than conventional plants on a comparable area. So if you want to satisfy the increased demand in the long term, you need more land and, above all, more water. “Due to the natural competition of different seeds and cultivation areas in organic farming you have to endeavour to maximise the yield per hectare. Otherwise a lot of rainforests would have to be chopped down,” according to agronomist Allen ­Terhaar, who has been Senior Advisor at CCI since the beginning of 2012. “After all, the increasing global population needs to be fed and dressed.” Biotech cotton ­guarantees sustainability So do we have to choose between organic cotton and rainforests? Terhaar doesn’t think so. There is, after all, a sustainable alternative – and it goes by the name of biotech cotton: “In the last 25 years biotech organic cotton has managed to make important progress in reducing the environmental impact. With the new technology, in the USA, despite increasing yields, we have been able to reduce the surface area needed, massively reduce the use of water and pesticides and energy costs, the impact on the climate, and, not forgetting, the

losses felt by Mother Earth through soil erosion.” So it would seem that this fixation on organic cotton may not be the ideal long-term solution. The confusing jumble of certifications is also making it hard for the consumers to find their way around the market of organic textiles. The latest scandals involving supposed organic cotton, which in reality turned out to be genetically modified, have also been causing uncertainty. In January 2010 ‘Financial Times Deutschland’ confronted the textile chains H&M, Tchibo and C&A with falsely labelled goods. But even when things like that don’t happen: “In the ecological evaluation of a cotton product it is important to know how the fibres are further processed during manufacturing,” emphasises Edelgard Baumann, who has represented the CCI since 1997 in Germany and Benelux. “In some cases a product made from organic cotton can even come off worse than one made with conventional cotton.” In this context, finishing and dyeing processes are only some of the important keywords. Pretty ecological seal or not – organic is by no means a synonym for sustainable! “We will not save the world by fashion!” acknowledged fashion designer Vivienne Westwood during the ‘IHT Luxury Conference’ last November in Rome. But went on to say the world is being driven by questionable principles: “The idea that you must produce all these useless things in order to grow, but we’re not growing in our humanity.” And the London fashion icon could be on to something there. The organic boom is showing that consumers can have a considerable influence on the market and the environment. If we want to go shopping with a good conscience again, we have to learn to take the increased demand and growing world population into consideration when it comes to weighing up the overall pros and cons for true environmental equilibrium.


Termine 2013 09.-11.3.2013

21.-23.9.2013

Messe Offenbach GmbH Kaiserstr. 108 -112 D - 63065 Offenbach am Main Fon + 49 69 829755 - 0 Fax + 49 69 829755 - 60 www.messe-offenbach.de info@messe-offenbach.de


Brand Features Denim Trends 2013/14

01/2013 Diesel Black Gold

Pomp AND Punk Text Gerlind Hector Photos Axel Siebmann

Modesty and glamour – and both preferably at the same time. The new denim styles for autumn/winter 2013/14 are bridging the gap between tradition and innovation. The message is: stay cool and make a fashionable statement! The denim market is getting armed and ready. It’s busy dyeing, coating, structuring and applying for all its worth. And nowadays it’s not, as famously suggested, the skirt lengths that wander up or down depending on the economic situation. It’s good old jeans, which in these hard times of the euro crisis and economic stagnation are proving what they are capable of: the tough blue fabric is becoming an exquisite extravagance with which we can show where we stand. And it’s still all in the mix. Whether chic blazers, leather jackets with studs, high heels or sneakers – our good old jeans look good whatever the occasion. The only prerequisite: they have to be able to make a statement! Even the fabric trade fairs last summer indicated that there is going to be more variety in autumn 2013. At textile tradeshow Munich Fabric Start, the Blue Zone, which is the hall of denim weavers, was more packed full of designs than ever before. And the standard was also visibly even higher and more innovative than usual. Well-known vintage looks suddenly seemed oddly outdated. “Everyone is looking to have the next new great idea,” is how Joachim Baumgartner, trend scout of Munich Fabric Start, summarised it back then, referring to the overall new wealth of textile innovations. The denim weavers impressed with feminine fabrics in a broad colour palette and new methods for producing multi-coloured 64

jacquards. Technical developments are also in full swing as far as stretch is concerned, as it’s no longer just ladies, but more and more men who are opting for tight-fitting silhouettes with a certain degree of comfort. So bring on the ultra-stretchy fabrics, but only as long as they don’t exude the charm of cheap jeggings from the bargain bin. Denim is making statements Berlin Fashion Week is currently bringing it to light, with Premium and Bread & Butter leading the way: the most important protagonists include interesting denim brands, which, with their new styles, are proving that the potential of the ‘indigo gold’ has not been exhausted by a long chalk. G-Star is staying true to its prominent image and has been doing pioneering denim work for 20 years now. And for autumn 2013 the Dutch denim makers are once again focusing on new innovations with regards to rough, untreated denim. The high-quality destroyed washes seem tough and in their typical 3D look robust and traditional, but without forfeiting any zeitgeisty modernity. Li Edelkoort, trend researcher and oracle of the lifestyle industry, summed the phenomenon up perfectly: “Your generation is not a generation of fear, it’s a generation of doubt!” And it’s clear, the financial crisis has already become a part of our everyday lives, and we are encountering it head on, and well-armed (or well-dressed, whichever way you want to look at it). We are more sceptical and no longer fall for every trend that the spin doctors serve up. If you want to keep achieving good sales, you have to be able to read the sign of the times and fashionably translate it. G-Star, for one, has understood

Third dimension Jeans wearers are thinking three-dimensionally! And not only in terms of adding the finishing touches to perfect tailoring, but also special textures and appliqués. Studs, gemstones and the like are being diligently stuck on or riveted into the denim for a sexy armour look.

this. Denim in 2013/14 – not a fabric that dreams are made of, but rather something for realists. So why not offer the perennial trench coat in deep dyed denim with a slightly shiny finish instead of in gabardine or poplin? For autumn 2013 G-Star is showing us a chic variation in a dark wash that is giving ladies the season’s most on trend all-weather coat. Thanks to its unique style, it looks urban and elegant worn with a silk blouse and high heels or robust and ready for battle when paired with a checked shirt and biker boots. So the ‘trench’ coat, originally worn by French and English soldiers, is being given another traditionally unconventional touch, behind which a true statement is hidden: with it we feel better equipped to deal with whatever life throws at us. And the same can be said of the military look, which many denim brands are bringing back to life with a modern twist. At Closed, it is manifesting itself, for example, not only in the form of new coats and parka variations, but also in skinny denims in a casual fit with patch military pockets and elaborate waistband details. And in contrast, but by no means in contradiction to this: ornate stud and jewel appliqués that look cool and tough. Note: the deco trend, including coated denims in a metallic look, is nowhere near over, but instead of looking fussy and glamorous, it comes across as powerful and strong with subtle feminine guerrilla-like charm. Craftsmanship and quality Anyway, the focus in the coming autumn/winter season is on unique, special and, above all, elaborately handcrafted looks. According to


Brand Features Denim Trends 2013/14

01/2013 Vanessa Bruno

Diesel Black Gold

Unconditional

Pattern inspiration

Styles and cuts

Playing with colour

Exquisite ornaments are transporting medieval designs into the 21st century. Ethno influences are also being printed on denim – whether as a flock or classic print. Particularly effective on jeans.

Whether patchwork style or pattern mix – it’s all about experimenting and perfecting special looks. But also: deep dark plain-coloured examples with understated tailoring that focus on the core competence of denim. Stretch is a big topic, and this time even the men are on board.

Dark denim remains a favourite. Preferably also over-dyed with shades in green or orange. Vibrant neons step into the background in favour of natural spice tones. Pastels complement the wintry colour palette. Metallic is still very much in.

Li Edelkoort, a return to the tried-and-tested and high quality is definitely part of the new lifestyle, but not in a conservative sense. We actually feel quite grounded and don’t have a problem with integrating old values or production techniques into our modern lives. The ‘new Romantic’ is not making us put on our rose-­ tinted spectacles, in keeping with the antiquated motto ‘Everything was better in the old days’. Instead, these days we are embracing the freedom of making up our own minds about what is important to us and what isn’t. Plus the fact that we are getting back into knitting, embroidering and crocheting – and can thereby appreciate the value of handwork. This also explains the newfound interest in ornamental details, fine patterns and elaborate linings. The young American jeans label Current/­Elliott has perfected this look. CEO and Creative Director Serge Azria is showing ethno-inspired designs on trousers and miniskirts in filigree light and dark contrasts. With sleek blouses or shirts these stand-alone pieces really come into their own and reveal their full effect. Bleulab by Carl Jones is showing fine floral ornaments, reminiscent of the sumptuous wallpaper prints of the 19th century. As with paisley patterns, the attention here is on subtle colour gradations, for example in pastel. Too stark a contrast would spoil the harmony – and bright candy colours are so last year anyway. Our desire for more naturalness is also reflected in the colour palette. As well as pastels it is mainly warm spice tones from mustard yellow to paprika and curry that are proving popular. And of course the deep, dark indigo, which gives the denim its symbolic character – like no other colour. Deep, over-dyed variations, such as green or orange dyed over black denim in

Costas Murkudis’ collection Closed, are setting new and interesting accents.

that they can wear for years to come,” affirms Jason Denham. “That’s more sustainable than buying a fashionable T-shirt made from organic cotton and throwing it away after wearing it three times.”

Sustainability with sex appeal When it comes to unusual looks the Brits from Unconditional are going one step further and showing skin-tight menswear jeans in a patchwork look. In their strict symmetry the closely placed contrast-coloured denims are a nod to the Mi-Parti of the 13th and 14th centuries with a touch of Op-Art from the 60s à la Victor­ ­Vasarely. An extremely daring melange, but one which still keeps enough of a stylistic distance from Till Eulenspiegel (the peasant trickster character from German folklore) et al. Upon closer inspection something else becomes clear: a lot of effort has been made here to guarantee the perfect fit. And: designs using lots of small patches mean – as the experts amongst you will know – fewer offcuts of the precious denim. In a nutshell: a modern look is being presented here and at the same time unnecessary waste is being avoided. With this the Brits have struck an important chord, because nothing is occupying us as intensively at the moment as the topics of sustainability and wasted resources. We are now more aware of our consumption but we also know that hard times don’t inevitably have to mean forgoing our lust for fashion. On the contrary in fact, as Jason Denham, also a fashion designer with a mission, is proving. The high regard for craftsmanship is what drives him, as the head of the jeans label constantly reiterates, and his two basic principles are: 1. The truth is in the detail. 2. Worship tradition, destroy convention. “I don’t want people to buy disposable products, but rather a pair of jeans

Zeitgeist of the 21st century The Brit could not have formulated the crux of the organic boom better. After all, word must have gotten round by now that a good conscience doesn’t automatically come along with the purchase of organic products – regardless of whether it’s yoghurt or jeans. And it’s not only the most recent scandals surrounding incorrectly labelled organic cotton shirts that have shown this. There is also justified doubt as to whether the demand for organic clothing can be adequately satisfied with the resources currently available. Someone somewhere will end up losing out – whether it be the poor seamstress in Bangladesh or Mother Nature herself. So Jason Denham’s appeal to reduce our consumption and to consume more sensibly, not only makes sense, but also sharpens our senses as far as high quality and durability are concerned. This newfound affection for everything nostalgic is heralding a transformation, and, please note, not a revival. That won’t have come as much of a surprise to Li Edelkoort though, as she’s always said that there is no such thing as a real revival! Especially not when it comes to denim. Even if we reference the decorative touches of the Middle Ages, the frugality of the 40s or the gloom of the 90s now and then – jeans are an integral part of the 21st century. And they are currently more varied and expressive than they have been for a long time! 65


Short Cuts

01/2013

German Jeans

G-Shock

Invincible For three decades

“Glück Auf” Part 2

Since 1983 Japanese watch label G-Shock has been designing rugged wristwatches that can withstand virtually any daring feat: guided by the “Triple 10” concept the timekeepers are water pressure-resistant and can even endure impact from a height of ten metres. The G-Shock designer Kikuo Ibe was inspired by – who would have guessed it? – a popular toy, the rubber bouncy ball. 30 years later G-Shock has achieved cult status – and also has a lot to offer in terms of innovation: for example, the first model with Bluetooth function was recently launched. To commemorate this important milestone anniversary, temporary G-Shock stores known as G-Sessions will be opened throughout Europe during 2013. As well as limited G-Shock models in special colour schemes the stores will also offer countless examples of the 30th Anniversary Collection, which was created in cooperation with well-known artists and sports figures. From January we can look forward to the first G-Session store in Berlin. Happy Birthday G-Shock!

As a pioneer of German workwear, Eva Gronbach has been adding fashionable finishing touches to traditional miners’ workwear since 2004. For the German Jeans reissued ‘Premium Urban Denim’ collection the Cologne designer is once again embarking on a search for the identity of the Ruhr region. She is combining elements of the original coal miners’ work uniforms with fine cotton, denim, silk and bamboo-based textiles from German and European weaving mills, which are livened up with different washes and used finishes. While the German Jeans colour palette previously represented the many years of wear and tear of the coal miner’s garb, ranging from grey to beige and putty, now delicate pastels like rosé, tender yellow, sky blue and jade are providing a laid-back, casual look in combination with modern tailoring. The words “Glück auf”, a traditional miners’ greeting, adorns selected styles. And it almost goes without saying that, in times of the unisex debate, the 54 items of the collection were designed for both men and women.

www.g-shock.de

www.germanjeans.com

66

Marion Strehlow

Victorinox

Why bow to the dictates of fashion if a lack of must-haves in your wardrobe is a serious argument for designing your own? That’s exactly what Marion Strehlow from Mönchengladbach thought. So parallel to her training at the Schloss Eller fashion school in Düsseldorf in 2001, she founded her own label. Since autumn 2012 her handmade womenswear, which is mostly produced in small series, has been joined by a bag collection – also handmade in Strehlow’s Düsseldorf atelier. Whether the striped ‘Maja’ model or ‘Rules’, the bags all come in different sizes, colours and with different straps. Complex cuts and unusual colour combinations are the collection’s trademarks. No doubt about it, you’re sure to find the right bag for every occasion in Strehlow’s atelier. Definitely!

The ‘Future of Space Exploration’ exhibition at the American Museum of Natural History in New York is not only proving a hit with outer space freaks, but has also inspired the traditional Swiss company ­V ictorinox to come up with some new designs. The upcoming autumn/winter 2013/14 collection unites finds from old military archives with new technology. The ‘Protect Jackets’ are made from a triple-layered, thermal-insulation fabric and have an ergonomic collar and laser-cut ventilation – for the men in with camouflage Protect-Logo print and for ladies in black and Galactic Gold. The ‘Contour’ and the ‘Innovate’ lines were also inspired by spacesuits and stand out with their material innovations. Whether textured poly linen or breathable high-tech nylon – all fabrics meet the typical Victorinox specifications when it comes to multi-functionality.

www.stre-low.com

www.victorinox.com

Perfect Carrying Companions

Future-proof


Short Cuts

01/2013

Dockers

Dress like you mean it

Converse

New dimensions

Shoes are ­boring, We wear ­Sneakers!

Antony Morato

So you think the whole threedimensional dalliance is reserved only for the film industry? Well think again: for the 2013/14 autumn/winter season the Dutch denim experts from G-Star are once again proving that 3D is also a hot topic in the fashion biz, with their 3D jeans. While the relaunched ‘Charlie Pant’ is celebrating the 3D jeans look with slightly twisted seams on the legs, G-Star’s denim jackets with 3D sleeves are providing added freedom of movement. And in terms of details the ‘Red Listing’ with irregular seams, coloured selvedge and destroyed finishes is setting benchmarks. The range is rounded off by a new interpretation of G-Star’s jeans originals, like Pierre Morisett’s classic ‘A-Crotch’ with a tapered fit. Exemplary detailing!

Long since represented on festival stages and dancefloors, Converse sneakers are the epitome of alternative style. So it’s not surprising to hear that their new motto is ‘Rock Craftsmanship’, which is manifesting itself in the autumn/winter 2013/14 collection in the form of leather models, zippers and buckle details, metallic looks and skull and crossbones prints. And to match the rocker image the colour palette includes black, grey, soft red and muted blue tones. For cold days we recommend the ‘Wheaterized’ line: materials like washed leather or suede, felt, tweed or wool are making Converse All Star classics fit for the winter. And if all this dismal talk of winter is getting you down, you can opt for the ‘Bright Colours’ neon models. One way to beat the winter blues!

On its journey into the past the Italian menswear label Antony Morato was inspired by iconic styles that have written fashion history. Sixties prints and graphics on loose-fit jackets and T-shirts take us back to the period of neorealism. In combination with coarse linen, coated cotton, cord, braces and fur details a modern reporter look emerges, which in view of a colour palette including different blue tones to absinthe green paired with accessories like bow ties and painted buttons can also be interpreted as a contemporary dandy concept. Homage is paid to the Hollywood of the past with black and white combinations and glamorous details. Nostalgic yet ironic at the same time!

Fashion should be fun! This is the only message that the Americans from Dockers want to convey this coming spring. Since the fashion label was established in 1986 the Californian virtuosos of the casual look have been celebrating khakis as an alternative to denim with their typical ‘from Monday to Sunday’ style. Whether San Francisco or Alpha Khakis, ultimate chinos or shorts – for the upcoming season the brand’s focus is also very clearly on masculinity. Colourblocking, checks and clear blue, grey and brown tones contrasting with washed-out red and yellow tones are the colour trends in store. And the palette also surprises with striking colours like spearmint green, quantum blue and scooter red. Once again the label is out to impress with robust fabrics and details, like waxed twill, patch pockets, knee panels or an authentic selvedge. This is where jeans end and khaki begins!

www.g-star.com

www.converse.de

www.morato.it

www.dockers.com

G-Star

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Roving Reporters


Short Cuts

01/2013

Cross

Life is bright

Palladium x Billionaire Boys Club

Diesel

Camouflage is everything

With its ‘Bling for Good’ charity project Diesel is proving that offcuts and left over materials don’t belong in the bin, but can be important raw materials for creative tinkerers. Since the summer the label, together with young jewellery designers, has been organising workshops in different German cities, during which illustrious guests from the creative scene design new pieces of jewellery from excess Diesel materials. The unique handmade pieces are then sold at selected Diesel stores and different concept stores, as well as online via Etsy and Facebook. All proceeds will go to the label’s own Only The Brave Charity Foundation, which since 2008 has been fighting poverty in Africa with 100 different projects. Good stuff.

We also have news to report from the Palladium design cooperation unit. In the past, names including Richard Chai and Maharishi have stepped in to give the classic Pampa boot a comprehensive re-modelling, and now they’re teaming up with another fashionable heavyweight in the form of premium streetwear label Billionaire Boys Club, which was founded by style icon Pharrell Williams. The progressive camouflage on the Pampa-Hi and Pampa-Baggy can be attributed to the renowned Japanese designer ­Sk8thing, who has previously worked with streetwear legends like Bape and Hiroshi Fujiwara. The double labelled boots come with a highquality suede upper, thick rubber sole and padded footbed and are available now from the Palladium online store and selected shops.

www.diesel.com

www.palladiumboots.com

Welcome to the workshop

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With its spring/summer 2013 collection Cross not only presents itself as fresh, easy-going and extremely eager to experiment once again, but is also inviting us once again on a rollercoaster ride all the way through the wild 80s. In tie-dye looks or with a star pattern, disco shorts, skirts, tops, denim gilets, jackets and shirts and pastel-coloured tops are defining this look along with cord and denim in skinny, straight and relaxed fits. As well as high-quality

Broadway

Big Apple reworks

materials, perfect wash treatments and innovative tailoring, the variety of elaborate details plays an important role. Understated metal logos and contrasting turn-ups meet studs, lacing, neon elements and muted camouflage lining.

For Broadway, everything will be revolving around life in the metropolis on the Hudson River once again next spring. With soft Henleys, tough hoodies, elegant V-necks, smart shirts, light knits, patterned summer blousons, chinos and denims in different washes, a casual workwear theme will be defining the men’s look. The ladies’ styles, on the other hand, are based on classic American sportswear, but with the addition of multi-faceted geometric patterns, Bauhaus elements and architectural collages. Important here are coloured all-over prints, neon combinations and stripes. The colour palette ranges from diverse blue tones to red, yellow, beige and orange down to various pastel nuances. Très chic.

www.crossjeans.com

www.broadway-fashion.com


Short Cuts

01/2013

Campus

Have love – will travel! Already made your travel plans for the next semester holidays but still not sure what to pack in your suitcase? A glimpse at the Campus spring/summer 2013 collection might help you. For the girls, single-button blazers, swinging skirts, c ­ oloured-skinnys, chambray dresses, cardigans, tops, hoodies, denims and leather jackets are meeting tailored details, feminine shapes and flowing materials. The highlights here include all-over prints inspired by Japanese kimonos, burn-out

Brompton

Friends for life

Ben Sherman

If you think that folding bikes have been passé ever since the 70s, you’ll have to think again after seeing the two-wheelers by British bicycle manufacturer Brompton. And not just because the smart bicycle can be individually configured by the customer from top to bottom: i.e. from the gears to the tyres and the handlebars, right down to the saddle, the light and the colourways. The folding system is also unrivalled. Instead of the classic method, in which the front part is completely separated from the

back, an ingenious hinge system ensures that every Brompton can be folded together practically into a compact package in just 10 seconds – without the individual components getting caught up in one another. Another plus point: a special chain protector prevents your trouser legs from getting dirty. In times of rocketing petrol prices an extremely smart shorttrip alternative to the automobile. www.brompton.co.uk

It’s a jazz thing

Clarks x Eley Kishimoto

UK meets Japan For the 20 th anniversary of the dynamic British-Japanese print design duo Eley Kishimoto, Clarks is presenting an exclusive collaboration series, in which three legendary ladies’ shoe models were merged with equally as legendary print designs. The series was presented during the recent London Fashion Week at the Aram Gallery in Covent Garden, where the ‘Living with Patterns’ exhibition by Eley Kishimoto was also held. The strictly limited styles, which are packaged in a specially designed shoe bag will be available from March 2013 in leading boutiques and selected stores. Happy shopping.

bleached looks as well as small pendants and brooches. With skinny denims, chunky knitwear, fitted blazers, chinos, graphic tees and chambray shirts the men’s collection is focusing on an urban look, which is occasionally broken up with sun-bleached colour nuances, offset seams, wooden buttons, vintage striped patterns and workwear elements in a confident, elegant way. The colour palette ranges from delicate grey, rosé and blue tones to washed-out black and red down to vibrant turquoise, orange, yellow and pink.

New look, new sound, new style – When jazz reinvented itself in the early 60s, it took a radical path, in all respects, changing not only itself but also a whole generation of youthful hipsters. As a homage to modern jazz, next summer Ben Sherman are presenting a collection that is not only smart and extremely detailed, but is also breathing the life of today into the look of yesterday. Key items are slim-fit herringbone jackets, shirts with geometric art-déco prints, ikat camouflage polos and shirts, suede bomber jackets and a casually tailored range of pants and shorts. The colours are mainly muted, but occasionally broken up by orange, red, blue and gold details.

www.clarks.de

www.campus72.com

www.bensherman.com

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Denim by Premiere Vision Paris

May 22-23, 2013 La Halle Freyssinet For the stuff jeans are made of

Shanghai

March 20-21, 2013 Xin Hua Dock The premium denim event in Shanghai

Š T. Gosselin

De

u o y y b m i n


04/2012

Retail

Han Kjøbenhavn Copenhagen

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Retail

Man On The Boon Seoul

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F95 Berlin

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Sluiz Ibiza

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Retail Han Kjøbenhavn, Copenhagen

01/2013

You can always count on the Danes Text Gerlind Hector

Hamlet, Prince of Denmark once asked himself “To be, or not to be?”, but that’s not even a question for two creative Copenhageners. They have managed to find more than enough inspiration in the Scandinavian metropolis to stick around, design cool menswear, unusual fashion films and their very own store. Flawlessly beautiful, very young and willowy slim – the standard model cliché is really rather boring indeed. And this is something that the brains behind Han Kjøbenhavn, Tim Faith ­Hancock and Jannik Wikkelsø Davidsen, also agree on. Their fashion films, which you definitely won’t forget in a hurry, are wonderfully weird and feature senior citizens who are neither particularly attractive nor perfectly proportioned playing the part of the protagonists. But these films will certainly stick in your memory as authentic and unique! Add to that a pinch of surrealism, slow-motion instead of fast cuts, music that doesn’t fit any genre – and of course fashion made by Han Kjøbenhavn. The menswear label was launched in 2008 in 76

the Danish capital, where they’ve had their own store since February 2012. Located in the cosy city centre between romantic canals and pretty gabled houses, Han Kjøbenhavn will instantly catch your eye with its grey-black granite façade and four large shop windows. On around 200 square metres Danish purism prevails. The highly polished and light-blue epoxy resin floor is reminiscent of the nearby Baltic Sea or the Copenhagen sky on a dull and foggy day. The walls are partly snow-white, partly covered in wood panelling. The contrast between the accentuated natural grain of the panels and the geometric squares of the ceiling cladding is particularly well done. Hancock and Davidsen have done a brilliant job: they were responsible for not only most of the fashion on show, but also the majority of the interior design. Only the sofa and a table by the Danish designer Hans Wegner weren’t made by the talented and versatile Han Kjøbenhavn bosses. “We were really inspired by the typically classic style of the great Danish designers,” explains Jannik Wikkelsø Davidsen. And as well as the aforementioned Hans Wegner

he also means Arne Jacobsen and Finn Juhl as inspiration. And certainly nothing seems superficial or deliberately zany in the store of the two creative Danes. The hallmarks of Hancock and Davidsen are a linear, credible style with a real sense of quality. As far as the fashion is concerned, the focus at Han Kjøbenhavn is on menswear and accessories only. In Denmark they are the exclusive distributors of the Japanese label Spellbound and the American brands The Brooklyn Circus and Kenton Sorensen. The selection reveals itself to be carefully considered: both the Asian jeans and the American belts perfectly match the Han Kjøbenhavn collection, which speaks a clearly masculine language. The jackets, pullovers and trousers are minimalist and robust at the same time. No bells or whistles and no silly or gaudy experiments – just typically Scandinavian with a tiny pinch of extravagance. Even their sunglasses with names like ‘Wolfgang’, ‘Ed’ or ‘Paul senior’, also Han Kjøbenhavn originals, are testimony to a consistent design and a subtle humour. Hancock and Davidsen currently have all sorts


01/2013

Retail Han Kjøbenhavn, Copenhagen

Han Kjøbenhavn Vognmagergade 7 1120 Copenhagen T +45 330 50488 www.hankjobenhavn.com

of plans in the pipeline. On the cards this year is the opening of another store in New York City. And their next fashion film. “No models, no actors!” emphasises Davidsen. “We look for our main protagonists on the streets of Copenhagen.” So if you’re a bit of a character with really striking features and bucketloads of charisma, you should definitely go for a saunter up and down the Vognmagergade sometime soon.

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Retail Man On The Boon, Seoul

01/2013

Gangnam Hype Text Gerlind Hector Photos Jin-woo Moon

And it’s about time too! The first South Korean hit in the western hemisphere has taken the world by storm and is proving that, culturally speaking, the Far East has a whole lot going for it. It’s even worth a shopping trip, as, right in the middle of Seoul there is a menswear store that’s not only stylish but also rather bizarre. Kamsahamnida! Sounds complicated, but all it actually means is “thank you” in Korean. And this thank you goes, of course, to Psy, the chart-stormer from Seoul who is responsible for the most watched YouTube video in 2012. Psy has brought us closer, primarily with his dance moves, but also stylistically, to the famous Gangnam-style, which his smash hit is all about: the exclusive, snobby attitude in the affluent district of Gangnam. This is also where you will find Shinsegae Gangnam, one of the biggest shopping centres 78

in South Korea’s capital. Prada, Tiffany, Dior – the beautiful and rich of the ten-million metropolis stroll through the luxurious, gigantic shopping centre to kit themselves out with international luxury labels. And they’re guaranteed to stop and stare at the store windows of Man On The Boon, which opened in September 2011. Psy is sure to have been too, as there is an abundance of creative inspiration to be found here. The menswear store exudes a certain extravagance, which could initially deter many a fainthearted soul. At Man On The Boon, human skulls are not subtly draped in the corner as a fun, creepy accessory, but piled up on top of one another in their dozens, presented in glass display cabinets. Various antlers – from buffalo to ram and deer – adorn the walls, failing to exude any sense of a homely hunter’s lodge charm. But if all that’s not enough, dead beetles,

bones and excavated fossils also take pride of place here. Two gentlemen who you are no doubt familiar with were responsible for the concept and the interior design: the journalist and designer Tyler Brûlé, who is the founder of lifestyle and design magazine ‘Wallpaper’ and editor-inchief of the exclusive magazine ‘Monocle’, as well as Masamichi Katayama, Tokyo interior designer and owner of the renowned architecture office Wonderwall inc. Behind the extraordinary design of Man On The Boon is the fictional character Mr. Boon. Brûlé and Katayama introduce him as a young globe-trotting archaeologist, who collects his little souvenirs around the world, regularly depositing them at home between trips. “The Man On The Boon customers should feel as if they’re rummaging around in Mr. Boons wardrobe,


Retail Man On The Boon, Seoul

01/2013

where they will come across the odd bizarre find,” according to the press release of the independent menswear store. The mix of wood and glass display cabinets, the geometrically patterned carpet and the ceiling covered with light wooden panels definitely emit a certain warmth – albeit with a slightly morbid charm. And the assortment of items on offer perfectly matches the invented character of Mr. Boon. The casual shirts and suits by Adam Kimmel x Carhartt or Acne, the robust outdoor jackets by Nanamica and the leather belts by Bedwin & The Heartbreakers would really look the part on a modern-day Indiana Jones with a sense of style. Labels like Woolrich Woolen Mills, ­Pendleton and McQ definitely belong in the closet of a nature-loving discoverer – and after a long browse through Man On The Boon you’ll want them as your own wardrobe staples too. But if you’re looking for finely pleated shirts,

club blazers or black and white brogues à la Psy, you’ve come to the wrong place. In terms of taste he and Mr. Boon are only on the same wavelength as far as humour is concerned.

Man On The Boon Shinsegae Department Store 6F 19-3, Banpo 1-Dong Seocho-Gu Seoul T +82 2 34796073 www.manontheboon.com

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Retail F95, Berlin

01/2013

One Stop Shop Text Gerlind Hector Photos Boris Kralj

Berlin is Germany’s fashion capital – there’s no doubt about that. But two Fashion Weeks a year simply aren’t enough, according to the brains behind the high-level trade fair Premium. So they decided it was high time for the ultimate store that could fulfil all our hearts’ desires with an exciting brand mix and perfect consultation and inspiration. All year round! “Label mania is so boring,” says Hans Weber. That’s quite a daring throwaway comment to make at this moment in time because it’s Fashion Week in Berlin and the capital city is firmly in the hands of the international fashion pack. And fashion, trends and, of course, labels are being treated as the centre of the universe around which everything else revolves. Hans Weber, the store manager of F95 on Luckenwalder Strasse, knows exactly what he is talking about and definitely has the skills to explain himself. The fit 40-something with shaved head and a slight Hamburg accent is an old hand in the fashion industry. 80

He was head buyer for the Berlin store ‘City Jeans’ for almost twenty years. Now, for the exclusive shopping temple F95, he is on the lookout for new trends to bring to the city on the River Spree. F95 started out as a by-product of the international fashion fair Premium, which takes place twice a year at the Station-Berlin venue. F95 has resided here at Gleisdreieck, the former goods railway depot near Potsdamer Platz, since October 2011, after having Frankfurter Allee 95 (hence the name) as its address for the past six years. “The development of the concept, vision and range was a natural process,” enthuses Hans Weber. “Opening a shop was the next logical step!” Premium, with its unique high-level portfolio, is indeed a real draw for fashion professionals and trend-seeking fans alike, so it was only natural that they would want to profit from the expertise and skills of Premium organisers Anita Tillmann and Norbert Tillmann and their team all year round. After all, they spend all year researching and working with trends

and fashion anyway, always breaking up old ingrained product line boundaries. F95 reflects this commitment in the perfect way: not just well-known Berlin labels like Kaviar Gauche, Lala Berlin and Michalsky or international brands like Kris Van Assche, Victoria Beckham and Diane von Fürstenberg – in addition to established designers, unknown newcomers are always making it into the mix too. Whether high-fashion collections, denim, sportswear or accessories, every customer is given the opportunity to put together their own favourite look. And knowledgeable advice, individual styling or alterations are also part of the package. The spacious store, covering 400 square metres, is especially charming with its interior reminders of its previous life as a postal office. Baroque armchairs upholstered with damask, telephone booths transformed into changing rooms, bronze statues by the artist Wilhelm Moser – interior designer Heiner Albaum has artfully created an eclectic ambience that provides the perfect backdrop for the range on


Retail F95, Berlin

01/2013

offer in F95. “Postmodern disorder”, as he calls it, is the perfect platform for the special brand mix, not to mention the interior accessories that the store has selected for its discerning clientele. And what makes F95 truly different to the usual clothes stores are the regular events they host: book and magazine launches, previews or get-togethers with designers and branchinsiders are part of the annual calendar. Now, for the trade fair, they’re showcasing Mongrels in Common and Miranda Konstantinidou will also be showing her collection here. An exciting window display by Duvetica and

­Becksöndergaard ensures that F95 is a real eye-catcher, both inside and out. And, at the latest upon entering the store, you’ll know what Hans Weber meant by his comment: ‘Label mania’ is definitely out – we want a bit of everything, and we want it now!

F95 Luckenwalder StraSSe 4-6 10963 Berlin T +49 (0)30 42083358 www.f95store.com

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Retail Sluiz, Ibiza

01/2013

The Sluice Into Another World Text Gerlind Hector

To jet once around the globe and pick up a few favourite items from every destination – that was the dream of one particular Dutch couple. And they made this dream come true in Ibiza, which has been one attraction richer ever since – far beyond the hedonistic partyhard jetset crowd. The Romans, Moors, Vandals – even German trash-pop singer Jürgen Drews came here, long before he became the ‘König von Mallorca’ (King of Mallorca) with his popular 90s hit of the same name. Yes, that’s right, we’re talking about Ibiza, the third biggest Balearic island, which tempts droves of tourists every season with its Mediterranean climate and abundance of clubs. Goa-style full moon parties, chilledout surfer idyll? A done deal! But a stylish concept store with international flair and carefully 82

selected range – who would have expected that on the Mediterranean island? It does actually exist, however. In Santa Gertrudis. Here, in inland Ibiza, an area the typical party tourists are less likely to visit, a lot of international artists have settled alongside a few old-school hippies. In this pretty village with agricultural roots, they are contributing to the multicultural mix. Just like the Dutch couple Yvonne and Hans Nuijten, who opened their store ‘Sluiz’ – which means ‘sluice’ in English – here in an old warehouse building in April 2006. Fashion, jewellery, lamps and furniture: on an area of around 600 square metres customers will find everything that their hearts desire. The space, which is bathed in light, is very minimal. The rough concrete floor and the high ceilings that offer unimpeded views of the steel girder construc-

tion, give the space a purist and spacious look. Cube-like lamps hang creatively from the ceiling and provide additional lighting. But above all they form a wonderful contrast to the colour diversity that defines the range: mannequins in brightly coloured glittery dresses and other chic vintage fashion are presented on rectangular platforms made of light wooden planks. They’re quite happy to go without the big designer names here: Yvonne and Hans Nuijten only buy in products that they like themselves, and name-dropping plays no role whatsoever. They want all of the products offered at Sluiz to exude vibrancy and fun. Both elements that largely define the attitude to life of the two island dwellers who are always discovering new things on their many trips and importing them to Ibiza. “Sluiz is not only a store for beautiful and exciting products. It’s a magical place, an adventure, an experience for the senses and pure inspiration,” enthuses the married couple in unison. And indeed there doesn’t seem to be anything that they don’t stock; there’s something here for everyone and every occasion: Mongolian floor cushions, kitschy soaps from Thailand, huge shells and rainbow-coloured snakeskin wallets. And the interior design range is just as eclectic. There are classics from Verner Panton by Vitra alongside baroque armchairs upholstered with velvet fabrics in a floral design. Brightly coloured goods by Missoni Home, which tempt shoppers with their typical patterns and unusual colour combinations, are also plentiful. Moroccan-inspired crockery, wicker baskets made in Ibiza, neon-coloured Buddhas – if you wander round Sluiz at your leisure, you’ll discover the most beautiful, colourful and fun items from all corners of the globe, all brought together under one roof. Things are somewhat more peaceful in the narrow adjoining room, which is dedicated


01/2013

Retail Sluiz, Ibiza

Sluiz Santa Gertrudis Carretera Ibiza – St. Miquel, Km 4 07814 Ibiza T +34 971 931206 www.sluiz-ibiza.com

exclusively to art publications and tasteful coffee-table books. If you like you can also have a rest on one of the stools that look like computer keys, and browse the pages at your leisure. The adjoining restaurant oozes rustic Ibiza style with lots of wood and untreated rough bar stools with cowhide seats. Which are extremely comfortable if you wish to spend a bit more time in Sluiz and sip a few margaritas in between shopping. So you’ll be pleased to hear that there are no strict store opening times in Ibiza. Sluiz’s doors are open from Mondays to Sundays, 10 am until 10pm – so, give or take a few hours, pretty much 24/7. 83


01/2013

Fashion

Fashion

Morning Glory John Gripenholm

Nadia Del Dò Meet you on mott street

Gabriel René Fietzek

Thelxinoe GuNnar Tufta

94 Brooklyn Bohème Katharina Poblotzki

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102

112

120

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Photography Katharina Poblotzki www.katharinapoblotzki.com Stylist Alexandra Heckel www.alexandraheckel.com Producer Alexandra Heckel & Katharina Poblotzki Hair & Make-up Sabrina Rodar Models Masha & Meghan www.musenyc.com

Top & Pants Minimarket


Top Minimarket Pants Weekday Collection

Dress Minimarket


Dress Replay Cap Minimarket Eyewear Mykita

Dress Drykorn Top By Malene Birger Eyewear Mykita


Jacket Priestess NYC Pants R/H Shoes Acne Eyewear Mykita


Dress Drykorn Top By Malene Birger Coat Verlaine Pants Damir Doma Eyewear Mykita


Top & Pants By Malene Birger


Jumpsuit Pendleton Hat G-Star Necklace Campbell


Dress & Hat Henrik Vibskov Jacket Pepe Jeans London Eyewear Mykita x Beth Ditto


Sw imsuit Ga n t Pants Pa ige Necklace By M a l e n e Bi rger Watch C a sio Col l ect ion

Photog raphy Joh n Gr i pen hol m w w w.sylvie.se St yling Å sa Lu n dst röm w w w.liga nord.com Make-up Sa n dr a Öj el a n d w w w.mikaslooks.se Hair Pet er Joh a nsson w w w.mikaslooks.se Model El i n R w w w.mikas.se St yling assistant A n na Su n del i n


Shir t G-Sta r Pa nts N u di e Gold necklace, gold bracelet, ring L a ppon i a Long chain Sa br i na Dehoff Chain bracelet A k k esoi r


Top C h e a p Mon day Pants R epl ay Necklace Sa br i na Dehoff


Waistcoat R epl ay Pa nts L ev i’s Blouse C ross J e a nsw e a r Necklace & bracelet A k k esoi r


Jacket L ev i’s Body By M a l e n e Bi rger Necklace & ring T i Se n to Bracelet & earrings T hom a s Sa bo


BH Bjรถr n Borg Shir t W r a ngl er Pa nts M av i Necklace, bracelet, pearl ring T hom a s Sa bo Slim ring Ef va At t l i ng


Tank top Bjรถr n Borg K nit wear Mon k i Pants Edw i n Necklace Sa br i na Dehoff


Body Wol for d Jacket Ac n e Necklace & bracelet L a ppon i a R ing C h e a p Mon day Shoes J effr ey C a mpbel l


Photography RenĂŠ Fietzek www.renefietzek.com Hair & Make-up Mira Hake www.mira-hake.de Styling Bodo Ernle www.bodoernle.com Model Gabriel www.placemodels.com

Jacket Weekday


Shirt Julian Zigerli Pants Juun.J


Shirt Pants Shoes Watch

Julian Zigerli Energie Weekday G-Shock


Shirt Wrangler Pants Julian Zigerli


Jacket Bernhard Willhelm T-Shirt Carhartt Shorts Han Kjøbenhavn


Jeans shirt G-Star Shorts Raphael Hauber


Jacket Juun.J Shirt Energie Pants Raphael Hauber


Jeans shirt G-Star Knitwear Energie


Jacket + Shirt Weekday Pants Bernhard Willhelm


Jacket Julian Zigerli Pants Weekday Necklace Nelly


Jeans shirt Replay Cap New York Yankees Ring Bijules


Photography Nadia Del Dò www.nadiadeldo.com Styling Carolina Ramsay www.carolinaramsay.com Hair & Make-up Jen Navaro www.jumpmanagement.com Model Henrietta Hellberg www.nextmodels.com

Jacket Wrangler T-shirt American Apparel Jeans Paige


Jeans shirt G-Star Raw Jeans Victoria Beckham Sunglasses Lozza Shoes Converse


Shirt Levi’s Sweater Wrangler Skirt Drykorn Bag G-Star Raw Ring Bijules


Jeans shirt Mavi Gold Jumpsuit G-Star Raw Bag Abury Boots G-Star Socks Topshop


Leather jacket Replay Top Filippa K Jeans Closed Scarf Hermès


Waistcoat Helmut Lang Checked shirt Hilfiger Denim Jeans shirt Lee Shorts Topshop Cap New York Yankees Necklace Marc O’Polo


Dress Mavi Gold Jacket Filippa K Ring Bijules


Knitwear & Necklace Bottega Veneta


Photographie Gunnar Tufta www.gtufta.com Styling  sa Lundstršm www.liganord.de Make-up John Christopher www.nakedartists.com Hair Franco Vallelonga www.eramanagement.com Model Ellie Weston www.nevsmodels.co.uk Stylist assistant Sarah Akinola Photo assistant Neil Bennett

Dress Malaika Raiss Necklace Akkesoir


Dress By Malene Birger Tights Wolford Hat Maison Scotch Sunglasses Cheap Monday


Dress Augustin Teboul


Jacket Maison Scotch Panties Wolford


Dress Malaika Raiss


Top Diesel Black Gold Pants Cheap Monday Cap Monki


Blouse Stine Goya Pants & Sunglasses Cheap Monday


Where to find us – SELECTED STORES

01/2013

Selected Stores

Where To Find Us?

Do You Read Me? Auguststr. 28 D-10117 Berlin Heil Quelle Pannierstr. 40 D-12047 Berlin K Presse+Buch Fernbahnhof Zoo D-10623 Berlin K Presse+Buch Am Ostbahnhof D-10243 Berlin K Presse+Buch Bahnhof Spandau D-13597 Berlin K Presse+Buch Flughafen Schönefeld D-12521 Berlin K Presse+Buch Flughafen Tegel D-13405 Berlin

International

HDS Retail Boxberger Str. 3-9 D-12681 Berlin

Schmitt & Hahn Frankfurt Hauptbahnhof D-60051 Frankfurt

HDS Retail Flughafen Tegel D-13405 Berlin

Schmitt & Hahn GieSSen Hauptbahnhof D-35390 GieSSen

soda. Internationale Magazine & Bücher Rumfordstr. 3 D-80469 München

K Presse+Buch Bonn Hauptbahnhof D-53111 Bonn

K Presse+Buch Fernbahnhof Altona D-22765 Hamburg

K Presse+Buch Bahnhof München-Ost D-81667 München

K Presse+Buch Bremerhaven Hauptbahnhof D-27570 Bremerhaven

K Presse+Buch Hamburg Hauptbahnhof D-20099 Hamburg

K Presse+Buch München Hauptbahnhof D-80335 München

K Presse+Buch Bremen Hauptbahnhof D-28195 Bremen

K Presse+Buch HH-Dammtor D-20354 Hamburg

K Presse+Buch München-Pasing Bahnhof D-81241 München

K Presse+Buch Dortmund Hauptbahnhof D-44137 Dortmund

K Presse+Buch Hamburg Flughafen D-22335 Hamburg

Schmitt & Hahn Bahnhofsplatz 9 D-90004 Nürnberg

Drawn & Quarterly P.O. Box 48056 Montréal, Québec Canada 4S8 H2V

K Presse+Buch Dresden Hauptbahnhof D-01069 Dresden

HDS Retail Flughafen Hannover D-30669 Hannover

Schmitt & Hahn Flughafen Nürnberg D-90411 Nürnberg

Around The World 148 West 37th St. NY-10018 New York City

Relay – HDS Flughafen Düsseldorf D-40474 Düsseldorf

HDS Retail Hannover Hauptbahnhof D-30159 Hannover

Grauert KG Oberhausen Hauptbahnhof D-46045 Oberhausen

Grauert GmbH Düsseldorf Hauptbahnhof D-40210 Düsseldorf

Bahnhofsbuchhandlung Heidelberg Hauptbahnhof D-69039 Heidelberg

K Presse+Buch Stuttgart Hauptbahnhof D-70173 Stuttgart

HDS Retail Flughafen Frankfurt D-60547 Frankfurt

Falter Bücher & Presse Hindenburgstr. 190 D-41061 Mönchengladbach

Wittwer Flughafen Stuttgart D-70629 Stuttgart

128

Bozar Shop Rue Ravenstein 23 B-1000 Bruxelles MAGMA 117-119 Clerkenwell Road GB-EC1R5BY London Do Design C/ Fernando VI, 13 E-28004 Madrid Papercut Krukmakargatan 3 SE-11851 Stockholm


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01/2013

Index

Abury www.abury.net

Energie www.energie.it

Monki www.monki.com

Acne www.acne.se

Evil Twin www.eviltwinthelabel.com

Mykita www.mykita.com

American Apparel www.americanapparel.net

Filippa K www.filippa-k.com

Nelly www.nelly.de

Akkesoir www.akkesoir.com

French Connection www.frenchconnection.com

New Look www.newlook.com

A.T.P. www.atpatelier.com

Ganni www.ganni.dk

Nudie www.nudiejeans.com

Avelon www.avelon.me

Gant www.gant.com

Odeeh www.odeeh.com

Augustin Teboul www.augustin-teboul.com

G-Shock www.g-shock.eu

Paige www.paigeusa.com

Bernhard Willhelm www.bernhard-willhelm.com

G-Star www.g-star.com

Pendleton www.pendleton-usa.com

Bijules www.bijulesnyc.com

Han Kjøbenhavn www.hankjobenhavn.com

Pepe Jeans London www.pepejeans.com

Bjørk www.bjorgjewellery.com

Hannes Kettritz www.hanneskettritz.com

Priestess NYC www.priestessnyc.net

Björn Borg www.bjornborg.com

Helmut Lang www.helmutlang.com

Raphael Hauber www.raphaelhauber.com

Index Bless www.bless-service.de

Henrik Vibskov www.henrikvibskov.com

Replay www.replay.it

Bottega Veneta www.bottegaveneta.com

Hermès www.hermes.com

R/H www.shop.rh-the-label.com

By Malene Birger www.bymalenebirger.com

Hugo www.hugoboss.com

Sabrina Dehoff www.sabrinadehoff.com

Campbell www.campbellcollections.com

Jeffrey Campbell www.jeffreycampbellshoes.com

Shokay www.shokay.de

Carhartt www.carhartt.com

Julian Zigerli www.julianzigerli.com

Stine Goya www.stinegoya.com

Casio www.casio-europe.com

Juun. J www.juunj.com

Thomas Sabo www.thomassabo.com

Cheap Monday www.cheapmonday.com

Kilian Kerner www.kiliankerner.de

Tibi www.tibi.com

Christian Wijnants www.christianwijnants.be

Kleiderreich www.kleiderreich.de

Ti Sento www.tisento-milano.com

Closed www.closed.com

Lapponia www.lapponia.com

Tommy Hilfiger www.tommy.com

Converse www.converse.de

Levi´s www.eu.levi.com

Topshop www.topshop.com

Cross Jeanswear www.crossjeans.de

Lee www.lee.com

Verlaine www.verlaine.us

Damir Doma www.damirdoma.com

Lozza www.lozzaocchiali.it

Vibe Harsløf www.vibeharsloef.dk

Desigual www.desigual.com

Mavi www.mavi.com

Victoria Beckham www.victoriabeckham.com

Diesel www.diesel.com

Maison Scotch www.scotch-soda.com

Weekday Collection www.weekday.se

Diesel Black Gold www.dieselblackgold.com

Malaika Raiss www.malaikaraiss.com

Wolford www.wolford.com

Drykorn www.drykorn.com

Marc O´Polo www.marc-o-polo.de

Wrangler www.wrangler.com

Efva Attling www.efvaattling.com

Minimarket www.minimarket.se

Zign www.zalando.de

Edwin www.edwin-europe.com

Mint & Berry www.mint-and-berry.com

130

Cover Photographie Gunnar Tufta Styling Åsa Lundström Make-up John Christopher Hair Franco Vallelonga Model Ellie Weston Dress By Malene Birger Tights Wolford Hat Maison Scotch Sunglasses Cheap Monday


Showroom Munich / N. Klauser Textilvertriebs Gmbh / phone +49211892311990 Showroom Amsterdam / Amsterdam Fashion Group / phone +31204713013 Showroom Oslo / Quanto Basta Agencies / phone +4795232677


JNC Magazine 01_2013