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IN Magazine PUBLISHER & EDITOR-IN-CHIEF
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UNEXPLORED PUBLISHING IN Magazine, ISSN 2076-8605, is produced bi-annually by Unexplored Publishing. Reproduction in whole or part without written permission is strictly prohibited. IN Magazine copies are strictly prohibited to be sold. All credits in this demonstration are accurate but are subject to change. IN Magazine is fully independent and its views are not those of any company mentioned herein. This copy of IN Magazine is a digital copy and it is not for sale. This copy of IN Magazine is used for the communication purposes only and it is not used to generate any benefits or market competitions. IN Magazine accepts no responsibility for inaccuracies or complains arising from advertisement featured complimentary within the magazine or even paid. All copyrights and trademarks are recognized to its owners and all images rights are reserved to its owners. Manuscripts, photos, drawings, advertisement artworks and all other materials are submitted to IN Magazine. This digital copy may reveal all color and text tones to be semi accurate to the original production. IN Magazine cannot be held responsible for any unsolicited material.
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© Image courtesy of Munsif Molu
EDITOR’S LETTER Dear readers, IN Magazine is an ardent patron of all things fashion, art, design, and fabulousness. We have long been a platform for high-end fashion labels and time-honored couture houses, and we have also been a launch pad and cheerleader for new and up-and-coming designers. Some of which are now big names in their own right. From carrying out photo shoots to conducting interviews and writing features, we have passionately given our 200% in support of new designers we believe in. We have also always maintained a unique outlook on the fashion world… pushing the envelope, breaking glass ceilings, and shattering stereotypes. We have been assigned a certain attitude in the fashion publishing industry that we have learned to embrace, love, and draw empowerment from! Being a member of the press with an attitude has afforded us the freedom to reclaim that label and make it our own, and so, we proudly boast our presstitude. It is this presstitude that has steered us in a new direction, one that finds us at an interesting crossroads: the big labels and established high-end brands – in other words, giant conglomerates – do not need any more promotion… We should focus on new and up-and-coming designers and their labels, cheer on the small fish in the big ocean and give them a voice in a sea drowned out by the big labels. We enjoy working with new as well as up-and-coming fashion designers, their hunger fuels our presstitude, and their creativity, unhindered by a label’s traditional heritage, inspires our own sense of wonder and exploration. So as of this issue, IN Magazine will only feature these new talents, we will focus on them, shed light on the innovation and creativity they bring to the fashion industry, and we will help them break into the exclusive club of long-established designer brands. We will continue creating original and artistic fashion shoots to call attention to the incredible talents that don’t have the large support mechanisms behind high-end fashion labels. We are proud of our presstitude because if it weren’t for our continuous drive to stand out, divert from the crowd, and push for growth, we wouldn’t be IN! Enjoy the freshness of this issue!
Ahmed R. Abounaja ahmed@inmagazineme.com
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IN.FASHION
IN.FOCUS
10 HUSSEIN BAZAZA MIXED FABRICS, JEWEL TONES AND HIGH DRAMA 14 JEAN LOUIS SABAJI NATURE-INSPIRED COUTURE 18 JOE ARIDA LA TERRE EST FOLLE DESIGNS THAT BALANCE OUT A MAD WORLD 24 A FORWARD-THINKING UNISEXUAL WORLD LOBNAN MAHFOUZ PERVERSE CONCEPT 28 WE WEAR WHAT WE BELIEVE RAYYA MORCOS BIRD ON A WIRE 32 CHARLES AND RON A FASHION PARTNERSHIP THAT CREATES DRAMA
42 SAVAGE BEAUTY AMATO COUTURE BY FURNE ONE 52 THE IMPALPABLE DREAM OF SAINTE CHAPELLE BY MICHAEL CINCO
IN.TRENDS 36 URBAN MEETS LUXURY HERITAGE, THE COLLECTION BY KALAMARIE HANDBAGS 38 ANASTASIA KOMAROVA’S FORMS STUDIO ARCHITECTURAL, HOLISTIC ACCESSORIES 40 SARA MELISSA DESIGNS A YIN & YANG PHILOSOPHY TO SHOES
IN.SHOOTS 62 CAVIAR NOIR BY SAMMY BAXTER 72 FASHION ALA MUSE BY MICHAEL DAR
IN.BEAUTY 78 MAKEUP ARTIST JEAN PAUL FROM MALTA, TO VOGUE AND BEYOND
IN.ART 82 A Q&A WITH KATALIST THE POWERHOUSE BEHIND MY CONVERSE, MY STORY
IN.DESIGN 84 IYAD NAJA WEAVING HERITAGE AND THE AVANT-GARDE
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HUSSEIN BAZAZA
MIXED FABRICS, JEWEL TONES AND HIGH DRAMA Growing up in the multifaceted city of Beirut, fashion designer Hussein Bazaza loved to paint and draw. As he got older, his love of art was honed to fashion design, and so, Bazaza began a journey that took him from Beirut to the region and the world. IN Magazine sat down with this über talented artist and designer to learn more about his craft and his life. When did you realize you wanted to be a fashion designer? I have been sketching since I was 10, it’s something that came in a very natural way and led me to enrolling in Esmod Beirut, where I started learning about fashion and designing.
You partnered with IWC Schaffhausen to exclusively showcase your Resort’15 collection with Adriana Lima, how was this collection received? Great, it was a beautiful dinner with beautiful people and the collection was received very well.
How has the city of Beirut influenced your design aesthetic? Beirut’s unique multicultural environment, and its’ diversity of people and lifestyles influences my aesthetic.
Who are some famous names or celebrities you’ve dressed? I have worked with many celebrities, some of whom are Queen Rania of Jordan, and Haifa Wahby to name a few.
Tell us about your experience interning for Maison Rabih Kayrouz in Paris and working for Elie Saab as a junior designer, what have these experiences taught you about the fashion design industry? Those two experiences were great. At Maison Rabih Kayrouz I learned how to create an effortless chic garment, and at Elie Saab I learned how to appreciate and respect female silhouettes.
I HAVE WORKED WITH MANY CELEBRITIES, SOME OF WHOM ARE QUEEN RANIA OF JORDAN, AND HAIFA WAHBY TO NAME A FEW.
AT MAISON RABIH KAYROUZ I LEARNED HOW TO CREATE AN EFFORTLESS CHIC GARMENT, AND AT ELIE SAAB I LEARNED HOW TO APPRECIATE AND RESPECT FEMALE SILHOUETTES.
Who are dream personalities or celebrities you would like to dress in the future? Cate Blanchett
How has the regional fashion design scene changed since you first graduated until today? It is developing rapidly globally and regionally, which is very exciting. More and more talented designers with interesting signatures are coming up internationally, looking forward to next season.
Your Luna A/W 15 collection is very dramatic, has incredibly innovative sihlouettes, rich fabrics, dark jewel tones, geometric cuts, bursts of color, nods to futuristic mod coupled with nods to the past, and all around superbly fashion forward… The intricate design, and layer upon layer of creation is evident, what inspires all that art? “I shall call you Luna, since I found you in the light of the moon,” that’s the story behind the A/W 15 collection. Luna is inspired by a myth of a princess and a wolf, and all the signature pieces of the brand can be seen throughout the collection. Luna simply describes the style and work of it.
In 2013 you received the prestigious Elle Style Award “Best Upcoming Middle East Designer” as a result of a unanimous vote by 44 global Elle editors. What did this award do for your label on a business level and for you on a personal level? This award is the one I am most proud of, it definitely gave me confidence and a push to grow and develop my brand further.
LUNA IS INSPIRED BY A MYTH OF A PRINCESS AND A WOLF, AND ALL THE SIGNATURE PIECES OF THE BRAND CAN BE SEEN THROUGHOUT THE COLLECTION.
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The collection can be divided into four parts. Part 1 is the geometric feel of cuts and shapes where different materials are patched together to create a form of geometric lines. Part 2 are the draped pieces, where the moulage technique is used to create several prêt-a-couture layered pieces. In Part 3, the prints reflect the story behind the collection and create a 3D effect. Finally Part 4 is the couture part of the collection where different patterns of lace and embroidery are merged together to create a kind of ombre effect of colors, similar to a painting. The colors of Luna reflect the story – black, dark blue, forest green, burgundy, nude and white, with a hint of mustard yellow and royal purple. Flowers are signature in every collection by Hussein Bazaza. Here we find them in the shape of red roses used with snakeskin accessories and fringe.
FLOWERS ARE SIGNATURE IN EVERY COLLECTION BY HUSSEIN BAZAZA. HERE WE FIND THEM IN THE SHAPE OF RED ROSES USED WITH SNAKESKIN ACCESSORIES AND FRINGE. Who is your frequent client? Where is she from and what is she like? My brand is for women who love to be dramatically feminine, unique, contemporary, sophisticated; my customers are looking for fine materials, delicate embroideries, and prints. She can be from anywhere in the world. Who are some designers whose work you admire? I am inspired by Valentino’s collections; I love the feminine silhouettes. I also admire Givenchy for the details and dark colour pallet; I love Riccardo Tisci’s use of technique and attention to details. Where would you like to see yourself and your label in the next five years? I would like to see my label as a global brand with a strong recognizable signature.
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JEAN LOUIS SABAJI
NATURE-INSPIRED COUTURE Raised by a fashion-designer father, it’s no surprise that Jean Louis Sabaji was genetically inclined towards fashion and the arts. His passion began with a love for drawing, painting, and experimenting with textiles, which evolved to the calling he fulfills today: fashion design. Sabaji spent his entire childhood in the same fashion house he now owns. IN Magazine paid Sabaji a visit to learn about his craft, his life, and his keen eye for couture. You studyied at Milan Domus Academy, how has that influenced your design aesthetic? It completely changed my perspective, I learned to see and observe differently and get inspired in a new way. Why did you opt for couture design? What appeals to you about couture? Couture is where it all started, it’s how garments are meant to be made. Every piece is precious and taken care of. Couture is what keeps craftsmanship alive and it’s the best way to connect with the female client: by understanding what she really wants and have it custom-made uniquely for her.
COUTURE IS WHAT KEEPS CRAFTSMANSHIP ALIVE AND IT’S THE BEST WAY TO CONNECT WITH THE FEMALE CLIENT Your A/W 2016 collection seems to have plant-like influences crafted in an avante garde manner, it’s almost as if each garment is fluid, in motion, and has a life of its own. What inspired this collection, and why did you opt for white and gold hues? The A/W 2016 collection is entitled “Limbs”, and is inspired by a forest and its branches. Usually, my collections have a floral theme, but this time I wanted the woman to be the only flower of the collection and I created exaggerated volumes of limbs on a fitted silhouette to enhance the woman’s curves while preserving her. White is a neutral color that I associate with accentuating the purity of a naked Nature. Gold; the cousin of brown, the conventional color of branches; enhances wealth, grandeur, prosperity and glamour, which are major characteristics in couture.
I WANTED THE WOMAN TO BE THE ONLY FLOWER OF THE COLLECTION AND I CREATED EXAGGERATED VOLUMES OF LIMBS ON A FITTED SILHOUETTE TO ENHANCE THE WOMAN’S CURVES...
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What have been the highlights of your fashion journey so far? I love what I do and there are many exciting moments in my job. My first favorite moment is when we shoot the collection, this is where months of hard work and preparations pay off and it’s where I see my pieces worn for the first time in a beautiful setting. My second favorite moment is the runway; although it’s stressful but having your own fashion show filled with people who appreciate art is overwhelming. I love the rush and waiting for the crowd’s feedback, I love everything about it.
ALTHOUGH IT’S STRESSFUL BUT HAVING YOUR OWN FASHION SHOW FILLED WITH PEOPLE WHO APPRECIATE ART IS OVERWHELMING Who are some personalities or celebrities you have dressed? I have dresses Alicia Quarles, Conchita Wurst, Vonzelle Solomon and Annalynne McCord. Who are some personalities or celebrities you would like to work with and design for? I would love to design for every woman who wants to standout. We see influences of flora and fauna in your S/S 2015 Runway show as well. Are you inspired by nature? The shapes and movements? I’m always inspired by nature, it’s my signature; all of my previous collections have had elements like birds, reptiles and especially flowers. For me, it’s a gift from the universe that never ends. The shapes in my S/S 2015 collection “Floriography” (language of flowers) were influenced by the Victorian era where people used to communicate through arrangements of flowers. Looking at your past collections, I think it’s safe to say you love drama. What do you want to say through your fashion? Yes, I love drama indeed; I hate being in the safe zone. I always think outside the box and I know I exaggerate with my designs, I’m sometimes criticized that my pieces are not wearable, but when I design I think about art and beauty and I try my best to be different. I want to put on a “Show” when I showcase my collections, keeping in mind that when a woman wants to custom-make a dress everything can be toned down depending on the occasion.
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JOE ARIDA LA TERRE EST FOLLE
DESIGNS THAT BALANCE OUT A MAD WORLD
The creator and designer of La Terre Est Folle might just be one of the most rational people you’ll ever meet. Joe Arida’s unconventional design aesthetic pours out of his individual pieces for the home and wardrobe. Created for a world that might indeed be mad; Arida’s pieces bring beauty and form to it through his brand La Terre Est Folle. IN Magazine met with Arida to learn more about the label and its’ story. Tell us a little about La Terre Est Folle, how did the brand start? What is the idea behind it? The name was a total mistake, but the world really is a mad place, and that’s what inspires me. The idea behind LTF is to create the distinctive mad pieces in your home and wardrobe. We are building an eclectic body of products in our trademark style, what’s cool about it is that it can be anything. La Terre Est Folle happened fortuitously, I was making props for sets working in advertising, then made some pieces for my home which evolved into a line of light installations, skateboards, cushions, etc. Those pieces ended up selling through a really cool underground gallery in Beirut called Minus1. That’s how the objects and furniture started. Then I remember making new cushions and thinking the fabric would make a cool t-shirt, which I didn’t intend to sell, but it got some attention and I got a few orders, and that’s how it all began.
… THE WORLD REALLY IS A MAD PLACE, AND THAT’S WHAT INSPIRES ME. THE IDEA BEHIND LTF IS TO CREATE THE DISTINCTIVE MAD PIECES IN YOUR HOME AND WARDROBE. What about your background Joe? Tell us a little about yourself. I got kicked out of quite a few schools growing up. Luckily some of the ones I went to had photography and arts classes. My family is big and loud, and I love them. I graduated with a BA in Marketing and a minor in History of Art.
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I live in Beirut where I work. I love traveling, sports and making videos of my friends. Garbo the pug is my smelly ray of sunshine, look him up on @joewokeuplikethis, (trust me he’s worth it). And I probably spend too much time on the Internet. What has being sponsored by The Starch Foundation done for your brand? Starch put my brand on the map. The amount of press they get here is crazy. More importantly, I had never studied or made entire collections and it presented the challenge to design, produce and sell a line of clothes – which is an education in itself. Being mentored by Tala Hajjar and Rabih Keyrouz was very enriching - they taught me everything I know. Your 2016/2017 collection called II-Blood has a lot of silhouettes, both structured and fluid, rich fabrics, garments that cross gender boundaries. What was the inspiration behind it? Ok so, I was staring at this neckerchief my grandfather was wearing one day over lunch, and thought he’s worn those everyday since I’ve known him with everything, like suits, polo shirts and army pants, pyjamas, etc., and I thought how cool is that, the neckerchief is still there from another time, I liked that contrast – cool chic; sort of modern and it reflected well his mixed heritage. I took a closer look at his and my grandma’s wardrobe staples like tux shirts, robes, silk scarves, cummerbunds, shorts, Capri pants, wool suits, etc., in order to reinterpret them. I started looking for fabrics that reminded me of the prints I’d seen them wearing and in their homes, to make pieces that are, modern and young yet deep-rooted. It is a polyvalent line, multi-generational and multicultural which you can style in a lot of
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ways with silhouettes that are fluid and rigid, urban and chic, and a dandy disregard for clear gender boundaries, rather different cuts for different people. Your 2015/2016 collection I-Hustler is predominantly white, which juxtaposes nicely with the street-wear vibe. You use a lot of sheer fabrics and the garments have an edge to them. Tell us about that collection. I wear plain white cotton t-shirts everyday, its practical, works with everything, it can be urban, elegant, it’s got sex appeal and you can run around in it all day (hustling) and still look good. I wanted to dissect those factors: urban, elegant, active, and add to them some LTF edge. I ended up referencing a lot of basketball silhouettes in poplin cotton (the type that is used for men’s shirts). Sportswear is so present in street culture as much more than a simple item of clothing, that’s the juncture I was looking at, who is it adopted by, the team factor, codes, and so on. On one end, we had the sportswear feel with the cuts and our fetish number 22; on the other, we had the elegant factor with the fabrics then the street feel with layering and raw edges and transparency to soften the whole thing – unified into a gang by the all-white. What was the experience of taking part in Fashion Forward pop-up at the Galleries Lafayettes at the Dubai Mall like? It was a privilege to be part of it, I am so grateful to Galleries Lafayettes and Fashion Forward for granting LTF these two shows; I thoroughly enjoyed and benefited immensely from. Both these experiences taught me much, much more than one would imagine about what it takes to make a show happen, and retailing in a foreign market - there was so much to learn. Fashion Forward really made it feel seamless and effortless, and connected me with so many interesting people. I loved it.
IT WAS A PRIVILEGE TO BE PART OF IT, I AM SO GRATEFUL TO GALLERIES LAFAYETTES AND FASHION FORWARD FOR GRANTING LTF THESE TWO SHOWS… What do you think the relationship is between fashion and interiors? I think they are the same, one dresses a person the other a space. I love beautiful things and love making them. The process of bringing an idea to life is the same, with different mediums.
I LOVE BEAUTIFUL THINGS AND LOVE MAKING THEM. THE PROCESS OF BRINGING AN IDEA TO LIFE IS THE SAME, WITH DIFFERENT MEDIUMS. What are some of the most memorable awards or accolades you have received? I’ve only been doing this for a year, so any kind of acknowledgement is memorable - being approached by Aishti Nouvelle Vague, Starch, Galleries Lafayettes, having pieces picked up by stores in the UAE and galleries in Beirut such as Over The Counter, Platform/ Molteni, Silly Spoon and institutions such as the National Museum are very memorable moments. Being selected for upcoming projects and having my LTF TRI Table win with Squad design was really cool too! Do you believe in the power of social media to push a fashion brand forward? I certainly do. La Terre Est Folle is much more than individual pieces, it’s a universe and it needs a platform so that people can jump into it any time, and so I can keep building and broadcasting it.
LA TERRE EST FOLLE IS MUCH MORE THAN INDIVIDUAL PIECES, IT’S A UNIVERSE AND IT NEEDS A PLATFORM SO THAT PEOPLE CAN JUMP INTO IT ANY TIME… How has the fashion scene in the region changed over the past five years? I haven’t been part of it for that long but Lebanon has always produced talented designers despite the fact that we have not always had the proper infrastructure. What I think is changing is that infrastructure. It’s nice to see that the pioneering efforts of platforms, such as Starch, and of renowned designers are helping that come along with more and more schools, learning programs, TV shows, platforms, e-commerce, and more. Where would you like to see the regional fashion industry in the next 5 years? I would like to see it thrive. I would like to see more power in the hands of the designers; I would like to see it heavily broadcast and exported, with more raw materials and technologies imported, I would like to be able to produce anything here, and see the region solicited for production.
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A FORWARD-THINKING UNISEXUAL WORLD
LOBNAN MAHFOUZ - PERVERSE CONCEPT Fashion designer Lobnan Mahfouz cannot remember what sparked his interest in fashion, that’s because he was most likely born with it. When he came to the realization at age 14 that his love can be translated into something tangible, he set his sights on fashion design school. Mahfouz graduated with an honorary degree in Fashion Design and Pattern Drafting from ESMOD, Beirut, in 2011. After several internships with reputable fashion designers in Lebanon, Mahfouz worked with with fashion labels in Turkey, India, and China. Now the designer behind Perverse Concept, Mahfouz shares with IN Magazine the idea behind his brand and his future vision for it. What were the difficulties you faced growing up wanting to be a fashion designer? The only difficulty I faced was convincing my parents to go for fashion design. After my efforts with them and the hours they saw me trying to carve my road to success, this so-called “difficulty” turned into “pride” in what I achieved so far.
Are you making social commentary through your label? On gender equality perhaps? Or on “gender” in the broader sense as a social label? My aim is not gender equality, but my vision remains in creating pieces that can be wearable by both genders regardless.
So, the word ‘Perverse’ has many sexually deviant connotations. Was that your intention, to attract attention through the name? Because your garments are not very riské, on the contrary, they are very wearable street-sports wear. The word “Perverse” reflects my personality and the way I view things around me. Obviously, there is always a misunderstanding when it comes to the word “Perverse”; it definitely does not mean “Pervert” or any other sexual connotation. It is true however that my garments are not that riské but what is daring about them is that they are unisexual.
It is obvious that you are breaking with convention by choosing to have ‘aseasonal’ collections, but doesn’t that make it hard come fashion-week time when design houses are expected to have collections ready for new seasons? After living in the Far East for a while, I noticed that seasons coincide around the globe. For instance, it might be winter in Australia when in the Middle East it is summer and vice versa. In my humble opinion, the fashion week was made to meet the demands of people from all around the world and not the demand of a specific season at any specific time.
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So do you identify with the term “fashion designer” or do you find labelling also conforming? I believe that the term “fashion designer” has a broad connotation; therefore I do not mind being called one. A lot of designers are also choosing to blur the gender lines in fashion, does that make it harder to emphasize femininity and masculinity in your garments having to keep both genders in mind while designing? It is definitely not an easy process when it comes to designing a unisexual garment that will neither diminish the charisma of femininity nor masculinity. Therefore, the only difference remains in the approach of the designer.
IT IS DEFINITELY NOT AN EASY PROCESS WHEN IT COMES TO DESIGNING A UNISEXUAL GARMENT THAT WILL NEITHER DIMINISH THE CHARISMA OF FEMININITY NOR MASCULINITY. What has been your biggest setback or challenge in trying to promote your label’s philosophy to the market? What I accomplished so far is just the beginning, and I can tell you the feedback I am getting is quite promising. In your opinion, what is the regional design industry like? Is it developing on the right trajectory? Or do you find regional designers having to promote themselves abroad to make a living? I believe that the most important aspect of developing any brand is to know the target market and to meet their expectations. In my opinion, the brand concept of Perverse is not well spread yet in the region; and that answers your question about developing on the right trajectory.
I BELIEVE THAT THE MOST IMPORTANT ASPECT OF DEVELOPING ANY BRAND IS TO KNOW THE TARGET MARKET AND TO MEET THEIR EXPECTATIONS. In 5 years, where is Perverse? I will be frank and straightforward, I have many plans and hopes for the near future, but I would rather keep them as a surprise for fashion seekers.
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WE WEAR WHAT WE BELIEVE
RAYYA MORCOS - BIRD ON A WIRE Born into a family of artists, engineers, and architects, Rayya Morcos grew up among eccentrics who ignited and flamed her passion for the arts. Introduced to fashion at a young age, Morcos started “playing around” with her father’s socks using a needle and thread when she was ten years old. By the age of 16, she had already designed her first outfit. After receiving he Bachelor’s Degree in Interior Design, Morcos worked in architecture firms in Lebanon, which did not fulfill her creative needs, so she jumped into fashion immediately, completing a 3-year program at ESMOD in Beirut. Today, Morcos is the designer behind the brand Bird on a Wire, she sits with IN Magazine to tell us about her fashion journey, philosophy, and future plans. What is the philosophy behind Bird on a Wire? Bird on a Wire is an invitation to question things around us. Why does something look the way it does? What would happen if we rethought the design of objects from our everyday lives? Do the things we wear reflect our lifestyle and our inner self? Describe your design aesthetic to us? I am often told that my designs seem to be made for superheroes of fantasy worlds, and that’s probably because I believe each one of us has an inner jewel and we are all superheroes in a way or another.
I AM OFTEN TOLD THAT MY DESIGNS SEEM TO BE MADE FOR SUPERHEROES OF FANTASY WORLDS, AND THAT’S PROBABLY BECAUSE I BELIEVE EACH ONE OF US HAS AN INNER JEWEL... What was your first line and how was it received? I started a line of square shirts at Starch boutique in 2009 while I was still working at Maison Rabih Kayrouz and it was so well received that I made an installation of 25 square shirts that make up a big square canvas, embroidered on the canvas was the imprint of my thumb. So those who bought a square shirt belonged to a community that had a piece of my identity. Why is it that you give your collections names and do not adhere to the conventional seasonal naming? My collections come from moods that I create spurring from books I’ve read, stories I’ve heard, music, exhibitions, situations, social analysis… so they cannot just be named SS16 or FW15. They represent a whole world that I build and live in for about 4 months, and they are very personal.
MY COLLECTIONS COME FROM MOODS THAT I CREATE SPURRING FROM BOOKS I’VE READ, STORIES I’VE HEARD, MUSIC, EXHIBITIONS, SITUATIONS, SOCIAL ANALYSIS... And why is each of your collections represented by an image on your website? The website was created by a Portuguese studio called AH-HA and they designed the first page as being a sort of cabinet of curiosities whereas each collection is represented by a random picture, sort of like a drawer of a cabinet. I immediately fell in love with the Portuguese duo when they came up with the concept.
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What is it like being a fashion designer in the Middle East? It’s got its ups and downs. In Europe, a Middle Eastern designer is seen as exotic and even in the Arab world. In Lebanon it’s different. The Lebanese have a stereotyped image of Middle Eastern designers being couture dress creators and the idea of a Middle Eastern brand creating ready-to-wear to be sold in the shops with other internationally known brands is unfathomable. Even Lebanese shops don’t buy Lebanese designers’ work. Working in this area of the world takes a lot of patience in order to find the right artisans or workshops that maintains professionalism and consistency. Do you identify with the labeling of “Fashion Designer”? Or do you see what you do as something broader, less tangible, or perhaps resistant to labeling? Probably not in the way “fashion designer” is understood. I build objects. I question things around me and encourage others to do so too. I don’t limit what I do to fashion or even tangible objects. I like to keep the horizons open, trying to find questions and answers throughout this journey and open a discussion with others. Your collection ‘My Name is God’ breaks with conventional garment structure and introduces garments that can be added to a look thereby continuously evolving it, but without being a clear ‘skirt’ or ‘shirt’ etc… What inspired this collection? I’m always inspired by people around me; by science, theology, psychology and sociology. Looking at fashion nowadays and our lifestyles, it seems that there is a big gap whereas the way we dress is stuck between 1960 and 1990. I wanted to explore the parallelism between both science vs. fashion, and beliefs vs. fashion and suggested to take fashion from the era where it is stuck, to the 21st century. And just like we are made of a patchwork of beliefs and experiences, I suggested a line of apron-like pieces that one would put together according to what their vision of a garment is.
LOOKING AT FASHION NOWADAYS AND OUR LIFESTYLES, IT SEEMS THAT THERE IS A BIG GAP WHEREAS THE WAY WE DRESS IS STUCK BETWEEN 1960 AND 1990. You seem to like pitting one idea against the polar opposite of it in your expression of the concept behind your collections. Example “Powerful vs. Frail” in your collection ‘Bait’, “Universal Truth vs. Relativity” in ‘My Name is God’, why is that? Nothing exists unless its opposite exists. And from that train of thought sprouts a dance between opposites, one giving to the other or taking from it, making us each different imperfect beautiful human beings. How would you describe your design aesthetic? And where do you derive inspiration from? It’s very architectural to say the least since I build these objects and see them as patterns that become 3 dimensional once assembled. I was told various times that my pieces seem to be designed for superheroes or a fantastical world. Maybe we are superheroes…
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IN.FASHION
CHARLES AND RON A FASHION PARTNERSHIP THAT CREATES DRAMA
Charles and Ron met in 1992 in Amsterdam. Charles introduced Ron to Malta and after spending some time there Ron decided to move to Malta permanently. Charles learned his tailoring skills as a young boy from his relatives who were expert dressmakers and Ron studied Economy and Human Resource Management. When they met, their creative drives were sparked and they started creating clothes. Now a powerhouse partnership, Charles and Ron meet with IN Magazine to talk about their label, working together, and their future plans. So you first launched your label Beatrix together, looking back, did you both know yourselves as designer back then? Did you know who you wanted to be and what you wanted to say? In the beginning it was all very exciting and spontaneous. We have been on a journey since those early days. I think over the years we have established our aesthetic, and as time went by it became more clear who we are and who the Charles & Ron woman is. Your couture show in Rome, which aired on Italy’s Rai Uno was a major turning point, can you tell us about that? It was an amazing opportunity to show our collection to such a large international audience and it was an enormous confidence boost for us as designers. Being two heads thinking at once, do you often find yourself in disagreement? We work very well together, and although we are very different we compliment each other. We do have disagreements sometimes but these are always related to making something as perfect as possible, so in the end we always come to an agreement.
WE WORK VERY WELL TOGETHER, AND ALTHOUGH WE ARE VERY DIFFERENT WE COMPLIMENT EACH OTHER. Are tasks divided between you guys? Or are all your collections an equally collaborative effort? We work as a team, but when it comes to designing a collection the tasks are divided as such: Ron does the collection planning and the sketches and Charles is more involved in the actual making of the garments and technical issues related to production. What do you do when there is a major artistic disagreement? It hasn’t happened so far, but when we can’t decide on certain artistic issues ourselves we ask the opinion of our assistant or other people we work with. What are the main influences on the label’s design aesthetic? Maltese culture is an integral part of the Charles & Ron design ethic and the brand’s vision is, to inspire its clients to be part
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of the instantly recognizable Charles & Ron Mediterranean style. For us it is very important to include elements of Maltese culture in our design, we are proud of our Maltese heritage and believe it has a global appeal. Your Fall 2015 collection has rich gem tones, mixing fabrics, dramatic patterns like the image of the demure bejeweled lady, and dramatic silhouettes. Can you tell us what in particular influenced this collection? The Fall 2015 collection was inspired by Ganutell, which is a Maltese art form where intricate copper, silver and gold wires are handcrafted into flowers. These flowers are than carefully placed under a glass dome. They were the Grandmasters’ favorite gift. An artistic treasure still admired in the 21 st Century, opulent and decadent, fragile and feminine. The intricate handmade flowers were turned into digital prints that were printed onto beautiful silk fabrics. The demure bejeweled lady is top model Daniela Aciu, who has been a muse to us and also inspired us for this collection.
THE FALL 2015 COLLECTION WAS INSPIRED BY GANUTELL, WHICH IS A MALTESE ART FORM WHERE INTRICATE COPPER, SILVER AND GOLD WIRES ARE HANDCRAFTED INTO FLOWERS. What are some of your most prized awards or prizes won? This year we won the Mediterranean Fashion Prize (MFP), for us this was a very important recognition and we are very proud that we are part of this initiative to support the Mediterranean region. Next year the MFP will close with a Biennale in Marseille, the MFP is supported by the House of Dior and also Chanel among others. What is in store for Charles & Ron in the next five years? This month we are opening our flag ship store in Malta’s capital city Valletta and for the coming years are plans are to launch a menswear range and increase our retail presence locally and internationally.
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IN.TRENDS
URBAN MEETS LUXURY HERITAGE, THE COLLECTION BY KALAMARIE HANDBAGS Words by Tosha Cole Clemens Fashion Industry Expert
You know the feeling, the rush of excitement the first time you see a handbag that draws you in. It’s the outward expression of your inner self being shown to the world. I was recently introduced to a new brand, Kalamarie Handbags, launching their first collection called Heritage. Two sisters Meli (in NYC) and Kara (in London) sought out to create a brand inspired by their home country of Colombia. The name Kalamarie was created out of the love of the colonial city of Cartagena.Cartagena was previously known as Calamari and the sisters tweaked the spelling to accommodate it to fit with their initials, K and M. Kalamarie Handbags took influences from door-knockers to design the distinctive Kalamarie Handbags trademark Gecko. I got a chance to interview the sisters and learn more about their stunning designs and luxurious exotic leathers. How did you decide to start this business? As sisters, we are very close and had each gone through the experience of leaving the loving family home and our country, to set up lives overseas. One day, we were both in NYC, having lunch in a rooftop restaurant after attending a sewing and crafts course together. We were full of ideas. We started talking about home and we soon realized we both wanted to create something that would speak highly of Colombia. We kept talking and came up with the idea of leather accessories. We even shared some design ideas. We spoke for a good few hours and then set off to get drawing pads and that was pretty much the genesis of this project. That planted the seed. What has been your biggest challenge so far? Finding a manufacturer that shared our values and goals and that we could form a meaningful partnership with. What is unique about your products? We believe we are offering a top quality product, with ethically sourced materials, at very fair prices. Crocodile is a material that will last a lifetime. It is an investment and we believe we offer the best possible rate for that investment, along with beautiful, timeless design and functionality. From a design point of view, we offer the fusion of two IN 36 | SPRING/SUMMER 2016
worlds in our designs - beautifully handcrafted materials, are made urban, but classic and sophisticated all at the same time. We are an emerging brand of luxury goods, but more than anything, we are a family business, we want to deliver our customer the best personal experience. We come from a culture where the line between business and pleasure is blurred because there is kindness and warmth in making business. We want people to feel happy not just that they have bought a new handbag, but that they bought a Kalamarie. What materials do you use? We use Colombian leather, Colombian crocodile, both vegetable tanned, Colombian calf leather and Italian gold-plated hardware. We do an all-croc range, made to order, in which only croc is used in the exterior, and calf leather in the lining. What is the style of Kalamarie Handbags? Urban street-style - a fusion of influences and needs reflect in the look of the Kalamarie woman. It is the woman that needs a handbag to think for her and to be tough and pretty and functional. Yet, a woman who cares about what she buys, one that searches emerging brands for a different look, that something special. An everyday woman who is very much her own person, and distinct from the masses. Kalamarie Handbags are a fusion of elegant and sophisticated silhouettes with a touch of urban unique flair. What is one thing you would like customers to know about you? We care. We do this because we love it and we want you to love it too. What is your philosophy of life? Be alive! In every sense and sensorial way. The complex beauty of life is only truly appreciated with all senses open to the feeling. Even if the feeling is pain, be alive to it. In time, you will find even pain is beautiful in its own way. To learn more about this new brand, check out www.kalamariehandbags.com
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IN.TRENDS
ANASTASIA KOMAROVA’S FORMS STUDIO ARCHITECTURAL, HOLISTIC ACCESSORIES
Architect Anastastia Komarova founded Forms Studio in 2011 in Moscow, Russia. The studio creates handmade accessories consolidating expertise from all over the world: the accessories are assembled in Spain, using high-quality Swiss fittings and custom-made details shaped from Italian leather. The accessories are made using a specific technology developed by Komarova herself, combining architectural elements and using a holistic approach; the accessories have gained a worldwide clientele base. IN Magazine delves deeper into the philosophy and the process behind the brand in a one-on-one with Komarova. Your work is highly architectural, is that your main design aesthetic? Certainly, everything produced by Forms Studio results from a design process rooted entirely in my architectural studies. I research different themes looking for interesting intersections from which fresh and useful results can emerge in often surprising ways. What are your main design influences? I am always interested in playing with new materials and using them in new ways, so materials themselves are an influence. As far as references, I wouldn’t say there aren't any constants in my work but lately I’ve been interested in architecture from the Victorian, Baroque and Art Deco eras.
I AM ALWAYS INTERESTED IN PLAYING WITH NEW MATERIALS AND USING THEM IN NEW WAYS, SO MATERIALS THEMSELVES ARE AN INFLUENCE. How is that you go about conducting an “analysis of architectural surfaces and volumes and their transformation in space and time”? This is a big subject for me and I am still working through it. I start my research by analyzing the decorative elements on historical buildings, the logic and meaning of their composition, how they define the aesthetic of the time for generations to come. My goal is to understand how architecture has historically influenced creative minds and how it transforms throughout the ages by using new materials or production methods.
MY GOAL IS TO UNDERSTAND HOW ARCHITECTURE HAS HISTORICALLY INFLUENCED CREATIVE MINDS AND HOW IT TRANSFORMS THROUGHOUT THE AGES. You take a holistic perception to the environment in your design aesthetic, why is that? This approach also came from my architectural studies. While working on a subject I examine various contexts from history, ecology, technology, materials, economy, etc. to predict and program situations that might arise in the future. The goal is to make something new that will be comfortable, inspiring and useful.
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What are the particular technologies you have developed to carry out your designs? I guess now it’s almost impossible to create something absolutely new. Everything links with the past. It is more about production processes and solutions that open up possibilities for creation. Ultimately, Forms Studio is about the combination of artisan techniques and modern technologies. You try to create a tactile experience for the owners of your designs; do you feel that having that element bonds them to the design more? Yes, I intend for my products to offer a fresh perspective on existing objects. As far as that is a positive experience, if there is beauty in the result, it should promote engagement with the underlying design process. How has Russia influenced you as a designer? As my motherland, Russia will always inspire me with its’ natural beauty and its’ rich cultural heritage, especially its’ painters and writers. My last research obsession was orthodox murals from 12th and 13th century. Even though I am not moved by the religious themes depicted, that era of painting gave birth to so many artistic movements in Russia, so somehow the images just resonate with me from the core of my being.
AS MY MOTHERLAND, RUSSIA WILL ALWAYS INSPIRE ME WITH ITS’ NATURAL BEAUTY AND ITS’ RICH CULTURAL HERITAGE, ESPECIALLY ITS’ PAINTERS AND WRITERS. Do you have plans to branch out into designing other types of accessories? Yes. I am working on many new ideas. As a practicing architect I am constantly thinking about combining architecture and various elements of fashion. My current line of bags is but one potential expression of this exploration. What is the fashion industry in Moscow like? Tell us a little about it. In many ways the fashion industry in Russia is in its’ infancy, which can be both exciting and frustrating. Unfortunately, there is a lack of institutional support, programs and resources for emerging designers to tap into, and it is a rather closed market, so it is quite difficult to develop a brand coming from there. Still, I am very proud of the current crop of young designers, there is a lot of talent and potential there.
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IN.TRENDS
SARA MELISSA DESIGNS A YIN & YANG PHILOSOPHY TO SHOES Words by Tosha Cole Clemens Fashion Industry Expert I can’t be the only person in the world that wouldn’t die to have a room full of shoes! I have to admit I do have somewhat of a shoe obsession. However, over the years I have grown to love and appreciate top quality handcrafted shoes. I believe women go through phases in their lives. In your 20’s, it’s all about looking good for an affordable price, no matter if they are comfortable, or not. By the time you enter into your 30’s, you want to look good, feel good and have quality shoes that will last beyond one season without falling apart. Being in the fashion industry, I am bombarded by different brands and styles. I love it when I see unique brands that really stand out and grab my attention. When that happens, I get reminded of the reason why I love this industry. Having a great design is one thing, having a mission behind your brand is another. I recently had that feel-good-moment when I was introduced to Sara Melissa Designs. Here is a brand that stood out instantly. Her collection is very whimsical with a touch of the Yin & Yang philosophy, meaning each shoe is slightly different. Example, if you look closely the left shoe vs. the right shoe: the colors are reversed. I was also drawn to the fact that the company gives back to women in need. I am all about empowering women. The campaign is about a very strong, independent confident woman, not afraid to show us her unique flair. I got a chance to interview the designer Sara Melissa for some inside scoop into her world. What made you decide to start your business? Ultimately I’ve always seen it as part of my dream. I wanted to create something that was authentic to who I am and what I stand for. Creating something that has substance and depth has always been something important for me. I come from Nicaragua, a third world country that is scarred by 100 years of war and, as a result, is one of the poorest in the world. That being said, there is a defining need for me to contribute something that helps others, starting my own business is a platform that gives me a chance to do that.
CREATING SOMETHING THAT HAS SUBSTANCE AND DEPTH HAS ALWAYS BEEN SOMETHING IMPORTANT FOR ME.
What is unique about your brand? I wanted to bring forth something authentic, with lasting quality and depth, something that transcended fashion itself. To incorporate that into my brand I came up with Yin & Yang shoes, playing off of the Yin & Yang philosophy itself. In a nutshell: you need darkness to see light, something that you can find in most of life’s situations, a positive to balance out the negative. I believe in this and find it powerful.
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YOU NEED DARKNESS TO SEE LIGHT, SOMETHING THAT YOU CAN FIND IN MOST OF LIFE’S SITUATIONS, A POSITIVE TO BALANCE OUT THE NEGATIVE. What do you enjoy most about your job? Finding inspiration is probably my favorite part because I get to travel and turn my experiences into concepts. I really enjoy brainstorming new ideas and incorporating them into my designs. What has been your greatest accomplishment? This is my greatest accomplishment, having the opportunity to turn my dream into a reality. What has been your toughest challenge so far? The beginning is always hard in any business because it’s a one-person circus for a long time. You wear many hats and sometimes do things that you might not feel comfortable doing. It’s ever changing and right now the hardest part of my job is getting people to know my work. It’s something that doesn’t happen overnight and takes a lot of energy. How does Sara Melissa Designs give back? We donate 5% of our sales to a non-profit feminist organization that helps empower the rural women of Nicaragua. La F.E.M. has been doing this for the past two decades by providing education, legal and moral support to the often forgotten women of the field. It helps them become economically independent from men who feel they are more superior to uneducated women.
WE DONATE 5% OF OUR SALES TO A NON-PROFIT FEMINIST ORGANIZATION THAT HELPS EMPOWER THE RURAL WOMEN OF NICARAGUA.
How would you describe your style? Classy and fashion forward, with some quirk. It’s meant to be fun, and fresh. Fresh, meaning it’s a new point of view, my point of view. I love mixing prints colors and textures, as most designers do; however I being a fashion lover myself, haven’t found what I’m currently working on, not with my particular swag. For more information about Sara Melissa designs, visit www.SaraMelissa.com
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IN.FOCUS
SAVAGE BEAUTY
Photography TINA PATNI Hair & Make-up JOJO DANTES-PADUA AND TEAM Wardrobe AMATO COUTURE BY FURNE ONE
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IN.FOCUS
THE IMPALPABLE DREAM OF SAINTE CHAPELLE
Photography ROZEN ANTONIO Hair & Make-up VALENTINO JASMIN, FRANKIE MELENDEZ AND BRIANZON ACALLAR Production GYN CABRERA Models MMG MODELS AND FLC MODELS Wardrobe MICHAEL CINCO
IN.SHOOTS
CAVIAR NOIR Photography & Direction SAMMY BAXTER Models DANI RACE & CHARLOTTE GODFREY Stylist NANA SHIMAYA Hair MELANIE LINDSEY Make-up BUNMI OGEDENGBE Graphics HELELIIS TUME
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White Leather Top UMA BURKE
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White Leather Top UMA BURKE White Platform Shoes SIMONETTA ALEJANDRA Black Fringed Skirt REIN LONDON IN 64 | SPRING/SUMMER 2016
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Jumpsuits REIN LONDON IN 66 | SPRING/SUMMER 2016
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Gold Necklace PEBBLE LONDON Black Fringed Skirt REIN LONON Skin Coloured Mesh LEOTARD VERONIQUE IN 68 | SPRING/SUMMER 2016
Gold Headress & Gold Necklace PEBBLE LONDON SPRING/SUMMER 2016
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Silver Headress PEBBLE LONDON Black Leather Bralet Top REIN LONDON Black Pleated Skirt HOPE FREEMAN SPRING/SUMMER 2016
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IN.SHOOTS
FASHION ALA MUSE Photography MICHAEL DAR Models VENESSA MEKLED Agency FACTORCHOSEN.COM Wardrobe ADELAIDE BOUTIQUE
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Dress MARIE ST PIERRE Necklace ADELAIDE SPRING/SUMMER 2016
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Black Sheer Top NUOVO BORGO IN 74 | SPRING/SUMMER 2016
Top NUOVO BORGO Boots DUSICA SPRING/SUMMER 2016
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Dress MARGARETH & MOI Boots DUSICA IN 76 | SPRING/SUMMER 2016
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IN.BEAUTY
Makeup Artist Jean Paul
From Malta, to Vogue and Beyond
Makeup artist Jean Paul’s career has catapulted from the small island of Malta to the entire world. Growing up in a small country where you are hired as a makeup artist mostly for weddings and special occasions, Jean Paul soon realized that his passion and ambition would outgrow his hometown. Now with a growing international reputation for working editorial shoots, Jean Paul finds time in his busy schedule to tell IN Magazine about his journey, past, present and future.
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What sparked your interest in makeup? Tell us a little about your journey? Since I was a child I used to draw on the eye-lids of my sister’s dolls. Make up was always something that inspired me. I started to watch some TV programs back home in Malta. There was a program that used to give makeup tips and makeovers. I used to practice on plain paper with colored pens. When I got older I started to practice on my sister with her makeup, and I started buying books and applying makeup on my friends who were participating in shows on stage. In my village there is a theatre where young people would gather and organize dance shows, plays etc., it was the perfect venue for me to practice what I had learned. Then I started to involve myself in the fashion industry and met many talented people that guided me in the right direction.
I USED TO PRACTICE ON PLAIN PAPER WITH COLORED PENS. WHEN I GOT OLDER I STARTED TO PRACTICE ON MY SISTER WITH HER MAKEUP.
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What was it like working with famous Maltese makeup artist Shasha Fabri? What’s one important lesson she taught you about the industry? Shasha is one of the most amazing people I have ever met, she is a celebrity makeup artist in Malta, she is very talented and she does beauty, weddings, high fashion, theatre, films etc. She was my mentor and she took me everywhere as an assistant. She always believed in me and she knew that I had a future in this industry. She always told me to practice and practice so you become more perfect till you have your own style. You are now quite famous in your field; you have worked with some of the biggest international design houses. What has been your biggest challenge so far on this journey? I am always excited before a shoot. Usually they send us the mood board so we will have an idea of the look we have to create on the model. One of the biggest challenges was when my friend Sleiman Dayaa, a famous stylist, told me that we have a shoot for a campaign advert of a perfume and it will be published in the Vogue USA September issue. I wanted to rock this shoot especially that the designer of the perfume was going to be present during the shoot. It was a bit stressful but at the end the whole team created a wonderful advert for the perfume. What has been a memorable project that you worked on? Every editorial shoot I worked on is memorable. I do this with passion and love. Every shoot is different and at the end, the most important thing is the satisfaction from both the clients and the creative team. What have you learned about women through your profession? Women are beautiful and every woman has her own beauty. From experience, I learnt that every woman wants to feel good and confident in herself.
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Whose work in fashion or makeup do you admire, and why? I admire every single creative person. When a person is creative, they can come up with amazing results. You can have the cheapest stuff in your hands but when a person is creative, they can turn it into a million dollar creation.
YOU CAN HAVE THE CHEAPEST STUFF IN YOUR HANDS BUT WHEN A PERSON IS CREATIVE, THEY CAN TURN IT INTO A MILLION DOLLAR CREATION. What is your ultimate dream project to work on? My dream is to work with celebrities and artists. Your work has graced the covers of many prestigious fashion publications, what does it mean to you when you see your work on the covers of magazines? When I see my worked published of course I look at the picture and I smile to myself. It was always my aim to do something and be published and thanks to this I have the opportunity to meet people that believe in me. So what are the next 5 years looking like for you? I will try to work hard on my career, attending master classes to keep up with the latest trends. I am also planning to move to fashion cities like London for a bigger step in the fashion industry.
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IN.ART
A Q&A WITH KATALIST THE POWERHOUSE BEHIND MY CONVERSE, MY STORY New-age advertising gurus, Katalist, have created an innovative way to katalize the international brand Converse and ended the 2015 season with a campaign that set the tone for the year to come. The brilliant minds at Katalist brought Converse and top inspirational figures or “influencers” together, sat back, and watched what happened. Here, they tell us more about their explosive brainchild of an idea. What was the idea behind the Converse campaign? A story can simply touch hearts and inspire many, and materialize a realization in our minds. We wanted to shed light on Lebanese stories that have inspired millions, not only in Lebanon, but also around the world. It was about what they do in their Converse and how Converse has been a part of their journey. They all got white Chucks and merged their identity on them, brilliant art pieces were the result, all were exhibited at the event. A popup shop was installed at Station Beirut to showcase the latest releases from Converse. Sales from the popup shop also supported the Lebanese Autism Society. What were the criteria for choosing influencers to share their inspirational stories through this event? All of them are Converse fans, we picked the biggest names that people can relate to, to inspire and get the message out there. We wanted names that everyone knew, and to highlight that Converse has a part in their success stories. Why did you feel their stories would complement this campaign? The best thing about this collaboration was integrating Converse with all the fields, from photography to architecture, jewelry design to dance, a cause to entrepreneurship. Converse is for every one! Each influencer created a design that reflects who they are and/or their story, what are some of the designs and what is the story of the influencer who created it? One influencer was famous Lebanese architect Bernard Khoury. The true essence of his mega brand was teleported to the sneakers.
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Another was Djette from Cotton Candy, who actually dipped their sneakers in cotton candy, prompting event visitors to ask for a taste! Yet another key influencer was world-renowned Lebanese photographer Roger Moukarzel who showcased the duality in our personalities, LOVE and HATE. We received a lot of order requests for this design. What were some of the challenges faced when carrying out this campaign? We had a very tight deadline to execute, the most challenging thing was getting all the sneakers designed and shot in time for the event. What has been the social media feedback on the event and campaign? All the influencers and press were very pleased when they arrived, as we didn’t share any detail of the events’ happenings, they didn’t expect most of what we had in store for them. We had a green photo booth, a play on light where you turn neon green – the color of the Chuck II. Invitees also colored their stories on the A3 cutouts that will be transformed into a book to support LAS at a later stage. We were able to generate a lot of hype among the different media as well as among the influencers. We showcased influencers like Lebanese film director Nadine Labaki going about their daily lives in their Converse.You can check #myconversemystory to see more of what we’re talking about. What are some of the most memorable moments with the influencers that have occurred during the course of this campaign? The best thing with the influencers, other than their super designs, is that they all turned into children with excitement when it came time to design their white Chucks. Crazy ideas, some were overboard and couldn’t be executed. But each influencer managed to merge their essence with Converse. Turning their Converse into a work of art. If you want to know more of what we do, please visit mykatalist.com or @mykatalist
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IN.DESIGN
IYAD NAJA
WEAVING HERITAGE AND THE AVANT-GARDE An unlikely marriage of avant-garde art and Arab heritage comes to life at the hands of young Lebanese multidisciplinary artist and designer Iyad Naja. Naja received his B.S. degree in Graphic Design from LAU in Beirut in 2000, and soon after began his career in advertising before delving into design and Arabic calligraphy. In 2014, Naja co-established a design and development firm, which he dedicated to product design and surface art. Working with furniture, including mirrors, cabinets and lights, he aims to become an ambassador of heritage and communicate his message through a plethora of niche mediums. Marrying the avant-garde with Arab heritage, Naja’s passion for design gives birth to a new legacy in Arabic calligraphy. Working with a diverse roster of mediums, the artist seeks to enrich his viewers with history, culture and tradition. In a tête-a-tête with Naja, IN Magazine learns more about his works that communicate beyond the body of materials to create innovative pieces of high art. How has growing up in various places like Africa, Europe, and the Middle East influenced your design aesthetic? Growing up as a third culture kid helped me let go of meaningless things and allowed me the capacity to absorb and filter in a vast wealth of inspirations and insights. What draws you to design? And furniture and home accessory design to be specific? I find it charming when one walks into a place and there is a certain indirect dialog between man and product. It should feel like an extension of his life or experiences, or a simple reminder of something beautiful.
I FIND IT CHARMING WHEN ONE WALKS INTO A PLACE AND THERE IS A CERTAIN INDIRECT DIALOG BETWEEN MAN AND PRODUCT. Why do you choose to work with Arabic calligraphy? Arabic calligraphy has a whimsical form, it carries beautiful meanings in its curves and to be able to capture the soul of the poetry in those curves and make them into a product is beautiful. What does it feel like when you see one of your pieces in someone’s home? I always wonder if they truly know the process and energy induced in it and I smile knowing that a part of me exists in a person’s home who valued my work. Your product design brings together calligraphy and all the history and tradition that comes with it; visual art, blacksmith work, etc., it’s a meeting of sorts. Was that always your intention? To use your product design to capture a moment in time from several perspectives? Growing up I took every thing that was offered to me for granted. All my senses and experiences seemed infinite
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and my loved ones eternal. Soon the family gatherings became seasonal and the proverbs, and advice minimal, until finally, everything faded with time. The need to capture the memory in a visual context led me to develop IN, a product design company, where form, heritage and typography co-exist together to reach out and touch any viewers’ sentiments, and in so doing, fill the void as it represents the birth of an entirely new discipline that is both appealing to the eye and flattering to the soul.
THE NEED TO CAPTURE THE MEMORY IN A VISUAL CONTEXT LED ME TO DEVELOP IN, A PRODUCT DESIGN COMPANY. So what is your design process like, from the moment of inspiration to conception? First its an inspiration with materials and elements, then I find a suitable poem, either from my grandmother’s texts, or I ask my designated poet to make me something based on the sentiments of the idea and the purpose of the product. Then its goes to calligraphy, then rendering, then to the factory given the choice of materials I want: metals, wood, marbles, concrete, some times all together. Yes it can be a tedious process just for one product, that is why it’s made by order and I do not keep stuck. What is your opinion on the use of traditional Arabic calligraphy in unexpected modern-day forms of art? I think the Arabic type is such a beautiful form, that can weave beautiful sounds, it is unfortunate that many people just place a bunch of Arabic together on a product or any object and present it as art, words that do not have a meaning talk to sadness. Many also fall into the trap of believing that the Arabic font is only a vehicle for religious or historical data. Other than your calligraphy work, what else have you worked on or are working on now? I have developed a few contemporary items that have no calligraphy in them but still have a solid DNA of my identity. My designs do not necessarily have to embody a form of calligraphy, as long as they contain a strong sense of heritage and identity that is both functional and appealing in our present time. I will be experimenting further with smaller items such as accessories given the huge demands.
MY DESIGNS DO NOT NECESSARILY HAVE TO EMBODY A FORM OF CALLIGRAPHY, AS LONG AS THEY CONTAIN A STRONG SENSE OF HERITAGE AND IDENTITY What do you feel is your design mission? I feel it is my mission to present contemporary beauty that is acceptable globally as good design: meaningful to the East, mysterious and charming to the West and whimsical in both contexts.
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