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Fashion,

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Life

and

Culture

Fashion,

Life

and

Culture

Fashion,

Life

and

Culture

kid’s wear Vol.46

“Creatives are pioneers of a new life balance. They are life-makers and meaning generators, neverpurehedonists.Theychangethe wayinwhichpeoplework,cooperate, live, love and develop.”

Photo: Achim Lippoth

kid’s wear Vol. 46 Spring / Summer 2018 kid’s wear Vol. 46 Spring / Summer 2018


ikks & Achim Lippoth


CI TI ZE N K ID .


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ikks & Achim Lippoth


TH E EN D.


Outfit: Douuod Kids Photo: Achim Lippoth


kid’s wear XXL website 1 address, 1000 options

kidswear-magazine.com DISCOVER THE NEW S/S 2018 KIDS COLLECTIONS


Warm summer sun, Shine kindly here, Warm southern wind, Blow softly here.*

C r e a

K I D ’S W E A R

Vol. 46

t

E D ITO R IA L

i vi t y

(*From the poem Sun

Warm Summer by Mark Twain)

, kid s

wear

Editorial

Spring/Summer

2018

3 2

, kid s

wear

Editorial


kid’s wear Magazine Vol. 46 Spring/Summer 2018 Fashion Speak Editorial 32 Contributors 40 Imprint 42 Selection 44 Vitra 104 Molo 106 Armani 116 The Small Gatsby 110 Tinycottons 114 Il Gufo 122 Pleased to meet you 128

K I D’S W E A R

Vol. 46

Illustration: Martin Fengel

C r e a t

C O N TE N TS

i vi t y

, kid s

wear

Contents

Spring/Summer

2018

, kid s

wear

Contents


kid’s wear Magazine Vol. 46 Spring/Summer 2018 Essay

129

Is

creativity intelligence having fun?

r

a Vol. 46

t

C O N TE N TS

el

K I D’S W E A R

M ar tin Feng

e

Illustration:

C

i vi t y

, kid s

wear

Contents

Spring/Summer

2018

, kid s

wear

Contents


kid’s wear Magazine Vol. 46 Spring/Summer 2018 Fashion View

M ar tin Feng el

161 193 212 238 254

Illustration:

Achim Lippoth Hugh Findletar Mike Meiré Achim Lippoth Paolo Barbi

C r e a K I D’S W E A R

Vol. 46

t

C O N TE N TS

i vi t y

, kid s

wear

Contents

Spring/Summer

2018

, kid s

wear

Contents


, kid s

wear

Contributors

Spring/Summer

2018

, kid s

wear

Contributors

In Vol. 46 we are delighted to feature contributions from PAOLO BARBI K I D ’S W E A R

Vol. 46

Hugh Findletar Achim Lippoth MIKE MEIRÉ

C r

Martin Fengel,

welcome! It’s brilliant, I misinterpret them all the time.”

and

who once in an interview with Vice magazine, when asked what he thinks about people interpreting something in his pictures, answered:

40

“They’re very

e a t i vi t y


C

Vol. 46

K I D ’S W E A R

r

Imprint Spring / Summer 2018

e a t i vi t

Publisher and Editor-in-Chief Achim Lippoth Editorial Director Ann-Katrin Weiner Digital Director Deputy Editor Petra Barkhof Digital Editor Enrico Fragale Esposito Managing Editor Patricia Barkhof Fashion Director Simona Valentini Fashion Assistant Susanna Roderi Art Director Mike Meiré Graphic Design Charlotte Cassel  Tim Giesen Monika Kochs Svenja Wittmann Editorial Consultants Kröger Schulz www.kroeger-schulz.de Illustrators Martin Fengel Photographers Paolo Barbi Hugh Findletar Achim Lippoth Mike Meiré Contributing Editors Jennifer Irizarry Michael Kröger Heiko Schulz Copy-editing ed_it!  Heike Tekampe Cologne Translation Logos Group www.logos.net Layout  Frank Pesch Sachsstrasse 28/8  50259 Pulheim -Brauweiler  Germany Printing optimal media GmbH Röbel/Müritz 

, kid s

wear

Editorial Head Office Via Privata Cascia, 6/8 20128 Milan, Italy Tel. +39 0283424307 E D I T O R I A L

y

O F F I C E S

Australia: Belinda Blooman  belinda@kidswear-magazine.com Belgium:  Anne Kurris anne@kidswear-magazine.com Brazil:  Lucia Coimbra lucia@kidswear-magazine.com France:  Ann-Kathrin Obermeyer annkathrin@kidswear-magazine.com Great Britain:  Matthew Holroyd matthew@kidswear-magazine.com The Netherlands:  Anne-Claire Petit anne-claire@kidswear-magazine.com Spain:  Alicia Armet alicia@kidswear-magazine.com USA:  Jennifer Irizarry jennifer@kidswear-magazine.com

Publishing House kid’s wear Verlag Luxemburger Strasse 124–136 50939 Cologne, Germany Tel. +49 221 294 38 42 Fax +49 221 294 38 33 www.kidswear-magazine.com

© 2018 for all contributions: kid’s wear Verlag All rights reserved. Reproduction with written permission only. No liability can be assumed for unsolicited manuscripts, photos, etc. Annual subscription fee: EUR 30,– plus postage/shipment. In the event of non-appearance/non-delivery due to force majeure it shall not be possible to demand replacement or a refund on paid subscription fees.  Kid’s wear is published twice yearly by the publishing house kid’s wear Verlag.  The price list for placing ads dated 2018 shall apply.  The place of jurisdiction is Cologne, Germany.

We would like to thank: Ellen, Joscha, Lucian, Lukas, Maya, Niklas I S B N 9 7 8 -3 - 9 41 1 7 9 -4 4 - 8 ISSN 16140206

Imprint

Spring/Summer

2018

4 2

, kid s

wear

Imprint


SELECTION Spring/Summer 2018

Marcelo Burlon Kids of Milan

Achim LIPPOTH

Photographer: Achim Lippoth Styling: Simona Valentini Styling Assistant: Susanna Roderi Hair & Make-up: Nicole Gnauck / LIGAWEST mit Produkten von Davines Production Manager: Dennis Oellig Production Assistant: Cornelius MĂźcke 1st Assistant: Max Kopp


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BL AUE R JU N IOR


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THE ANIMALS OBSER VATORY

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O

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Selection

Spring/Summer

2018

BOSS

, kid s wear

Selection

Spring/Summer

2018


MARMAR COPENHAGEN


, kid s wear

Selection

Spring/Summer

2018

, kid s wear

Selection

Spring/Summer

2018

CARBON SOLDIER


VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG TAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAGE TOCOTO VINTAG


, kid s wear

Selection

Spring/Summer

2018

SOF T GALLERY

, kid s wear

Selection

Spring/Summer

2018


, kid s wear Selection Spring/Summer

CarlijnQ

2018 , kid s wear Selection

V

V

A

kid ,s wear Selection Spring/Summer 2018 kid ,s wear Selection Spring/Summer

2018

F

Spring/Summer

E


lrich o o W

Kid

lrich o o W

Kid

lrich o o W

Kid

lrich o o W

Kid

lrich o o W

Kid

lrich o o W

Kid


, kid s wear

Selection

Spring/Summer

2018

MONNALISA Where is Marlo

, kid s wear

Selection

Spring/Summer

Krutter

2018


, kid s wear Selection Spring/Summer 2018 , kid s

GOGANGA

Selection Spring/Summer

MISS L . RAY

2018

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wear

JAKIOO


Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie Amelie , kid s

wear

Selection

et et et et et et et et et et et et et et et et et et et et

Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie Sophie

Spring/Summer

2018

, kid s

wear

L I T T L E R E M I X


WOLF & RITA


MO T OR ETA


, kid s wear

Selection

Spring/Summer

2018

, kid s wear

THE SMALL GATSBY

Selection

Spring/Summer

2018


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Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/ Summer 2018 kid , s wear Selection Spring/Summer 2018 kid 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2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/ Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/ Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/ Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/ Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid , s wear Selection Spring/Summer 2018 kid 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MUNSTER K I DS


wear

I

Selection

T

H

Spring/Summer

C

2018

-

, kid s wear

H

Selection

I

K

Spring/Summer

on Selecti

wear

E

2018

, d i k s

mer m u S / g n Spri

2018

R

on Selecti

, kid s

H

2018

ummer S / g n i r Sp


, kid s wear

Selection

Spring/Summer

2018

, kid s wear

Selection

Spring/Summer

2018

Popupshop


, kid s

CL M FA E R ON N E N CNLCELR MOM FNAFNAE R E ONC NT E N NCL M E R ON N T M E C MNO FA EER NOCN TNM NF LE MO FA E R ON T M NF LE O E C T N N L L N E A R C CL M FA E R ON N CNLC M ER MNO AN R E NC NT E NF N F O T L E A E F E R ON N E O T M NF LRE MNO NATN ERN CN T M NF LE MO A ONO AN ERNE CNL M EFNA LC E N CL T M E NFACLEM ER O N AN R E N N C T L R E N C E E F M C N F F O O T N N ERNE CL T M FA L T M E NF LCELREMOMNO AFNATNLREERN NOCN ATNM E R MON ANT R E N NCL M EFNA LCELR T OMNFNAFNAE R E ONC NT E N CL M FA E R ONON AN ERNE N CNL C M T NF LE T M FAF E RLE OMNO FNAT EERN OCNL TNM MO FA E R ON NT E NCLC M T L N E E O A C R C C N N E E E E N MO FA R ER NOCN TNT NE LCE M FNAF RLE ON ANT R T O O E N NCL T M NFA LEM M F N NC NMT NEFNF LECL MOM AFNA LREER NOC NATN ERNEF CL FA E R ON NT R EN C ER TO N ANANREER NOCN TNMT NEFN NLEC M A ON NT E N CL MOM NFLAE RLE ROMNON F N R L T T NEFN LECL OM AFNA EER NC ATN E MO AN TO NEF LE M FA REER NOCN TNM NF CLE MO FAN E R ENOCNC NMT EM NEFNCFLECLEM O T L N R R N N N E A A A A N N T T L L R R ECRLE ON FNAT E N ONNTNT E NE NCNL C MT M FN NC NT E NF CLEMOMNO FAENREER O N F A L E O C A FA FA RE R NO NTN ERNE CL NM NEFNF LECLEMOMO LE MO AN R E CNLC M TO T E E NE NCN T N F N R M N M M AN RMEO NC M A R R N N L L C N E A A O T T FA E N T M FAF E RLE ON N E R NONNTNT EONN R F C E C M M N O T A N L L N NF L E C L M FC C E RM E RONONNATN ERNE CL TNM MOM FC F T A T MNEFNAF LECRLM E RM ON ALNEE RMEONOCNLCE NM L A A T N E O N E E O O F E C N E M N C O R R T T R R M A A N N N N L L F N N N NT EONN CL O REER NOCNNTNT EONN E RLE R ON NATN E N CL MENO FC FC EFNCLECL METO F M A A N N L L A E F M M NEFN LECL OM CALN ER N NETRNTE NE NCL MT FA FLAC NEM FO FEA RM E RM ON CALNE RMEO CN R A N T R E O C E O A M N N E E N FA FAE R ON NT N F N E E O TRO TRMET NNFN NNFC LRET MNN LETCLEM R N N EONN CL M E A O C M N O OFNA NT N E N CL E C T N E C F L NFN CNLACN M MN ALNE ERM ALFNEANRMEO NCN N R E O L T MO FCAL E RM NO N C E E O A M R O F F F M ROM RM NNFECNCNLET MTO FAN E R FNANFC E LRM OMNO LNEATRN ERONE ACN T T N T T EONN LACEN MEO NC NEM E E E T R LETCL N FEA RMO N M NATLNE ERO ALN CNLC MET NMNFN T MENO FCAL LRETERM NN NNF LE O N O O C O R E F F N F N E E C C A M N L E N N F O R R T T M A A R N N A N N N L L L C C N N T E E E E AFLNCEAL RM FLAC M FO ONNE NCNLT M EERO N ENLRM ENN EN FCALE E R FONANF C ON ALNETRRMEON CN OM TROM TRNM A C N T T F N E E E O O E E T R E N L L C C N N NATLNE ERO FLA NM FA NTR E EFNC EC ALN M FEA RMEO N N CN TRLM RO FCAL RETERM NN NNF CLE MEO N O O E T F F N O E C CN C A E N N N E EN L N E F N N F T T M A A R R M N N N R L LET M L N N CALN RM N C N N E E E E N A A T M R F F O O T N C C N N E E M M L R R N N F F F O E E C C T T O O A A N N E F L L N N R R R E E M M E E O O C C T T A A A M N N L L F F NC TRM NNF N N A N N N E E O O E E T T M M R N L L C C E E N N N N E E E A A M M O O RONENO CFNLAC M N FEA R EO FNAC TR NN FNCANFLCECTNR OFNA TLNEM OFNA LN CAL ETRM N TERO T L M NN N N NLET M E F E EN F E T TRNM R M N N L N N CALNLE RM EO C N N E E M E E A A M R N F F R O O T N C C N N E L T M L R R N N F F O E E C C T T O A A N N EM ON LET M N NFCA LM N RME OFNA ETR EONN CN EATLRNE EROM CFN E T A N L F N N E O O E E R T A M N N L L C E N N E A M F F R R N N O C ECTNR NLACEN M NACN TR ONNF C LFNC RO E FCAL ETRM OFNA LNETR ON F N O E C T LE MEO L E N F O O T E E A M N A L N N L F N E E N CAL E T A RNEM MN N NNFC LET M NLFC LRM NC E E F A M RME N C N FAC NETR EONN CNLT M F R O T C N E R L R N A E E T O T A N L F N R R EM CN EFON TNRM ALRNE EOM ALNE MEOOFNACNN N N E R ONN N E E F N E E O O E E T A M M R N L L C C N E A A M N F F T R N N N O T T C N E E N N FN NNF LT ACFNLA TR M LM E N FCALN RME OFNA LNETR ON CANLFNCA R TEEROMOEFNNAF LFNCEATLRNE EOM EONN ACNLT TERNM E E N N CALN O N N O N T E E C C C N E E F M L MO FA TR M NNF NLET M M R N F F E E C C T O O T A N N R L F F N T L R R E O A E T A A M M N N LNE ON LNECL EO NACN ETR FN NAC N E O O E E T M R C C NT E N E N E A A M M M F F R R R N O T N N N N L L N R T F N NNF LTE OEFNN NCEATLR EOM ACFNLA TREM L N T E N CL M OFNAC NETRONEONN ACNLT ET NM C F M E E E R N N C CALN R L E N A A M N N F R T O C N E E E E O O M L E R F F FA R F EN E C C NLTE M N C O O T A N M L F F R R N R E O T E A A N M M A N N N L L L NACFN ETR ON NT E N CL MO NATCNLT ETRNE N E CNLFCATENRMTEMOEFNNACF NECTR RME OFNACE RNETRONEONNN O L N E NFCA LATENRM ER N LNE ONNO NLAETN EM F E NCLFCAL M E E NM E R M A T N F NF CLE MO FAN E R ENOCNNFCA NLMETR R LNET EO OFNAE RNETRON OEFNN NATN ETRNE FCAN FA RM O T E M L R N A A N T L L N C N E O N N E E M ETRLE ONN CFNLAT R E N ONNNTCNLT E NE NCLFCA MT M FN NC NT E NF CLE OMNO FANREETR M N F A L F ERNOE FCALN ENRM CALNMEO FA FAE RNETRONO NATN M M NEFNOC R LE MO AN R E CNLC M L TEO T E N E E O E C T E N F F N R N N N M M E T T AN R E N C M A R R N N T M F ELRE R ONO NATCNL E NENCNNFCT MT FNFLECRLE O ACN FLA E NNF A A A M L N N N NF L T E E CL T M NFA LE R O C A NOCN NM FAE RNETRONONNTNT ERNE CL TENRM NEFN LECL MO RMEFAN T T E R ON N E R EONN A E N LCELR OM AFNA REER NOCNNF T NTE NE NCL CL M FN TO A F NT E N CL M MNO FA EER NOCN TNM NEFN LECALNMOM FA FAE R E R ON NATN E N FCALN T E F M N L N NTNTE NE NCL MT FA EFN ECRL OM AN FA REETR NO E R ON AN R E CNLCE M N T C E E R ON NT O A TO NF LRE OMNO FNATN ERNENCNC TNMT NEFN LECLEMO FAN F E N CL M A M LE LE OM AFNA R ER N NT E NF CLE ERNE CNLC M N F T T MO FA E R NOCN ANM A R O F N N C E E M NF N LE MO AN R T OM FNAF LRE ONO NATN ERNE CN TM NM L T E C N E T N L L C FA R N E N CL O AN REER NOC ATN ERNE CNLC MT FN E NC T L M F O R E F N E A A M E E N N F F N O O T T M R A N N N EFN LC E LRE OMNO AFNA LREER NOCNNTNT E NEFNCLE MTO FA LE R ON ANT R E N CNLCE NM T A F O M NEFN LECL MO AN ERNE CNLC TNM FA R E NC NT E NF CLE MO FA LREERN NOCN NATNM T R A E E F N F O T OM NAF LRE MNO NAT ERN C TNMT NF LE MO AN R E NC NT EFNA LC E EFN LE NC T M NF LE M FNA LREER NOCN NATNM ERNEF CNLEC NM O N AN R E N T A R F N N O O T T N N LEE N ATN E N CL T M F T OM EFNAF LCELRE OMNO AFNAT R ANLE R E ONCANT R E N NCL M RNE CL M T O FA E R ON N N R E C A F F N N E E O T T M NF LE MO AN R CN TNM M N L N E A R E NC NT E N C CR E F F N O T N LE L R L E C A A A NF LE MO FAN R E ONC NT E N NCL T M NFAELREER OMNOC FNATN EERNE NCL TNM T E R O N AN R E N N C T O FN NF LE MO FAN E R ON NT NEFN NLEC M A F LEE N NATN E N CL T M FA L AN R E NC T E N CL M AFNA R RNE CL M E M FA R ON TNM T M NF LE T O FA E R ON NT F E O T N N O AN R E NC T E N CL O AFNA R E NC NT E N CL wear Selection Spring/Summer 2018

, kid s wear Selection Spring/Summer 2018


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f o r a c c e s s o i r e s t h a n k s t o Stella McCartney Kids, Leontine Vintage, Ca&Lou, Easy Peasy, PLV, Jarrett, Gucci, Sunchild, Oeuf, Ray-Ban, Hunter, Grevi, Givenchy Kids, Mc2 Saint Barth, Raspberry Plum, Zara, Tetes Blondes

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Toy Story with cultural-historical claims – and contemporary relevance: the Vitra Design Museum in Weil am Rhein shows Play Parade. An Eames Exhibition for nt brain research has re peat Rece Kids. edly con firm ed

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Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra Vitra

At the same time, the warnings are getting louder that children have lost over twelve hours of play per week over the past two decades; to school time, and elsewhere. The American Academy of Pediatrics, a respected body of paediatricians in the US, clearly warns that this could have drastic consequences. Play deprivation is an attack on the foundations of child development. It’s game-over for a healthy upbringing. Thank goodness we have advanced thinkers such as Gerald Hüther, a brain researcher from Germany, and Christoph Quarch, a philosopher, remaining stoic and writing books that are as committed as they are well-founded, such as Rettet das Spiel! (Save the Art of Playing!). And thank goodness, again, for exhibitions like Play Parade. An Eames Exhibition for Kids. The show by the curator Janna Lipsky, on from September 9, 2017, to February 11,

2018, in Weil am Rhein, also steers the focus towards play – albeit in a very different way – and the seriousness behind it. In this sense, Play Parade, the first exhibition at the Vitra Design Museum specially designed for children and families, shows what you can do with dedicated play. For your whole life, if possible. The exhibition gives a comprehensive insight into the toy designs of Charles and Ray Eames, the legendary American designers who wrote design history from the 1940s to the 1970s. Exhibits include groundbreaking items like THE TOY, a modular system of rods and colourful bits you can use to make planes, tents, stalls and a thousand other things. And well-known games like House of Cards, to build oversized card houses with. Eames’ concept of seeing toys as concrete pioneers of creativity and great ideas becomes

tangible, and you can even discover and immerse yourself in it in an elaborate room installation. Besides, it’s not just for kids. Eames’ toys were always intended for adults, too. At least for those who, like the creators themselves, have enough enthusiasm for the fascination of play for a lifetime.

As well as the toy designs, you can watch the early, thrilling short films by Ray and Charles Eames, such as Tops and Parade, featuring dancing roundabouts, puppets and toy trucks smartly parading in front of painted scenes. The second theme of the Charles and Ray Eames’ world of play includes objects from the couple’s private toy collection, which have

PLAY PARADE. AN EAMES EXHIBITION FOR KIDS Curator: Janna Lipsky

always served to inspire their own developments. The exhibits show a piece of cultural history in the world of playing. If you want, you can even put the timelessness of the individual concepts to the test. The original objects are in glass showcases, of course, but you can play with

reconstructions and updated versions. Our verdict: if you have time for a playdate, visit the exhibition in Weil am Rhein. With or without children. And maybe on the way you could read Gerald Hüther and Christoph Quarch’s Save the Art of Playing!. As Charles Eames said, “Take your pleasure seriously!”

Vitra Design Museum Gallery Charles-Eames-Straße 2 79576 Weil am Rhein Germany September 9, 2017, – February 11, 2018 10 am – 6 pm every day

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creativity is a way of life. It’s not surprising that

For Rikke Jespen,

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the meteoric rise of Danish kids’ wear label Molo can be attributed at least partially to her creative prowess. Growing up surrounded by clothes, fashion is practically in her DNA: “As a child, my mother had two shops – one with women’s wear and one with kids’ wear. Because of that I knew that I wanted to work within in the clothing industry.”th ec l o t h i n g

After completing an international master’s degree in marketing and management at Copenhagen Business School, Jespen wrote her thesis for a major Danish clothing company that recruited her immediately after graduation for a marketing gig. This laid the foundation for the ultimate collision of passion and vocation. Jespen is proof positive that following your passion is the only real career path for the creative adult. “I ended up working as brand manager before starting as a marketing manager for another Danish clothing brand. I joined Molo almost ten years ago and together with my husband, I run the company. At Molo, my responsibility is marketing and product development. ur hobb

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Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo

So, Rikke, what would you say has been the most defining moment in the evolution of the brand?

Molo

We’ve had so many defining moments on this journey so far. Every time we decide to enter a new market it is a change because you will never know the outcome. Currently, the United States and Asia are two new

chapters in our brand story. And because of the deep culture differences compared with the European market, we don’t know yet how everything will turn out but we’re really excited to start this new chapter.

Kong-based web shop as well. Expansion-wise we look quite a lot into South East Asia and will be starting up with selling our swim collection at the Department store David Jones in Australia.

You recently opened a store in Hong Kong, didn’t you?

That’s so exciting, congratulations. What are your plans in the States?

Actually, we have two stores in Hong Kong now and have just launched a Hong

In the US market, we have recently opened a showroom in

Los Angeles in order to have a presence on the West Coast. We’ll do everything to avoid being bored …

How is it to manage a creative organisation? It’s the most challenging but also the most rewarding task. For people, to be creative they need a sound working environment – a place where people feel at home, inspired and listened to. I believe in

empowerment and respect for each individual. I don’t believe in micromanagement but rather, to define the overall frame within which people can unfold their creativity. Accepting mistakes as part of the creative process, is so important. Sometimes a style that looked great as a sketch turns out to be quite awful but allowing for a huge playground where it is accepted that not all things work out also opens up space for those original designs that

Molo


move us forward. And that’s fun. I feel really grateful for being surrounded by as much creative talent as we have in the company.

I’ve always felt that Molo is a perfect example of a label making clothes that kids actually want to wear. You are

able to strike this incredible balance between being fashionforward but not in a way that makes kids feel different for their taste in fashion. Molo is comfortable, easy to wear,

super fun and definitely on-trend. What are the largest drivers of trends in kids’ fashion from your perspective? In kids’ fashion, there are some things that stay universal. I find that quite appealing because kids’ clothes can then be handed down

a child. I remember asking my mother, sometime around 1985, to buy me this crazy Memphis Groupinspired appliqué sweater. She didn’t Yes, totally! relent, but I remember I was very tearfully emotional telling about my clothing as myself to a smaller sibling or sold second hand and still be relevant. Anything that kids can relate to are drivers of trends. It can be figurative things like animals that kids know of and care for and all of a sudden, a skirt with bunnies on it can be transformed into an item to die for in their eyes.

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I would never forget the beauty of that item … and I never did! Is Molo influenced by larger trends in women’s or men’s wear as well?

Molo

work at me and preferably when Molo. eaten in Italy, So, let’s too. So naturally my best last talk about meal was in Italy music. Is this summer there a new where I had a superb linguini artist or with seafood new-tositting at our favourite holiday you-artist spot on the that you island of Elba have with my family, overlooking the recently sunset. It’s discovered food for the soul. that you Oh, it’s love so So, I love undeniable that much? many of the the movie trends you see in AMÉLIE adults’ fashion Just recently eventually find I discovered and there their way to the M.I.L.K. It’s a is a scene kids’ segment. two-year-old where the Like now with all Copenhagen the sportswear soul collective heroine’s influences in based on love fashion – it’s friendships interest is everywhere! between a As this is a very number of evaluated casual trend, it musicians and by her goes well hand in artists. I heard the single If hand with kids’ best friend wear as We Want To and based on functionality then went home his plays a and played their huge role when music until knowledge designing for my kids and of proverbs. husband were kids. about to throw The up. It’s a funky Let’s thinking is and groovy kind that anyone switch of sound that I treasure quite who gears a a lot. knows their little. I want proverbs to get a I’m a must be sense of huge fan a decent how your of Italian food. It is human creativity the best being – lol. as a product cuisine What is director is in manifested the your world outside favourite if you of your ask proverb?

Molo Molo Molo Molo Molo Molo Molo Molo Molo Molo

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Many proverbs hold a lot of truth in them and can be used in many situations. I really care for the proverb ‘nothing ventured, nothing gained’. Sometimes you need to take chances in life in order to move forward. You can’t be sure of every step that you take. It’s part of the journey and it is also okay to make mistakes but great gains come out of taking chances. It is always fascinating to get out of your comfort zone. That’s why I like this saying a lot.

Choose three people, living or dead, that you’d take to tea. It might be a borrowing answer, but it would be my husband and our kids. Our everyday life is quite hectic so I love when we have a little bit of time together. Our kids are getting to this age where it is okay to be sitting down and just talk. It is so rewarding to experience their

little personalities grow and a lot of fun too. And spending time with my husband is amazing because he is the soulmate of my life!

Finally, tell me about a favourite childhood memory. It’s a bit weird but six years ago or so I went to a zoo with my family where we were watching a show with a chimpanzee. Among the audience, I was chosen to compete with the chimpanzee in drinking a chocolate milk as fast as possible. I did not even like chocolate milk, and before I got started, the chimpanzee was already done. People clapped wildly with me standing on the stage all shy but I thought it was a big moment. It made my day and I can still recall it – even that the chimpanzee was named Alfredo.

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GATSBY, have delighted families

the world over for their modern take and stunning interpretations of the elegant silhouettes of early twentieth century fashion. Teresa and Anita graciously invite us into the world of their Vienna atelier, brimming with the energy of master craftsmanship and inspired by the glorious legacy of Viennese art and philosophy.

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The Small Gatsby

Te x t: J e n n i fe r Ir i z a rry

The Small Gatsby The Small Gatsby The Small Gatsby

What are the unique challenges of scaling a localised Viennese handicraft for a global audience?

The Small Gatsby The Small Gatsby

It’s all there – the traditions, the history, the love for the detail. We only needed to collect it all, and bring it together. The only thing is: there are only so many able hands who can sew, stich, embroider, smock, paint, embellish, etc. at the high level we demand. So now we have gone even beyond Vienna, to places close by, like Styria, Milan or Sopron, places we can reach within two or three hours drive, and bring the expertise and talent to our Vienna Workshop. It allows us to not only offer our garments to our selected customers worldwide, but also to tailor for our testimonials, which is a whole different story in itself.

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Werkstätten, How does as translating the The Small impressive style Gatsby act of artists like as a steward Gustav Klimt, Moser, of Vienna’s Koloman Josef Hoffmann, heritage in Otto Wagner and their friends, couture into their time. finishing, design and What fabrics? aspects of historical Vienna has been childhood a melting pot for art and culture does for centuries. The Small Hundred years Gatsby ago, to work in fashion you keep alive either went to for the Paris or Vienna to get inspiration modern and to be where family? innovation was rooted. It was a time when Vienna’s rich heritage got an enthralling twist – a time when the zest for life was so tangible. The art and philosophy movement of the Vienna Secession broke with historical tradition and gave Vienna’s artists a new concept. The Small Gatsby’s collections and visualisation concepts – the brand’s essence presented in our JAZZ

CLASSICS

collection – are a tribute to this iconic time. We think of the resulting handicraft imprint of Wiener 46

If you look at old photographs of kids in early last century, they are often captured playing anywhere and everywhere. They were happy in their private, imaginary world, within the world of grown-ups. It’s this wildness, this ability to make anything a playground, which we treasure and which we try to communicate as something important and worthy with our garments. Our apparel, regardless of how formal it is, always offers full freedom of movement, and the themes of our collection often reference wildness,

rebellion, freedom and being in the moment, or visualisation. We go for boldness AND subtlety, and always for the daring, the unseen and unwatched, the natural grandeur, the quirky, or that one small, salient moment. We aim to pass on our love for beauty in all things – the most quotidian thing always reveals one aspect of astounding beauty if you look closely enough. We think these are values of great worth to children and grown-ups today, considering the mechanisation and the digitalisation in the artificial world we all inhabit and children are now growing up in.

Tell us about a treasured memory from your own childhood. TERESA: The sun and the heat of the flagstones on my skin, my brother and I lying next to the pool and warming up like

little reptiles after hours of playing in the water. Big grin on his face, on my face. Every summer. Every day.

What is the most important value for you as entrepreneurs? How do you measure trust? Trust is the foundation of all life – and of all relations between all creatures if they choose to live peacefully. If you are aware of your own responsibility and if you respect others, and focus on only doing things from the heart, you will be successful. Start with trusting yourself, we’d say. And be kind. As for niche partners: every artisan wants recognition for their work, and if you give that and respect real work done by real people, they will come to you. It’s all out there. We measure trust in terms of our successful long-term partnerships.


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traditional and possibly hierarchical industry?

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TERESA: I feel there is two major tendencies in kids’ fashion design: mini me for one, and then quite the opposite, the notion to create something for children that is uniquely theirs. Above all is pop culture, and the big players who inspire our dreams, no matter what age we are. It’s impossible to withdraw oneself from their influence – it’s everywhere.

you ha Do

dress is equally perfect and pure. The THEO pullover, Anita developed that when she was still very young and it’s the most perfect piece of knitwear. It’s suitable for people of any age – a baby, a toddler, a child, a teen, women, men, grandfathers and grandmothers. Its hand finished quality, the gorgeous merino raw material, the cut and the very rare method of using traditional links-links hand machines from early last century make it something so worthy, and so perfect, I love it. And then that blue-green colour – somehow it makes everyone’s eyes bright.

TERESA: This summer’s MARIE dress for young adults, is my favourite. I love the short in front, long in the back style, the flattering silhouette, the subtle luxury of the Austrian brocade linen. It’s a stunner and Anita’s masterpiece, I’d say. The version for younger girls, the AGATHA 46

We have just launched our own e-commerce site – at a technical level worthy of the very big players. We have managed to turn this company into a home for both of us, have collected so many gorgeous people with great talent and love for the game. Last year was a big turning point for us, where the essence of the brand, the company and we ourselves were put to the test on so many levels – and we made it. We’re now panting a bit but beaming with gratefulness and pride, finally able to indulge in what we have created.

What successes have you celebrated recently?

Tell me the most memorable dining experience you have had.

With renowned Tokyo luxury department store ISETAN having invited us repeatedly to show new capsules and launch seasonal collections, we are going east in big strides.

TERESA: Anita and I took our future testimonial for another future brand of ours – him being a silver haired icon – to dinner. Imagine you go to a nice, dignified place for truly amazing vegan cuisine,

e? piec

The Small Gatsby The Small Gatsby

Innovation comes easily to children, if you let them explore, and this is exactly how we try to work. Let’s pretend we don’t know what this fabric or that closure has initially been made for, and just see what it could become in our collection. A fabric made f or furniture is perfect for that voluminous gala dress. Magnetic buttons for handicapped people turn out to be ideal for small kids’ hands – and fun! We could not name the most innovative thing we did so far, maybe it is just how we start our creation process – we’re always open to new ways of putting things together.

Creating garments is a very traditional industry, with a traded system of lifelong learning to reach mastery. With established processes which have been tried and tested for centuries. We are breaking up the old hierarchies by empowering people and fostering self-management. Holacratic structures, in which teams are organised in circles, with everyone participating in multiple circles, with a different role in each, are paired with cultural and emotional coaching to allow every single member of our company to develop their personality, their abilities and their passion constantly. It is incredibly rewarding. You get trust, gratefulness, fun, and you can watch your team and yourself growing into stronger and more satisfied human beings.

What do you think are the largest drivers of trends in kids’ fashion?

or a ve favourite col lection

The Small Gatsby The Small Gatsby The Small Gatsby

What makes The Small Gatsby such an innovative brand?

and instead of having one waiter, you’ve got five. And then seven greetings from the kitchen in due course. I have no idea what happened that night – we laughed, we cried, we made promises for life. It was all kinds of magic.

What kind of music is inspiring the masterminds behind The Small Gatsby these days? TERESA: Max Richter’s Recomposed album. Take a perfect masterpiece (Vivaldi’s Four Seasons) and translate it into the now. Its mind blowing. ANITA: At the moment, my playlist is very jazzy, from the 50s and 60s, perfect for working in a nice flow. All replies are from both Anita and Teresa, unless otherwise indicated.

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Barbara Bruno, founder and creative director

INTERNATIONALLY BELOVED TINYCOTTONS lives an

of the

extremely creative life. One has only to browse her aesthetically soothing Instagram feed to understand immediately that her love for design transcends every aspect of her life. Like tinycottons’ d are at once organic and warm, yet utterly contemporary in their graphic sensibilities. The play between soft and comforting fabrics with artful and bold design is exactly what has launched this Barcelona-based brand into the pantheon of kids’ fashion standouts. With the recent launch of a tinycottons women’s wear capsule and a collaboration with Puma, there seems to be no end to the heights tinycottons will reach. And is it any wonder that Barbara is not just at the helm of a thriving enterprise, but also the mother of four children? Motherhood is perhaps the most creative endeavour of them all … ( @ barb _ bru no)

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I miss time, never-ending days, birthday excitement, the first day at school, Christmas time, smells of summer, the fact that I was never cold! I really miss this unique feeling of total happiness for the simple things, the freedom of unconsciousness, when I would play with some play mobiles on a path outside my home or construct imaginary metropolises. I used to play for hours at city building … and when the city was finished, I was already tired of it. In the end, the game was simply the process and being focused in the moment.

How do women’s wear or men’s wear trends KID’S

affect what’s happening in the kids’ market? At tinycottons, we are paying special attention to adults’ fashion. I think fashion is a general trends reference, even if we all have our own sparring that is progressing and changing with time. I think little brands like ours can be a reference for the big kids brands and it’s quite dangerous. We have to be careful they don’t ruin us for these actions.

much better. Even so, we are currently in one of the most defining moments in the evolution of the brand. Lots of changes and news will happen with the A/W 2018 collection. We re-designed the logo and the all brand imagery but without losing our street

vibe, graphics and modern inspiration.

I think every new season is crucial, as we rebuild everything from scratch. We always try to start by learning from our errors and to do things

Biorhythms have such a huge impact on our creativity.

VOL.

When I am sleeping I guess I am most creative, because I am doing a general recap of the day. Generally, I always have

opposite. I can’t control my head! So, it’s better for me to make a note, it helps me to keep calm and to be less anxious.

What What is iyour sy ou favourite r proverb? favourite

What are you cooking up in your kitchen these days? I don’t have any special one dish that I make per se. Recently, I’ve been cooking lots of poke. I think this is very healthy and we all love it at home! We can totally invent new riffs and put what we want in it. It’s like a personal and unique recipe.

If you could assemble the ultimate historical dinner party, who would be on the guest list?

What is the most challenging aspect of running tinycottons and what new developments can we expect on the horizon?

WEAR,

How does that play out for you as a designer?

proverb?

Tinycottons Tinycottons Tinycottons Tinycottons Tinycottons Tinycottons Tinycottons Tinycottons Tinycottons Tinycottons

The creativity of children is so inspiring. What do you miss from childhood as an adult?

Coco Chanel, Steve Jobs, Henri Matisse, Le Corbusier and Amancio Ortega!

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a notebook or my phone within reach so that I don’t forget anything like new ideas that come to me suddenly, pending subjects, or changes to a design or project, etc. I know it can sound mad but to me it’s quite the

The only place “success” comes before “work” is in the dictionary.

What about music? What’s on repeat these days? I am a new fan of Diana Krall. www. t iny c ot t ons . c om


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Hello, what is your name? Jessica Richard.

How old are you and what age are your children? I’m thirty-nine, my oldest son Billy is seven years and my youngest George is three years old.

What do you do for a living?

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and we all love the seaside. We founded our company in London, right after Billy was born. A year in which we realised that we needed a quieter surrounding and more space. (… and a babysitter. Emsworth is James’s hometown, so his parents help us a lot. It’s nice to have family around).

around the world. If you move from a big city like London to a small village I think it’s the diversity of food which you probably miss the most.

And the best?

The space. We have a whole field belonging to our house for the kids to play in. Here they can be creative and

How long have you been living in Emsworth, UK?

Why do you live in Emsworth? Emsworth is a small fishing village at the south coast. It’s peaceful here

Not at the moment. With children, this place is ideal. I was always someone who travelled a lot and enjoyed moving and experiencing new places but once you have children it’s good to call a place home. Maybe one day …

What’s your favourite bar, and why?

The Bluebell. It’s not a bar, but a typical English heritage pub, only yards from the Quay. If you live in England you simply must love pubs. The homemade food there is amazing too.

What’s your favourite spot in Emsworth? And why What’s the (if you can best area tell us)? It’s the hammock of town to in front of our bring up house. That children? sounds really

My partner James and I are the owners of a kids’ wear fashion company called “Jessie and James”. ;-)

We moved here from London when Billy was two years, so five years ago.

like to live even more than in Emsworth?

Bookends. It’s a second-hand bookshop in the village. You can find some amazing, rare vintage pieces in there. I love to read although I hardly find the time these days.

What is the worst thing about Emsworth?

The variety in healthy and origin authentic food is a bit poor. I’m German and I love English food but I also love food from all

have the same freedom James and I used to have when we were little. Living close to the seaside is amazing too for young and old.

Is there anywhere

boring but I love to relax there and it’s a real suntrap, my time with a good book and maybe a glass of wine. Maybe ten minutes without the kids. ;-)

What’s your favourite shop in Emsworth, and why?

The beach. Our kids love to play at the beach. They put their wellies on and get really muddy. They love to go crabbing, looking for shells or kayaking.

Is Emsworth a good place for children?

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I think it’s lovely. You are more in touch with nature here. The pace of life is far slower than living in a city which suits us with a business and bringing up two boys. If we are relaxed and happy so are our kids and that’s the great thing about living in Emsworth for us.

How much does it cost per month to maintain a child in Emsworth?

Oh dear. I have no clue! I guess it depends on how demanding your child is. But we spend a lot of time in the nature surrounding us and we go for walks, rather than to adventure and ball parks or other kids entertainments. So I guess we save quite a bit of money here.

Can you say goodbye like you do in Emsworth? G o o d b y e !

( V ery trad itional E nglish : ) )

Pleased to meet you. Pleased to meet you. Pleased to meet you. Pleased to meet you. Pleased to meet you. Pleased to meet you.

PLEASED TO MEET YOU. you In Emsworth. else would


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Creativity is the key skill of the future. So, for the next generation of adults, i.e. the kids of today, it’s pretty important. A great reason to explore the term a little deeper, in our theory on crea tivity.

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a valuable human being – usually one of the good guys. But what exactly is creativity? And where does it come from? K I D’S W E A R

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Nomen est omen Nomen est omen Nomen est omen Nomen est omen Nomen est omen Nomen est omen Nomen est omen

Everyone thinks creativity is a wonderful thing that we should all strive for. If you’re creative or are known to be creative, you’re


The word “creativity” comes from the Latin,“creare”, to “create, bring forth, produce, design”. It is closely related to “crescere”, which can be translated as “to become, grow, cultivate”. These two important aspects of creativity are right there in this original term. First, the passive aspect: You should take the subconscious potential in people seriously and let it grow. Second, the active aspect: Humans have the ability to be creators, to bring something new to life and bring it to the world. This is very closely linked to ideas of being artistic, productive, lively, experimental, fun – and problem-solving. C r

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The minority of geniuses The minority of geniuses The minority of geniuses The minority of geniuses

Creativity as a concept has only been existing since the 18th century and was originally linked to fine arts, that is, to artistic movements such as Sturm und Drang (“storm and stress”, from circa 1765) and Romantic (early 19th century). This was when the belief was born, established and enforced, that I can creatively design myself and the world! Nobody called it “creative”, though, it was called inventive or ingenious. Only a few people are endowed with the extraordinary talent (ingenious) of creating something new and are appropriately referred to as geniuses. Geniusness is an exclusive, even glorified phenomenon.

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You’re either a genius, or you’re not. And the genius myth behind it is that the unmistakable nature of the God-like creator leads to the unmistakable nature of his work. Until the middle of the 20th century, creativity remains something “so niche”, exclusive to avant-garde art and protest movements, essentially always “anti” and “counter” the petite bourgeois and conservative morality. Something firmly anchored, nurtured and fostered in the underground and counter-culture.

Attributed to a minority of specially gifted people creating their work on the fringe of society.

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OMG OMG OMG OMG OMG OMG OMG

God designs and creates,

OMG

The Egyptian civilisation, for example, has been bringing technology and artistic innovation to the world for centuries — and in Europe, all kind of European scholars and spiritualists have been discovering new cognitive dimensions since the Middle Ages. But, officially, it was only ever the will of the gods or of the one God that they were implementing:

OMG

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OMG Essay

OMG

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Essay

is pretty intelligent J. P. Guildford is pretty intelligent J. P. Guildford is pretty intelligent J.

Only since the beginning decisive thrust and of the 20th century key social policy has creativity been reason for the now scientifically explored serious, scientific and explained – and no work on creativity. longer in a religious or The launch of the mystical context. At first first Russian satellite P. Guildford is pretty intelligent J. P. Guildford is this is down to Sigmund Freud, who develops into space shakes the psychoanalysis around self-awareness of the 1900, declaring the end of American nation and the demi-godlike creatormakes the Americans artist. Freud breaks down be permanently on the consciousness and edge. They see their demonstrates that man position weakened is not a transformation in the scientific and of God on Earth, but that global political power even in the subconscious struggle. They make mind of the most up for lagging behind formidable people lay by researching, uncontrollable psychic understanding and powers that can awaken using “intelligence” and erupt at any time. and “creativity” as After World War II, phenomena. “creativity” comes to As a pioneer of the Germany from the empirical creativity psychological laboratories psychology, J. P. of the US Air Force and Guildford, who from from private research 1950 runs with institutes. The “Sputnik the idea that we shock” in the United should be exploring States is regarded as a creativity in-depth alongside intelligence. J. P. Guildford is pretty intelligent J. P. Guildford And he quickly Vol. 46

pr et


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is pretty intelligent J. P. Guildford is pretty intelligent J. P. Guildford is pretty

recognises the greater potential of creativity over intelligence. Conventional intelligence tests prove to be one-dimensional in capturing the ability pr et of a pilot, for example, ty in te to solve problems lli ge nt innovatively J. P. in emergency Gu ild situations. fo rd is They are pr et th ty er in te ef lli ge or nt e J

intelligent J. P. Guildford is pretty intelligent

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also unsuitable for spotting high potentials in science and business at an early stage. Guildford investigates the ability to solve problems creatively as a general skill, with his main theory being that there is a general creative potential that is inherent in every human being – it just needs to be awakened and nurtured. Since the middle of the 20th century, the genius concept has been extended to areas beyond art, to science, technology, politics, etc., and it is considered that creativity is a particular quality of problem-solving, the ability to develop, test and implement new ideas and concepts. It is in every human being – although not everyone has it in abundance.

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Count me in

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The times of creativity being attributed to a talent-blessed minority at the margins of society are long gone. There is nothing elitist, oppositional or subversive about creativity nowadays, the orientation towards the creative is considered desirable and binding for anyone and everyone. Creativity is (required)

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everywhere. Everyone can, should, must be creative. But the question remains: when we say creativity, are we all talking about the same thing? To disassemble the phenomenon of creativity in order to make it more Creativity seems to have a structure Creativity seems to have a structure comprehensible, we should look at its basic structure in-depth. Today, creativity research identifies four dimensions of creativity: The creative product, the creative process, the creative personality and the prerequisites of creativity.

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Creativity seems t

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ORIGINAL

AND

USEFUL

NEW,

ORIGINAL

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USEFUL

Like all regular thinkers and everyday psychologists, creativity researchers also deem “novelty” and “originality” as the essential criterion when it comes to creative products. But this does raise questions about whether we can judge creativity “objectively”: new and original – for whom? For the individual, an organisation, a certain culture, society, all of humanity? And who judges that? confirmation is problem It is widely unnecessary. solution must agreed in Later systembe new only creativity for the creative theoretical research subject itself – that there is creativity models in relation to its (e.g. from a distinction prerequisites, between a Csikszentmihalyi i.e. previous subjective, and Gardner) knowledge, small, everyday assume that competencies, novelty, on the creativity always skills, etc. one hand, and happens in Then you can a objective, a system of the individual, “great”, culturally call it creative. It is enough that domains and historically the inventor a familiar recognised thinks his or environment. novelty on the her product They focus on other. is creative – examining the In a sense, further social interplay between subjective individuals and novelty means the following: an idea or C r

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higher levels of society, placing the creative individual and his products in relation to his domain and the field of activity. A product is therefore creative if it is accepted by relevant instances of a field – experts – and is able to change or even develop the domain. You are creative if your thinking or actions change a domain (atomic physics, microbiology, music, literature or recommendations), and you are always a cultural developer and changer. A GREAT CREATIVE.

It also seems appropriate to put the usability of a creative product in relation to its goal. There are undoubtedly a lot of highly effective products whose goals and effects are clearly inhumane, antisocial or immoral, e.g. the electric chair, methods of torture such as waterboarding, weapons and suppression systems, bullying techniques, etc. As such, you could argue that the following should be added to the list of criteria: the goal of creative products is focused on socially acceptable, humane, constructive effects. lll others are clearly labelled as “criminal”, “destructive”, “antisocial” or “antihuman Waterboarding is not ”. creative Waterboarding is not creative A second product criterion, equally indispensable in the creativity research, is the usability of the (new) problem solution. Again, it’s important to put things in perspective. The creative product is a sensible, effective solution – in relation to the problem.


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creativity, creative

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In the very best-case scenario, phase 2 ends with an inspiration or illumination – a term from the teachings of Augustine, according to which human cognition is made possible by a spiritual light. The cognitive elements that were loosely floating about suddenly take in a new and aesthetically appealing shape. The solution to the problem is (or appears to be) found. The underlying manic feeling of instantaneous enlightenment – also called “eureka moment”, the happy idea or “creative orgasm” – fulfils the creative. But he doesn’t have long to enjoy this existential deep feeling of happiness. This phase is by far the shortest.

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1 — PREPARATION — 1 — PREPARATION — 1 — PREPARATION — 1 — PREPARATION

In the beginning is the problem. And if there is nothing new, we find one. People then launch into a search process to pinpoint an original problem. They find out everything they can about it and organise, categorise and systematise the data. The creative person’s main role here is researcher. He must prepare intensively so he can reach the necessary process depth and definition for a new problem solution. act ion o


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free reign to everything that’s illogical and dream-like. Logical, straight thinking remains important, and both processes mesh together. It creates an atmosphere of pondering, brewing, speculation, in which all possible and impossible seeming variations of a problem solution are intuitively played through, patterns are recognised, analogies formed, structures shifted from one area to another – where they can then serve as a creative problem solution. This phase is experienced by problem solvers as extremely strenuous, and often unsatisfactory. The painter Daniel Richter calls this alone-in-room-brooding an “eternally extended puberty”.

Whether the brilliant happy idea is sustainable and can be effective is decided in the very next phase of review and elaboration. Phase 4 is the longest and most demanding. Enforced self-reflection, testing and evaluation is very strenuous, with an extraordinary measure of stamina required. The creative one torments himself with the question: “Is this idea really as good as I thought and felt it was?” As such, this phase is evaluated differently in terms of emotions than phase 3. It is considered to be relatively corrosive.

4

LOOP

In biology, incubation is promoting growth by warming, in medicine it’s the stage between contamination and outbreak. In any case, there is much more flexibility required in the thinking than there was in phase 1. We are still fixed on the problem but all kinds of information and problem aspects come into play. Away from the familiar, correct thinking structures, the supposedly more primitive thought processes are allowed a chance. It’s the door to the unconscious,

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THE

LOOP

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But if it eventually turns out that the creative solution is truly good, a certain tranquillity of enthusiasm can set in. One thing’s for sure, and that’s that the four phases do not follow each other chronologically. They are intertwined, they have to be crossed several times and often non-linearly, in feedback loops. The enthusiastic evaluation of an idea in the Illumination phase (“I’ve got it!”) may prove to be too optimistic or void (“Someone’s already done it!”) in the elaboration phase. Then, it’s “Back to the preparation stage!”. K I D’S W E A R

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crucial to the development

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thinking is essential for incubation and illumination, convergent thinking is crucial for the first and final phases (preparation and elaboration).

Essay

ideas. Converged thinking, on the 143 other hand, is the combined, precisely organising thinking that has long been branded as anti-creative. What we have today is, both mindsets are essential in creating creative products as they embody the polarity of idea development and elaboration. Whereas divergent

convergent and divergent Think convergent and divergent Think convergent and divergent Think

It takes special skills to create a of new creative product. Two completely contrary mindsets have to be mastered within the four phases of a creativity process and activated in equal measure. Divergent thinking is bluesky, boundless thinking, focused on various solutions. If you can think in a divergent way, you will find many different answers and solutions to vague, ambiguous questions and problems. This is clearly


What is a creative personality? How does this personality go through the creative process and emerge bearing a new creative product into the world? Here’s the history of the creative personality in a nutshell: For a long time, the image of the “creative personality” is marked by the notorious “genius and madness” theory, that sets out to prove a genetic connection between insanity and creativity – but never has been able to. At the end of the 19th century, and especially at the beginning of the 20th century, people hardly care about an outstanding personality from patchy psychiatric diagnoses – artists/creative ones are reduced to socially risky figures. CREATIVE

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The pre- and profound thinker Sigmund Freud has little time for “healthy creative thinking”, he parallelises creativity with neurosis. The main term in Freud’s fundamental pessimistic understanding of creativity is “sublimation”, and it’s not until 1950 that a new generation of psychoanalysts develops a new creativity theory under the title “Regression in the service of the self”. The anti-Freudian idea is that artistic creativity is not possible because of primal fears, but in spite of them.

Empirical creativity research since 1950 has primarily been focusing on the relationship between intelligence and creativity. J. P. Guildford subjects the contemporary intelligence tests to sharp testing and concludes: This can only test converged thinking. He then develops a complex model with 120 intelligence factors, in which creativity is especially important for

PEOPLE


divergent,

groundbreaking and explosive thinking – with sub-aspects such as thinking fluidity, thinking flexibility and originality of thought. A further important impulse for the

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differentiated consideration of the creative personality is then provided by the psychologist Frank X. Barron in the 1960s, who, in an extensive study of living “creative” people – writers, architects and scientists – finds a positive connection between fears and self-strength. Creatives have an above-average sensitivity to their fears, without jeopardizing their self-stability. This ultimately results in the assumption that creatives must have a paradoxical basic structure and can constructively combine contradictory properties.

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The model of the “paradoxical basic structure of the creative personality” now prevails. The psychologist and literary scholar Norbert Groeben draws from this paradoxical basic structure of the creative personality a “magic triangle between feeling, thinking and acting” and summarises the paradoxical personality of the creative as follows: creative people are “actively contemplative” in relation to thinking.

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Paradox is good

Paradox is good

Paradox is good

Paradox is good

Paradox is good

In terms of behaviour, they are “maladjusted adjusted” people. Creativity (understood here as an internal element) requires withdrawal from the social environment. The paradoxes at action level of action include: • sensitive unconventionality (being emotionally independent from the environment; examining and, if necessary, accepting or violating conventions) • tolerant rebellion (attempt to fascinate, to be charismatic and not non-missionary; to inspire and not to exert compulsion) • altruistic egocentrism (swaying between ambition and selflessness)

In terms of feelings, they are “doubting self-confident” people. Creatives are very intrinsically motivated, they do not need any incentives from the outside to be interested in a topic, problem or content area. They love what they do, tackle their work head on. In extreme cases, this can lead to extrinsic factors such as money, power and praise hardly playing a role. The contrasting emotions and motivations that bind creative people include: • doubting self-confidence (continual self-critical review) • distanced engagement • masculine femininity (assertive and power-oriented, but also emotional and communication-led) • constructive dissatisfaction (dissatisfaction does not lead to depression, but serves as a driver for new productivity)

They contemplate themselves into an OBJECT OF KNOWLEDGE, actively tackle it, work on it, transform it. In doing so, they harmonise a wealth of cognitive contrasts, for example • hovering attention spans (simultaneous breadth and depth of processing) • naïve contemplation (can be astonished and can reflect in an astonishingly clever way on the astonishing) • structuring openness (cognitively open, able to recognise complex correlations) • realistic imagination (visualise problems and solutions in metaphors, analogies, etc.)

Paradox is good

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How do you become a creative personality? What role does the social, cultural and personal life context play? What are inhibiting or conducive framework conditions? Why

curiosity

should

be

a

school

subject

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curiosity

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Environmental factors play a key role in the family and at school as the classical educational and socialisation instances. Family or school life can boost but also crush creativity. A cognitively stimulating climate is one in which intellectual curiosity is stimulated, in which mistakes are forgiven and where there is little pressure

be


d

of performance and competition. Essay

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be

a

Because competition and performance aim at extrinsic motivation (recognition, avoidance of punishment) and devalue the intrinsic (fun of a task for the sake of the task itself). An ideal environment is one that balances cognitive challenge and emotional support (taking children and adults seriously). We heard about an angelic circle in which a creative environment strengthens the development of creativity in childhood. Bitter: in a creativity-hostile family environment far from education, childish curiosity and imagination are often suffocated orcuriosity buriedshould earlybeon.aEven school subject Why school subject more bitter: anti-creative experiences and dynamics in the family are almost impossible to repair or revalue in school, on the contrary. The school system of performance and competition – which Heinz von Foerster called the “institution of trivialisation” – is known as anti-creative to the core because it is primarily about performance assessment, conformity, competition and convergent thinking. Blue-sky thinking, finding different answers even to ambiguous questions is still rarely asked for today. The cogn itive proc esse s of fasc inat ion,

are a prereq uisite for lea rning and

hich w , y osit i r u nd c a m sias u h ent

under stand ing, remain undervalued. “Curiositology” still isn’t taught in schools.

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IS CREATIVITY INTELLIGENCE HAVING FUN?

IS CREATIVITY INTELLIGENCE


HAVING

FUN?

IS

CREATIVITY

INTELLIGENCE

HAVING

FUN?

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One of the micro conditions is the impressionable current personal living and working context. John Cleese, one of the creative masterminds behind Monty Python, is an eagle-eyed observer and analyst of the phenomenon of creativity. He not only looks at the micro-environment conditions of space K I D’S W E A R


nothing is wrong

nothi ng is wr on g”

While I am creative, nothing is wrong

and time, which are usually regarded as central in creativity research, but two other interesting factors: openness and humour. Cleese refers to research by Donald W. MacKinnon, who in the 1970s at the Department of Psychology at the University of California at Berkeley found that people work in two mental modes: open and closed. In closed mode we have, according to

MacKinnon and Cleese, the feeling of having a lot to do, of having to keep going; it’s a slightly anxious mode in which we are quite impatient, even tense, have little humour, act purposefully; a mode in which we can be very stressed. But in open mode, we are relaxed, less purpose-oriented, more contemplative, more humorous. We do not feel under pressure to get something done as quickly as possible. We can play around with ideas. Essay

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While

Creativity is not possible in closed mode, a mode we are in all too often according to MacKinnon – and Cleese agrees. Cleese, the theoretically educated creativity practitioner, calls the conditions which make it more likely for us to enter the “open mode”: – A space that guarantees privacy and separation from the everyday (“play is only possible when we are separate from everyday life”). This space can – depending on the individual and the situation – be the car, the forest, the garden, the bathtub or a ladies’ powder-room. – Enough time for new ideas to emerge, grow and explode (“giving your mind as long as possible to come up with something original”). Cleese points out that “the most creative persons/ professionals play with a problem much longer before they try to resolve it ... at least 90 minutes.” – Openness for anything and everything to happen. Everything is OK (for the time being); you can think and says the worst, most deviant, most illogical things. “While I am creative, nothing is wrong.” – Humour, which Cleese attributes an evolutionary meaning to; “it gets us from the closed mode to the open mode quicker than anything else.” Humour makes us playful and is an essential part of the playful and the creativity we need to solve problems, “no matter how serious they may be.” These are “adjusting screws” that adults can turn to make creativity more possible.


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Is cre nce h aving fun? Is cre ativity intellig e fun? having

Three conventional processes in this sense are: Brainstorming, originally invented for advertising agencies, useful to let even seemingly nonsensical, disjointed thoughts and ideas run free. The good-idea seeds are only filtered out through logic when you have as large a pool of theories as possible. Mind mapping or clusters focusing on the pictorial arrangement of thoughts and ideas – linking the analyticallogical thinking of the left side of the brain to the holistic tendencies of the right. Reading is and will always be a downright simple method of creativity research. Remains unsurpassed in the creation of inner images.

Is cre ativity intellig ence

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What else can be done to ensure the most uninhibited flow of thoughts and ideas in an open, fear-free and negativefree atmosphere? There is a multitude of special creativity training and tools you can use to increase your span of thought and to encourage new perspectives on old or existing problems – or at least try to. There are ways to leave welltrodden ways, for selfirritation and to relax inner tension. They aim at decoupling the collection and evaluation of ideas.


f having Is cre ativity intellig ence fun?

having

gence

A star among the professional developers and providers of ever new creativity techniques beyond this conventional list, Edward de Bono shines with his concept of lateral thinking, based on changing concepts and perceptions and working with wild lateral thinking. How effective is all this? As a consensus in the efficacy assessment of creativity techniques, it is considered that they can function as didactic means in order to make thinking more fluid. No more, no less.

So maybe in the end it’s just like Albert Einstein said:

“Creativity is intelligence having fun.� Essay


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It is widely believed that creativity is something purely individual, private, that happens inside a person. And almost everyone actually feels the subjective desire to create and shape ourselves as a subject – in my relationships, at work, in my rare leisure time, while consuming. Because it keeps me alive and gives me the feeling of productivity and meaningfulness. But it is really interesting and exhilarating to understand creativity as a social phenomenon, as something that can only come about in the interaction of social and cultural aspects and factors. This brings us to exploring the phenomenon of “co-creativity�, experiments with close arrangements and in small creative conspiracies with


other people. Two or three or more together form something new and unique: new narratives, new questions, new answers, new insights, new realities. K I D’S W E A R

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A super social phenomenon A super social phenomenon A super social phenomenon

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class creative famous The class creative famous The

As people of the 21st century, we live and work in a time of the new economy, in a post-industrial economy and society thriving on knowledge, innovation and creation. This new economy seems to have a huge need for creativity, with its underlying slogan of: everyone can, should and must be creative. This development belongs to and fits in with the fact that since the 1970s a new professional group has been emerging which is becoming increasingly influential: , first named by US researcher Richard Florida, made up of knowledge and ideas workers, symbol analysts and producers. Advertisers, designers, fashion and media people, musicians, visual artists and software developers all belong to this group, but it also includes educators and consultants. The trend and future researcher, K I D’S W E A R

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Matthias Horx, assigns great social significance to these creatives in his over-enthusiastic way: “Creatives are pioneers

of a new life balance. (...) They are life-makers and meaning generators, never pure hedonists. They change the way in which people work, cooperate, live, love and develop.”

Creativity, which is actually a ridiculously soft term, becomes an important economic resource and the hard core of the new economy. Almost everything revolves around the creation and management of ideas in the new creative economy. No wonder that in this context, creative and entrepreneurial people are smoothly tagged the “new enterprise culture”. The focus is on shaping the individual as a creative entrepreneur who develops entrepreneurial


Oasis

of

quiet

Oasis

attitudes not only in the development and selling of ideas, but also in relation to his own profile. Does this mean we are moving towards a society that is almost exclusively made up of “creativity entrepreneurs” who can fully live up to, contribute to and benefit from their creativity? That sounds too fabulous to be true. In fact, there is already quite an unfairytale-like – scientifically sound – resistance to the creativity trend, based on this theory: Creativity has already become an obsession, a social compulsion that has unhealthily “infiltrated

of

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quiet

as a social our work, phenomenon is consumption and relationships the exorbitant increase in (of today).” performance The more “the market” enforces requirements. This can acceleration, generate ultra-flexibility, “haunted” peak creatives. performance and less idleness, Because for example, for constantly measuring the essential against creativity “incubation competition, phase” in solving problems, having to be more and more the worse the creative, can conditions for “real” or “healthy” end any kind of flow before creativity. it has started, Because in the traditional sense, can kill the it can only flourish fun of being creative and in an oasis of can probably quiet. If leisure time is no longer also lead to leisure time, but the feeling of “becomes scarce inadequacy and or the catalyst illnesses such of innovation, all as depression and exhaustion. we have left is the simulation of Everyone may have the creativity.” potential to One of the be creative, but most risky no one can be developments around creativity creative all of the time. Vol. 46


Beitin, Andreas/Weibel, Peter (ed.): Werner Büttner: Gemeine Wahrheiten. Ostfildern: Hatje Cantz Verlag, 2013 de Bono, Edward: Serios Creativity. Die Entwicklung neuer Ideen durch die Kraft lateralen Denkens. Stuttgart: Schäffer Poeschel Verlag, 1996 Bröckling, Ulrich/Krasmann, Susanne (ed.) (): Glossar der Gegenwart. Frankfurt am Main: Suhrkamp, 2004. Bröckling, Ulrich: Das unternehmerische Selbst. Berlin: Suhrkamp, 2007. Cleese, John (2013): “How to be creative”. At: https://vimeo.com/89936101. Retrieved on: 04.01.2016. Csikszentmihalyi, Mihalyi: Flow und Kreativität. Wie Sie Ihre Grenzen überwinden und . Stuttgart: Klett-Cotta, 2014 Fischli, Peter/Weiss, David: Findet mich das Glück?. Cologne: Verlag der Buchhandlung Walther König, 2007 Florida, Richard: The Rise of the Creative Class – Revisited: Revised and Expanded. New York: Basic Books, 2014 Groeben, Norbert: Kreativität. Originalität diesseits des Genialen. Primus Verlag, Darmstadt: Primus Verlag, 2013 Groetz, Thomas (ed.): Werner Büttner. Gemälde und Skulpturen aus den 80er Jahren. Berlin: Holzwarth Publications, 2003 Häcker, Hartmut O./Stapf, Kurt-H. (ed.): Dorsch. Psychologisches Wörterbuch. Bern: Hans Huber, 2009 Holm-Hadulla, Rainer M.: Kreativität. Konzept und Lebensstil. 3rd edition, Göttingen: Vandenhoeck & Ruprecht, 2010 “Intelligenz, Begabung, Kreativität” in Geo kompakt (No. 28, 2011). Hamburg: Gruner und Jahr Koppetsch, Cornelia: “Freiheit ist kapitalistischer Mainstream” in: SZ-Magazin (32/2015), pp. 27–31. Krämer, Hannes: Arbeit. transcript Verlag, Bielefeld: transcript Verlag, 2014 Lotter, Wolf: Die kreative Revolution. Hamburg: Murmann, 2009 Reckwitz, Andreas: Kreativität. 4th edition, Berlin: Suhrkamp, 2014 Richter, Daniel: “Wenn es nach mir ginge, würden sich die Bilder selber malen” in: SZ-Magazin (37/2015). At: http://sz-magazin.sueddeutsche.de/texte/anzeigen/43547/Wenn-es-nach-mir-ginge-wuerden-sich-die-Bilder-selber-malen. Retrieved on: 21 Sept. 2015. Stach, Reiner: . 3rd edition, Frankfurt am Main: Fischer Taschenbuch Verlag, 2014 von Borries, Friedrich/Hiller, Christian/Kerber, Daniel/Wegner, Friederike/Wenzel, Anna-Lena: Glossar der Interventionen. Berlin: Merve Verlag, 2012 von Foerster, Heinz: KybernEthik. Berlin: Merve Verlag, 1993 von Foerster, Heinz /Pörksen, Bernhard: Wahrheit ist die . 6th edition, Heidelberg: Carl-Auer Verlag, 2004 Wallace, Graham: The Art of Thought. Tunbridge Wells: Solis Press, 2014 Wyatt, Frederick: “Vom darstellenden Menschen” in: DU. Die Zeitschrift der Kultur. (3/1992), pp. 13–14.

SOURCES


C O N C R E T E

J U N G L A C H I M jeans Molo, sweatshirt The Animals Observatory

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trousers Tinycottons

jeans Dsquared2 t-shirt The Animals Observatory

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sweater Tinycottons, jeans Jeckerson Junior

t-shirt Loud Apparel, shorts Molo

sweatshirt Molo

sweatshirt Marc O’Polo Junior


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shorts Molo cardigan Wolf & Rita, shorts Molo

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tank top The Animals Observatory bermuda

Armani Junior


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sweater Molo

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sweater Molo

p. 171


sweatpants Wolf & Rita


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p . 1 7 3

sweater Molo


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t-shirt Molo, pants Wolf & Rita


jacket Molo


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jeans Molo

shorts The Animals Observatory


sweatshirt The Animals Observatory

tank top Molo, shorts Tinycottons

p. 179


jeans Dsquared2, t-shirt The Animals Observatory


trousers Tinycottons

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sweatshirt Molo, shorts Tinycottons


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p . 1 9 0 sweatshirt Molo t-shirt and jeans Dsquared2


Photo Assistant: Dennis Oellig

Model agencies: Sugar Kids/ Barcelona, B-Talent / Milan, Modelpool/ DĂźsseldorf

Production Assistant: Cornelius MĂźcke Special thanks to Kristina Cuvalo


blouse and trousers Motoreta BETIEL ZEMICHAEL

Photography / A rtworks by Hugh Findletar

194


pullover dressLittle Tocoto Remix Vintage

skirtdress Douuod TheKids Animals sandals Observatory Maison Mangostan

dress Péro ROBERTA REYNAUD

scarf Louis Vuitton

196


dress Miss L. Ray sweatshirt Tinycottons

198


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t-shirt Yporqué

cardigan Popupshop

YOONI KANG

bermuda Fendi Kids

 201


t-shirt Stella Jean Kids shorts YporquĂŠ

202


t-shirt Bobo Choses

AMETH SYLLA

bermuda Loud Apparel

205


LENNY REYNAUD

sweatshirt Loud Apparel

206


t-shirt Where is Marlo

jeans Goganga

 209


sweatshirt and pants Fendi Kids

coat Wolf & Rita

211


EKIM MEIRÉ

ULTRA V I O L E T

t-shirt MARCELO BURLON COUNTY OF MILAN, trousers WOOLRICH, t-shirt BLAUER USA, trousers ADIDAS


right page: shoes DOLCE & GABBANA


jacket WOOLRICH, trousers WOOLRICH


t-shirt GUESS, trousers MARCELO BURLON COUNTY OF MILAN


t-shirt BLAUER USA


t-shirt MOSCHINO, trousers ADIDAS


shoes VANS, trousers ADIDAS


t-shirt MOSCHINO, trousers ADIDAS, shoes VANS


t-shirt BLAUER USA


polo shirt MARCELO BURLON COUNTY OF MILAN, trousers WOOLRICH, shoes PEPE JEANS LONDON


polo shirt MARCELO BURLON COUNTY OF MILAN


t-shirt BLAUER USA


polo shirt MARCELO BURLON COUNTY OF MILAN, trousers WOOLRICH, shoes PEPE JEANS LONDON PAINTINGS MIKE MEIRÉ, 2017


sweater MOSCHINO, bermuda DOLCE & GABBANA


Photo: Achim Lippoth


earrings Alan Crocetti shirt Arket


necklace Alan Crocetti


choker Alan Crocetti shirt Dolce & Gabbana


earrings Alan Crocetti shirt Arket


rings and bracelet Alan Crocetti


earrings Alan Crocetti


rings Alan Crocetti


Art Direction Ruggiero De Santis Hair & Make-Up Franziska Sonnabend @ Nina Klein Agency with products from Davines and Laura Mercier Postproduction Stefan Kranefeld Imaging Production Production Unit 1st Assistant Dennis Oellig 2nd Assistant Cornelius MĂźcke


earrings Alan Crocetti


Photo: Paolo Barbi

leather jacket MSGM Kids

dress Carbon Soldier

blouse MinimĂš


dress Monnalisa Couture

t-shirt Loud Apparel

sweatshirt Little Remix


dress Moschino Kid

cardigan Douuod Kids

jacket Herno Kids


left: dress Dolce & Gabbana right: blouse Carbon Soldier

dress MiMiSol

pullover Douuod Kids trousers MSGM Kids


left: dress Little Remix

right: dress MiMiSol

t-shirt CucĂš Lab


left: sweatshirt Dsquared2 right: jacket Blauer Junior

plissé skirt Guess Kids pants Yporqué


cape Carbon Soldier

cardigan Little Remix


left: dress CHB Design right: dress Douuod Kids

jacket The Small Gatsby cape Carbon Soldier


dress PĂŠro

jacket Herno Kids


pullover Little Remix

skirt Douuod Kids

trousers Dsquared2

sandals Maison Mangostan

Stylist: Chiara Bortolato   Models: Sofia & Giorgia      Horse: Carte Blanque Zero “CICCIO” Holded by JAMES Hair & Make-up: Cristian Vernizzi pour La Biosthétique Paris  Digital & Post production: Stefano Facca  Production: Gianluca Pradella   Special Thanks: Luca Tessadri Agriturismo “Al Laghet”


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Distribution


Stockists Spring / Summer 2018 Adidas www.adidas.com

Gioseppo Kids www.gioseppo.com

Loud Apparel www.loud-apparel.com

Pepe Jeans London www.pepejeans.com

Alan Crocetti www.alancrocetti.com

Givenchy Paris www.groupecwf.com

Love Made Love www.lovemadelove.com

Péro www.pero.co.in

Amelie et Sophie www.ameliesophie.com

Goganga www.goganga.ch

Maison Mangostan www.maisonmangostan.com

PLV www.plvmilanoshop.com

Arket www.arket.com

Golden Goose Deluxe Brand www.goldengoosedeluxebrand.it

Mango Kids www.mango.com

Popupshop www.popupshop.com

Armani Junior www.armani.com

Grevi www.grevi.it

Marcelo Burlon County of Milan www.marceloburlon.eu

Ray-Ban www.luxottica.com

Bellerose Kids www.bellerose.be

Gucci www.gucci.com

Marcelo Burlon Kids of Milan www.marceloburlon.eu

Rasperry Plum www.rasberryplum.com

Blauer Junior www.blauer.it

Guess Kids www.guess.com

Marc O’Polo Junior www.marc-o-polo.com

Soft Gallery www.softgallery.dk

Bobo Choses www.bobochoses.com

Herno Kids www.herno.it

MarMar Copenhagen www.marmar.dk

Stella McCartney Kids www.stellamccartney.com

Boss www.hugoboss.com

Hitch-Hiker www.monnalisa.eu

Mc2 Saint Barth www.mc2saintbarth.com

Sunchild www.sunchild.fr

Ca&Lou www.caandlou.com

Hunter www.hunterboots.com

Mimisol www.mimisolstoremilano.it

Têtes Blondes www.tetesblondes.com

Carbon Soldier www.carbonsoldier.com

Il Gufo www.ilgufo.it

Minimù www.minimu.it

Tinycottons www.tinycottons.com

CarlijnQ www.carlijnq.nl

Jakioo www.monnalisa.eu

Miss L. Ray www.misslray.com

The Animals Observatory www.theanimalsobservatory.com

Cucù Lab www.cuculab.it

Jarrett www.jarrett.it

Molo www.molo.com

The Small Gatsby www.thesmallgatsby.com

Dolce & Gabbana www.dolcegabbana.com

Krutter www.krutter.dk

Moncler Enfant www.moncler.com

Tocoto Vintage www.tocotovintage.com

Douuod Kids www.douuodkids.com

Lea & Jojo www.leaetjojo.com

Moschino Kid www.altanaspa.com

Vans www.vans.com

Dsquared2 www.dsquared2.com

Leontine Vintage www.leontinevintage.com

Monnalisa www.monnalisa.eu

Vitra www.vitra.com

Easy Peasy www.easypeasy.fr

Little Remix www.designersremix.com

Motoreta www.motoreta.es

C

Ef v va www.efvva.com

Louis Vuitton www.louisvuitton.com

Munsterkids www.munsterkids.com

Wild & Gorgeous e a www.wildandgorgeous.co.uk

MSGM Kids www.daddato.it

Fendi Kids www.fendi.com

Neil Barrett Kids www.neilbarrett.com Organic Zoo www.organic-zoo.com Oeuf www.oeufnyc.com

r

t i

Where is Marlo www.whereismarlo.com

Wolf & Rita www.wolfandrita.com

vi

Woolrich Kid www.woolrich.eu

t

Yporqué www.yporque.com

y

Zara www.zara.com

Illustration: Martin Fengel

K I D’S W E A R

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kid's wear Magazine Vol.46  
kid's wear Magazine Vol.46  

Since 1995, the kid’s wear concept has been to show children from different, alternative perspectives. This idea has encouraged the biannual...