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In conversation with Tommy Hilfiger
208

In conversation with Tommy Hilfiger

Fashion Tommy Hilfiger is one of the biggest names in the fashion industry and after 35 years in the business it is not slowing down a bit. The brand is celebrating its milestone – 35th anniversary – by refining retro inspired silhouettes for Spring 2020, based on its nautical roots with a modern twist. The classic red, white and blue colors are being reimagined, bolder. Tommy never dissapoints with amazing collaborations like with Lewis Hamilton this year.   You previously co-founded a chain of jeans stores, called »People's Place« in New York. How did the idea to have your own fashion brand develop after that? Well, I had my stores, I was very connected to the customer and I was very aware of what the customers' needs and desires were. So I knew they wanted real hippy style fashion. It was 1970 when I first came to that idea. And this is when all the rock groups were coming to America, like The Rolling Stones and the WHO. Jimmy Hendricks was already there with Janis Joplin and Grateful Dead. I mean, this whole rock phenomenon was surfacing and there were certain rock stars who really looked amazing and I thought I should start designing clothes and jeans especially that were really rock style. And so I started sketching and had them made, I put them in my stores and found that people love them. So I thought maybe someday I'm gonna build a brand.    At first you designed only menswear and later expanded to women's fashion. Which fashion excites you more to create, men's or women's?  Well, there are barriers with men's still. With women's there are no barriers. But I like both, I can't say that I like one better. Now for the first time, men are becoming much more daring, experimental and a fashion oriented.    How would you describe the evolution of Tommy Hilfiger's style through the years, all the way back from the beginning of the brand until today? It started out very preppy and then went to street hip hop. We were the first real brand to do street in a very hip hop, I would say cool way. And then it became much more sporty and then came back to preppy and then evolved with a combination of street and prep and sport and more sophistication, which is where we are today.   This year marks the 35th anniversary of your brand. Did you ever anticipate such a success? Not only in the US, but also internationally? I thought we'd be successful, but never thought I would be on this level of success.    As such big milestones usually call for celebration, what are the projects you are marking the 35th anniversary with? From art to music to fashion, I have always believed in classics that can withstand the test of time. TOMMY ICONS embodies this philosophy by curating truly timeless styles - like collector’s pieces for the fashion-forward woman of today and tomorrow. International supermodels Winnie Harlow, Candice Swanepoel and Hannah Ferguson embody the qualities of drive, passion and optimism that are shared by today’s Tommy fan. The campaign is about empowering consumers to confidently embrace their individual style by dressing with a Tommy-twist, using fashion to express themselves. Heritage elements are uniquely combined, as seen in the recurring ICONS flag graphic, Breton stripes and crested buttons. The classic Tommy Hilfiger red, white and blue color palette runs throughout the line and is reimagined in bold color-blocking.     Can you also tell us a little bit more about the inspiration behind the creation of these, 70s inspired collaborations? Well, it was 70s inspired, but not early 70s. Early 70s was more of the Hippie rock style. Late 70s was when studio 54 was going on and Charlie's Angels and a lot of Hollywood stars who were beginning to wear their 70s look, which was different than the earlier Hippie rock style. So, that was really the inspiration.  The Fall collection was more sophisticated, more luxurious, more grown-up. It was also a play on patterns,  mixing polka dots, mixing checks and tweeds on different scales. And animal prints, snakeskin, leopard, which I’ve never done.    The Spring 2019 collection Tommy x Zendaya was presented during Paris Fashion month last spring and it was something special, including women of different ages and sizes. What's your take on this runway show, that was totally different from what the audience is used to? It was incredibly inclusive, it was disco fueled. It was more dressed up than we'd ever done before. Usually we do a lot of casual. The casual part of the Tommy x Zendaya collection was denim and T-shirts and the T-shirts were done with astrology prints, which we then put into silk and did all over prints. But the jeans were super high waisted and really, really wide leg, which I love.    There was also the second installment of your collaboration with Zendaya, the Tommy x Zendaya Fall 2019 collection. This fashion show was an epic one. How would you describe it in your own words?   We did the cinematic inspired Tommy x Zendaya Fall 2019 show in New York at the Apollo Theater in Harlem, which was amazing. It was held outside the theater on the streets of New York, which we closed for the show and the models walked the runway between the classic vintage cars. We had artists from Harlem's Mama Foundation for the Arts performing throwback hits.      Which trends do you see coming back into fashion and where do you see the future of fashion developing? I see the future as being very sustainable. We are completely on top of that. As a matter of fact, we plan to be fully sustainable in a very short amount of time. So we're doing that with jeans, with sport, with all the different fabrics. And I think that the fashion will continue to evolve, but we really will always stay close to our DNA. But evolving the look to become relevant for today, which is something Karl Lagerfeld taught me. When I met Karl and spent time with him, I asked him what made Chanel so successful. And he said it was very easy. He said: »I went back to Chanel, Coco Chanel's archive and then made everything relevant for today«. So I keep going back to my archive with my design team, looking at what we've done in the past. Like for the denim, for Tommy Jeans, where a military nautical and very utilitarian is something that is always there, but not pronounced. So we wanted to pronounce it and make it strong again. We've always stood for color, so this spring we're doing color  galore, like huge amounts of color. And there are details that we focus on to make every single design better. We're always focusing on making better quality, better fit, better detail, but keeping close to the DNA the same time.   For Spring 2020 you launched the new capsule collection Tommx x Lewis. Can you tell us more about it and how it is like collaborating with Lewis Hamilton? Our fourth collaborative collection truly celebrates inclusivity. For Spring 2020, Lewis and I focused on creating a collection that can be styled for everyone and keeps sustainability front of mind. We wanted to think beyond the season and about the future. It has been amazing to watch Lewis push the boundaries as a designer during the last four seasons, and we're really proud of what we accomplished with our latest collection. Working with Lewis, I love the fresh perspective he brings to the design process. As a dedicated athlete, inclusivity champion and street style icon, Lewis helps us reach new fans and tell our brand's story through a unique lens. Tommy Hilfiger is one of the biggest names in the fashion industry and after 35 years in the business it is not slowing down a bit. The brand is celebrating its milestone – 35th anniversary – by refining retro inspired silhouettes for Spring 2020, based on its nautical roots with a modern twist. The classic red, white and blue colors are being reimagined, bolder. Tommy never dissapoints with amazing collaborations like with Lewis Hamilton this year.   You previously co-founded a chain of jeans stores, called »People's Place« in New York. How did the idea to have your own fashion brand develop after that? Well, I had my stores, I was very connected to the customer and I was very aware of what the customers' needs and desires were. So I knew they wanted real hippy style fashion. It was 1970 when I first came to that idea. And this is when all the rock groups were coming to America, like The Rolling Stones and the WHO. Jimmy Hendricks was already there with Janis Joplin and Grateful Dead. I mean, this whole rock phenomenon was surfacing and there were certain rock stars who really looked amazing and I thought I should start designing clothes and jeans especially that were really rock style. And so I started sketching and had them made, I put them in my stores and found that people love them. So I thought maybe someday I'm gonna build a brand.    At first you designed only menswear and later expanded to women's fashion. Which fashion excites you more to create, men's or women's?  Well, there are barriers with men's still. With women's there are no barriers. But I like both, I can't say that I like one better. Now for the first time, men are becoming much more daring, experimental and a fashion oriented.    How would you describe the evolution of Tommy Hilfiger's style through the years, all the way back from the beginning of the brand until today? It started out very preppy and then went to street hip hop. We were the first real brand to do street in a very hip hop, I would say cool way. And then it became much more sporty and then came back to preppy and then evolved with a combination of street and prep and sport and more sophistication, which is where we are today.   This year marks the 35th anniversary of your brand. Did you ever anticipate such a success? Not only in the US, but also internationally? I thought we'd be successful, but never thought I would be on this level of success.    As such big milestones usually call for celebration, what are the projects you are marking the 35th anniversary with? From art to music to fashion, I have always believed in classics that can withstand the test of time. TOMMY ICONS embodies this philosophy by curating truly timeless styles - like collector’s pieces for the fashion-forward woman of today and tomorrow. International supermodels Winnie Harlow, Candice Swanepoel and Hannah Ferguson embody the qualities of drive, passion and optimism that are shared by today’s Tommy fan. The campaign is about empowering consumers to confidently embrace their individual style by dressing with a Tommy-twist, using fashion to express themselves. Heritage elements are uniquely combined, as seen in the recurring ICONS flag graphic, Breton stripes and crested buttons. The classic Tommy Hilfiger red, white and blue color palette runs throughout the line and is reimagined in bold color-blocking.     Can you also tell us a little bit more about the inspiration behind the creation of these, 70s inspired collaborations? Well, it was 70s inspired, but not early 70s. Early 70s was more of the Hippie rock style. Late 70s was when studio 54 was going on and Charlie's Angels and a lot of Hollywood stars who were beginning to wear their 70s look, which was different than the earlier Hippie rock style. So, that was really the inspiration.  The Fall collection was more sophisticated, more luxurious, more grown-up. It was also a play on patterns,  mixing polka dots, mixing checks and tweeds on different scales. And animal prints, snakeskin, leopard, which I’ve never done.    The Spring 2019 collection Tommy x Zendaya was presented during Paris Fashion month last spring and it was something special, including women of different ages and sizes. What's your take on this runway show, that was totally different from what the audience is used to? It was incredibly inclusive, it was disco fueled. It was more dressed up than we'd ever done before. Usually we do a lot of casual. The casual part of the Tommy x Zendaya collection was denim and T-shirts and the T-shirts were done with astrology prints, which we then put into silk and did all over prints. But the jeans were super high waisted and really, really wide leg, which I love.    There was also the second installment of your collaboration with Zendaya, the Tommy x Zendaya Fall 2019 collection. This fashion show was an epic one. How would you describe it in your own words?   We did the cinematic inspired Tommy x Zendaya Fall 2019 show in New York at the Apollo Theater in Harlem, which was amazing. It was held outside the theater on the streets of New York, which we closed for the show and the models walked the runway between the classic vintage cars. We had artists from Harlem's Mama Foundation for the Arts performing throwback hits.      Which trends do you see coming back into fashion and where do you see the future of fashion developing? I see the future as being very sustainable. We are completely on top of that. As a matter of fact, we plan to be fully sustainable in a very short amount of time. So we're doing that with jeans, with sport, with all the different fabrics. And I think that the fashion will continue to evolve, but we really will always stay close to our DNA. But evolving the look to become relevant for today, which is something Karl Lagerfeld taught me. When I met Karl and spent time with him, I asked him what made Chanel so successful. And he said it was very easy. He said: »I went back to Chanel, Coco Chanel's archive and then made everything relevant for today«. So I keep going back to my archive with my design team, looking at what we've done in the past. Like for the denim, for Tommy Jeans, where a military nautical and very utilitarian is something that is always there, but not pronounced. So we wanted to pronounce it and make it strong again. We've always stood for color, so this spring we're doing color  galore, like huge amounts of color. And there are details that we focus on to make every single design better. We're always focusing on making better quality, better fit, better detail, but keeping close to the DNA the same time.   For Spring 2020 you launched the new capsule collection Tommx x Lewis. Can you tell us more about it and how it is like collaborating with Lewis Hamilton? Our fourth collaborative collection truly celebrates inclusivity. For Spring 2020, Lewis and I focused on creating a collection that can be styled for everyone and keeps sustainability front of mind. We wanted to think beyond the season and about the future. It has been amazing to watch Lewis push the boundaries as a designer during the last four seasons, and we're really proud of what we accomplished with our latest collection. Working with Lewis, I love the fresh perspective he brings to the design process. As a dedicated athlete, inclusivity champion and street style icon, Lewis helps us reach new fans and tell our brand's story through a unique lens.

 A Collaborative Approach. Zalando on Sustainability.
207

A Collaborative Approach. Zalando on Sustainability.

Fashion Since 2016, Zalando has been on a journey towards a more sustainable future. The company’s commitments are laid out in the do.MORE strategy, which sets out our bold vision to be a sustainable fashion platform with a net-positive impact for people and the planet. Having a net-positive impact means that we run our business in a way that gives back more to society and the environment than we take. This is because “less bad” isn’t good enough, we’ll continuously work to reduce the negative impact of our business, while increasing the value we create for people and planet.   Launched on the 50th anniversary of Earth Day, Zalando’s latest more sustainable fashion campaign brings attention to the company’s bold vision to become a sustainable fashion platform with a net-positive impact on people and the planet. Titled “A collaborative approach. Zalando on sustainability.”, this campaign stars actual Zalando employees, who are not only building a more sustainable future for the company but are also passionate advocates of sustainability in their personal lives. To celebrate Earth Day, Zalando dedicates its homepage to more sustainable fashion for the whole day.   As part of Zalando’s sustainability strategy do.MORE, this campaign is Zalando’s third major initiative. It follows the very first sustainable fashion campaign and the exclusive premium collection “Small Steps. Big Impact”, created together with nine Nordic brands in January this year.   On the 50th anniversary of Earth Day, the biggest civic event on the planet, Zalando will not only launch the campaign but also dedicate its homepage to more sustainable fashion. For the whole day, Zalando will shine a spotlight on more sustainable fashion in all teasers and increase visibility of the more sustainable assortment and raise awareness among its 31 Million customers across 17 markets.   "We want to make it easy for customers to spot and shop more sustainable fashion; not only providing them with an assortment of over 30.000 articles flagged with “sustainability” but also all information they need to make more sustainable choices.” says Kate Heiny, Director Sustainability at Zalando. “We have dedicated our homepage to more sustainable fashion on Earth Day to celebrate its 50th anniversary. We want to shine a spotlight on more sustainable fashion and our partner brands who are on this journey with us." Since 2016, Zalando has been on a journey towards a more sustainable future. The company’s commitments are laid out in the do.MORE strategy, which sets out our bold vision to be a sustainable fashion platform with a net-positive impact for people and the planet. Having a net-positive impact means that we run our business in a way that gives back more to society and the environment than we take. This is because “less bad” isn’t good enough, we’ll continuously work to reduce the negative impact of our business, while increasing the value we create for people and planet.   Launched on the 50th anniversary of Earth Day, Zalando’s latest more sustainable fashion campaign brings attention to the company’s bold vision to become a sustainable fashion platform with a net-positive impact on people and the planet. Titled “A collaborative approach. Zalando on sustainability.”, this campaign stars actual Zalando employees, who are not only building a more sustainable future for the company but are also passionate advocates of sustainability in their personal lives. To celebrate Earth Day, Zalando dedicates its homepage to more sustainable fashion for the whole day.   As part of Zalando’s sustainability strategy do.MORE, this campaign is Zalando’s third major initiative. It follows the very first sustainable fashion campaign and the exclusive premium collection “Small Steps. Big Impact”, created together with nine Nordic brands in January this year.   On the 50th anniversary of Earth Day, the biggest civic event on the planet, Zalando will not only launch the campaign but also dedicate its homepage to more sustainable fashion. For the whole day, Zalando will shine a spotlight on more sustainable fashion in all teasers and increase visibility of the more sustainable assortment and raise awareness among its 31 Million customers across 17 markets.   "We want to make it easy for customers to spot and shop more sustainable fashion; not only providing them with an assortment of over 30.000 articles flagged with “sustainability” but also all information they need to make more sustainable choices.” says Kate Heiny, Director Sustainability at Zalando. “We have dedicated our homepage to more sustainable fashion on Earth Day to celebrate its 50th anniversary. We want to shine a spotlight on more sustainable fashion and our partner brands who are on this journey with us."

In conversation with Iris Van Herpen
204

In conversation with Iris Van Herpen

Fashion Recently we had a chance to speak with Iris Van Herpen about her latest collection, future plans and affects of Covid-19 on the industry. See the interview bellow.   How do you think Covid-19 will effect the fashion industry both long-term and short-term?  How do you see the impact of Corona crisis on the general perception of fashion? Do you believe everything will just go back to normal after Covid-19, or how do you see it will be?   Short term the Covid-19 is putting the fashion industry in a limbo- a silent world that stopped producing and is floating in between the old world and the new world.  Fashion was iceskating on thin ice, and the end of the fast fashion system, spring time for the ice, was already in sight. The cracks were everywhere. The Covid-19 made the whole industry swimming. It has to find new land - and fast fashion will become slow fashion.  Short term, brands will produce less collections a year, less products, less shows, alternative marketing. Longer term, the pandemic will influence both the consumers as the brands themselves radically. The values of fashion are shifting. Its really interesting when talking to the young fashion consumers,  buying a sweater or a dress is not only about creating identity and beauty, today buying is a message to your planet, your health, the health of others and the life of the generations after us. More then ever before young people grow up with a feeling of responsibility towards the generations  after them, their children. What you buy today is directly influencing whether your children will have a planet. Its a burden, and a reality at the same time , and this will move the fortunate people that can spend on luxury and fashion more and more, to buy responsible from slow fashion brands.     How do you spend your Quarantine time and are you still able to create while being quarantined?   I am working still but alone with my partner, instead of in my atelier. I miss my team and the creative process with them. I am still working on new collection but its a lot harder and slower as the material experiments cannot really happen.  But I am sketching a lot and draping, and these new creations that are growing inside my mind show me that the future is always near. They steer me forward with excitement, confident for a new world to bloom again.     Tell us about the inspiration and design of your latest collection shown during Haute Couture shows in Paris earlier this year.   Being in quarantine now, the last show in Paris feels like a dream. The energy of the atelier, this incredible group of bright minds and creatives together, that are all working together to form our dreams into the textures and materials, its alchemic.  And the recent process was very exciting because we realized some techniques and movement, that I had in mind for a long time and did not worked out earlier. I found inspiration in the art of the Spanish neuroanatomist Ramón y Cajal and the deep seas and ecology of our oceans.  Cajal researched our central nervous system in microscopic detailing and drew his revolutionary findings, which are incredibly delicate anatomical drawings that are art but also important scientific documents. I was moved how seamlessly he merged science with art. Other inspiration came from the deep sea, which have always been a fascination to me but i never really managed to capture the extreme transformative power and movement of these watery living paintings. I started researching the Hydrozoa, a class of delicately branched sea-life organisms that to me look like aqueous fabrics, like layers of living lace. So in the collection I wanted to hold a microscope over these two delicate worlds, to design metaphorical mazes of sensory waves.     What makes this collection different from any of your previous collections? Cajal’s anatomical drawings were revealed in the ‘Labrynthine’ technique; 3D lasercut silk dendrites were heatbonded to blossoming leaves of black transparent glass-organza, to then be hand-embroidered onto  lasercut pearlescent exoskeletons.  And The 'hypertube'  technique was 3D printed from a single-lined web from white silicone thread, that is printed onto black silk-chiffon, twisting down the body. Both techniques were developed for this collection specifically and was a beautiful progress technically. For he ‘Hydrozoa’  technique, cellular aquarelles of dark purples and turquoise were oil-painted and multi-layered into hundreds of transparent lasercut PetG bubbles. The glass organza halos we digitally printed, heatbonded and then hand-stitched into voluminous splashes. The file-work of each layer is drawn to hang upwards, blooming aquatically with each movement, like living coral. This is the closest to the transformative ‘liquification’ of a dress,  that we have ever been able to get.    What is your favourite new technique that you learnt and added do your designing process.   The ‘Morphogenesis’ technique that we have been develloping with long term collaborator, close friend, and professor Philip Beesley. This look is carved by thousands of white-screen printing mesh layers. 3D twisted vortex models were created in Rhino, numbered and sliced into 3mm distance, to then be cut on the KERN lasercutter with a triangulated grid of chevron-holes. Grasshopper scripts smoothened the processes of lofting, slicing and nesting. Each layer was embellished by hand with a grid of minuscule transparent chevrons, creating infinitely flexible forms that expand and contract around the body.   What is in your planning for this year and how will Covid-19 effect that?   The collaborations we were doing are still possible to happen and continue, which is great, its all through skype/zoom now which works nicely and we are working on two solo exhibitions and a book. The Couture show in July in Paris is unfortunately cancelled but we are making a new collection and a large VR experience from the collection so that a much wider audience can experience the collection real scale and three dimensionally. I am very exited by that and I hope in future everybody will be able to experience the delicacy, dimensionality and texture of all the designs much more intimately then a small flat screen. The small size and the two dimensionality just does not translate the full emotional embodiment. Each time someone sees the designs up close for the first time, its a similar respons; this is so much more detailed and its ‘alive’.      What is your favourite painting and has it inspired you for any of your work thus far?   Wauw, that is a difficult one. First that comes to mind is the Garden of Earthly Delights painting from  Hieronymus bosch. My whole family comes from s’Hertogenbosch so I grew up knowing his work well and it keeps on fascinating me how powerful, feraless for its time,  timeless, and transcending his vision was.    Lastly, as the HCPFW in July has been post-poned for now, will you still be releasing a collection in July, perhaps in a different way and if so how?   We are working on the new collection. We have actually already started working on the July collection before the pandemic started. As we are a slow fashion company,  we develop a new collection over 6 months full time with the team,  to develop all the materials, techniques and the final garments. We are still continuing the process but from home, so it all goes a lot slower.  We cannot start working on the final garments until the team is back in the atelier. So it will depend on when the Dutch Government- the atelier is in Amsterdam- will advice on that. I highly doubt we will be able to finish the collection already for July, but we aim to release the collection and the VR experience in September/October. Recently we had a chance to speak with Iris Van Herpen about her latest collection, future plans and affects of Covid-19 on the industry. See the interview bellow.   How do you think Covid-19 will effect the fashion industry both long-term and short-term?  How do you see the impact of Corona crisis on the general perception of fashion? Do you believe everything will just go back to normal after Covid-19, or how do you see it will be?   Short term the Covid-19 is putting the fashion industry in a limbo- a silent world that stopped producing and is floating in between the old world and the new world.  Fashion was iceskating on thin ice, and the end of the fast fashion system, spring time for the ice, was already in sight. The cracks were everywhere. The Covid-19 made the whole industry swimming. It has to find new land - and fast fashion will become slow fashion.  Short term, brands will produce less collections a year, less products, less shows, alternative marketing. Longer term, the pandemic will influence both the consumers as the brands themselves radically. The values of fashion are shifting. Its really interesting when talking to the young fashion consumers,  buying a sweater or a dress is not only about creating identity and beauty, today buying is a message to your planet, your health, the health of others and the life of the generations after us. More then ever before young people grow up with a feeling of responsibility towards the generations  after them, their children. What you buy today is directly influencing whether your children will have a planet. Its a burden, and a reality at the same time , and this will move the fortunate people that can spend on luxury and fashion more and more, to buy responsible from slow fashion brands.     How do you spend your Quarantine time and are you still able to create while being quarantined?   I am working still but alone with my partner, instead of in my atelier. I miss my team and the creative process with them. I am still working on new collection but its a lot harder and slower as the material experiments cannot really happen.  But I am sketching a lot and draping, and these new creations that are growing inside my mind show me that the future is always near. They steer me forward with excitement, confident for a new world to bloom again.     Tell us about the inspiration and design of your latest collection shown during Haute Couture shows in Paris earlier this year.   Being in quarantine now, the last show in Paris feels like a dream. The energy of the atelier, this incredible group of bright minds and creatives together, that are all working together to form our dreams into the textures and materials, its alchemic.  And the recent process was very exciting because we realized some techniques and movement, that I had in mind for a long time and did not worked out earlier. I found inspiration in the art of the Spanish neuroanatomist Ramón y Cajal and the deep seas and ecology of our oceans.  Cajal researched our central nervous system in microscopic detailing and drew his revolutionary findings, which are incredibly delicate anatomical drawings that are art but also important scientific documents. I was moved how seamlessly he merged science with art. Other inspiration came from the deep sea, which have always been a fascination to me but i never really managed to capture the extreme transformative power and movement of these watery living paintings. I started researching the Hydrozoa, a class of delicately branched sea-life organisms that to me look like aqueous fabrics, like layers of living lace. So in the collection I wanted to hold a microscope over these two delicate worlds, to design metaphorical mazes of sensory waves.     What makes this collection different from any of your previous collections? Cajal’s anatomical drawings were revealed in the ‘Labrynthine’ technique; 3D lasercut silk dendrites were heatbonded to blossoming leaves of black transparent glass-organza, to then be hand-embroidered onto  lasercut pearlescent exoskeletons.  And The 'hypertube'  technique was 3D printed from a single-lined web from white silicone thread, that is printed onto black silk-chiffon, twisting down the body. Both techniques were developed for this collection specifically and was a beautiful progress technically. For he ‘Hydrozoa’  technique, cellular aquarelles of dark purples and turquoise were oil-painted and multi-layered into hundreds of transparent lasercut PetG bubbles. The glass organza halos we digitally printed, heatbonded and then hand-stitched into voluminous splashes. The file-work of each layer is drawn to hang upwards, blooming aquatically with each movement, like living coral. This is the closest to the transformative ‘liquification’ of a dress,  that we have ever been able to get.    What is your favourite new technique that you learnt and added do your designing process.   The ‘Morphogenesis’ technique that we have been develloping with long term collaborator, close friend, and professor Philip Beesley. This look is carved by thousands of white-screen printing mesh layers. 3D twisted vortex models were created in Rhino, numbered and sliced into 3mm distance, to then be cut on the KERN lasercutter with a triangulated grid of chevron-holes. Grasshopper scripts smoothened the processes of lofting, slicing and nesting. Each layer was embellished by hand with a grid of minuscule transparent chevrons, creating infinitely flexible forms that expand and contract around the body.   What is in your planning for this year and how will Covid-19 effect that?   The collaborations we were doing are still possible to happen and continue, which is great, its all through skype/zoom now which works nicely and we are working on two solo exhibitions and a book. The Couture show in July in Paris is unfortunately cancelled but we are making a new collection and a large VR experience from the collection so that a much wider audience can experience the collection real scale and three dimensionally. I am very exited by that and I hope in future everybody will be able to experience the delicacy, dimensionality and texture of all the designs much more intimately then a small flat screen. The small size and the two dimensionality just does not translate the full emotional embodiment. Each time someone sees the designs up close for the first time, its a similar respons; this is so much more detailed and its ‘alive’.      What is your favourite painting and has it inspired you for any of your work thus far?   Wauw, that is a difficult one. First that comes to mind is the Garden of Earthly Delights painting from  Hieronymus bosch. My whole family comes from s’Hertogenbosch so I grew up knowing his work well and it keeps on fascinating me how powerful, feraless for its time,  timeless, and transcending his vision was.    Lastly, as the HCPFW in July has been post-poned for now, will you still be releasing a collection in July, perhaps in a different way and if so how?   We are working on the new collection. We have actually already started working on the July collection before the pandemic started. As we are a slow fashion company,  we develop a new collection over 6 months full time with the team,  to develop all the materials, techniques and the final garments. We are still continuing the process but from home, so it all goes a lot slower.  We cannot start working on the final garments until the team is back in the atelier. So it will depend on when the Dutch Government- the atelier is in Amsterdam- will advice on that. I highly doubt we will be able to finish the collection already for July, but we aim to release the collection and the VR experience in September/October.

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In conversation with Victoire Versluys from Molton Brown
202

In conversation with Victoire Versluys from Molton Brown

Beauty Molton Brown have built the reputation as London’s fragrance experts since 1971. The brand grew from small-scale artisans into an international luxury brand as it is today, known for its award-winning fragrances, bath and shower gels, home and hand care luxuries. In addition, Molton Brown is a proud holder of a Royal Warrant for the supply of toiletries by appointment to Her Majesty the Queen Elisabeth II.   Initially, the brand started as hair-care salon and the basement of the salon served for blending natural hair-care products by hand. The herbal formulations and captivating fragrances of those first products laid the foundation of the Molton Brown philosophy. In addition, with their origin in the freethinking seventies, the brand established a strong preference for non-conformist creative freedom – this is still embodied by the brand.   To create original and unique scents, Molton Brown work hand-in-hand with visionary perfumers from a variety of ages, backgrounds, and experiences. In this way, they marry their expertise with the creative originality of the perfumers. All scents are created without a marketing brief, panel testing or demographic restrictions to ensure it is the creativity of the perfumer that can flourish. It is this way of working that enabled Molton Brown to formulate their statement:made by individuals for individuals.   What are your favourite ingredients to use in creating fragrances? Where do you source inspirations for ingredients in particular?  How does Molton Brown work with perfumers?    Molton Brown does not work with in-house perfumers; we choose to work with various perfumers all with personalities and levels of experience. From Master Perfumer Jacques Chabert, and his daughter, the acclaimed Senior Perfumer Carla Chabert, through to New Gen rising stars such as Jérôme Di Marino. It is this mix of individuals, which enables us to keep delivering authentic scented stories and to make.    We ask our perfumers to express their individuality through their fragrances compositions taking inspiration from an ingredient or color that we provide, but build the scented story they wish to author. We launch new blends multiple times per year; the blends that are selected from the multiple submissions are the polarizing creations, the ones that evoke a strong emotive connection.   The diversity of our blends also ensures that a diversity of ingredients is being used. The ingredients that are coming back in multiple of our fragrances are: bergamot, cedar wood, cardamom essential oil, elemi, musk, patchouli oil, pink pepperpod, black pepper essential oil, black peppercorns, neroli oil, sandalwood and vetiver.    Since the very beginning, the quality of our fragrances has been very important to us. Only by using the highest quality ingredients, we can deliver optimal fragrance experiences. We use natural ingredients as much as possible and only where needed we incorporate synthetics (eg because an ingredient is protected or using the pure ingredient is not the best way to convey a certain smell).      Can you tell me more about the new fragrance Milk Musk? What makes it unique and different to your other products?    Describe the perfect fragrance for Spring with your own words. [Why is Milk Musk the perfect fragrance for Spring?   Our new Milk Musk fragrance is a precious addition to our portfolio as it is our first floral-musky fragrance! This fragrance is, just like all our other fragrances, a blend that challenges the norm. It is a unique interpretation of a musk fragrance, combining the unusual lead ingredient milk with sensual musk.    The fragrance notes: Even though the niche ingredient milk is rarely used and polarising in fragrance, Molton Brown advocates for using it. Milk evokes poignant and emotional memories; as one of the earliest scents discovered as a child, it alludes to a universal nostalgia of intimacy. In the heart of the fragrance, you will find musk. Ordinarily, musk is used as a base note, not as a main ingredient. It is powerful yet subtle and its earthy and animalistic qualities are perfect for balancing other ingredients, helping to create an enduring trail. Enlivening top notes of luscious pear and peach balance its powdery depth. Warming white cedarwood and spicy tonka bean linger at the base, like the delicate touch of timeless affection.   Why it is such a good Spring scent: Spring is the period of time that we are all longing for flowers and freshness, but even though we are welcoming the sun with open arms, it is still quite chilly. The delicate creamy scent of Milk Musk is one that combines the fresh and flower aspects whilst still making you feel cocooned and warm, almost like being wrapped in cashmere. The beautiful white bottles perfectly tie to this craving for light and freshness.        What is the story behind the bottle of fragrances, from the design perspective?   Our Eau de Toilette and Eau de Parfum are housed in iconic glass bottles created by designer Vincent Villeger. The bottles are handmade by artisans in England with a contemporary take on the brand’s seventies heritage. The Eau de Parfum are completed with exquisite spherical resin caps.  Molton Brown have built the reputation as London’s fragrance experts since 1971. The brand grew from small-scale artisans into an international luxury brand as it is today, known for its award-winning fragrances, bath and shower gels, home and hand care luxuries. In addition, Molton Brown is a proud holder of a Royal Warrant for the supply of toiletries by appointment to Her Majesty the Queen Elisabeth II.   Initially, the brand started as hair-care salon and the basement of the salon served for blending natural hair-care products by hand. The herbal formulations and captivating fragrances of those first products laid the foundation of the Molton Brown philosophy. In addition, with their origin in the freethinking seventies, the brand established a strong preference for non-conformist creative freedom – this is still embodied by the brand.   To create original and unique scents, Molton Brown work hand-in-hand with visionary perfumers from a variety of ages, backgrounds, and experiences. In this way, they marry their expertise with the creative originality of the perfumers. All scents are created without a marketing brief, panel testing or demographic restrictions to ensure it is the creativity of the perfumer that can flourish. It is this way of working that enabled Molton Brown to formulate their statement:made by individuals for individuals.   What are your favourite ingredients to use in creating fragrances? Where do you source inspirations for ingredients in particular?  How does Molton Brown work with perfumers?    Molton Brown does not work with in-house perfumers; we choose to work with various perfumers all with personalities and levels of experience. From Master Perfumer Jacques Chabert, and his daughter, the acclaimed Senior Perfumer Carla Chabert, through to New Gen rising stars such as Jérôme Di Marino. It is this mix of individuals, which enables us to keep delivering authentic scented stories and to make.    We ask our perfumers to express their individuality through their fragrances compositions taking inspiration from an ingredient or color that we provide, but build the scented story they wish to author. We launch new blends multiple times per year; the blends that are selected from the multiple submissions are the polarizing creations, the ones that evoke a strong emotive connection.   The diversity of our blends also ensures that a diversity of ingredients is being used. The ingredients that are coming back in multiple of our fragrances are: bergamot, cedar wood, cardamom essential oil, elemi, musk, patchouli oil, pink pepperpod, black pepper essential oil, black peppercorns, neroli oil, sandalwood and vetiver.    Since the very beginning, the quality of our fragrances has been very important to us. Only by using the highest quality ingredients, we can deliver optimal fragrance experiences. We use natural ingredients as much as possible and only where needed we incorporate synthetics (eg because an ingredient is protected or using the pure ingredient is not the best way to convey a certain smell).      Can you tell me more about the new fragrance Milk Musk? What makes it unique and different to your other products?    Describe the perfect fragrance for Spring with your own words. [Why is Milk Musk the perfect fragrance for Spring?   Our new Milk Musk fragrance is a precious addition to our portfolio as it is our first floral-musky fragrance! This fragrance is, just like all our other fragrances, a blend that challenges the norm. It is a unique interpretation of a musk fragrance, combining the unusual lead ingredient milk with sensual musk.    The fragrance notes: Even though the niche ingredient milk is rarely used and polarising in fragrance, Molton Brown advocates for using it. Milk evokes poignant and emotional memories; as one of the earliest scents discovered as a child, it alludes to a universal nostalgia of intimacy. In the heart of the fragrance, you will find musk. Ordinarily, musk is used as a base note, not as a main ingredient. It is powerful yet subtle and its earthy and animalistic qualities are perfect for balancing other ingredients, helping to create an enduring trail. Enlivening top notes of luscious pear and peach balance its powdery depth. Warming white cedarwood and spicy tonka bean linger at the base, like the delicate touch of timeless affection.   Why it is such a good Spring scent: Spring is the period of time that we are all longing for flowers and freshness, but even though we are welcoming the sun with open arms, it is still quite chilly. The delicate creamy scent of Milk Musk is one that combines the fresh and flower aspects whilst still making you feel cocooned and warm, almost like being wrapped in cashmere. The beautiful white bottles perfectly tie to this craving for light and freshness.        What is the story behind the bottle of fragrances, from the design perspective?   Our Eau de Toilette and Eau de Parfum are housed in iconic glass bottles created by designer Vincent Villeger. The bottles are handmade by artisans in England with a contemporary take on the brand’s seventies heritage. The Eau de Parfum are completed with exquisite spherical resin caps. 

The magic of the "Christian Dior: Designer of dreams" exhibition
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The magic of the "Christian Dior: Designer of dreams" exhibition

Exhibition In these trying times, when it is more essential than ever to be able to lose yourself in escapism and wonder, Dior is pleased to invite you to (re)live, from the comfort of home, the unique enchantment of the ‘Christian Dior: Designer of Dreams’ exhibition, held at the Musée des Arts Décoratifs in Paris, from July 5, 2017 to January 7, 2018. As you set out on this unique exploration, let yourself be captivated by the visionary virtuosity of Monsieur Dior and the Creative Directors who have succeeded him – from Yves Saint Laurent to Maria Grazia Chiuri – and perpetuated his passion and sense of daring. Over seventy years of creation is revealed through iconic haute couture dresses, precious archival photographs, sketches by Christian Dior, objects, accessories, original paintings by great masters, a cabinet of curiosities conceived as a sweeping display of color, and much more. Imbued with dreams and desires, a wealth of works and emblems enchant this extraordinary celebration of beauty and elegance in all their forms.   Discover this experience on our YouTube channel and on Instagram.  In these trying times, when it is more essential than ever to be able to lose yourself in escapism and wonder, Dior is pleased to invite you to (re)live, from the comfort of home, the unique enchantment of the ‘Christian Dior: Designer of Dreams’ exhibition, held at the Musée des Arts Décoratifs in Paris, from July 5, 2017 to January 7, 2018. As you set out on this unique exploration, let yourself be captivated by the visionary virtuosity of Monsieur Dior and the Creative Directors who have succeeded him – from Yves Saint Laurent to Maria Grazia Chiuri – and perpetuated his passion and sense of daring. Over seventy years of creation is revealed through iconic haute couture dresses, precious archival photographs, sketches by Christian Dior, objects, accessories, original paintings by great masters, a cabinet of curiosities conceived as a sweeping display of color, and much more. Imbued with dreams and desires, a wealth of works and emblems enchant this extraordinary celebration of beauty and elegance in all their forms.   Discover this experience on our YouTube channel and on Instagram. 

The house of Givenchy and Clare Waight Keller announce the end of their collaboration
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The house of Givenchy and Clare Waight Keller announce the end of their collaboration

Fashion Clare Waight Keller states : As the first woman to be the Artistic Director of this legendary Maison, I feel honoured to have been given the opportunity to cherish its legacy and bring it new life. Focusing on a world based on Haute Couture has been one of the highlights of my professional journey. I have shared so many incredible moments with the brilliant Givenchy ateliers and design teams : your exceptional talent and dedication will forever remain in my memories. My heartfelt thanks go out to each of the unsung heroes and heroines behind the scenes, for their contribution from product to communications and retail, and every global team member, partner and supplier in between. Without all of you, I could not have brought my vision for Givenchy to life in such a beautiful way.     Sidney Toledano, Chairman and CEO of LVMH Fashion Group, states : I want to warmly thank Clare Waight Keller for her contribution to Givenchy's latest chapter. Under her creative leadership, and in great collaboration with its ateliers and teams, the Maison reconnected with the founding values of Hubert de Givenchy and his innate sense of elegance. I wish Clare all the best in her future endeavors.     The House’s new Creative organization will be communicated at a later date. Clare Waight Keller states : As the first woman to be the Artistic Director of this legendary Maison, I feel honoured to have been given the opportunity to cherish its legacy and bring it new life. Focusing on a world based on Haute Couture has been one of the highlights of my professional journey. I have shared so many incredible moments with the brilliant Givenchy ateliers and design teams : your exceptional talent and dedication will forever remain in my memories. My heartfelt thanks go out to each of the unsung heroes and heroines behind the scenes, for their contribution from product to communications and retail, and every global team member, partner and supplier in between. Without all of you, I could not have brought my vision for Givenchy to life in such a beautiful way.     Sidney Toledano, Chairman and CEO of LVMH Fashion Group, states : I want to warmly thank Clare Waight Keller for her contribution to Givenchy's latest chapter. Under her creative leadership, and in great collaboration with its ateliers and teams, the Maison reconnected with the founding values of Hubert de Givenchy and his innate sense of elegance. I wish Clare all the best in her future endeavors.     The House’s new Creative organization will be communicated at a later date.

Second Issue is just around the corner
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Second Issue is just around the corner

Fashion Remembering our first issue, as the second one is just around the corner.     #NumeroNetherlandsSS2020 #ComingSoon Remembering our first issue, as the second one is just around the corner.     #NumeroNetherlandsSS2020 #ComingSoon

My Twin Collection by Messika
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My Twin Collection by Messika

Jewelry Kate Moss, Sylvia Hoeks, Joan Smalls... For her next campaign,Valérie Messika has chosen to cast three contemporary icons that break the codes of Parisian jewelry.   “I wanted to create a trio of girls, a gang that would represent women in their diversity and each of whom, whatever their age, would embody a type of beauty“, says Valérie Messika.     “Kate Moss has always been my muse, she is a Legend of fashion and a rock n’ roll icon. Kate is above all a free woman. As for Dutch actress Sylvia Hoeks, she seduced me with her personality and her character. Finally, I chose Joan Smalls for her spectacular physique. She gives off a very contemporary glamour.     Beyond jewelry, this trio has an attitude. They are strong women who breathe their own style into jewelry. They in uence diamonds and not the other way around. This is, in fact, the main characteristic of Messika’s jewelry.” Created by Mert & Marcus, this campaign infuses crazy energy into the Messika collections : the energy of diamonds. This new chapter is dedicated to My Twin collection - a perfect alliance of the elegant emerald cut and the curved pear cut.     With Kate Moss and Sylvia Hoeks, Messika celebrates the perfect union between the pear, emerald and oval cuts of the My Twin collection. As our muses, they add a nishing touch to these iconic pieces for a striking yet delicate result. Messika’s renown My Twin collection, suggests a new way of sealing one’s love, via the unexpected union of different cut diamonds. The different stones sit in contrast and harmony with each other. The pear cut diamond, which is both sensual and dazzling, marries with the emerald cut, which is more stylised and hypnotic, or even the oval cut, which is sweet and gentle. In the paired version, My Twin reinterprets the classic Toi & Moi iIn an architectural way where the emerald and pear stones are drawn to each other. In the trio style, Valerie Messika combines three cuts of diamonds and pays tribute to her favourite number. She takes it a step further by imagining an union where the juxtaposed diamonds celebrate endless love. My Twin proposes modern and elegant jewelleries that are engaged in a dance of light.   Explore the collection on Messika.com Kate Moss, Sylvia Hoeks, Joan Smalls... For her next campaign,Valérie Messika has chosen to cast three contemporary icons that break the codes of Parisian jewelry.   “I wanted to create a trio of girls, a gang that would represent women in their diversity and each of whom, whatever their age, would embody a type of beauty“, says Valérie Messika.     “Kate Moss has always been my muse, she is a Legend of fashion and a rock n’ roll icon. Kate is above all a free woman. As for Dutch actress Sylvia Hoeks, she seduced me with her personality and her character. Finally, I chose Joan Smalls for her spectacular physique. She gives off a very contemporary glamour.     Beyond jewelry, this trio has an attitude. They are strong women who breathe their own style into jewelry. They in uence diamonds and not the other way around. This is, in fact, the main characteristic of Messika’s jewelry.” Created by Mert & Marcus, this campaign infuses crazy energy into the Messika collections : the energy of diamonds. This new chapter is dedicated to My Twin collection - a perfect alliance of the elegant emerald cut and the curved pear cut.     With Kate Moss and Sylvia Hoeks, Messika celebrates the perfect union between the pear, emerald and oval cuts of the My Twin collection. As our muses, they add a nishing touch to these iconic pieces for a striking yet delicate result. Messika’s renown My Twin collection, suggests a new way of sealing one’s love, via the unexpected union of different cut diamonds. The different stones sit in contrast and harmony with each other. The pear cut diamond, which is both sensual and dazzling, marries with the emerald cut, which is more stylised and hypnotic, or even the oval cut, which is sweet and gentle. In the paired version, My Twin reinterprets the classic Toi & Moi iIn an architectural way where the emerald and pear stones are drawn to each other. In the trio style, Valerie Messika combines three cuts of diamonds and pays tribute to her favourite number. She takes it a step further by imagining an union where the juxtaposed diamonds celebrate endless love. My Twin proposes modern and elegant jewelleries that are engaged in a dance of light.   Explore the collection on Messika.com

Montblanc Patron of Art Homage to Moctezuma I: A Tribute to the Cultural Legacy of the Great Aztec Ruler
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Montblanc Patron of Art Homage to Moctezuma I: A Tribute to the Cultural Legacy of the Great Aztec Ruler

Accessories Limited Edition collection honours the remarkable artistic and architectural achievements of Aztec culture, and the influence of one of its great leaders.   With its origins in the culture of writing, Montblanc is actively engaged in the promotion of arts and culture. Part of this engagement has been to recognize the exceptional contributions of modern-day patrons of the arts around the world for the past 28 years with an annual award. Every year, to coincide with the Montblanc de la Culture Arts Patronage Award, Montblanc introduces a Limited Edition writing instrument that pays tribute to the cultural legacy and patronage of a historical patron of the arts. Created in the Montblanc Artisan Atelier from precious materials and shaped by highly skilled master craftsmen with great care and dedication, the new Montblanc Patron of Art Edition celebrates the life and influence of Moctezuma I (c. 1398-1469). In partnership with the Instituto Nacional de Antropología e Historia in Mexico, the four limited editions tell the story of the cultural achievements of Moctezuma Ilhuicamina who was elected ruler of the great Aztec Empire in 1440 and reigned for nearly 30 years during its golden age. In addition to expanding the borders of his empire all the way to the Gulf of Mexico, he is credited for shaping the image of the Aztec state that has endured to this day, one rich in culture and mythology. The capital city Tenochtitlán, today’s Mexico City, blossomed under his rule with the construction of new buildings, sculptures and lush botanical gardens. Among his many building projects, he paid particular attention to the renewal of the Templo Mayor, which he reconstructed magnificently.     Montblanc Patron of Art Homage to Moctezuma I Limited Edition 4810 In honour of Moctezuma’s credentials as a great warrior, the shape of the edition is inspired by the atlatl, an Aztec spear-throwing weapon used to propel spears or darts over long distances. The cap features a gold-coated design reminiscent of the atlatl’s thread-wrapped handles. The lacquer colours of the cap and barrel – petrol and carmine red – evoke the colours of Aztec culture and the royal cloak in particular. The pattern on Moctezuma I’s cloak, a symbol of his high rank, is represented on the cap underneath translucent lacquer. The cap is embellished with two Aztec glyphs taken from the Mendoza Codex that indicate the years in which the reign of the great Aztec king began and ended. The decoration on the cap top ring and upper part of the clip is inspired by Aztec jewellery. The spear-shaped clip is refined with an engraving of a Central American quetzal’s feather at the top and crowned by a red triangular-cut stone. The shape of the cone, refined with a hammer finish, is based on a traditional Aztec sacrificial knife with an obsidian blade. The Montblanc emblem in precious resin on the cap top is embedded in the engraving of an Aztec sun disk honours the ruler’s diverse architectural constructions and ornamentation in the cities of the Aztec empire. The handcrafted Au 750 solid gold nib is adorned with a fine engraving inspired by the Aztec glyph for the city of Tenochtitlán: a three-armed cactus with a royal diadem and two scrolls.     Montblanc Patron of Art Limited Edition 888 The colours of this edition – turquoise and carmine red – were favoured in Aztec culture and used in royal garments. The engravings on the Ag 925 sterling silver cap represent Moctezuma’s weapons, skulls and traditional Aztec’s ornaments. The lacquered turquoise barrel is engraved with a pattern reminiscent of his cloak, a symbol of the high rank of Moctezuma I, and features four lines of Au 750 solid champagne-tone gold, evoking the cardinal directions that radiated out from the Templo Mayor. The spear-shaped clip is refined with an engraving of a Central American quetzal’s feather and set with a triangular-cut green jade. The forepart of the writing instrument and the cone with its distinctive hammering optic are crafted from Ag 925 sterling silver, contrasting with the precious 750 champagne-tone gold fittings and the handcrafted solid gold nib adorned with the Aztec glyph for the city of Tenochtitlán: a three-armed cactus with a royal diadem and two scrolls. The Montblanc emblem made of mother-of-pearl on the cap top is embedded in the engraving of an Aztec sun disk honours the ruler’s diverse architectural constructions and ornamentation in the cities of the Aztec empire.     Montblanc Patron of Art Limited Edition 87 Limited to just 87 pieces in homage to 1987, the year when the Templo Major was added to the UNESCO World Heritage list, the Montblanc Patron of Art Limited Edition 87 is richly decorated with turquoise, a stone favoured in Aztec decorative craftsmanship. The turquoise mosaic in Aztec style on the cap is handcrafted with meticulous attention to detail and an artistic sensibility that makes every one of the 87 pieces in the edition slightly different. The mosaic is refined with Au 750 solid champagne-tone gold inlays set with jade cabochons and a central Aztec motif symbolising the ‘five suns’ creation myth. The gold on this edition is specially treated to create a vintage look similar to the distressed appearance often found in ancient artefacts. The barrel is crafted from precious Central American cocobolo wood, a reference to both the material used to make the traditional atlatl and to the famous El Sargento tree in Mexico City, planted during the reign of Moctezuma I. The barrel is embellished with the four stepped solid gold bands as a special reference to the Templo Mayor. The mother-of-pearl Montblanc emblem on the cap top is embedded in an engraving of an Aztec sun disc. The handcrafted Au 750 solid gold nib is adorned with a fine engraving inspired by the Aztec glyph for the heart, a symbol for sacrifice. A further glyph engraved on the forepart represents the second name of Moctezuma I: Ilhuicamina (meaning ‘he who shoots an arrow into the sky’).     Montblanc Patron of Art Limited Edition 8 The limitation number of just 8 pieces is inspired by the ‘stone of Moctezuma I’, the only remaining piece of the great Templo Mayor excavated in 1988 and featuring eight rays. Moctezuma I ascended the throne as the fifth king of Tenochtitlán in exceptional splendour, guided in great state to the high temple where he was given the turquoise-coloured, red-bordered royal cloak, the xiuhtilmatli, and a diadem of gold. This magnificence is captured in the design of this rare edition with a cap made of Au 750 solid champagne-tone gold and an elongated shape set with diamonds, garnets, green tsavorites and multi-coloured sapphires. This writing masterpiece is decorated with an artistic hand engraving of the winged Huitzilopochtli, patron god of the Aztecs. Three-dimensional engravings of the symbolic eagle and cactus represent the foundation myth of the Aztec capital, Tenochtitlán, while the two double-headed snakes that frame the artwork are Aztec symbols of renewal, fertility and luck. A reference to the highly mythologised sacrificial rituals of the Aztecs, the barrel of the writing instrument is made of dark red precious jasper and enriched with Au 750 solid champagne-tone gold inlays. The spear-shaped clip is embellished with a triangular-cut green jade. The cap top is crowned with a Montblanc Diamond embedded in an engraving inspired by an eight-rayed Aztec sun disc. To coincide with the release of the four Patron of Art Homage to Moctezuma I Limited Editions, Montblanc is introducing a fine stationary notebook in red calfskin Saffiano leather embossed with traditional Aztec motifs, as well as a Homage to Moctezuma I ink in a bright turquoise inspired by the traditional jewels and cloths of Aztec emperors. Statesman, ruler and patron of art, Moctezuma brought Aztec culture to its pinnacle. With every intricate design detail and through the beauty of fine craftsmanship, Montblanc tells the fascinating story of this great figure who made a lasting cultural impact on human civilization.   Montblanc Patron of Art Homage to Moctezuma I Limited Edition is available from April 2020 at Montblanc boutiques worldwide and online. For more information visit www.montblanc.com Limited Edition collection honours the remarkable artistic and architectural achievements of Aztec culture, and the influence of one of its great leaders.   With its origins in the culture of writing, Montblanc is actively engaged in the promotion of arts and culture. Part of this engagement has been to recognize the exceptional contributions of modern-day patrons of the arts around the world for the past 28 years with an annual award. Every year, to coincide with the Montblanc de la Culture Arts Patronage Award, Montblanc introduces a Limited Edition writing instrument that pays tribute to the cultural legacy and patronage of a historical patron of the arts. Created in the Montblanc Artisan Atelier from precious materials and shaped by highly skilled master craftsmen with great care and dedication, the new Montblanc Patron of Art Edition celebrates the life and influence of Moctezuma I (c. 1398-1469). In partnership with the Instituto Nacional de Antropología e Historia in Mexico, the four limited editions tell the story of the cultural achievements of Moctezuma Ilhuicamina who was elected ruler of the great Aztec Empire in 1440 and reigned for nearly 30 years during its golden age. In addition to expanding the borders of his empire all the way to the Gulf of Mexico, he is credited for shaping the image of the Aztec state that has endured to this day, one rich in culture and mythology. The capital city Tenochtitlán, today’s Mexico City, blossomed under his rule with the construction of new buildings, sculptures and lush botanical gardens. Among his many building projects, he paid particular attention to the renewal of the Templo Mayor, which he reconstructed magnificently.     Montblanc Patron of Art Homage to Moctezuma I Limited Edition 4810 In honour of Moctezuma’s credentials as a great warrior, the shape of the edition is inspired by the atlatl, an Aztec spear-throwing weapon used to propel spears or darts over long distances. The cap features a gold-coated design reminiscent of the atlatl’s thread-wrapped handles. The lacquer colours of the cap and barrel – petrol and carmine red – evoke the colours of Aztec culture and the royal cloak in particular. The pattern on Moctezuma I’s cloak, a symbol of his high rank, is represented on the cap underneath translucent lacquer. The cap is embellished with two Aztec glyphs taken from the Mendoza Codex that indicate the years in which the reign of the great Aztec king began and ended. The decoration on the cap top ring and upper part of the clip is inspired by Aztec jewellery. The spear-shaped clip is refined with an engraving of a Central American quetzal’s feather at the top and crowned by a red triangular-cut stone. The shape of the cone, refined with a hammer finish, is based on a traditional Aztec sacrificial knife with an obsidian blade. The Montblanc emblem in precious resin on the cap top is embedded in the engraving of an Aztec sun disk honours the ruler’s diverse architectural constructions and ornamentation in the cities of the Aztec empire. The handcrafted Au 750 solid gold nib is adorned with a fine engraving inspired by the Aztec glyph for the city of Tenochtitlán: a three-armed cactus with a royal diadem and two scrolls.     Montblanc Patron of Art Limited Edition 888 The colours of this edition – turquoise and carmine red – were favoured in Aztec culture and used in royal garments. The engravings on the Ag 925 sterling silver cap represent Moctezuma’s weapons, skulls and traditional Aztec’s ornaments. The lacquered turquoise barrel is engraved with a pattern reminiscent of his cloak, a symbol of the high rank of Moctezuma I, and features four lines of Au 750 solid champagne-tone gold, evoking the cardinal directions that radiated out from the Templo Mayor. The spear-shaped clip is refined with an engraving of a Central American quetzal’s feather and set with a triangular-cut green jade. The forepart of the writing instrument and the cone with its distinctive hammering optic are crafted from Ag 925 sterling silver, contrasting with the precious 750 champagne-tone gold fittings and the handcrafted solid gold nib adorned with the Aztec glyph for the city of Tenochtitlán: a three-armed cactus with a royal diadem and two scrolls. The Montblanc emblem made of mother-of-pearl on the cap top is embedded in the engraving of an Aztec sun disk honours the ruler’s diverse architectural constructions and ornamentation in the cities of the Aztec empire.     Montblanc Patron of Art Limited Edition 87 Limited to just 87 pieces in homage to 1987, the year when the Templo Major was added to the UNESCO World Heritage list, the Montblanc Patron of Art Limited Edition 87 is richly decorated with turquoise, a stone favoured in Aztec decorative craftsmanship. The turquoise mosaic in Aztec style on the cap is handcrafted with meticulous attention to detail and an artistic sensibility that makes every one of the 87 pieces in the edition slightly different. The mosaic is refined with Au 750 solid champagne-tone gold inlays set with jade cabochons and a central Aztec motif symbolising the ‘five suns’ creation myth. The gold on this edition is specially treated to create a vintage look similar to the distressed appearance often found in ancient artefacts. The barrel is crafted from precious Central American cocobolo wood, a reference to both the material used to make the traditional atlatl and to the famous El Sargento tree in Mexico City, planted during the reign of Moctezuma I. The barrel is embellished with the four stepped solid gold bands as a special reference to the Templo Mayor. The mother-of-pearl Montblanc emblem on the cap top is embedded in an engraving of an Aztec sun disc. The handcrafted Au 750 solid gold nib is adorned with a fine engraving inspired by the Aztec glyph for the heart, a symbol for sacrifice. A further glyph engraved on the forepart represents the second name of Moctezuma I: Ilhuicamina (meaning ‘he who shoots an arrow into the sky’).     Montblanc Patron of Art Limited Edition 8 The limitation number of just 8 pieces is inspired by the ‘stone of Moctezuma I’, the only remaining piece of the great Templo Mayor excavated in 1988 and featuring eight rays. Moctezuma I ascended the throne as the fifth king of Tenochtitlán in exceptional splendour, guided in great state to the high temple where he was given the turquoise-coloured, red-bordered royal cloak, the xiuhtilmatli, and a diadem of gold. This magnificence is captured in the design of this rare edition with a cap made of Au 750 solid champagne-tone gold and an elongated shape set with diamonds, garnets, green tsavorites and multi-coloured sapphires. This writing masterpiece is decorated with an artistic hand engraving of the winged Huitzilopochtli, patron god of the Aztecs. Three-dimensional engravings of the symbolic eagle and cactus represent the foundation myth of the Aztec capital, Tenochtitlán, while the two double-headed snakes that frame the artwork are Aztec symbols of renewal, fertility and luck. A reference to the highly mythologised sacrificial rituals of the Aztecs, the barrel of the writing instrument is made of dark red precious jasper and enriched with Au 750 solid champagne-tone gold inlays. The spear-shaped clip is embellished with a triangular-cut green jade. The cap top is crowned with a Montblanc Diamond embedded in an engraving inspired by an eight-rayed Aztec sun disc. To coincide with the release of the four Patron of Art Homage to Moctezuma I Limited Editions, Montblanc is introducing a fine stationary notebook in red calfskin Saffiano leather embossed with traditional Aztec motifs, as well as a Homage to Moctezuma I ink in a bright turquoise inspired by the traditional jewels and cloths of Aztec emperors. Statesman, ruler and patron of art, Moctezuma brought Aztec culture to its pinnacle. With every intricate design detail and through the beauty of fine craftsmanship, Montblanc tells the fascinating story of this great figure who made a lasting cultural impact on human civilization.   Montblanc Patron of Art Homage to Moctezuma I Limited Edition is available from April 2020 at Montblanc boutiques worldwide and online. For more information visit www.montblanc.com

Louis Vuitton re-purposes its French workshops to make non-surgical face masks
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Louis Vuitton re-purposes its French workshops to make non-surgical face masks

Design Louis Vuitton has launched the production of hundreds of thousands of non-surgical protective masks, re-purposing its French workshops in Marsaz and Saint-Donat (Drôme), Saint-Pourçain (Allier), Ducey (Manche) and Sainte-Florence (Vendée), where three hundred artisans are mobilised in response to the French government’s plea for the increased production of alternative non-surgical masks to aid in the battle against Covid-19.     Michael Burke, Louis Vuitton Chairman and CEO, formalised the start of production by visiting the Sainte-Florence workshop, where twenty-two artisans are voluntarily stationed and already making masks that will be provided to protect frontline healthcare workers.     Mrs. Correira, Director of the Marpa nursing-home in Sainte-Florence and Mr. Gaborieau, Director of the Saint-Vincent de Paul care home in Essarts, Bocage, both being among those receiving the newly created masks, joined Michael Burke in greeting the volunteers. These non-surgical masks have been approved by the di erent governing bodies and are created in collaboration with Mode Grand Ouest, a regional network of the textile industry who are supplying one of the main materials.     In appreciation of the volunteers’ exceptional contribution, upon visiting the Sainte- Florence workshop, Michael Burke, thanked them, declaring: “As an important French House, Louis Vuitton wishes to commit at its level to producing many thousands of masks that will be distributed within the region, at no charge, to protect those who are most exposed. This production is the fruit of a wonderful collaboration with the regional sector of the textile industry.” Louis Vuitton has launched the production of hundreds of thousands of non-surgical protective masks, re-purposing its French workshops in Marsaz and Saint-Donat (Drôme), Saint-Pourçain (Allier), Ducey (Manche) and Sainte-Florence (Vendée), where three hundred artisans are mobilised in response to the French government’s plea for the increased production of alternative non-surgical masks to aid in the battle against Covid-19.     Michael Burke, Louis Vuitton Chairman and CEO, formalised the start of production by visiting the Sainte-Florence workshop, where twenty-two artisans are voluntarily stationed and already making masks that will be provided to protect frontline healthcare workers.     Mrs. Correira, Director of the Marpa nursing-home in Sainte-Florence and Mr. Gaborieau, Director of the Saint-Vincent de Paul care home in Essarts, Bocage, both being among those receiving the newly created masks, joined Michael Burke in greeting the volunteers. These non-surgical masks have been approved by the di erent governing bodies and are created in collaboration with Mode Grand Ouest, a regional network of the textile industry who are supplying one of the main materials.     In appreciation of the volunteers’ exceptional contribution, upon visiting the Sainte- Florence workshop, Michael Burke, thanked them, declaring: “As an important French House, Louis Vuitton wishes to commit at its level to producing many thousands of masks that will be distributed within the region, at no charge, to protect those who are most exposed. This production is the fruit of a wonderful collaboration with the regional sector of the textile industry.”

BOSS to expand Responsible Tailoring collections
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BOSS to expand Responsible Tailoring collections

Fashion This Spring/Summer 2020 season, BOSS underlines its commitment to a more sustainable approach to fashion, with a focus on premium tailoring. The brand is building on the success of its Traceable Wool designs by adding womenswear pieces to the range, and launching a fully vegan suit, free of all animal-based materials, as part of its menswear collection.   The women’s designs in traceable merino wool offer vivid spring blues and traffic- stopping red alongside timeless navy. A perfectly cut single-button jacket showcases the impeccable tailored aesthetic of BOSS Womenswear, and can be paired with a choice of wide-leg, cropped, or tapered pants in the same fabric. Pinstriped navy tailoring – two jackets, a skirt, pants, and a dress, all designed to be mixed and matched – completes the capsule.   Highlights of the men’s collection for Spring/Summer 2020 include a pinstriped wool jersey suit with drawstring pants, a summary lightweight slim-fit suit, athleisure- inspired tapered pants with cuffed hems, and an elevated polo design. This season, BOSS Menswear offers more responsibly tailored styles than ever before.   The newly introduced vegan suit is a modern slim-fit design with a lightweight construction. Available in three colors – light beige, dark blue, and black – it is crafted in Germany from pure certified organic European grown linen. All components which, in a traditional premium suit, would contain materials such as wool or horsehair, have been omitted or replaced with vegan alternatives. This ensures that the entire item is free from animal-based materials.   This Spring/Summer 2020 season, BOSS underlines its commitment to a more sustainable approach to fashion, with a focus on premium tailoring. The brand is building on the success of its Traceable Wool designs by adding womenswear pieces to the range, and launching a fully vegan suit, free of all animal-based materials, as part of its menswear collection.   The women’s designs in traceable merino wool offer vivid spring blues and traffic- stopping red alongside timeless navy. A perfectly cut single-button jacket showcases the impeccable tailored aesthetic of BOSS Womenswear, and can be paired with a choice of wide-leg, cropped, or tapered pants in the same fabric. Pinstriped navy tailoring – two jackets, a skirt, pants, and a dress, all designed to be mixed and matched – completes the capsule.   Highlights of the men’s collection for Spring/Summer 2020 include a pinstriped wool jersey suit with drawstring pants, a summary lightweight slim-fit suit, athleisure- inspired tapered pants with cuffed hems, and an elevated polo design. This season, BOSS Menswear offers more responsibly tailored styles than ever before.   The newly introduced vegan suit is a modern slim-fit design with a lightweight construction. Available in three colors – light beige, dark blue, and black – it is crafted in Germany from pure certified organic European grown linen. All components which, in a traditional premium suit, would contain materials such as wool or horsehair, have been omitted or replaced with vegan alternatives. This ensures that the entire item is free from animal-based materials.  

McQueen's Creative Community
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McQueen's Creative Community

Fashion Building on the idea of our creative community which underpins so many Alexander McQueen collections, today the house announces a new project encouraging creativity.   McQueen Creators is conceived to inspire and initiate creative conversation. Starting from today, their followers will be invited to engage artistically with their favourite pieces from a selection of images shared on our social channels. A selection of this work will then be republished across our social media networks. Each week a new creative concept will be released. These will connect their followers with their own McQueen teams and collaborators, from their design studio to universities and students, through a series of digital tutorials. The first week’s inspiration is taken from the Roses installation at Alexander McQueen’s New Bond Street open studio. Together we will be sketching the finale Rose dress from Autumn/Winter 2019. Future projects for the community will include 3-D creation and embroidery from home, amongst other initiatives to be announced via their social channels (bellow).   #McQueenCreators @AlexanderMcQueen Building on the idea of our creative community which underpins so many Alexander McQueen collections, today the house announces a new project encouraging creativity.   McQueen Creators is conceived to inspire and initiate creative conversation. Starting from today, their followers will be invited to engage artistically with their favourite pieces from a selection of images shared on our social channels. A selection of this work will then be republished across our social media networks. Each week a new creative concept will be released. These will connect their followers with their own McQueen teams and collaborators, from their design studio to universities and students, through a series of digital tutorials. The first week’s inspiration is taken from the Roses installation at Alexander McQueen’s New Bond Street open studio. Together we will be sketching the finale Rose dress from Autumn/Winter 2019. Future projects for the community will include 3-D creation and embroidery from home, amongst other initiatives to be announced via their social channels (bellow).   #McQueenCreators @AlexanderMcQueen

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