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POP 822 Tuesday 7 February 2012

THEPOP.COM — Tue, 07 Feb 2012 08:03:21 +0000

Today's POP is Lolita. Innocent bedtime stories… Not so innocent.

Youth is the fashion equivalent of black. Youth suits all and youth appeals to all, which is why Bella Howard's second solo exhibition "Love Buzz" is so charmingly appealing. The space is puposely set up to resemble a teenage bedroom, and as you walk through the exhibition space you can't help but feel like your travelling through a love-filled rose-tinted tunnel. It didn't come as a surprise to find out that some of the work dates back to when Bella was a tiny teen.

Your photographs and subjects often have a sort of 'teenage fantasy' aura to them. You seem to have an obsession with 90’s youth culture. Where does this come from?
I am really inspired by film and music created in the 90’s. After the 80s it really felt like there was something new and exciting; like after the gluttony came the creativity. Music-wise they had such diversity from Nirvana’s grunge to sugary pop like the Spice Girls and Take That; all of which I am obsessed with aesthetically. Another large reference for me has been Greg Araki and his films like Nowhere and The Doom Generation.

Your second solo exhibition is entitled 'LOVE BUZZ' after a Nirvana tune. What can we expect?
It’s called "Love Buzz". I was only asked to do it 3 weeks prior, so everything has been a bit manic. It’s a series of 10 images: 9 portraits of boys and girls and one landscape. I have also included pages from my old fanzines which a lot of people will not have seen, including interviews with all the bands I met who’d gone on to be quite big. On the back wall I have a large heart covered in Polaroids picturing people and places I have been to and met since leaving school. The name is from my favourite Nirvana song. It just came to me but kind of encompasses the whole feeling of the exhibition: young, fun, full of people I love and with a great energy. I want the space to resemble a teenager’s bedroom wall in a way; nothing is framed but will all be stuck on the walls with tape and blue tack.

Who was your teenage crush and why?
I have always had a crush on Macaulay Culkin since seeing him as Thomas J in My Girl. The thought of him and the bees brings a tear to my eye even now… I was also obsessed with Julian Casablancas from the Strokes. I really did think he was the most beautiful creature alive.

What's the theme of your latest fanzine?
I havn’t done a zine since my last exhibition one year ago. They take so much time that unfortunately I don’t have at the moment, so I tend to blog instead. But bybellazine is not dead just on holiday for the time being!

LOVE BUZZ by Bella Howard runs from February 3-18, 2012

The Front Room – St Martins Lane – 45 St Martins Lane – London, WC2N 4HX

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POP 821 Monday 6 February 2012

THEPOP.COM — Mon, 06 Feb 2012 06:00:38 +0000

Today's POP is Alex. Smells like teen spirit.

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The sudden sub-zero cold snap has got us all reaching back into our winter wardrobes. So to take our minds off these winter days, we’ve got an antidote: a candy-sweet injection of colour from Alice + Olivia’s new scarf collaboration with Kentucky native designer Gene Meyer.

Perfectly embodying the experimental and playfulness of the American label, Stacey Bendet and Gene Meyer have got us hooked on their limited edition ultra bright prints.

I managed to catch up with the designer duet for a transatlantic Q&A to find out what’s inspiring them this season.

How did the collaboration come about?

Stacey: I fell in love with the rugs in Amy Fine-Collins’ apartment. She said her friend Gene designed them and then she showed me some of the scarves he had made 20 or so years ago and I said they must make a return!

What was your inspiration for the designs?

G: I love simple graphics as a foil for unusual colour combos and I discovered that Stacey has a similar feel for textiles and colour. Seeing her Spring 2012 collection sketchbook was a revelation.

S: I tried to bring a playful modernity to Gene's amazing graphic prints. I wanted the dresses to feel unexpected.

What is your must-have item (aside from that scarves) for SS12?

S: Printed trousers.

If these scarves were a city, where would they be?

G: Tangier, Morocco, my favourite place in the world.

Your favourite Spring hang-out?

G: Paris. My partner Frank de Biasi and I have an apartment near the Place de l' Odeon. Paris is always fun even if you’re doing absolutely nothing.

S:Anywhere with cherry blossom trees.

Gene, you’ve created endless designs; do you have a favourite from your archive over the years? Or perhaps you have one with an interesting backstory?

G: Kurt Cobain and Nirvana were photographed wearing three scarves on a double page spread in Mademoiselle Magazine in 1993. The guys are wearing the scarves as skirts and for the alice + olivia scarf collaboration we did a new version of the scarf Kurt is wearing. The design contains the word love.

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POP 820 Sunday 5 February 2012

THEPOP.COM — Sun, 05 Feb 2012 12:42:24 +0000

Today's POP is Stephanie and her photo diary from 080 Barcelona.

POP made another appearance at this season's Barcelona Fashion week, better simplified as:

GAUDI + Exciting Young Spanish Designers + ASVOFF + far too many glasses of Vino Negro…

As it was my first time in Barcelona, I just have to say that every city in the world should have a Gaudi. His curation of urban space is not only most beautiful visually, but highly functional in reality, promoting a strong experience and pleasure in the everyday. Between the Gaudi’s, we enjoyed countless catwalks, performances and installations by Barcelona's freshest design talent (plus one Pierre Cardin – see finale images) in the city's magnificent Santa Agatha Chapel.

One of my favourites: designer twosome Karlota Laspalas' menswear installation which took place in the Chapel. One by one the boys emerged from an indoor balcony before taking a still position on the ground, creating an interesting opposition within the grandiose church space: the performance became interactive with viewers having to travel to see each look, yet it retained a strong voyeuristic quality. So well executed.

Standouts also include Luis Manteiga who creates both mens and womenswear. Highly futuristic and whimsically sci-fi, Manteiga’s colour combinations were just right. And how could I miss Alexis Reyna and his face-painted entourage of mixed prints, fabrics and everything in between. Without a doubt, Reyna's was one of the most memorable of the season.

Lastly, I couldn’t resist ASVOFF, Diane Pernet’s Fashion Film Festival taking place by the sea, not far from the 080 venue. We watched a couple shorts including the enjoyable Feminist Fashion Film Now!, curated by Alex Murray-Leslie and Melissa Logan, and The Murder of Jean Seberg, an obscure tribute to the French actress directed by Joe Lally, starring Daphne Guinness and Olivier Zahm.

Yes you read that correctly.

So until next time…

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Special thanks to Totem, and the wonderful Catalonian hosts of 080 Barcelona Fashion.

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POP 819 Saturday 4 February 2012

THEPOP.COM — Sat, 04 Feb 2012 06:00:07 +0000

Today’s POP is Rachel. LaChapelle re-popping Prague’s cherry.

Thus spoke LaChapelle: in his inimitable and overt photographic style, in his pioneering use of digital image manipulation, in the forthright nature in which he portrays the dizzying array of subjects he has shot over his thirty year+ tenure.

The Galerie Rudolfinum in Prague decided to present his latest retrospective in a series of chapters within the Neo-Renaissance architecture of the gallery, detailing early works, sketches and 3D installations alongside more famous pieces including the worldwide premiere of image GAIA. The pilot project from new creative agency/gallery Pavleye Art and Culture; their ethos is to stimulate Czech Republic and Slovakia by making pop-culture art accessible to a wider audience, and what better way to begin than with an artist like LaChapelle.

LaChapelle is a man whose status within the photographic industry is so prolific he rarely needs an introduction (for a reminder: see a Louis Vuitton emprinted Lil’ Kim, frolicking companions Lee McQueen and Isabella Blow as arsonists or a virginal Britney Spears laid on pink satin sheets with a stuffed teddy to hand), yet his work is entering newground in the Czech Republic at the Galerie Rudolfinum. Curator Otto M. Urban focuses on pieces from the lesser known period in LaChapelle’s catalogue: a moment when he refrained from the fashion and advertising industries to concentrateon independent and personal artistic projects.

The artist’s latest works infiltrate the stylised heavens of classicalpaintings with symbols of technology and modernisation. In doing so, his work drips playfully with the illusions and concerns of contemporary society. The Deluge (2006) is an epic panorama surged with lost and naked souls who wash up onto the rooftops of sunken cars, sail in bathtubs, or pose lavishly with water cooler barrels. From the fading grandeur in the cracking columns of Caesar’s Palace flooded in the background to the torn sails hanging from the Gucci logo, LaChapelle continues his fascination with the consumption of luxury.

In a collage of grand proportions, The Raft of Illusion Raging Towards Truth (2011) elevates a craft usually concerned with intricacies to an epic scale. Interestingly, no found imagery was used. Here we see LaChapelle’s work closer to the cutting board floor; he embraces traditional methods of craft, yet continues his modern habits of production by remaining firmly in control of the casting process and photography of the piece.

To celebrate the opening of the exhibition, a David LaChapelle Press Lounge was created in cooperation with companies 3DH, Dream House, Habitat and LAVMI, and inspired by the lavish atmosphere of his photographs. In the centre of the wallpapered room – designed by the likes of Christian Lacroix – sits a green throne before a flower-covered altar. The space enables the viewer to enter LaChapelle’s world in a tactile and considered way; the red and blue striped floor was inspired by an image of Courtney Love on the cover of his book Heaven to Hell, and tempestuous skies painted across the ceiling are derivative of Deluge.

POP took some time to speak with curator Otto M. Urban about the process of creating the exhibition and the influence Prague continues to possess as a city and cultural centre.

Firstly, how did you begin to approach curating the massive body of work produced by LaChapelle, especially after recent solo exhibitions such as Lost and Found in Bratislava in November? How did you re-appropriate the work for the Rudolfinum Gallery?

I have followed the work of David LaChapelle since the 1990s. I showed his photographs in the Decadence Now! Visions of Excess exhibition, which also took place in Prague’s Galerie Rudolfinum in the Autumn of 2010. I met David LaChapelle in person in the spring of 2011 through the Pavleye Art and Culture team who were producing his show, and I presented my idea for the exhibition to him.

One of my conditions to curate the exhibition was to show his work in its whole range, including those pieces that are not often exhibited such as his black and white photos from the 1980s, as well as works on paper, drawings and collages. I realised that the work of David LaChapelle has so far been presented rather mechanically; the same art works have been shown and the context has not been changed. This was an opportunity for me as a curator and art historian to show his work in its entirety and as a retrospective for the first time.

Some of LaChapelle’s recent works combine methods of craft and collage in grand proportions, developing his extravagant style in new formats. Do you see a linear divide in the work produced by LaChapelle for his commercial and advertising projects versus his fine art work? Or do you think this relationship is more fluid?

It is a cliché often repeated to separate David LaChapelle´s commercial work from the art work. This also comes from some of the author´s proclamations. In my opinion he works continuously and his art develops as his personality grows. Even in the photos from the 1980s we can find a lot of experiments and inputs in the photography in which he had worked with the method of collage or design. This classical photographic approach was then replaced by the use of new technologies in the 1990s.

His current art work is a combination of both approaches. We wanted to emphasise the connectedness of individual stages of David LaChapelle´s work of art both in the exhibition and in the catalogue.

Did the situation of showing in Prague influence you when curating the work? How does the exhibition fit into the city’s current art scene? Or rather, how does it develop into new territory?

The current situation of art in Prague did not play an important role whilst thinking about the exhibition; I would create a similar concept anywhere else. The context of Galerie Rudolfinum where the show took place was more relevant. During the last 15 years the gallery has been profiled as the most significant Prague institution which deals with modern art. It has presented the works of artists such as Georg Baselitz, Damien Hirst, Louise Bourgeois, Jeff Wall, Cindy Sherman, Nan Goldin, Gottfried Helnwein and Andy Warhol. It was my aim to show the work of David LaChapelle in this context.

While creating the exhibition, the space of the gallery was extremely important. It is a representative Neo-Renaissance building from the late 19th Century. Each room of the gallery requires a special installation, which in the case of David LaChapelle was ideal. This way the larger art works such as Deluge or Raft had enough space to be show while remaining part of the entire show. It is too early to evaluate more general reflections of the exhibition, but it is clear that this is the first exhibition of its kind to have ever been presented in Prague.

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This exhibition is the first venture for Pavleye Art and Culture, with the ambition as a creative production agency to stimulate Czecha and Slovak by making pop art accessible to a wider audience. Why the relevance now? What impact would you like the project to have?

In my opinion David LaChapelle´s work is an interesting art historical theme which is very up-to-date at present. Discussion surrounding what is and is not art is endless, but within it a number of other references and questions are raised. I find pop culture a natural part of these discussions. I considered pop as one of the five basic themes of the previously mentioned exhibition Decadence Now! Visions of Excess. I showed David LaChapelle next to the Parisian couple Pierre et Gilles, Londoners Gillbert and George, Italian sculptor Paolo Schmidlin or Slovak painter Martin Gerboc.

The exhibition Thus Spoke LaChapelle opens a specific theme into a discussion about what influences our present visual perception; how our ability to see things is limited and in fact degenerated. Some people strictly reject David Lachapelle´s work of art as an example of kitsch. However, the history of art has proved many times that the kitsch of today is the art of tomorrow.

What would be your vision for the future of art in Prague? What excites you about the art scene in the city and why is it a perfect location to present the work of LaChapelle?

I secretly hope that the art scene in Prague will wake up again and will build on the period from the 1990s when not only was the contemporary art scene dynamic, but also the gallery and museum institutions. Forthe most part, the potential of Prague is great, but not used properly.

Prague is a valuable city from a historical and architectural point of view, but it could play far more of an important role within the presentation of contemporary art. The exhibition Thus Spoke LaChapelle shows that it is possible: even in Prague, an original exhibition of a significant personality of contemporary art could be presented. What will follow after that is too hard to predict at the moment.

Thus Spoke LaChapelle is showing at Galerie Rudolfinum Prague until 26^th February 2012.

In partnership with J&T BANK, and prepared in co-operation with Pavleye Art and Culture agency.

Alšovo nábřeží 12, 110 01 Prague 1, Czech Republic. Phone: +420 227 059 205

davidlachapelle.com
galerierudolfinum.cz/en
pavleyeartandculture.com

All LaChapelle images are copyright David LaChapelle courtesy Fred Torres Collaborations

All installation shot from Rudolfinum are by Filip Slapal

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POP 818 Friday 3 February 2012

THEPOP.COM — Fri, 03 Feb 2012 06:00:27 +0000

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Wondering where and when you can get your hands on unique pieces from the best emerging British talent of 2012? Well look no further. Wolf and Badger are extending their Ledbury Road boutique to Dover Street next month with shop number two.

I caught up with owners Henry and George to find out what's up their sleeves for SS12 and got a sneak peek of their top 5 pieces for the coming season.

Can you tell me about the kind of designers you champion?

For us independent means not owned by another company or selling to dozens and dozens of stockists. Some of whom might be straight out of college following an MA, others might be showing at fashion week, but in any case they're generally early on in their career, maybe within their first three of four seasons, and about to make it big.

They're mostly British, although we do work with about 20% of brands that are from the rest of the world. We carry menswear, womenswear, jewellery, some product design and accessories.

And how does your relationship with the designers work?

They pay us a monthly retainer for which in return we provide an allocated space in the boutique from which we retail on their behalf in a staffed shop. In return they get 90% of anything that they sell, so unlike the normal store, they can try different pieces and retain the bulk of the sales revenue.

Moreover, we consult with the brands, advise them with pricing and other business, or indeed creative advice that they may require. We work a lot towards promoting them, through stylists, press and department stores who come seeking something different and new. In essence, we're a retail and consultancy business.

What was the idea behind your new store on Dover Street?

First and foremost, we are taking the best emerging independent brands that we have discovered over the last few years in fashion and taking it over to a new market in Mayfair. We are supplementing those a little with some slightly more established but still very niche exciting upcoming brands, predominantly London Fashion Week and NEWGEN type labels. And really it's going to be an exciting shopping destination where customers can find something new, something unique and something unusual that is the next big thing in fashion.

How do you go about sourcing the designers?

We have a great word of mouth reputation; we get a lot of designers who share studios with other designers or know them from their schools and then recommend us. We also get approached via our online application form to "stock here". From that we pick the best applicants and meet with them to see whether or not it will work for us.

We also go out to the shows and seek out new designers. Not really the main, big shows; we're likelier to be found at Fashion Scout in Freemasons than we are in the main tent at Somerset house. We like to seek out the ones that are new to the radar. Those are particularly the brands that we're working with in the new store, complimenting the best of the designers that we've been working with for the last few years. It's very exciting!

What you're doing is pretty unique, I don't think there's really anyone else who provides a platform like this for young designers?

In particular, we look to offer a high level of support, advice and infrastructure for designers to help ensure that these brands don't just fizzle out after one season. We want to build on what the designer has been doing and take them to the next level. That's really important to us, to grow with the brands we have been working with since we started. That was always vital to the idea behind our new store on Dover Street.

Henry & George's Picks for SS12:

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This first piece is by Georgia Hardinge, who is a British Designer. We love this dress, it is very flattering. It is printed by placing the print on the roll, rather than buying the print as something that's already made, so it is a bit more expensive, but certainly worth investing in.

Next to it we have another dress, a kind of degré de dip-dye effect, by J. JS Lee, who's a british NEWGEN designer. We love the orange hues of this, it's going to be a big colour coming this Spring.”

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Then we have some MC Hammer type, 80s parachute pants by Jean Pierre Braganza. He does a lot with print, but we bought a lot of these fantastic monochromatic pieces from him too.

The one beside is a great Gatsby style, 1920s jacket in a loose fit, made from beautiful Italian linen. Made by Baartmans and Siegel, another British Brand, who got bought by Harrods straight out of their graduate collection.

This last piece is by Lou Dalton, who's also NEWGEN, becoming very successful, with a lot of international stockists. This is a functional piece, but what's interesting about her is that she makes pieces that are functional and easy to wear, but has a very unique design aesthetic. We think it's fantastic, this is probably one of our favourite bits.”

Visit the new Wolf and Badger boutique at 32 Dover Street, London W1

wolfandbadger.com

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POP 817 Thursday 2 February 2012

THEPOP.COM — Thu, 02 Feb 2012 06:03:07 +0000

Today's POP is Steph & Tui. Obsessed with Duos. And hyphenated surnames. mso-ansi-language:EN-US">

Meet Joe Casely-Hayford: creator of transcendental London label Casely-Hayford. Now meet Charlie, Joe's son and co-creator. Also 50% responsible for their major cult following. An OBE, Joe got his start on the London scene styling and designing gigs for U2 and The Clash in the '80's. He's cruised the halls of Saint Martins and more recently was Creative Director of Savile Row house Gieves and Hawkes.

Charlie's had a Saint Martins moment as well. He's trained at all the best English schools including i-D Magazine, the White Cube Gallery, Creative Review and of course, Mr. Casely-Hayford's studio. The father-son label epitomises the contemporary English man: traditionally tailored with a uniquely modern sensibility.

POP had a quick word with Charlie.

Did you resist becoming a designer when you were growing up? When did you realise you wanted to work with your father in the end?

I basically grew up in a design studio along with my little sister. My parents met studying fashion at St.Martins when they were 21 and have been working together ever since, so I was surrounded by fashion from day one. I was a lot more interested in art when I left school than the fashion world,and after St. Martins I escaped to Florence to study fine art before doing a degree in History of Art at the Courtauld Institute in London. While I was there my father and I began talking more and more about working together and the process of creating the brand happened in quite an organic way.

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What is your process like? How do you work as partners?

We work on every creative aspect of the business together. Obviously he and my mother have a wealth of experience and knowledge that I have yet to learn, but the dynamic of a family business and the idea of slowly building a House is a driving force for us all.

I’m really interested in this idea of innovation through tradition. The sort of dichotomies like past/present, historical/contemporary, which are ingrained in your brand through your partnership with your father, as well as your context here in London (home to a long history of tradition and craft in men's tailoring). How do you balance these oppositions in your garments?

The balance has always intentionally been a discordant one. Duality has been at the core of what we do. We're interested in creating garments that have a memory because of their connection to tradition and social signifiers from the past, but communicate a completely new message through their innovation and modern approach.

What inspires you most?

I wish I had had the opportunity to study Social Anthropology at university. English culture and the many facets of its subcultures seem to be a constant source of inspiration in the studio. Nowhere in the world do you have a class system where social uniforms were so prevalent in the past and uniforms of subcultures so prominent today. English culture is an immeasurable source of inspiration. We've always wanted to create clothing that is global in its scope, but local in its appropriations.

Who is the Casely-Hayford man?

The person we have in mind is definitely a creative (art director / gallerist / film producer/ artist). Someone assertive but with a silent confidence. He has vices like any other man, but I'd like to think they help to define his character. We've always wanted to convey this idea of intelligent clothing with a richness and depth that doesn't need to shout. Integrity and quality of craftsmanship are integral for both of us.

mso-ansi-language:EN-US">Photographer Jeff Hahn
Fashion Tui Lin
Hair & Make-up Gemma Wheatcroft
Model Primo Baker at Premier

mso-ansi-language:EN-US">Photographer Assistant Iris & Flynn
Fashion Assistant Christabel MacGreevy

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POP 816 Wednesday 1 February 2012

THEPOP.COM — Wed, 01 Feb 2012 06:00:21 +0000

Today's POP is Vanessa. Marsha, Marsha, Marsha!

Athens' Kappatos Gallery is currently housing ROOMS: an annual exhibition featuring emerging and established artists selected to explore ideas within their own physical 'room’ of the city's St.George Lycabettus Hotel. One of the artists featured is our very own POP contributor Efi Spyrou, and we couldn’t be more excited!

Coined Antivainin, Efi has used her space to narrate memories in an installation that focuses on the perception of personal response whilst successfully maintaining the sophisticated simplicity she has become associated with. The artist focuses on the normality of formal objects such as the Bed, a focal point used to allow light as an instrument to create perspective. Thus the viewer will see multiple variations of the piece depending on the angle from which they look through the ‘shutters’.

Interestingly, the room in itself becomes a prison of the artist’s ideas. One could argue that the final element of her room is the accompanying video on display which demonstrates a female subject repetitively combing her hair. Brady Bunch flashback… Perhaps the repetitive combing could allude to the unconsciousness of life, or even the unconsciousness of the viewer as they continue to discover the various stages of Efi’s room.

Just some food for thought…

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spyrouefi-pinkmilk.com

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POP 815 Tuesday 31 January 2012

THEPOP.COM — Tue, 31 Jan 2012 06:00:15 +0000

Today’s POP is Gemma, Hitting it up with Stevie Boi.

SB shades are something you've absolutely never seen before… Well, perhaps at some point they would have been. However, these days you'll find them everywhere from magazine covers to celebrities galore.

Designing eyewear since 2007, the craftsmen behind Stevie Boi have developed a small celebrity fan-base with his main clients including the 'Mother Monster' herself, Miss Lady Gaga. Boi's designs infuse plastic, chrome, metal spikes, studs and even fur, channeling a tough yet glamorous exterior. Many have questioned the functionality of Boi’s designs, as to whether or not wearers can actually see through the glasses (of which the answer is yes, you can)… But even if you couldn't, wearing such statement shades you can be certain that everybody will see you.

POP caught up with Stevie himself for some insight on the designer’s inspirations, dream celebrity clients and what’s up his sleeve for 2012…

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How would you describe the aesthetic of SB shades?

I love culture. I love fashion and I love life. I feel my brand is an abundance of everything.

Though some say it's dark and very moody; I think they just fail to see themselves in it.

At what moment in your life did you realise that you wanted to be a designer specifically for eyewear?

Two years ago I was working for the government, designing random things to wear out with friends in my free time, and I just had this artistic moment where I thought to myself ‘I wonder what it would be like if I put fabric on my shades?'.

Six months later lady Gaga was wearing a pair on her tour every night!

Your pieces have been sported by the likes of Anna Dello Russo, Nicki Minaj, Mariah Carey and Lady Gaga.

Which celebrities would you love to see wearing your designs?

Grace Jone's! She's my absolute Idol. I also would love to see Prince in them, or David Lachapelle.

During your life, you have been heavily involved with the Military work sector, both personally and via your close relatives. Do you feel this has seeped into your designs?

Of course! Without having the discipline I had working with the military I don't think I would be successful in the business world or life in general. I am heavily influenced by the chrome of a gun, or the bullets in them. I am really fascinated with the overall look of stealth.

What can we expect in the future from Stevie Boi? Are you currently working on any projects?

Currently I am working on a line for retail stores. I am also shooting a major fashion film with some of my celebrity clients as well as a commercial.

Images by Michael Antonio

www.stevieboi.com

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POP 814 Monday 30 January 2012

THEPOP.COM — Mon, 30 Jan 2012 06:00:14 +0000

Today’s POP is Stephanie, back from Barcelona & into the design studio with Tim Soar.

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In a quiet chaos, Tim Soar is currently preparing his Autumn/Winter ‘12 collection for women to be shown this season at LFW. Peaceful and unassuming, you'd never know that Soar has trained and worked successfully as a graphic designer, DJ and music consultant.

The designer’s humble Hackney studio immediately extends Soar’s strong sense of passion, research and quality. His mood boards collage black and white details of aboriginal costume and minimalist looks from 80’s and 90’s glossies. The sources, seemingly far fetched from one another, combine perfectly in Soar’s patterns. The arrangement is instantly evident, seamless, and incredibly fresh.

POP sat down with the multi-faceted man for a quick 5 to get some insight on his work, life and upcoming Autumn/Winter collection.

How has your background influenced you as a designer?

I have worked in a number of design disciplines, and also in music. I think it has given me a wide range of influences, but also the idea that there can be a creative narrative, which can have very different outlets yet still tell a coherent story.

What have been your major sources of inspiration (in the past and/or presently)?

I would say that there are two sources of inspiration: emotional and physical.

The emotional inspiration is about trying to capture a mood. Until recently that mood has been something close to nostalgia, a slightly bittersweet feeling. But suddenly this season the mood is much more forward facing and open. I am not sure whether this says something about the sprit of the age or if it is to do with my own journey.

As far as physical inspiration is concerned, I have loved, and have been buying clothes of all sorts for many years. There is a big reference library in my head.

How do you translate your aesthetic to the various disciplines you work within?

Because much of my inspiration is about trying capture a mood it is non-discipline specific. The medium changes, but the message stays the same.

As a menswear designer initially, what made you decide to move into womenswear?

Bigger market! And, it has to be said, there is a certain freedom in womenswear that is still not really there in menswear.

How do you balance what you do or don't do yourself when it comes to your label? How do you resist doing everything?

Let's just say it is very important to know where to focus, and also how to delegate effectively.

What do you do to relax when not working?

Well, there is quite a lot of work to do… But I usually spend my spare time quietly with my wife, or I go running to clear my head.

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soar-london.com

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THEPOP.COM — Sat, 28 Jan 2012 06:00:32 +0000

Today's POP is Gemma. Who's that? It's TZE Goh!

Although admittedly not a common household name, Tze Goh is definitely on the radar. Born and raised in Singapore but having studied in almost every fashion capital in the world, Goh creates womenswear that is timeless, pure and most of all, minimal. Luxury pieces in fine linens, jersey and wool, teamed with puffy sleeves, sharp collars and bold figures. It's not everyday you have an urge to wear clothes based on men's garments and the aerodynamics of planes… However, after recently being named 'one to watch'named by Vauxhall fashion scouts, he must be doing something right!

We managed to catch up with the man himself to discuss his inspirations and his upcoming Spring-Summer '12 collection.

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Having lived in several cities such as Singapore, Paris, New York and London, how do you feel your transience and/or multi-cultural experiences have been reflected into your work? Would you feel one city has more influence or presence in your designs than another?
Having lived in various cities, I've learned that it is necessary to have a wardrobe that transitions effortlessly from one country to another; that is, from one culture to another. I try to design garments that will function in the daily lives of women as they live in various cities and countries, aiding them when they have to cross city/cultural barriers by keeping the designs as unobtrusive and understandable as possible across all cultural zones. So that it is the personality of the woman that shines through, and not necessarily her clothes.

Describe your designs in three words?
Functional, Practical and inter-changeable.

The S/S12 collection focuses on 'the wardrobe of men'. What was the inspiration for this brief? And why did you choose to specifically focus on three colours; black, white & khaki?
I wanted to base my SS12 collection on the male wardrobe because I wanted to create a wardrobe for women that includes the essentials of a man's wardrobe — meaning that it is practical, functional and inter-changeable.
I chose to focus on black, white and khaki because I wanted a neutral tone as a basis for the wardrobe, so that when you look at the woman wearing my designs, it's easy on the eyes and you won't be distracted by too many colours.

Your work concentrates highly on geometry and shape. What is the inspiration behind this and what are you aiming to create?
The designs which I've created are sculptural because I want my garments to have a good aesthetic quality. It's important because products we use everyday affect us very much. The clothes which I design have a sculptural aesthetic because when you meet a woman in everyday life, the silhouette which she creates with the garments around her are the most visible aesthetic you can see.

What inspired you to become involved in women's fashion?
I wanted to create women's fashion so that I could give women quality designs which are honest, something that is hard to find in fashion today. No false promises.

Photographer Jeff Hahn
Fashion Tui Lin
Hair & Make-up Gemma Wheatcroft
Model Henna at Ford Models Europe

Photographer Assistant Iris & Flynn
Fashion Assistant Christabel MacGreevy
Special Thanks to Tze Goh & Lilianne Cookson at Purple PR