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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.”

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.

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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POP 601 Weekend 29 May 2011

POP 813 Weekend 28-29 January 2012

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

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POP 812 Friday 27 January 2012

THEPOP.COM — Fri, 27 Jan 2012 06:39:13 +0000

Today's POP is Rachel. Fashion night light.

Lightscapes is a series of imagery captured by photographer James Reeve which strips landscapes and time into slivers of time. Choosing to shoot and experiment at that particular point in the evening when the light fades and the flickers of night begin to merge, his latest photo series focuses on capturing artificial light and presenting it in pared down and abstract ways: the brash neons of Las Vegas become soothing panoramas, and the beacons of light detailed on isolated coastlines in Thailand become glints in the distance of an overwhelming evening.

Designer Dries Van Noten has collaborated with Reeve to present their current exhibition at the Joyce Gallery in Paris at the Palais Royal. The Belgian designer, highly drawn to the graphic forms of his photographs, has adapted Reeve's prints into his Spring/Summer '12 womenswear collection. Dries first encountered Reeve's work at the Hyères International Festival of Fashion & Photography in 2010 where Dries sits as president and Reeve had been presenting his images for the photographic prize.

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As anyone knows, print is an integral component of Dries' collections. Here, alongside original prints and large-scale light boxes, Reeve's lightscapes trail the folds of Van Noten’s garments, expanding over dresses and t-shirts. The tension between past and future inherent in Reeve's work has been re-imagined with skill by Dries and are appropriately presented to the soothing sounds of KCF.

Reeve took some time to speak with POP about the collaboration and his upcoming international exhibitions.

This was the first time that your work has been transformed into a 3-D format. How did the collaboration with Dries develop? Did viewing the final collection alter your perception of your own work at all? 
This collaboration was a first in many ways for me. It felt quite unusual to give someone access to my images, without actually knowing what the end result would be. Dries had agreed not to alter the pictures in any way so I was happy to keep out of the design process and wait to see what the final outcome would look like. The images are very graphic and I like the way Dries has incorporated this into the garments, giving an added depth to my work.

In the gallery the effect of your work is amplified through the use of light boxes and surround sound music by KCF playing in the space. Would you consider continuing such a multi-disciplinary approach to presentation in the future?  
I am still very focused on my photography so it’s not something I have thought about doing myself before. It could be an interesting idea to explore through a new collaboration though.

There is movement – or an anticipation of movement – conveyed in your work, yet the images also retain an aura of stillness. Does timing play an important role in the way you photograph? 
Always. One of the fundamental elements of any photography is timing. For me this relates to both the moment of the image itself and also the time surrounding it. I experimented a lot with night photography before starting this project but Lightscapes took me in a completely different direction, both visually and also technically. I shoot on film and wanted to produce the visual effect of these images on camera. To do this I had to develop a timing system for the exposures that is quite unique to this project.

Where did you visit for this photographic series and what did you learn or experience whilst exploring these locations?
This series has taken me to some very contrasting locations: from isolated coastlines in Thailand and secluded villages in Syria and France to the non-stop 24-hour metropolises of downtown Los Angeles and Las Vegas. It has been a very unusual and challenging project to work on as it is very difficult to pre-visualise how a landscape will look at night. And of course every night can be different, depending on whether lights are left on or not. My attention was solely focused on the artificial lights within the environment that I was shooting. Sometimes this was relatively easy to do but filtering out other visual references in dense urban centres required a new approach to the way I had been used to working.

How do you think cities evolve from day to night, and what factors influence your decision to explore the latter?
The moment between day and night is the most magical time of day for me: the brief minutes of twilight when shadows vanish and everything is bathed in soft pastel tones, before swiftly plunging into thick darkness. I had been fascinated by this moment for a long time and it was from there that I started experimenting with photography: in the dead of night. Stripping away conventional visual references is fundamental to this work and that is in essence what the night does to the day. It dramatically inhibits our ability to function normally and for a photographer, presents very unique challenges; something I was interested to explore through the Lightscapes series.
 

Elements of your work are reminiscent of the poetic sensibility conveyed in scenes from Godfrey Reggio's 1982 film Koyaanisqatsi. How do you think viewing cities and fragments of lives in this way works to illicit an emotional response in the viewer?
Light is very emotive and I think that the simple, graphic nature of the way I present light in this series intrigues people who see it. Although there is a strong ambiguity to many of the images – it is not immediately obvious where or even what they are of – at the same time I think they do also feel quite familiar as well, and not just to people who have flown over cities at night window-gazing. For me the web-like patterns of lights in some of the images are reminiscent of a star-filled sky, an unfortunate irony as it is often the abundance of artificial lighting in cities that masks our ability to see the stars.

Lastly, what is next for you? 
I have two landscape projects in progress at the moment and a few other ideas brewing as well. One of the projects I am really excited about, although I have not had time to do enough research yet. I am not even sure if it is technically possible to do, but it will be fun finding out and if it is feasible I think it could be a really strong body of work. I also have a solo exhibition of Lightscapes at the Hagedorn Gallery in Atlanta opening soon (February 23rd – March 31st).

Lightscapes will be shown at the Joyce Gallery at the Palais Royal in Paris until Friday 27th January 2012. (LAST DAY TODAY!)

Joyce Gallery Paris,
168-173 Galerie de Valois
75001 Paris

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POP 811 Thursday 26 January 2012

THEPOP.COM — Thu, 26 Jan 2012 11:37:26 +0000

Today's POP is Kate's DJ list at Prada's party in Paris (or what our team remembers)… And some choice shots of the lovely Francesco Vezzoli's 24 Hour Museum art event with Prada the next day…

LOTS MADONNA
Of course, can't beat her

DONNA SUMMER
Okay, 'I Feel Love' actually beats everything

PRIMAL SCREAM
Got to support your best mates… Not The Kills though (or Babyshambles!)

GRACE JONES
The true Queen of Paris clubland. Respect HRH Moss

WOMACK & WOMACK
Kate's a lover not a fighter

REEL 2 REEL
Um, 'I Like To Move It Move It'… We know you do dear. The whole planet knows that, even tiny children in the Sudan… But… Maybe we are remembering it all wrong. It was that kind of fun, drunken night at the Palais d'lena. IT WAS ANOTHER GREAT PRADA PARTY!

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NB best fashion party of recent years was Miu Miu's at London's old In And Out Club on Piccadilly. Lavish but loved-up and real, London at its very best. If you remember it, you weren't there etc etc

NB2 Those two "Save THE FACE" parties were even better

24hoursmuseum.com

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POP 810 Wednesday 25 January 2012

THEPOP.COM — Wed, 25 Jan 2012 16:07:18 +0000

Today's POP is Ashley from the Eurostar and Miroslava still working it in the City Of Lights…

A. Giorgio Armani (AH)

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It's an Armani moment. Of course it always has been, but there's no doubting that Giorgio is pushing, pushing at present, defying the ageing process and the expectations of a (largely play-safe) industry.

Majoring on greens and golds in his Privé couture show, Mr Armani unveiled beautiful, enchanting reptile prints that will have Lee McQueen murmuring somewhere out there in genuine appreciation. Rarely is a sense of stealth – a catwalk 'noir' – and high glamour so perfectly executed.

Take a look at everything on the Armani.com website. A master still at the height of his powers.

B. GIVENCHY (MD)

The only thing I can say about Riccardo Tisci's on-going story at Givenchy is this: as a women you are left wanting every single piece. This is unique. My pictures, any images of this presentation, only tell half the story.

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POP 809 Tuesday 24 January 2012

THEPOP.COM — Tue, 24 Jan 2012 16:12:41 +0000

Today's POP is Ashley on the fabulous Chanel Couture Jet… Anna, Suzy… okay that makes AH+ seat 3A non?

Space-age eighties punk? Make that luxe Lear Jet living with Sigue Sigue Sputnik trimmings! Both Karl Lagerfeld's set and daring with Haute Couture today surprised and delighted the international Chanel audience. Doors to manual, Karl's in charge…