Thursday, 28 June 2018

We Make M-ODE

Bas Kosters
Under the name 'We Make M-ODE': a brand new event was organized by the M-ODE Foundation from 20 to 24 June in Amsterdam.  The event was part of the We Make The City festival and takes place from 20 to 24 June at various locations in Amsterdam.
The schedule contained talks, masterclasses and collection presentations of designers like Bas Kosters, Ajbilou Rosdorff, Sophie Roumans, Merel van Glabbeek, Judith van Vliet x Amber Ambrose Aurèle, Lhana Marlet and Hacked By_.
We Make M-ode is an event where the sustainable aspect is central which goes in line with the mission of M-ODE to provide necessary support to Dutch fashion designers.

The idea behind M-ODE comes from Peter Leferink: senior lecturer in fashion and design at the AMFI and, among others, former member of Amsterdam Fashion Week advisory board and Iris Ruisch, former artistic director of Amsterdam Fashion Week. Both no stranger to the Dutch fashion scene, with the first edition of We Make Mode, they put a valuable fashion event in The Netherlands.

http://m-ode.net

Take a look at the picture report, all images by brankopopovicblog.

Wednesday, 20 June 2018

God is a Woman?!

Mette Sterre
The theme for the 10th edition of FASHIONCLASH Festival was  ‘Fashion My Religion!’.
Within this framework, ‘God is a Woman!?' project is initiated. For this project, FASHIONCLASH selected ten designers to create an outfit based on research related to this theme. ‘God is a woman!?’ invited the designers to explore gender roles in religion, examine existing intolerances and question how fashion can play a role to increase inclusiveness in religion: it is a project on social issues and patriarchal systems.

All the designs where exhibited Centre Céramique during the 10th edition of FASHIONCLASH Festival.














God is a Woman?! Participants
Photography: Sem Shayne & Anton Fayle
Hair: Sigrid Eiting at KEVIN.MURPHY
Make-Up: Rachel Ritzen / Ellis Faas

CLASH Project 2018

Simone Schuffelen
CLASH Project
Fashion By Non-Fashion Designers

Since the beginning of FASHIONCLASH Festival in 2009, CLASH Project invites ten artists and designers (all non-fashion designers) per year to translate their work into wearable catwalk pieces. Participants from different art and design disciplines are challenged to transfer their practice, both materially and conceptually to a different medium. CLASH is the perfect opportunity to step out of your artistic comfort zone – to play and to experiment with other forms of art. The participants are professionals who represent various artistic disciplines, such as fine arts, product design, jewelry, performance and photography. All disciplines except fashion are possible. The CLASH project has become an iconic project, forming one of the highlights of the FASHIONCLASH Festival, and its outcome is always refreshing, captivating and trendsetting. 

More info: www.fashionclash.nl

Monday, 11 June 2018

Artez Graduation Show 2018

Emma Wessel
Artez Graduation Show 2018 took place at Musis in Arnhem. The space, with its very and hard to beat own ambiemance, was successfully transformed by Maison the Faux's fresh art direction set design, giving the whole show more edge.

The show combined both BA and Master graduation. In addition, Collectie Arnhem 2018, the third year collaborative project was presented. The overall smooth show opened with first year outfits, followed by promising second year project Luxury Galore.

The four master students appeared in between sixteen BA collections. Emma Wessel's quirky show, an eyewear collection presented on giant head prints wearing the glasses, stood out.
The MA collections from Manon Gondek and Gala Borović contained beautiful textiles and material combinations.
The BA collections varied in consistency, nevertheless the strong signature of Artez was apparent throughout the line up, showing their playful material manipulation and textile craftmanship. Among the favourites where collections by Mehdi Mashayekhi, Maria van Steenoven, Dennis Schreuder, Alicia Minnaard, Anna Bernal and Douwe de Boer.

Take a look at the highlights and my picture report.

Sunday, 10 June 2018

EMBRACING EXCHANGE

EMBRACING EXCHANGE showcased the best current design from Cologne, Maastricht and Eindhoven.

The ten-day exhibition showed state-of-the-art design from these three areas and took place in the ‘Eiffelgebouw’. During the exhibition period, various events where programmed by creatives from the local creative industry.
The exhibition consisted of six different 'collections' compiled by curators Maurer United Architects, Sabine Voggenreiter, Leonne Cuppen and Chequita Nahar.

'Material Designers' showed Eindhoven and South Limburg designers with the focus on materials. 'Generation Köln' showed a new generation of Cologne designers. 'Space Invaders' shows the work of Limburg (interior-) architects. 'Southern Treasures' shows the best alumni of the Maastricht Academy of Fine Arts and Design. 'Jwls Jwls' showed contemporary jewelry. 'Images Imagined' showed graphic works.

The exhibition features jong and established designers such as Paul Koenen, Marit van Heumen, Anne Buescher, Boy Bastiaens, Ted Noten, Moniek Vierling, Maurice Mentjens, Anna Davies, Iris Claessens, Kasper Hamacher, Woodjai Lee, Anasatasia Eggers and many more.

More info http://embracing.exchange/

Take a look at my photo report from some impressions



State of Fashion 2018 | Searching for the new luxury

Iris van Herpen
From Friday 1 June until Sunday 22 July,  State of Fashion displays the search for the new luxury.

Curated by José Teunissen, the Dean of London College of Fashion/UAL, and Professor of Fashion Theory, State of Fashion explores how we can apply fashion’s imaginative, seductive and innovative power to create a more futureproof fashion cycle.

The exhibition shows pioneering designers and thinkers who are proposing innovative and sustainable ideas and designs that are contributing to a better world.
The main question is how can we redifine the meaning of luxury in the context of the world of today, facing sociatel and environmental changes.

The exhibition features several components offering diverse approaches to the subject. The journey starts with innovative future proposals with projects from Yuima Nakazato, Rafael Kouto and Iris van Herpen. Further in the exhibition one can discover new business models such as Matti Liimatainen (Self-Assembly) and work by pioneers like Bruno Pieters (Honest By). The exhibition also shows how cross-disciplinary collaboration and research between science and fashion education can lead to new opportunities through material experiments. One of the strongest features is the contribution by Vivienne Westwood who in her later career still stands in the frontier to fight for a better world.
Each Friday, during the exhibition period, The Whataboutery debates are organized providing a platform for dialogue about various topics related to the theme of State of Fashion. 
For more information: https://stateoffashion.org


State of Fashion
The four-yearly fashion event State of Fashion focuses on a sustainable future. As an international and interdisciplinary platform for ideas, experiment, research and collaboration, State of Fashion unites designers, companies and fashion education with the shared ambition to make their industry more future-oriented, more fair, more environmentally friendly and more humane.

Take a look at my picture report


Yuima Nakazato

Saturday, 2 June 2018

Encounter with Rita Sá

Meet, Rita Sá, young Portuguese designer, who has won participation at FASHIONCLASH Festival 2018 at the previous edition of Sangue Novo at ModaLisboa - Lisboa Fashion Week.

She will present her collection “Glass of Ceiling” in Maastricht on Saturday June 16.
Get your ticket here

interview by Liliana Pedro

What’s fashion for you?
It’s the perfect tool to transmit emotions, thoughts and feelings. With no shadow of a doubt, that fashion was the best way that I found to show what I think and what I feel. Since the very beginning of the creative process till the last touch before the models walk down the runway, I put myself in everything that I do. Each process phase turns into a discover very personal.

What made you fell in love with fashion at the first place?
It was always fashion. I can’t remember of anything else. My family has a great skills for arts and it was always influenced my interests. With time, the ideas will mature and we will be more sure of what moves us.

Fashion is growing up a lot and it’s becoming more global. In your opinion, which challenges faces a fashion designer nowadays? In what concerns to the difficulties that a young designer finds nowadays, most of them don’t depend on our work, but on external factors. In my opinion, the industry still doesn’t look to the young designers as professionals. From my experience, when I have to develop a collection I don’t aim to develop serial pieces and that's what the industry is worried about, to reaching the numbers. I see the industry still very inflexible to work with designers in their very careers.

Imagine that you had to spend a day with a fashion designer. Which one you would rather spend some quality time? Simon Jacquemus.

Do you prefer the 80’s or the 90’s? 90’s.

What’s the best and the worst fashion trend ever? I think all trends one day become "the worst trends"! Because that's what they are after all: trends !! You may like it for a season, but 4 seasons later you look back and think “hmmmm".

Are you a stiletto girl or a sneaker girl? Sneaker girl.

Name an artist/band you never get tired of listening to. Alt J.

What’s your favorite tv show? I don’t watch tv!

Your latest collection has the name “Glass of Ceiling”. Where this idea came from?
 
“If you have a glass ceiling, don´t throw rocks in the air” is definitely the motto for the collection “Telhados de Vidro” which describes the game played by those who desperately try to be something they are not; masked hypocrites who feel the need of ostentation in a “make-believe” world. Attacking others for problems that they themselves have, each individual from the collection choose to believe that it is preferable to be a false somebody than a true nobody. Forming a gradational process from the first to the last look, the collection presents its first individual who seems to be impervious to anything surrounding him and not afraid of showing his vulnerabilities or weaknesses. The second individual is clearly uncomfortable with this idea and tries his best to show his superiority, even at the cost of being someone he’s not. From here on, every individual tries to impose his superiority upon his predecessor, trying hard to hide all their weaknesses in an illusion game where nothing is what it seems, manipulating the truth and revealing only what is pleasant to the eye. However, what is shown has no real utility and therefor is essentially futile. As we continue, there seems to be a lot of difficulty in controlling the flamboyance created within these individuals and as a result, instead of seeing the silhouettes growing, giving the individual height, they seem to have dropped suddenly. New volumes are now secured by little details which still prevail and the vulnerabilities which were hidden until now are completely exposed. The blue color used reminds us of plastic bags, creating the idea of something that is expendable.

How much time did you spend in putting this collection alive?
From the search for the concept until the creative development was completed I took about three months, and for the preparation about 2 months.

How did you feel when you knew that you will be attending at FASHIONCLASH Festival?
I confess that after so many months of work and a day as fast as that, it is difficult to have a notion of what is happening when we are given a prize like FASHIONCLASH. It is only in the "aftermath" of the parade that we are becoming aware of the importance of what has happened to us. But it is undoubtedly very gratifying and I think the biggest victory is, without a doubt, a few days after the parade we calmly take a look at our work and feel proud of what we have done.

Where do you see yourself in 10 years from now on? I hope that I can achieve all of my goals and still be lucky to continue in the place where I’m happy, close to the ones that make me happy.  

Instagram: @ritasa.brand

Monday, 7 May 2018

Program - Fashion My Religion - FASHIONCLASH Festival 2018

What to expect! FASHIONCLASH Festival - Fashion My Religion! jubilee edition

FASHIONCLASH presents Fashion My Religion! The 10-year anniversary edition of the international and interdisciplinary FASHIONCLASH Festival. During the 15th, 16th and 17th of June 2018 more than 150 promising designers and stage performers from countries such as the Netherlands, Germany, Italy, Portugal, Serbia, Finland, Uruguay and many more will take part in the festival. The festival program is composed within a 3-day program The Route: an inspiring pilgrimage along expositions, lectures, theatre- and dance performances and talks. The Fashion Show program takes place on Saturday evening, a spectacular evening where talents of the future will take the stage at the SAM-Decorfrabriek.

In short, a unique opportunity to get inspired by and discover the world of fashion, the newest fashion talents and to enjoy Maastricht as a fashion city.

For more information about the program and designers: www.fashionclash.nl
 
Tickets: FASHIONCLASH Festival is accessible for everyone and anyone and is mostly free of entrance, with the exception of the fashion shows on Saturday. Tickets for the fashion show are for sale from €12,50 (pre-sale online) and €15, -/ students €7,50 at the door. Tickets are available from May 1st 2018 via www.fashionclash.nl - and during the festival at the SAM-Decorfabriek.


Dorota Sak
Theme: Fashion My Religion!
The overarching theme Fashion My Religion! boldly dives into one of the most current themes of the moment; religion. Specifically, the relation between religion and gender, hair style and clothing. FASHIONCLASH dares participants and visitors to research, highlight or break existing religious traditions and taboos by way of using fashion. A call to activism that hopefully inspires a new generation of fashion- makers and lovers to fulfil their role as meaningful as they can.

‘’The meeting between fashion and religion isn’t a new one. Religious idioms and luxury have been used for decades by many within fashion. Sometimes just for ethical motives, other times with a dose of criticism. With ‘Fashion My Religion’ we are placing the audience and the designer in an interesting area of tension; fashion versus religion or cutting-edge versus tradition. We take a closer look at cultural expressions of personal, modern meaning and more traditional ones. We place historical absolutes opposite from modern-day fluid truths by really going in on social matters such as, feminism and human rights. Through (fashion)design we dissect the ever-changing awareness around the relationship we have with our environment and come up with new stories and approaches to ‘fashion and religion’.’’ -FC Team

10th edition Serbia Fashion Week

Peer Cox
The 10th anniversary of Serbia Fashion Week was held from April 24 - 29. The grand opening of took place in Dunavski Park, the alternative fashion of young designers curated by Srđan Šveljo was held at Kineska Četvrt former industrial complex, in SKC Fabrika. The fashion shows, as always, where staged at the Congress Center Master of Novi Sad Fair. The the closing ceremony will be held at the Serbian National Theatre. On this evening more than 20 organisations and notable people where honored, showing them support they gave to Serbia Fashion Week over the last five years.
I was there receive one of the jubilee awards on behalf of FASHIONCLASH.
Almost since the beginning FASHIONCLASH and Serbia Fashion Week exchanged talents. Several FASHIONCLASH designers where given the stage, while sveral Serbian designers where presented at FASHIONLCLASH Festival such as NEO Design and Moda Mišić.

On the runway this edition several Serbian and international designers where given the stage. Among them the familiar names such as Bosko Jakovljevic, Bata Spasojević, Marija Šabić,  Zvonko Marković and Ana Vasiljevic. Among the international designers where Bosnian designer Milan Senić, Dutch designer Addy van den Krommenacker and FASHIONCLASH designer Peer Cox.

with designer Peer Cox

Dutch fashion designer Peer Cox showed his collectin at the 10th edition of Serbia Fashion Week.
With his upcycled collection Peer shows that innovation and sustainability can go hand in hand.
Peer Cox took part at Fashion Makes Sense edition of FASHIONCLASH Festival in 2017.

The 10th edition was closed at the Serbian National Theatre in Novi Sad with a tribute show.
The closing ceremony of Serbia Fashion Week was directed by member of the French Haute Couture institute and Vice-President of Serbia Fashion Week, Eymeric François. François worked with Mugler from 1997 to 1999. The choreography was inspired by the golden age of haute couture in Paris – the 80s and 90s, when supermodels were superstars. The models’ hair will be styled by Frederic Pavard of Alexandre de Paris, a legendary hair stylist who has worked with renowned fashion houses such as Chanel, Yves Saint-Laurent, Givenchy, Christian Dior, Pierre Balmain, Jean-Paul Gaultier and Thierry Mugler for over 40 years.

http://serbiafashionweek.com

Fashion Displacement - Berlin edition

Fashion Displacement 
Professionals to rework the industry in partnership with VOGUE Germany

On April 26th 2018 the Florentine Fashion School Polimoda invited a selection of influential teachers and decision makers of the Fashion industry to the Aufbauhaus Atelier in Kreuzberg for this year’s edition of Fashion Displacement, organized in partnership with VOGUE Germany. Berlin was the third city after New York (2016) and Florence (2017) in which the panel discussion was held. Topic of this year’s event was the question of ways to build bridges between professional training and the fashion industry.
The topic was discussed by:
- Christiane Arp (President of the Fashion Council Germany and Editor-in-Chief of VOGUE Germany)
- Laudomida Pucci (Deputy Chairperson and Image Manager at Emilio Pucci)
- Christopher Lacy (Director of Customer Experience and Strategy at Barneys New York)
- Johann König (Art Dealer and Gallery Owner,König Galerie)
- Branko Popovic (Co-founder & Co-Director of FASHIONCLASH foundation)
- Sam Cotton (Fashion Designer and Co-founder of Agi&Sam)
- Danilo Venturi (Director of Polimoda)

The panel discussion was chaired by Linda Loppa, one of the most significant women in Fashion. Loppa had been the director of the Polimoda for nine years, before she moved to Paris in 2015 to commence with her current role of establishing connections and insight from the continuously growing industry for the institute.
Loppa’s introduction of the guests was not quite done yet when the participants of the panel already started their debate. They all agreed immediately: the gap between the education in the industry and the actual working situation is currently too wide. Therefor not many designers are prepared to start a business after their studies.

Thursday, 3 May 2018

Jan Taminiau: Reflections - Centraal Museum


Jan Taminiau Reflections
From 21 April 2018, Centraal Museum in Utrecht presents a major exhibition on the work of Jan Taminiau.
Displaying dozens of his top works, the exhibition demonstrates the wealth and depth of Taminiau’s work. The exhibition takes visitors on a journey of discovery into the world of research, memories, inspiration, experimentation and craftsmanship of one of the country’s most prominent fashion designers.
Jan Taminiau (1975, Goirle) is known for his use of traditional handicraft and production techniques, the application of unique and original materials, and for his outspoken sense of aesthetics. In 2014 he was awarded the most important fashion prize in the Netherlands, the Grand Seigneur. After establishing his label JANTAMINIAU in 2004, his way of combining the classic and the feminine with the conceptual and expe
rimental quickly made him very popular with clients all over the world. From inspiration to creation
With this monumental exhibition that focuses not only on the fashion pieces but also on Taminiau’s design and conceptual processes, Centraal Museum aims to introduce visitors to – or to refresh their perspective on - the work of this master of couture. By relating his sources of inspiration in fashion, photography, design and art to his work methods and the results, the exhibition reveals the process leading up to a couture piece. What are these sources of inspiration, and how are they reflected in his creations?

As the oldest municipal museum in the Netherlands, Centraal Museum Utrecht owns a major museum fashion collection that includes work by Jan Taminiau. The museum has a strong reputation for its regular sensational fashion exhibitions. In addition to new work by Jan Taminiau and previously acquired pieces, this exhibition also displays some spectacular loan pieces from other museums, some top items from the JANTAMINIAU studio, and some unique pieces from private collections.
With the prominent stylist Maarten Spruyt engaged for the design of the exhibition, it promises to be an exciting museum experience in which visitors are immersed in the world of Jan Taminiau. Jan Taminiau: Reflections will run from 21 April to 26 August 2018 at Centraal Museum in Utrecht.

centraalmuseum.nl

Wednesday, 2 May 2018

Bucharest Fashion Film Festival 2018

2018 Edition of Bucharest Fashion Film Festival took place in the weekend of 13-15 April.
The film screenings where set at Cinema Elvira Popescu and the talks where scheduled in Point.
I was invited to take part in the jury panel, together with Andy Lee, a Senior Lecturer in Film Practice and the Course Director for MA Fashion Media Production at the London College of Fashion, University of the Arts London. The jury panel members from Romania where Alina Gavrilă-Borțu, Maurice Munteanu and Mihai Bumbu.

The charming festival was well organized and carefully curated by founders and directors Ioana Diaconu and Madalina Cozmeanu. During the festival several talks where organized, focusing on topics such as the Future of Fashion Film and 'Women's representation in media and positive body image'. In addition to short films, several fashion documentary where screened such as We Margiela, 1070:Sex, Fashion & Disco and Westwood: Punk, Icon, Activist.
On Sunday evening, the festival closing ceremony concluded with announcement of two awards. “The Eye Ball” - Georgetown Opticians, by Dean Alexander won Best Film and Prosper Center // SS18 by Raya al Soulimanwon Best Romanian fashion film.


Sunday, 22 April 2018

The Death of Melanie Bonajo

The Death of Melanie Bonajo 

How to unmodernize yourself and become an elf in 12 steps 

20.04.2018 – 28.10.2018 

The Death of Melanie Bonajo is the first museum retrospective of video installations by the Dutch artist Melanie Bonajo (Heerlen, 1978).

The exhibition which is developed by guest curator Geir Haraldseth, the artist and her close collaborator Théo Demans, gives the visitor an opportunity to reflect not just on eir work, but also on what the work means in our modern, capitalist society. The apocalyptic title of the show may sound dramatic, but in the light of this opportunity of looking back, you need to die in order to be reborn. And in being reborn, you can rethink and recast yourself. Who do you want to be?
A bird? A rock? A feeling? A sound? An elf? Your elf? Yourself?

The Death of Melanie Bonajo is immersive in many ways, as the installations and the path through the exhibition is rich in sensual experiences.

www.bonnefanten.nl

Showroom Limburg 2018 - Cube Design Museum

Bregje Cox & Mark King

Showroom Limburg offers an overview of the present creative sector in the province of Limburg. The exhibition shows Limburg design work in the widest possible sense of designs developed by designers originating from Limburg, living in Limburg or working here. Additionally there are products on show which were commissioned by well-known or lesser-known Limburg companies.  

Participants: Patrick Belli, Olivia Bertus, Bregje Cox & Mark King, Juulke Brosky, Jacqueline Hoffman, Reonald Westerdijk, René Holten en Rob van Acker, Adam Bialek, Rob Driessen, Thomas Eurlings, Sanne Gelissen, Loet Gescher, Erik Hoedemakers, Marco Iannicelli, Martijn Koomen, Jos Kranen & Johannes Gille, Mireille Meijs, Annebeth Nies, Françoise Oostwegel, Bastjan Otten & Camille de Vrede, Marlijn Quirijnen, Elwy Schutten, Fabian Seibert, Fabian von Spreckelsen, Peter Traag, Ellen Truijen, Moniek Vierling, Dieter Volkers & Klaas Kuiken, Elleke de Vries, Jeroen Wand, Frans Willigers, Jessica den Hartog, Djillie Roes, Marjan Eggels

www.cubedesignmuseum.nl

Wednesday, 28 March 2018

Loewe x Anthea Hamilton


Loewe x Anthea Hamilton On Tate Britain Commission 2018: The Squash

Tate Britain unveils The Squash, an immersive installation combining performance and sculpture by 2016 Turner Prize nominee Anthea Hamilton. The artist has designed seven costumes in collaboration with LOEWE to be worn by the performers. The Squash has been created for the annual Tate Britain Commission, which invites contemporary British artists to create new artwork in response to the grand space of the Duveen Galleries.

Anthea Hamilton has transformed the heart of Tate Britain into an elaborate stage for the continuous 6-month performance of a single character, dressed in a colourful squash-like costume. Over 7,000 white floor tiles have been laid to span the length of the Duveens and encase a series of large structures that serve as podiums for a number works of art from Tate’s collection, chosen by Hamilton for their organic forms and colours. The tiles create an immersive new environment within the neoclassical galleries.

The artist is influenced by the early 20th century French writer and dramatist Antonin Artaud and his call for the ‘physical knowledge of images’, it is this bodily response to an idea or an image that she wishes to examine in The Squash. Each element of the work has evolved from Hamilton’s interest in a found photograph, for which the original source has since been lost. The viewer must imagine its history and intention and it is here the artist brings together tiles, structures, sculptures and costumes, inviting the performer to explore their own interpretation of the image. Hamilton has designed seven costumes in collaboration with Creative Director Jonathan Anderson from the fashion house LOEWE that incorporate the colours and shapes of varieties of squash or pumpkin. The squash inspired the organic textures of the costumes and heads, that range from hand painted leather to printed silk crepon, while 1970s clothing references shaped some of the silhouettes. Performers will select a costume each day, informing and reflecting their individual presentation ofthe character as they inhabit the space.

Alex Farquharson, Director, Tate Britain, said: ‘Anthea Hamilton has made a unique contribution to British and International Art with her visually playful works that both provoke and delight. This compelling commission demonstrates her ability to seamlessly weave together captivating images and narratives, creating rich new environments in which to encounter works of art.’

Tate Britain Commission 2018: Anthea Hamilton is curated by Linsey Young, Curator of Contemporary British Art, Tate, and Sofia Karamani, Assistant Curator of Contemporary British Art

http://antheahamilton.com
http://www.tate.org.uk

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