We would like to present to you shoe designer Carolin Holzhuber’s collection (UN)COVER. Holzhuber is a young Austrian designer working in London, where she makes each pair of shoes by hand. She also produced the shoes for the last Iris van Herpen haute couture runway show in Paris.
Greg Rosborough and Abdul Abasi of Abasi Rosborough speak about their practical approach to modern menswear and why the suit is outdated.
When Frederic Malle, the French perfumer who lives in New York, launched his brand, Editions du Parfums Frederic Malle, in 2000, he was set to fight an uphill battle.
Two weeks ago I met with Takahira Miyashita, the Japanese fashion designer of the mens brand TAKAHIRAMIYASHITATheSoloist. Miyashita’s original brand Number (N)ine made a mark on men’s fashion during the past decade when menswear was at its height in terms of reinterpreting youth culture.
Five years ago, a colleague of mine told me about a young Belgian designer in New York who worked at RLX, the Ralph Lauren’s technical sportswear collection, and who was showing his first collection under his name at his apartment. I made an appointment, which got derailed by a blizzard. The designer’s name was Tim Coppens, and though we didn’t meet then, I have closely followed evolution of his work.
Yesterday the Dutch denim company G-Star RAW announced the appointment of one of our favorite conceptual designers Aitor Throup as its Executive Creative Director. The designer has been consulting for the company for some time now, presumably with enough success to warrant a full time upgrade. After initial eyebrow raising the appointment has come to make sense. While the G-Star aesthetic leaves much to be desired, it has exactly the kind of construction and fabric know-how that Throup might take advantage of in order to create something interesting outside of his previous conceptual flights of fancy, which have been both creatively mind-blowing and mind-blowingly unattainable. In any case, I am curious to see what will happen, and I would like to share with you our in-depth profile of Throup that I wrote for our print volume 4, in which Throup makes clear that he would be interested to translate his creative vision and formidable design skills into something more accessible.
This past summer a pretty girl in her twenties I know cut her shoulder-length dark hair to military grade shortness, which made her look decidedly less attractive. When I remarked on this to another friend, also in his twenties, he said without hesitation that unattractiveness has become a trend among his peers. You can also see it quite clearly in fashion, especially in the rise of brands as seemingly disparate as Hood by Air, Vetements, Gosha Rubchinskiy, and Gucci, and their calculated ugliness and awkwardness.
Thamanyah, the fashion label designed by Ahmed Abdelrahman, has been on my radar for quite a long time. There is uniqueness in Abdelrahman’s approach to taking the traditional Middle Eastern dress, making it modern, and mixing it with Western sartorial codes. In his hands a white kandora turns black and gets paired with a fine wool bomber jacket. Not only such a combination results in a new menswear silhouette, but also both the Middle Eastern and the Western staples acquire a new meaning. It is no wonder then that Thamanyah has acquired a cult following in both worlds.
Vestoj and StyleZeitgeist have teamed up in a dialogue and series of critiques of recent events in fashion media to raise more wide-reaching questions about the state of contemporary fashion media – and what that says about our industry at large. In our second installment of this collaboration, we examine the recent political faux pas of the Chanel and Louis Vuitton resort collections, and the fashion media’s sycophancy.
We would like to announce our collaboration with Vestoj – the Platform for Critical Thinking on Fashion. Through an ongoing exchange of articles about recent fashion developments we will aim to delve deeper into the state of fashion and the fashion media today. In our first exchange we share reactions to a major piece published in T-Magazine of the New York Times. Stay tuned for the response from Vestoj to the article below.