Leitmotiv AW11: Light Motiv

Over the last twelve months or so, I have gradually found myself drawn to the previously unsettling world of prints. The mere thought of paisley, camouflage, gingham, polka dot, leopard print or digital creation used to cause sweaty palms. Something changed. One of the factors in my new found confidence was the discovery of Italian label Leitmotiv during the SS11 season of Pitti Uomo. The one thousand, four hundred and seven exhibitors who decided to preview their new collections and projects at this Disneyland of menswear tradeshows caused great excitement during my first visit but it was Leitmotiv who really left the greatest impression. I was slapped silly by the hands of the design duo behind the label and their penchant for clashing and layering of the whimsical. I've kept an excited eye on the pair ever since. 

I'm pleased to declare that Leitmotiv's AW11 collection is as playful as ever. Once more, the talented design duo, Sasso and Carro, have created a dazzling print rich collection that manages to be both familiar and new. Entitled Light Motiv, the collection is a video game that captivates our attention and shifts before our very eyes. For the new season, landmarks, characters and animals merge, mingle and dance around one another in an ever changing configuration of print possibilities. Digital camouflage pixelate and transforms in to urban compositions. The familiar animals emerge from clouds, ornamental mazes or gallop out of nowhere. The more you look, the more you see.

With each passing season, the design duo behind Leitmotiv narrate stories that fascinated us all throughout childhood. Today we relive them through their dazzling prints. The seemingly simple canvas of menswear becomes the canvas that unfolds a tale of dreams and the poetic whims of the pair.

Back from the beach and back to work...

At the beach back soon...

Because of the Royal wedding, in the UK most people seemed to have wangled up to 11 days off, with the frivolities continuing till next Tuesday but we'll try to get out before then....Best Robert, Luisa & The Tucs

Meanwhile I love Persol and below a great pair of Persol from Seth Bradley collection at  zone7style

Thought to be from the early days of the company c.1920's and I love the nautical references

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EMPORIO ARMANI SHOES SPRING/SUMMER 2011

A happy ending

Baartmans and Siegel x Grenson Brogue

On the 28th January 2010, during an evening packed with emerging design talent at the LCF MA showing in the ornate surroundings Raphael Hall at the V&A, I caught sight of a very special brogue indeed. Wouter Baartmans' Great Depression era inspired heady mix of tailoring, sportswear and fur was one of the real highlights from the class of 2010 and it introduced me to my dream footwear. The combination of leather and suede that strode past left me reaching, longingly from my seat. But they passed me by. A few months later and I encountered them for the second time during Amber Siegel's Oil Slick Birds inspired exploration of tailoring and texture in the LCF BA show. I fell for their charms all over again. Like all crushes, I needed to know more about them.

These beautiful brogues were indeed a collaboration between the two talented LCF graduates and  long standing British shoe maker, Grenson. A wonderful combination of craft, tradition and  innovation. With a history spanning more than one hundred and forty years you would forgive Grenson for resting on its Goodyear Welted soles. However, when compared to other classic English shoe makers, they been making the most positive and interesting moves in recent years. These brogues are certainly one of the finest examples. 

During a Baartmans&Siegel studio visit, I slipped my eager feet in to the suede tipped brogues. Words are not able to describe how good they felt and looked at this time. Reluctantly, I returned my treated feet to their now insignificant, hollow leather home. And that was that for a number of months. On occasion, I thought I had seen them from across the street, attached to a passing stranger or behind the window front of a store where my eyes would light up shortly before the realisation of my mistake would surface. All other similar shoes paled in comparison. Oh the heartache.

Fast forward to this weekend and I received a very special treat from the design duo. My very own pair. Wow. As Gabrielle once sang, "Dreeeams can come true." Well, it didn't take me too long before my excited feet forced themselves in to their new favourite home. 

For those of you who, like me, fell head over goodyear welted heels for the fruits of this Baartmans&Siegel collaboration, you'll be pleased to hear that a range will be released for SS12.

MARK BOUWER INTERVIEW

MARK BOUWER FASHION DESIGNERS

DALLAS, Aug 15, 2008 / FW/ — Originally from Johannesburg, South Africa, Marc Bouwer immigrated to the U.S. armed with a portfolio that won him South Africa Vogue Young Designer Award. It seemed that S.A. Vogue and fashion legend Halston had the same opinion about Marc.

Shortly after arriving in New York, Marc Bouwer met Halston and as if he was making a prediction, the legendary designer said, “I think you got something, kid!”

Working under Halston, Marc refined his skills – from tailoring to cutting and draping. Eventually becoming a master draper, Marc’s draping technique would eventually make him the darling of the fashion set and give rise to one of his signature looks, ‘athletic glamour.’

Launching his own line during the 1990s, Marc Bouwer’s star continue to rise as his creations graced the cover of Harper’s Bazaar, Oprah, Cosmopolitan, Instyle, Vanity Fair, Glamour and Vibe Magazine among others.

Bouwer was also one of the first adopters of ‘animal free’ collection. In 2002, made fashion history when he presented a collection made completely free of animal products. PETA sponsored the Mercedes Benz Fashion Week show. A PETA Humanitarian Award soon followed.

AQUILANO RIMONDI SPRING 2011

"Deep and long cracks exalt the body of the interpreter." That terrifying-sounding process, described in the arcane notes that accompanied Aquilano.Rimondi's Spring collection, was fortunately nowhere in evidence on the duo's catwalk. There were, however, deep and long slits that opened up dresses with the seventies-doing-forties line we've seen already this season. Bearing in mind that the seventies were a good decade for Italian fashion and that Tommaso Aquilano and Roberto Rimondi have sometimes cast themselves as standard-bearers of Italian culture, it made perfect sense that here they enthusiastically dived into the colors, prints, and proportions of that era. The result: an immediate reprieve from the rather less-distinctive collection they had shown for the house of Ferré earlier in the week.

Christophe Lemaire AW11

The name Christophe Lemaire has been bouncing around my head causing excitement with every ricochet for some time now. With each passing season, the seasoned design talent honours a subtle and quiet elegance by creating a seemingly timeless collection of luxuriously simple basics. Heavy figures, with supple and full outlines, are worked in fluid fabrics that fall in an effortless manner and wrap the body without ever concealing it. Lemaire creates an essential wardrobe by putting together the clean and calm lines of western wardrobe with the sophisticated ease and generosity of volumes of traditional eastern garments. It is this very wardrobe that I long to have.

After honing his skills with Yves Saint Laurent and Thierry Mugler, as well as Christian Lacroix and Jean Patou, Lemaire launched his own label in 1991. He has since restored Lacoste's iconic image whilst being its artistic director from 2000 to 2010. Twenty years since starting his own label and the designer has remained relatively unknown. One gets the feeling that this is just how he prefers it. Lemaire is a designer far more interested in style than fashion, the trends and fanfare of fashion are far less important to him than the simple quality of his creations. However, AW11 is a significant season for the design talent. Last month saw the unveiling of his highly anticipated Hermes debut. Whilst filling the rather large shoes of Jean Paul Gaultier with widespread acclaim, Lemaire continued the quiet evolution of his own label.

The AW11 collection takes its inspiration from Serguei Parajanvov, Georgian film director and visual artist known for living elsewhere, in dreams made of myths and icons including David Byrne, Nicolas de Staël and John Luly where a love for beauty and for light in its uncertainty of location and time blend with the rich colours of his images. To mark this significant season, we were fortunate enough to ask the designer about the maturity of his label and his hopes for the future whilst taking a closer look at his latest creations...

SS:What were your inspirations, your dreams and the driving catalyst behind launching your own label? Both in 1991 and then your return to it in 2007.

Christophe Lemaire: From the very beginning to this point, I have always been driven by the same idea: trying to create in my clothes the perfect synthesis between simplicity and quality. This idea has just grown up with maturity.

SS: How has the label and your approach to it evolved over the years?

Christophe Lemaire: I strive to improve the same pieces season after season. We really push the idea that once you like a garment you want to wear it all the time . We give that possibility by offering a perfect basic in a wide range of fabrics.

SS: What were the first and last item you remember designing?

Christophe Lemaire: Uniforms!

SS:Your collections are always a wonderful blend of references. What was your initial starting point for AW11?

Christophe Lemaire: I like the idea of synthesis as well as blurring the frontiers between genres. I don’t want the references to be too obvious.

SS:How did the varied figures of Sergui Parajanov, Nicolas de Stael, John Lury and David Byrne influence your designs?

Christophe Lemaire: Serguei Parajanvov’s movies for textures and colors that mix with a very poetic and refined sensitivity. David Byrne for the effortless sharp sense of style. Nicolas de Staël for the beautiful obviousness of a black shirt and a black pleated pants. John Lury for the sophisticated ease.

SS: As a designer, would you agree that you are more interested in style than fashion. How would you describe your approach to design?

Christophe Lemaire: Observing our everyday gestures, environment, and responding to it.

SS: Your designs continually evolve to push a form of luxury fashion to new limits. Proportion, silhouette, cut, fabric and method are all central components. What is luxury to you?

Christophe Lemaire: Time.

SS: There is a definite sense of timesless-ness to your designs. Withe each collection you create an era defying wardrobe consisting of exacting basic pieces whilst experimenting with shape, cut and form. If you could go back in time and experience one moment or era of fashion, what would it be?

Christophe Lemaire: The 20’s were a fantastic innovative era, liberating the body and mind, and radically switching from the western tradition of corset to the Asian tradition of tunic and kimono, or the ancient Greece art of draping: all about shoulder and hips.

SS: The idea of a personal uniform is something that we've been mulling over since before we even started the blog. The concept of uniform is certainly an important facet of your work - do you have a personal uniform?

Christophe Lemaire: Three-pleated pants, an officer collar shirt and a double-breasted jacket as easy to wear as a waistcoat, all in the same fabric. Wool flannel for winter, linen and cotton for summer.

SS: How has the oft cited Walter Albini phrase, 'Sometimes to dress is to leave a little', influenced you as a designer?

Christophe Lemaire: To dress is to say what you would like to be, how you see yourself. There is something very playful about it, you need to dream. It is actually something quite deep.

SS: Finally, how do you see Christopher Lemaire, the brand, developing over the next few seasons, as you simultaneously take on the creative director role for Hermes?

Christophe Lemaire: We want to develop Christophe Lemaire as a lifestyle brand and edit complementary objects to the collection. Also, the Paris shop should be a unique place where people can come for advise and find a piece that will respect their individuality. Of course, collections should always improve.

All images courtesy of Christophe Lemaire and taken by Axel Jansen

Easter Weekend, ozone warning's for LDN... Making it feel like SoCal...

The Documentary And A Dream SS11

As previously noted, J. LIndeberg's The Documentary and A Dream biannual book was borne out of the desire to tell the complete story of the brand and share their thoughts and values on a level beyond commercial aspects of marketing principles. Each season creatives from various disciplines are invited to freely interpret the seasonal collection and capture a particular theme within the spirit of J. Lindeberg. Now in its fourth season, the SS11 edition explores the passion to master a craft, be it creating an exquisitely cut suit, building the ultimate surfboard or focusing to become the number one athlete.

The talented group of photographers, artists, writers, illustrators and stylists that joined Art Director  Jörgen Ringstrand for this season include Olivier Zahhm, Andreas Sjödin, Julia and Hannes Hetta, Skye Parrot, Carl-Johan Paulin and Andreas Carlsbecker to name but a few. On the day of its release and before J. Lindeberg's London showroom opened its doors for a celebratory launch, we caught up with Jörgen Ringstrand to talk about the inception and continued evolution of this inspiring read...

SS: What were your inspirations, your dreams and the driving catalyst behind launching The Documentary and A Dream?

Jörgen Ringstrand: I work with J.Lindeberg and also run my creative agency R67Kreative, it was a fantastic moment when together with the Global Brand Director at J.Lindeberg, Stefan Engström ,we decided to start the process of creating the Biannual Book. When we started we did not know where we were heading, both Stefan and I like to work very fast and are passionate about what we do. There were no customers surveys or meetings with marketing departments, we both love books that are made with passion, love, great printing, great binding and great contributors. We just wanted to do something that reflects our minds and the world of J.Lindeberg.

SS: For me, it is a publication which weaves together people, imagery, history, newness and takes great pleasure in information exchange and learning. What does The Documentary and A Dream mean to J Lindeberg and to you personally?

Jörgen Ringstrand: For me it’s a fantastic way of together, with Stefan Engström at J.Lindeberg, to create a book with people and thoughts that inspire us. Both of us love books and with the Biannual Book we also produce it with highest quality and craftsmanship. All the bookbinding is made by hand, it’s a privilege in this time to do a book like this, especially with people focusing online or digitally. For J.Lindeberg it is a way of doing something that shows the world around the brand. The book is not made with any business or commercial goals in mind but made from a strong interest of creating a long lasting high quality product, much like the J.Lindeberg clothes.

SS: Each issue is concentrated around one key idea – a timeless theme that in various ways touches all those working in the creative fields regardless of age, cultural background or social status. This latest issue explores the world of craftsmanship and you shine the spotlight on varied individuals from an aged surfer to a jazz musician, a Russian poet to a tailor. What does the word craftsmanship mean to you?

Jörgen Ringstrand: It is someone who lives through their work.

SS: Could you talk us through a few of your favourite features within the issue and the stories behind them?

Jörgen Ringstrand: All are my favourite, I have put a lot of effort into them all for them to become true.

SS: Is there anything that you are particularly pleased with or excited to show?

Jörgen Ringstrand: I think it’s nice to have Olivier on board and he will also contribute on the next with a great feature we are working on right now.

SS: The contributors list is an impressive one, Olivier Zahm, Andreas Sjödin, Julia Hetta to name but a few. How do you source people to become involved in the project? What is the dynamic of the working relationship with them?

Jörgen Ringstrand:Most of the people I have followed for sometime time and seen their work and way of visualizing things. I contact then with some ideas and then we together we work out the final story. Most of the work we do is over emails which I love. I love to have that exchange of ideas and thoughts before we meet in person.

SS: In terms of contributors, is there anyone in particular that you'd like to work with the future?

Jörgen Ringstrand: I don’t really plan like that, I haven’t got anyone in mind that I am trying to catch. It is something that happens more organically

SS: Finally, how would you like to see The Documentary and a dream evolve over the coming seasons?

Jörgen Ringstrand: I would like it to be a book which reflects the mood and minds of the people involved. A book that gives creative freedom to the contributors in a large sized format, made with passion and love, to be able show their work in a great context.

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Now that the hangover sets in and memories of toasting the book thump around my brain, I'm fully aware that the book has now been released. This fourth edition is now available to view at J. Lindeberg stores and online. The narrative it weaves is one that expands way beyond the realms of the standard look book and runway views we are all accustomed to seeing. Throughout the book you are treated to inspiring art works, collages, interviews and an array of wonderful imagery. However, before you go and thumb through it I'd like to share a few of my favourite pages with you.  

All book images courtesy of J. Lindeberg.