Middlesex BA Graduate Showcase... Yasmin Bawa

Last Thursday was a gluttonous feast of emerging talent as the class of 2011 stepped in to the spotlight. Before taking my seat at the highly anticipated RCA MA show I was treated to a couple of real menswear gems at the Middlesex BA show. Now, a few people doubted the feasibility of making both shows but fortunately thanks to a speedy taxi driver the seemingly impossible was possible. The reason why I pushed the possibilities was Yasmin Bawa. Regular readers should recall that we first introduced the young talent in December and were instantly dazzled by her pre collection. Since then, Bawa has completed her graduate BA at Middlesex and the collection was one of the highlights of a packed evening.

Bawa's graduate collection plays with tailoring and looks to Futurism, ISOTYPE, pictograms and camera-less photography to breathe fresh life in to staple pieces. During her research, Bawa focused on Giacomo Balla’s ‘Futurist Manifesto of Men’s Clothing’ and had the line “we must destroy all passeist clothes, and everything about them which is tight-fitting, colourless, funeral and boring” ringing through her ears as she designed. Before we take a look at the collection itself and speak with the graduate about her work, Bawa offers a glimpse inside of her sketchbook...

As fashion consumers and obsessives, we rarely get the opportunity to see anything other than the finished look but as bloggers we are always interested to understand how the designer's initial ideas and sketches become reality. The resulting collection was full of colour, layers and print. Many of the shapes are outlines taken from text in futurist posters and the prints themselves were inspired by different images that came from researching the manifesto.

A few of my catwalk shots.

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Following the show, we sat down with the graduate to learn more about her time at Middlesex, the collection itself and her hopes for the future...

SS: Describe the moment you realized you wanted to be a menswear designer?

Yasmin Bawa: I did a menswear project in my second year, and just suddenly felt so much more inspired than I had before. My design style focuses on simple shapes and a lot of small detailing, and this just really fits in well with menswear. The work can work both ways too, which is why for my final collection I also made a few womenswear pieces that are adaptations of the menswear garments. I think there is a growing market for women buying into menswear brands.

SS: What attracted you to the Middlesex BA course in particular? What was the best thing about your course?

Yasmin Bawa: I was attracted to Middlesex mainly through recommendation. I was told it had amazing tutors and technicians that really encourage you to take your ideas to the next level and then also help you to execute them. This turned out to be more than true and I would really recommend the course. Being a transfer student I certainly noticed a complete difference in the way of working and atmosphere and I’ve really enjoyed my time here.

SS: How would you describe your graduate collection in your own words?

Yasmin Bawa: It’s a mixture of tailored and casual looks that explore the idea of how suits can be made interesting and different. It is also a continuation of my interest in colour, print and texture.

SS: The collection focuses on the ways in which we can best represent reality- looking into Futurism, ISOTYPE, pictograms and camera-less photography.What was your starting point and how did the the collection evolve in to what we see today?

Yasmin Bawa: The starting point was a recent exhibition at the V&A on camera-less photography. It really got my head going as to how I could incorporate this into my collection. This became a really important part of my research as all of the printing was done using these methods. I soaked my fabrics in light sensitive emulsion and then after it was dry, exposed the prints into the fabric using a UV light. This was a really interesting way of printing and the results were amazing as they didn’t always come out perfect, but it gives the prints another dimension than compared to when I had previously just screen printed fabric. The other main research was futurism, but focusing on Giacomo Balla’s ‘Futurist Manifesto of Men’s Clothing’, he states in it “we must destroy all passeist clothes, and everything about them which is tight-fitting, colourless, funeral and boring.” As well as writing the manifesto he also designed and wore these great printed waistcoats and asymmetric suits. I really loved this idea so this became the design inspiration for the clothes; a play on the suit but with added layers, colour, prints and cut-out shapes. The print was inspired by different images that came from researching the manifesto and a lot of the shapes are actually outlines taken from text in futurist posters.

SS: What type of man can you see wearing your designs?

Yasmin Bawa: Hmm, I guess it would be someone who likes colour and print! There is quite a lot of different things going on with the collection, there is a lot of bold pieces but you can still create a more subtle look, so I would hope it appeals to a lot of different men.

SS: I know this is difficult question to answer but have you got a favourite, anything that you were most proud of?

Yasmin Bawa: I think that I’m most proud of the tailoring pieces; a lot of time went into getting them to be just how I wanted. The knitwear pieces are also my favourites as I think they bring a whole other dynamic to the collection. But it is like choosing between siblings.

SS: To help bring the collection to life you've created a film. Could you talk us through this, the inspiration behind it, the filming experience and the results?

Yasmin Bawa: For the film I wanted to show the interaction between the menswear and the womenswear. I found that many films that did this portrayed it in a really sexy way, and I didn’t want to do that and also didn’t think it really would fit with the look of the collction; so we took it the other way and made it more dreamlike and almost surreal.

We also thought it would be nice to do something a little different from the usual fashion film, and incorporate a subtle story into the film. This worked really well and although it has a feel of a short film, its also all about the clothes and focuses on the detailing in the garments that you just don’t see on the catwalk. The filming experience was amazing and I am incredibly lucky to have the team that I had. I owe a massive thank you to everyone who worked on it as they really brought the collection to life. I’m really excited to see what people think of it.

SS: Over the past two years you have worked with Tim Soar, Richard Nicoll, and Daviddavid. How did these experiences affect you as a designer?

Yasmin Bawa: These experiences have been invaluable to me as a designer. It really helps you to get an insight into the industry and also just teaches you a lot of skills that were essential when it came time for me to execute my own ideas. Sometimes I think I learned more from internships than I did at University. I have taken a lot of what I learned and incorporated it into my collection. Working with David nurtured my love for print and also taught me a lot about using colour. Tim has been amazing for teaching me about the structure of a menswear collection and I met with him during the development stages of my collection, which was really helpful. Having people like this supporting you just helps you to have a bit more confidence.

SS: What advice would you give a prospective menswear fashion student?

Yasmin Bawa: Advice is a hard one because I guess I’m only starting out too, but I would say to get as much experience as possible especially while your still studying.

SS: Finally, what would you like to achieve in the latter half of 2011 and beyond?

Yasmin Bawa: I think the most important thing for me is to just keep busy. The last few months have been crazy and I don’t want everything to just suddenly stop. I’d love to make another collection, possibly something I could start selling. I’m very open to what will happen now and I want to just take opportunities as they come.

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As mentioned above, upon the completion of her graduate collection, Bawa decided to bring the collection to life with a short film by Liam Simpson. The playful narrative and interaction between the menswear and womenswear really sets it apart from the majority of fashion films.

Film stills by David Barr. Now for the film itself...

Yasmin Bawa Fashion Film 2011 from Liam Simpson on Vimeo.

Movie Makers in the East End

Earlier this year...

Getting to know The Only Son

During the recent succession of press days and presentations there was one label in particular that captured my slightly weary imagination. Now, I tend to know exactly what I'm going to see within each showroom but The Only Son was a welcome surprise.  After rail upon rail of AW11 wares scattered across the capital, I found myself most excited by this new find. The Only Son's well blended cocktail of late nineties minimalism, utilitarian sportswear and androgynous dressing was both inviting and pleasingly intoxicating. Drunk on design I was eager to learn more about the label.

The Only Son is the brainchild of Au Ekbutr Udomphol, a Bangkok native who honed his talent at Ksubi, Sass & Bide and Christ before returning to Thailand to launch his eponymous line for AW10 ('The Only Son' is the English translation of his Thai name, Ekbutr). It is the Sydney Institute of Technology graduate's exercise in truly unisex apparel. He designs for strong women and open minded men. The tone of the label, which also includes a jewellery line and a range functional and robust bags and statement shoes, fits in with today's new sobriety perfectly.

For AW11, in a collection entitled 'The Visible Writer', Au Ekbutr Udomphol takes inspiration from the lives and works of literary greats. During my visit to the A.I showroom, I was soon seduced by the combination of soft layered fabrics and clean, crisp geometric cuts...

Look book image courtesy of The Only Son.

Having seen my enthusiasm for the the label and knowing our love of a studio visit, the lovely Adam Iezzi offered to be our roving reporter on his next visit to Thailand.  We do love a studio and what better way to further acquaint ourselves with our latest designer find than to have a nose around their working environment? What follows is his visual diary of the trip which includes a sneak peek in to what The Only Son have in store for SS12...

All images thanks to Adam Iezzi.

Details: PDG

To help celebrate the weekend we couldn't resist posting this close up of Timo Weiland's polka dot tassel loafers by Vivienne Westwood. Polka Dot Gang for life.

One Nine Zero Six by Gymphlex for AW11

We played little part in the AW11 tradeshow action ourselves but as we watched the fun and games from the safety of the sidelines, there was one brand in particular the caught attention. In the months that have followed One Nine Zero Six have received a fair bit of attention across the blogosphere and rightly so. Despite all of the positive murmurings and excited narrative we decided to hold off adding out own opinion until we had a chance to inspect the collection in person. Last week we were afforded that opportunity and soon fell for its super normal (this phrase coined by industrial designer Jasper Morrison) charms. At times there is something exceptional in the familiarity. One Nine Zero Six showcases the extraordinary ordinary. 

Simply put, One Nine Zero Six offers contemporary, casual menswear made with the finest English cloth by traditional English manufacturers. The label is the sartorial fruits of a welcome return to British manufacturing and design by Gymphlex. Founded in 1906, Gymphlex have developed sportswear, workwear and high performance fabrics for over one hundred years. The company have have manufactured for some of the most renowned English brands including Burberry and Barbour and dressed British sporting champions, the oldest English schools and the British military. Here, they've teamed up with designer Jeff Griffin to create a contemporary wardrobe of covetable staples that incorporates design details, finishes and heritage materials all inspired by the Gymphlex vast archive. Despite its rich heritage, with the focus on creating a clean, soft tailored aesthetic this is a label that looks forward rather than back. Eager to learn more about the label we sat down with its Creative Director, Dean Webster. Below we discuss the dynamic of One Nine Zero Six, learn about the craftsmanship that powers and inspires it and look to the future of British manufacturing...

SS: How did it One Nine Zero Six come to be? What were your inspirations, your dreams and the driving catalyst behind the label?

Dean Webster: The idea to produce a Gymphlex product that was once again proudly Made In England, was something that the current MD and owner of the company, James Greenlees (4th generation Gymphlex) deeply desired to make happen. Through ongoing discussions and with the interest shown in the initial concept also by the Gymphlex Japan licensee, BOYS Co, it was decided that we would attempt to realize this ambition, although timing and content would be crucial.

Initial discussions took place in early 2007. What would turn out to be the brand name and the right designer were both identified but movement forward on the project stalled until late 2009. Once our research had been fully completed, the strategy and personnel we would require were implemented swiftly and a launch date in Paris for AW11 arrived upon.

The decision to work at the premium market level and to reinvent the brand as a contemporary menswear collection was initially thought ambitious. However, given the brand’s reputation for high quality ‘evergreens’ and the significant turnover achieved in Japan with the license collection over the previous fifteen years, it appeared a logical direction for us to take, albeit at a very competitive level.

SS: The label brings together Gymplex, specialist British manufacturers and the design talent of Griffin Studio's very own Jeff Griffin. Could you tell us a little bit about the dynamic of One Nine Zero Six?

Dean Webster: I believe that the dynamic comes from the established, traditional family values of Gymphlex, contrasted with the idiosyncratic and progressive design vision of Jeff Griffin (Griffin Studio). The two companies had worked previously together on various Griffin x Gymphlex product collaborations, utilizing both the company’s manufacturing and archive resources as foundation/ inspiration for the various projects. This led both parties into further discussions that would later manifest into ONE NINE ZERO SIX by GYMPHLEX.

SS: From local artisan jersey knitters to Savile Row shirt makers, you've sourced the very best of British manufacturing and craftsmanship. Could you tell us a little bit more about working with these artisans. Also, what excites you about the future of British manufacturing?

Dean Webster: From the onset, our intentions have been to locate and work with high quality British manufacturers that specialize in their respective product categories, most have come from either reputation or referrals from respected, well informed sources working within the industry.

Research is ongoing but I feel that we’ve made a significant start, which I believe, is reflected in the overall quality of our product. However, I’m uncertain about the future of British manufacturing, although what does drive me about manufacturing in this country has always been the notion that we are making attempts to support our own economy and our skilled workers, which directly affects all of us.

Provenance of product is increasingly important in our socially and ethically aware times and is going to become ever more so. What better way to support your own economy than by buying what you produce as opposed to importing it. This is something so obvious, yet so essential in my opinion.

SS: For me, despite the label's undeniable heritage the debut collection marks something of a shift and a welcome step forward in British manufacturing. It certainly feels much more contemporary. How conscious of this were you?

Dean Webster: Very. In terms of the brand having a one hundred and five year history and with the ‘heritage’ tag being a much-maligned one these days, it initially came with a certain amount of unnecessary baggage which could have been a potential millstone, hence the reason it was felt that we had to approach the project with a more progressive design viewpoint than would have been expected from a company with such ‘depth’.

The fact the Gymphlex has such an illustrious history is wonderful but something we consciously decided not to purport directly in terms of brand image or product. Although there are many references to be found in the current collection that reflect our past, the links are emotive rather than literal translations.

The challenge to find a new ways in which to translate the history of a brand, whilst also remaining true to its’ origins, is constantly demanding and one that requires greater thought than to simply produce ‘authentic’ or ‘replica’ product. This would have been too obvious a direction for us to take and would have given us no opportunity to say something new.

For us, ‘heritage’ should say more about attributes, attitude, craft, service standards and reliability, not a perception of how a particular product should look. Buyers and press alike are currently judging us on what they see presented to them in terms of product and not the history behind the brand, which is both positive and refreshing.

SS: How would you describe the debut collection in your own words?

Dean Webster: The Super Normal.

SS: The collection showcases some beautiful fabrics, many of which are exclusive. From raw flannel produced with Fox Brothers to two fold Egyptian long staple cotton pique jersey. Could you tell us a little bit more about this collaborative process?

Dean Webster: We had a shopping list of fabrics in mind from the very beginning that would emotively reflect the company’s rich history and affiliations but in a more contemporary manner, so carefully researched where we would find the most suitable mills and knitters to work with in order to do so.

Jersey product was something that Gymphlex had always been well known for, therefore this was our starting point and the key aspect in defining the overall direction the collection would take in it’s new form.

Over a period of five months from conception to delivery, our entire AW11 jersey collection was painstakingly produced for us by a local Leicestershire knitter, using original looms dating back several decades and with archive jersey yarn constructions in order to create a real authenticity and originality to our fabrics.

We could have chosen to take a much easier and less expensive way to produce the jersey fabric collection, as at first all qualities appear ‘basic’, although upon closer inspection all have been beautifully produced, so worthy of our time and investment.

And where better to find the ideal ‘schoolboy’ Flannel than from Fox Brothers, the true originators of Flannel cloth. Over a few brief discussions with their MD, Mr Douglas Cordeaux, we arrived upon an unfinished fabric, which we now call ‘raw flannel’.

Technically, this is a loomstate cloth, a beautiful fabric that later becomes a true, felted/ brushed flannel a few processes further on than the one we arrived at in order to create a crumpled or ‘washed’ look. The cloth is first woven without any processing and dry-cleaned to stabilize the fabric from any undue shrinkage. Although expensive, I believe this cloth shall become an established and signature fabric in the collection for future seasons to come.

Yes, we do have some great cloths in the AW11 offer and all have been selected upon their respective merits and are suitable for purpose.

SS: Finally, how do you see One Nine Zero Six developing over the coming seasons and beyond?

Den Webster: I think that at One Nine Zero Six, we feel strongly the direction we’ve decided to take in producing well crafted, clean, contemporary menswear is relevant in today’s market and is an exciting concept to further develop as we move forward from this point. We shall strive to continue to develop an honest signature or handwriting for the brand in both product and visual terms whilst doing so. I firmly believe that the future is very bright for companies that truly wish to continue to push themselves forward in the pursuit of pure product and a simplistic, functional design approach.

Our intention is to continue to develop strong working relationships with the best makers we can find in this country, using the finest quality fabrics and trims, combined with a forward thinking design ethos in order to do so. Hopefully the market shall embrace the idea.

We are now in the process of building a team, albeit a small one at this point, of like-minded and dedicated professionals that are forming a particular vision of how Gymphlex might look for the next one  hundred and five years.

All images courtesy of One Nine Zero Six

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GQ liked this one...

Discovering Blueprint... Alani

Due to all of the excitement surrounding my Tokyo trip, I've allowed myself to take my sweet time over blogging my Singapore adventure. No more. After all, I was in that neck of the woods precisely because of Blueprint. To the best of my knowledge, Blueprint uniquely specialises in launching cruise collections and thankfully curates fresh and forward menswear alongside womenswear, jewellery and accessories from emerging designers destined for international markets. Over the course of a few hectic days, I explored this lively Asia based platform dedicated to Singaporean and regional design talent and encountered a few gems in the process. Korean based Alani was certainly one of them.

Korean designer Jae Hwan Kim, a Central Saint Martins graduate, is influenced and inspired by a minimalistic and fuss free design philosophy. For AW11, Hwan Kim looked to the Nouveau réalisme master, Yves Klein to create clean lines with solid blocks of intense colour. Now, the artists name evokes first and foremost the ultramarine blue of his most well known canvasses and of course this deep hue has a strong presence throughout. However, here the designer places the Blue Monochromes in a more complete context, as the first stage in a body of work that uses a foothold in the visible to cross the threshold into the invisible. Blue, the colour of sensibility, is in fact just one of the hues Klein chose for the Monochromes and his other more mature works, being followed by gold, a substance signifying transaction and the passage towards immateriality, and pink, representing flesh, the incarnation of the spiritual. Hwan Kim explores these themes whilst demonstrating exceptional tailoring...

As strong as the AW11 collection was, Alani's exhibition space at Blueprint showcased their Sweatshirt Project. Entitled Yves Sweatshirts, the project unsurprisingly continues the main themes of their AW11 offering. Now, there are moments when our weary bodies need to be soothingly stroked by the finest cotton jersey and here, Hwan Kim offers up a number of detail rich sweatshirts that would provide some much needed comfort.

Look book shots courtesy of Alani. Exhibition shots taken by me.

Having been brainwashed by Susie long ago, I am now a devoted, borderline obsessive, disciple of grey jersey. Of course, there are a myriad of options out there and we each find comfort in our own, ideal version. Once found, the perfect incarnation will no doubt provide years of faithful, soothing service. Alani's project might just serve your grey sweatshirt needs.

Details: Mixing it up

Why You Mad's very own Austin mixes Thom Browne tailoring with Timo Weiland printed shorts to add an element of surprise to his outfit.

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