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Burberry Autumn Winter 2019 advertising campaign


Burberry Autumn Winter 2019 advertising campaign


 

 

Burberry Fall/Winter 2019 Campaign
* Danko Steiner & Nick Knight


august 019

At the core of what we are doing at Burberry is a passion for the house to become an identity and a lifestyle – one that transcends barriers and is inclusive to all. This campaign explores the many facets of British culture and how they coexist. Together, Danko and Nick celebrate the importance of self-expression and identity through their own distinct lenses.

Riccardo Tisci, Burberry Chief Creative Officer

Burberry Fall Winter 2019 Campaign, seen by Darko Steiner / Courtesy of Burberry

Burberry Fall Winter 2019 Campaign, seen by Darko Steiner / Courtesy of Burberry

*The cast includes Gigi Hadid, Irina Shayk, Fran Summers, Sora Choi, He Cong and Alexis Chaparro, alongside Freja Beha Erichsen, Finn Rosseel, Shayna McNeill, Anna Ross, Kacie Hall, Heejung Park, Mammina Aker, Xie Yunpeng, Junior Vasquez, Benji Arvay and Maxwell Annoh who all make their Burberry ad campaign debuts.

Burberry unveils its Autumn Winter 2019 campaign, reuniting photographers Danko Steiner and Nick Knight to explore and represent the breadth of who Burberry appeals to.

For Autumn Winter 2019, silhouettes are refined through a contemporary lens. Trench and car coats are transformed with shearling and Scottish-woven cashmere scarf details, and English-fit suits worn with double-collar shirts.

Classic styles are disrupted with injections of youth: tailored blazers with track tops and quilts; double-waist track pants; reconstructed rugby, polo and football-shirt dresses. British maritime traditions inspire striped wool duffle coats, pea coats, silk shirts with shell buttons, and pleated skirts.

Burberry codes are explored through a palette of beige, new iterations of the Thomas Burberry Monogram and bold interpretations of the Icon stripe. Fabrics include cotton gabardine, silk crepe de chine, wool jacquards, tailored neoprene, faux fur and fluid jersey – elevated with hand-appliquéd crystal and bottle cap details.

Two new signature bags – Lola & Title – feature alongside key shapes from Riccardo’s debut collection. The Society is also updated in extra-large and portrait styles for men.


Burberry’s Autumn Winter 2019 collection, Tempest, celebrates the contrasts and contradictions in British culture and weather, from the structured to the rebellious, evolving the cues and codes first set out in Riccardo’s debut collection for Burberry last year.

https://www.burberry.com


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Dutcher Designer Duo Viktor & Rolf Interview


Dutcher Designer Duo Viktor & Rolf Interview


 

 

.artist talk: Viktor & Rolf
* between art + fashion


august 019
written Monica De Vidi

Is your work fashion or art?”, this is a question that Dutch designers Viktor Horsting and Roelf Snoeren had to answer quite often during the twenty-five years of their fashion house, a period during which they created clothes characterized by an impressive sculptural appearance; clothes that they presented with runway shows similar to art performances, causing critics and the wider public to discuss the definition of fashion.

Viktor and Rolf seen by Frits Schroeder

Viktor and Rolf
seen by Frits Schroeder


Despite the international attention, indeed reinforced by viral initiatives such as the Fashion Statements collection, the duo is still based in an atelier in a seventeenth century house in Amsterdam, that represents the place from where Viktor and Rolf brought a breath of creativity and newness to the Netherlands, a country that is not known for avant-garde in fashion, but that was more famous for its traditional wooden clogs and lace costumes. As a tribute and a recognition about how fundamental the duo is the national cultural heritage, as well as worldwide, a retrospective exhibition has been hosted at the Kunsthal in Rotterdam, from May, the 27th to September, the 30th 2018.

In January 2019, Viktor and Rolf took part in the Paris Couture Week, where they unveiled seventeen looks belonging to the Fashion Statements collection, a collection that confirmed their genuine freedom within a fierce business, their desire to express ideas taken from the daily life, from the Internet and the social media, translated to haute couture’s language: “Sorry I'm late”, “I didn't want to come”, “Go to hell”, or “Give a damn”. Yet, “Freedom” and “I want a better world” are also part of slogan canon, and appeal to the global audience. That audience was enabled to take part in the couture show thanks to a simple Instagram account, where people could virtually share the feelings triggered by the voluminous, enormous and colorful gowns constructed with tulle and embellished with the designers’ sophisticated and precious details.

On the occasion
of this event, we
had the chance to
interview Viktor & Rolf
and to discuss the
balance between
creativity and
commercial interests. 

Viktor&Rolf NO readytowear

Viktor&Rolf
NO
readytowear


When did you start to define yourself as “fashion artists”? Are critics the ones insisting on finding a definition for your creativity or do you feel the necessity to express your identity with “traditional” categories?

We have always had close ties with the museum world: we started in the art world before focusing on fashion, but we have never identified as artists, we prefer “fashion artists”, because it addresses a question that is often asked: is your work fashion or art?



From the start, you’ve been featured in spaces dedicated to art, such as museums and galleries. What kind of public do you want to reach through these gestures? How do you want people to see your work and why is it important to stem the exclusivity of fashion shows?

The art world embraced us before the fashion world did. That was not our choice, it just so happened. We felt quite at home there and we had many shows in the art context before focusing on fashion. We still like to do both because they both offer unique possibilities. A fashion show is for a small group of people and it happens at one specific moment in time, never to be repeated. A good catwalk show can have an energy that is unlike anything else. A museum or gallery show is more democratic: it can reach a wider audience than the catwalk, and an exhibition offers different circumstances to focus on different aspects of the work.



You both come from an education in fashion, but at the same time you constantly look at the art world for inspiration. What drives you? How important is the commercial side of your activity?

We express ourselves through fashion. This is what drives us: to create. Our ambition has always been artistic, and we still see commerciality as a byproduct thereof. Flowerbomb, our first perfume was created with the same approach as our most extreme couture. It’s a difficult balance to strike, between commerciality and artistry. Sometimes it works, often it doesn’t.



You have demonstrated that you are able to cross boundaries between different media and techniques, what’s the role of experimentation in your activities?

We like to experiment. For us, couture is our laboratory for creative experimentation. The aim is to try to express something new.


Based on a former exhibition in Melbourne at the National Gallery of Victoria, curated by Thierry- Maxime Loriot, the exhibition “Viktor & Rolf: Fashion Artists 25 Years” digs into duo ́s traditional themes. The show features one or more pieces from old and new collections, stage costumes for ballet and theatre and artisanal porcelain dolls wearing down-sized versions of the dresses of each collection, produced with the papier-mâché technique since 2006 by a Belgian manufacturer. Everything is showcased alongside a wallpaper, a unifying element made for this event and digitally realized from hundreds of original sketches by the designers.

On display there’s one of the symbols of Viktor and Rolf ́s constant connection with the artistic universe, an extract from Wearable Art (AW 2015/2016). When originally presented, the designers themselves appeared on stage to remove the “clothes/paintings” from the walls and to put them on the models, and then back from the models to the walls. There’s also the installation Russian Doll (AW 1999), a catwalk with moving mannequins, each of them wearing one of the “arquitectural” layers of the composition made with various fabrics and with different techniques, which remind us that wearability is not the main concern for Viktor and Rolf, because clothes and fabrics are only objects in their conceptual process. The same theme was investigated in Red Carpet collection (AS 2014/2015), literally realized with carpet fabrics, or in Bombon collection (SS 2014), where garments were pushed to create a surreal effect, a second skin, suggesting even the idea of wearable nudity. The research of the duo on materials, their limits and possibilities is well represented in the retrospective, for instance with the mono-material of Surreal (SS 2018), where satin is the only protagonist, or with the unique piece of Shirt Symphony (SS 2011), or furthermore with the studies about the effects of lights and colors on textiles inWhite (AW 2001/2002). But the pair’s range of materials goes beyond textiles. They bravely use different media as in Van Gogh Girls (SS 2015) that combines abstract volumes with organic elements, including three-dimensional flowers. Emblematic in the exhibition is a sample from the NO collection (AW 1996/1997), a self-portrait of a moment of rebellion of the designers against fashion ́s fast pace and its consumption logic, a protest represented also by the picture of the model walking around Paris from the On Strikecollection (AW 1996/1997).

Viktor&Rolf NO Performance of Sculpture

Viktor&Rolf
NO
Performance of Sculpture


Divided in chapters and developed in a coherent path, the exhibition reflects the evolution of your work and proofs that you feel free to belong to both, the disciplines of art and fashion. Would you define this connection as the secret of your success? Have you ever thought about addressing yourself to one of them only?

There is no real secret to our success. We believe that staying true to ourselves is the key to our success. We try not to feel inhibited by categorization or external factors when we create. We try to feel free.



Looking at the exhibition, the temporal dimension seems key to understanding your art. Your art is made last. Would you donate, in the future, your creations to museums, where memories are preserved? Where do you see your own work in the next twenty-five years?

That is an accurate observation. The dolls as well as the tapestries are an example of our fascination with time and our desire to somehow cherish and safeguard that what is fleeting. Our work is present in numerous museum collections worldwide, such as the Met, the Kyoto Costume Institute and the Palais Galliera in Paris.




http://www.viktor-rolf.com



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VERY RALPH, Documentary Portrait of Fashion Icon Ralph Lauren


VERY RALPH, Documentary Portrait of Fashion Icon Ralph Lauren


 

 

Ralph Lauren
* Documentary: Very Ralph


july 019

With an uncanny ability to turn his dreams into reality, Ralph Lauren has built one of the most successful brands in fashion history out of his aspirations, becoming a living embodiment of American optimism and the American Dream.

Featured in the photo: Ralph Lauren, 1978, Photo credit: Les Goldberg / Courtesy of Ralph Lauren

Featured in the photo: Ralph Lauren, 1978, Photo credit: Les Goldberg / Courtesy of Ralph Lauren

*VERY RALPH is directed and produced by award-winning documentarian Susan Lacy and will be the first documentary portrait of fashion icon Ralph Lauren that debuts on November 12, 2019 on HBO. The feature-length film reveals the man behind the icon and the creation of one of the most successful brands in fashion history.

For more than 50 years, he has celebrated the iconography of America and defined American style, translating his vision andinspiration into one of the world’s most widely recognized brands. In *VERY RALPH, as he enters his sixth decade in business, Lauren reflects on his journey from a boy from the Bronx who didn’t know what a fashion designer was, to becoming the emblem of American style all around the world.

Offering unprecedented access to his life and work, Ralph Lauren speaks candidly in extensive interviews about his childhood, his five-decade-long marriage, the early days of his company, his response to criticism, his inventive multi-page ad campaigns and his pioneering vision which includes a remarkable series of firsts: Lauren was the first designer to create and market a complete lifestyle brand and expand into home furnishings, one of the first to champion diversity on the runway and in advertising and the first to create immersive retail environments that transformed the shopping experience.



http://www.homeboxoffice.com





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COS New Fall Winter 2019 Campaign


COS New Fall Winter 2019 Campaign


 

 

COS aw_019
* seen by Mark Borthwick


july 019

COS is pleased to present its autumn/winter 019 campaign by iconic photographer Mr. Mark Borthwick. The shoot exhibits a collection with contrasting forms and sensual richness, featured on models Khadim Sock, Lina Zhang and Giedre Dukauskaite. 

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“COS launches
new campaign
seen by Mark
Borthwick in
the English
Countryside…”


An exploration of scale combining a brutalist approach based on the strong, angular lines and a tranquil mood of escaping to nature is reflected in the contrasting backdrop of pristine English countryside and raw, architectural structures.

COS Autumn Winter 2019 campaign film


Drawing the manmade and the natural worlds together, traditional yet reworked pieces form a distinct theme this season. Firm structure and soft fluidity intertwine to form exaggerated proportions, while natural and innovative materials create architectural shapes. 


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Iris Van Herpen Paris Haute Couture Week 2019 titled Hypnosis


Iris Van Herpen Paris Haute Couture Week 2019 titled Hypnosis


 

 

IRIS VAN HERPEN
* hypnosis


july 019

For this collection, the designer fnds inspiration in the hypnotic manifolds within our ecologies through the work of American artist Anthony Howe. The three-dimensional cyclical harmony of Howe’s kinetic sculptures is the wind beneath the wings of this collection. Howe's spherical ‘Omniverse’ sculpture explores our relationship with nature and intertwines with infnite expansion and contraction, expressing a universal life cycle. The meditative movement of the ‘Omniverse’ serves as a portal for the collection and the models, encircling a state of hypnosis.

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“The 'Hypnosis'
collection is a
hypnotic visualisation
of nature’s tapestry,
the symbiotic cycles
of our biosphere
that interweave
the air, land, and
oceans. It also
refects the ongoing
dissection of the
rhythms of life and
resonates with the
fragility within
these interwoven
worlds.”

Iris van Herpen


The collaboration with Howe evolves ‘in an ecstasy of attentiveness’ through the symbiosis of all the elements of nature that are dependent on each other. As one of the key pieces of the collection, the fnale ‘Infnity’ dress comes alive on the breath of a fnely balanced mechanism. An engineered skeleton of aluminium, stainless steel and bearings is embroidered with a delicate layering of feathers in cyclical fight; revolving around their own centre. ‘Hypnosis’ refects the beauty and complexity of our environment, exploring the patterns and structures within its fragile landscape.

On July 1st, 2019, Iris van Herpen presented her latest Couture collection, titled 'Hypnosis', at Élysée Montmartre in Paris. The collection is inspired by the hypnotic manifolds within our ecologies through the work of American artist Anthony Howe. The three-dimensional cyclical harmony of Howe's kinetic sculptures is the wind beneath the wings of this collection.


The 'Hypnosis' collection consists of 19 silhouettes that fow deceptively in transparencies. Multilayered around the body, they revive the ancient silk moiré weaving technique that links to the illusory nature of human perception. The ‘Epicycle' looks are constructed by multi-layering luminous organza spheres, which challenge the relationship between surface and substance through illusory patterns that wrap into each other infnitely.

The ‘Suminagashi’ garments which refect the venerable art of Japanese foating ink on water, are lasercut into liquid lines of dyed silk, heat bonded onto transparent tulle to seemingly and seamlessly fow over the skin. The ‘Dichotomy’ looks are laser- printed, heat-bonded and lasercut into contra-positive waves. Each dissected curve is then pressed onto hundreds of ripple-like panels that ebb and fow in an exquisite swell of meticulously hand stitched silk organza. The ‘Hypnosis’ technique, developed in collaboration with Professor Phillip Beesley involves ten of thousands of plottercut mini ripples that continuously dissect the dress through each movement of the body, revealing skin in between the whimsical spheroid patterns. The printed duchesse-satin is plottercut into thousands of 0.8 mm exquisite waves that each are interlinked, designed to move faster than the eye can follow.

credit_ Courtesy of Iris Van Herpen

https://www.irisvanherpen.com




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DROMe Advertisement Campaign Fall Winter 2019-2020 shot in New York City


DROMe Advertisement Campaign Fall Winter 2019-2020 shot in New York City


 

 

DROMe
* seen by Daniele Neu


july 019

The new DROMe advertisement campaign stars Querelle Jensen in images seen by photographer and director Daniele Neu. Neu teamed up with creative director Marianna Rosati, art director Jamie Reid and stylist Emma Wyman to capture the fall/winter 019/020 collection in New York City.

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“The campaign
was shot using
film to emphasise
the texture of the
images, …”


Aesthetically, the photographs remind us of the previous campaign images that maintain the same unfiltered approach but with a different feel and scenery. This time a woman is at the centre of an empty scene, where light and shadow interact with her in an intimate atmosphere, marking the plasticity of her movements. A minimal and esential scenery, where colours emerge brightly from some photographs, while black + white redraw shapes and volumes in others. Its simply a document of moment and simplicity.



Well-known model and queen of beauty and femininity, Querele Jensen is the face of the campaign and represents a confident woman with strong features that perfectly embodies the world of DROMe.


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WANDLER Pre-Fall 2019: Wandler shows a distinctive aesthetic.


WANDLER Pre-Fall 2019: Wandler shows a distinctive aesthetic.


 

 

WANDLER
* p/f 019


july 019

Clear in function and shape, Wandler shows a distinctive aesthetic: elegant with unexpected dimensions and a dynamic use of colors.

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The bags are
handcrafted
in Italy
and named
after loved
ones
who are an
inspiration
for the
designer.


Embodying modern femininity, each bag is a reflection of the designer – as she is and who she aspires to be. Wandler is committed to sincere quality, each design is handmade in Italy.

In 2017 Elza Wandler launched her namesake brand Wandler. Born and raised in the south of the Netherlands, the designer currently works and lives in Amsterdam.

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A palette of warm materials and tones is crafted that maximises the impact of leather textures, designed with an intentional interplay of soft and textured elements. For the first time, the designer includes grain, pony and tie dye leather and chooses denim to create an interesting harmony between materials. Colors like Syrup, Mahogany,

Eggshell and Thundercloud serve to enhance the underlying vintage-modern edge to the designs. This season’s new mini styles, the Yara Box and Luna Mini, and Zebra skin express the fun charm of the brand.

The collection is carried by a selection of high end retailers, including Net-a-Porter, Barneys, Matches, Isetan, Browns, Dover Street Market, Hypebae, Mytheresa, Antonia, Luisa Via Roma, Galleries Lafayette, 10 Corso Como, Moda Operandi, Boutique 1, Totokaelo, The Webster, Forty Five Ten, Holt Renfrew, Lane Crawford, Beymen, The Modist and Le Mill.



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Griffin x Woolrich Autumn Winter 2019 Collection


Griffin x Woolrich Autumn Winter 2019 Collection


 

 

GRIFFIN x WOOLRICH
* sophisticated sustainability


july 019

For almost 25 years Woolrich´s design hub *Griffin Studio* has designed garments and collaborated with some of the foremost outerwear brands worldwide, mixing fashion and sportswear at the cutting edge of innovation with a refusal to compromise on attention to detail.

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“Think about each
new piece that you
add to your wardrobe;
its care, laundry,
lifespan - in other
words its impact and
yours on the
environment”.


Marie O´Mahony, Professor at Royal College of Art, London (UK)


Griffin Studio is Woolrich´s internationally renowned design hub. Based at the highly accoladed Loveland Farm eco retreat in Hartland, North Devon. Hartland is England´s most geographically remote location, famous for its stunning coastline and challenging, diverse landscape.


Woolrich is known for its high-quality wooden goods which pass the test of time with flying colors-both physically and aesthetically. Textile innovation is one of Woolrich´s core values, in terms of both fabric selection and manufacturing methods. Whether it´s prioritising stitches over bonding to ensure repairability, or utilising recycled fabric for packaging.

For the new fall/winter 019 collection, Griffin x Woolrich uses high quality, sustainable and 100% recycled polyester filament which is made by recycling the plastic collected at the bottom of the sea. The fabrics are highly breathable and waterproof.




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Lacoste x Golf Le Fleur Collaboration


Lacoste x Golf Le Fleur Collaboration


 

 

Lacoste x Golf Le Fleur
* Tyler, The Creator


july 019

Following a teaser in a recent video from California-based musician Tyler, The Creator, we now have the chance to see the first collaboration between Lacoste and Tyler, The Creator´s clothing brand GOLF le FLEUR.

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Don’t say dusty
pink, say “litchi”.
Beige becomes
a mineral
geode”. Forget
about off-white;
here we are talking
mascarpone”.


Lacoste


The collection injects some of the US artist´s iconic style into 80s courtside flair. 

The tennis-inspired collection includes tracksuits, shorts, bucket hats, Lacoste´s signature polo shirts and embodies comfortable and uni-sex cuts and styles in contrasted colours. The colours themselves were renamed to express singularities produced by surprising multi-shades or complementary side tints. The nerdy polo shirts are executed in solid mascarpone with accents of litchi. Somewhere in-between the classy, laid-back tennis lifestyle and street- evel subcultures, Lacoste × GOLF le FLEUR redefines conventional notions of elegance and casual style. 



This fresh, sport-oriented collection will drop on 17 July 2019 in Lacoste’s physical and online stores, as well as concept stores around the world. 

https://www.lacoste.com/



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SWD Schueller de Waal PARIS DURING COUTURE WEEK 2020


SWD Schueller de Waal PARIS DURING COUTURE WEEK 2020


 

 

SCHUELLER DE WAAL
*Collaborative Cleaning Initiative


july 019

For Paris Haute Couture 2019/2020 the Dutch fashion design duo Schueller de Waal teams up with Pik Pik Environnement to present its first Collaborative Cleaning Initiative named ‘Litter’, supported by the city of Paris.

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On tuesday 2 July, on a public square, right in front of the town-hall of the 15th arrondissement,
a group of 50 models, cool kids and volunteers started to clean the streets in an upbeat cleansing fashion performance. The models picked up trash from the streets, dressed head-to-toe in freshly made garments made from the studio’s leftover fabrics, deadstock and other remains from the fashion industry. The act of cleaning served as an inspiration for both the presentation as well as a design principle. With the performance, the initiators aim to make a powerful statement on the current state of the industry and inspire for change.


CLEANING (IN) HAUTE COUTURE

‘Litter’ elevates ‘the act of cleaning’ by combining different elements into a collective cleaning session. Rather than changing a location to meet the needs of a fashion show, SDW studio created an intervention that has a positive effect on the location. Collaborating with local NGO’s (PikPik Environnement, Green Bird Paris, FNE France Nature Environnement) educating about garbage separation and conscious living as part of city maintenance, and fashion professionals (stylists, fashion journalists etc.) supporting the mission, SDW Studio dressed a diverse group of people in an eclectic range of cleaning uniforms.


THE COLLECTION

Driven by the idea of re-using previous collections and giving them a new context, the collection translates the concept of ‘Litter’ into re-purposing. SCHUELLER DE WAAL re-purposes their body of work into a range of one-size-fits-all and multifunctional cleaning uniforms through various re-purposing design principles.

The foundation of the collection is the repetition of a singular silhouette, a workwear inspired overall. The symbolic meaning of ‘rolling up your sleeves’ to work defines the look and feel of the collection. Through belting systems the uniforms can be worn in various ways, creating different looks or silhouettes within a singular style.



MORE ARCHIEVE fashion


MORE ARCHIEVE fashion