31/05/2012

Depicting Fragrances

Depicting Fragrances

Design has always been a fundamental element in the process of creating a new perfume. The bottle, which contains the essence, very often becomes its symbol; the image that gets fixed in people’s visual memory and turns itself into a key factor for establishing and furthering its identity.

With Acqua di Giò in 1996, Giorgio Armani contributed to change the fashion approach of contemporary men, who are more and more focused on the details of their personal and casual style. After sixteen years, the renowned brand presents a new fragrance: Acqua di Giò Essenza, a more intense and sensual version of the original scent, which owes its appearance to Alberto Morillas’ nose, and embodies the spirit and the characteristics of the 21st century man.

The Italian newspaper Corriere della Sera through Giancarla Ghisi’s words – accompanied by Karin Kellner‘s pencil – retraced the main steps of the history of masculine perfume. 2DM’s illustrator, with her delicate and romantic mark along with her peculiar sensitivity, borrows the key elements of master perfumers to depict some of the best-known essences ever. Jasmine flowers, rosemary branches, violets, lemons and bergamots surrounded the bottles of Dior‘s Eau De Savage and Issey Miyake‘s L’Eau d’Issey, both of them dominated by the new scent of Armani.

Once again the expressive power of Karin’s drawings joins the allure of perfume world, giving birth to a marriage with a perfect and total harmony.

From the Bureau – Image Karin Kellner

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30/05/2012

Acqua for Life

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Acqua for Life

Acqua for Life is an initiative by Giorgio Armani in partnership with Green Cross International, aiming to collect clean water to Ghana and Bolivia, the two countries included in the project. This is the second year that Armani is taking actions in this specific cause and with two days left before the ‘expiration date’, the Acqua for Life Facebook page got almost 362 500 likes, which in itself means over 18 million litres of clean drinking water. The minimum quantity of water that will be donated is 40 million litres, the final result of the 2011 Water Race. Through 100 litres of donated water for each bottle of Acqua di Giò or Acqua di Gioia and 50 litres for each like on Facebook, they hope to take the Water Race even further and go above last year’s numbers.

Organisations performing charitable actions which not necessary are linked to the expectations of society could be called corporate philanthropy and should be separated from Corporate Social Responsibility, even though the line between them often is seen as fine, and even more so – hard to define. Whether we are talking about one action or the other, it gives a boost to the social image of a company and adds to what many of today’s highly sensible and conscious customers are looking for. We have seen fashion companies using their power to raise awareness before, and thanks to social media and a generally interested and involved ‘audience’ it is an industry that really can make an impact. Campaigns such as these do not only do what they are set to. Hopefully they create circles on the water, increasing the attentiveness for other issues regarding society, environment and development.

At the moment, Italy is the leading country, leaving both Denmark and USA behind, together with all the other countries taking part in the project. Even though it’s not the single contest but the gathered efforts that will make a difference, today, Milan is a winner, leading the Acqua for Life Water race 2012 to its goal.

Lisa Olsson Hjerpe – Image courtesy of Acqua for Life – Armani

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28/05/2012

Copperwheat -Punk, Prints & Potential

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Copperwheat -Punk, Prints & Potential

There are a lot of facts one could find interesting when talking about the London-born and New York-based Copperwheat cousins, Ben and Lee. Lee has been teaching at Central Saint Martins and Royal College of Art, he is the Copperwheat of the Copperwheat Blundell label, and his freelance list of work includes names such as Marc Jacobs, Stephen Burrows and Coach.

Ben has a Master’s Degree in Printed Textiles and a position as Senior Print Designer at Calvin Klein Jeans on his resume, and his portfolio holds work for Isabella Blow, Gucci, 3.1 Philip Lim and Tommy Hilfiger, among others. What is of more interest is their joint talents and effort put into the eponymous label Copperwheat that they established in 2009, aiming to bring a fresh angle into menswear.

“London To New York”, the debut collection for S/S10, laid down the ‘frames’ for the upcoming seasons of bold colours and prints, and even though there has been a shifting level of vivacity in the subsequent collections, the strong aesthetics and image are continuously coherent. After a, in comparison, rather somber F/W11 collection, Ben and Lee went back to the vibrant and eccentric and presented “Smash It Up!”. The S/S12 collection surpassed their previous work and took the brand’s pulsating prints and colours to a new level of interesting; a slight hint of 80’s punk references and a mash-up of everything you could expect from a brand like Copperwheat.

The last season has been cheerful for the brand and some of the attention is the outcome of the collaboration with Cappellini. Both the S/S12 presentation and the Fashion Night Out event – which ended up on Vogue’s Top Ten list over FNO happenings – were held in the Cappellini SoHo store, emphasizing the brand profile of Copperwheat. Menswear is not changing as rapidly as the women’s fashion, but with a lot of potential on the market, a brand bold enough to keep it interesting both through the actual clothes and also through what happens around the brand, might be able to add something to the evolution.

Lisa Olsson Hjerpe – Image courtesy of Copperwheat

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25/05/2012

Johanna Pihl – The New Rookie In Town

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Johanna Pihl – The New Rookie In Town

Swedish designer Johanna Pihl is one of the 5 hopeful nominees for The Swedish Fashion Council’s Rookie Award 2012.

Since 2005, S.F.C has organized the competition in order to promote young talents in the Swedish fashion industry. “Passion for design, interesting concepts and promising brand value” are what the jury with H&M’s head designer Margareta van den Bosch in the lead are searching for, and winning the competition means heavy exposure, networking support and PR-activities en masse. The coronation will take place during Stockholm Fashion Week the 15th of August.

“Being nominated for The Rookie Awards feels amazing, since it gives you opportunity to meet people in the business. At the moment, I’m in the middle of the process of creating my S/S 13 collection, and when you have a recently established fashion brand it’s so important to get the word out”, Pihl acknowledges.

Stockholm-born Johanna Pihl has studied fashion design at London College of Fashion, worked for avant-gardist Ann-Sofie Back and had an exhibition at The Victoria and Albert museum. Last year, she won the Young Fashion Industry Award which gave her the chance to present her collection during Stockholm Fashion Week. Along with brands such as altewai.saome and Alice Fine, Pihl has been named ‘the future of Swedish fashion’.


“The people in the business have always been very kind and supportive, it makes you feel appreciated. The hardest part, which is also the most intriguing part is that there’s always so much to learn every single day, there’s always a new challenge to face, but the performance pressure forces me to break boundaries, which I think is very important in this business.”

With her current collection, she introduces a contemporary tomboy-woman, with the most prominent piece being a cut-out leather jacket with detailing reminiscent of ancient day’s war breastplates. Behind every garments is a journey into the relationship between the anatomy of the body, and the ambivalent curiousness with body modification through plastic surgery. Sharp silhouettes, manipulated fabrics and high technical finish are three details to summarize Pihl’s design philosophy.

“The Collection is to be worn as a second skin. The garments represent our cast, stretched and distressed over our mechanical form. By using trapunto techniques the garments demonstrate that our anatomy is engineered and calculated like an engine, showing that by altering and reorganizing our appearance through plastic surgery we diminish our human design.”

Petsy von Köhler – Image courtesy of London College of Fashion, Patrick Lindblom, James Finnigan & Timothy Hill

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24/05/2012

Retro – Recycling or Innovation?

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Retro – Recycling or Innovation?

Retro and vintage are not unusual expressions when talking about design, fashion and style. The interest for the 20th century is an obvious reference and affecting point in the current fashion, as well as styles and outfits are copied right off through a mix of vintage clothing and retro trend pieces. While innovation, new thinking and uniqueness normally define fashion, it’s also a part of historic continuity where a constant progress also includes the revival of elements. Discussed from a historical angle, the reinterpretation of styles could be taken all the way back to when the Romans ‘reinvented’ the ancient Greek dress.


Lately the 30’s and the 60’s have been strong influencers in fashion. TV-series like Mad Men and Pan Am create nostalgia and somehow the decades are looked at as a ‘simpler time’, creating a window of escape for the audience. Even though not every woman will wear figure-hugging dresses and the men’s fashion might not become that much more slim, the inspiration is definitely noticeable.

The Röhsska Museet, the only museum dedicated solely for design and craftsmanship in Sweden, is hosting a vintage exhibition to specifically talk about how today’s trends are inspired by the 30’s and 60’s and how the era is affecting us. With a backdrop trailer from the film W.E. (about Wallis Simpson) the exhibition will together with fashion and interior design pieces also show exclusive vintage cars, borrowed to the museum from private collectors.

Even though both vintage clothing and the inspiration from the history are well accepted, the fashion industry is all about novelties. Some see retro trends as “old news by new designers” while others mean that ‘new’ should be seen as more than complete innovation. As a trend, retro is caught up in contemporary debates and becomes more than a static expression. Instead of looking at it as pure recycling, it might be the different ways of using ‘retro’ that become the innovation.

The Cars, Fashion and Design exhibition will be displayed at Röhsska Museum in Gothenburg, Sweden, between 26th of May and 9th of September 2012.

Lisa Olsson Hjerpe – Image courtesy of style.com

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23/05/2012

Dual Colours – A Trend That Sticks

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Dual Colours – A Trend That Sticks

Fashion forecasters say that a trend goes through three stages. Fringe, the phase where it’s novel, inventive and only the top trendy people or companies are taking part in it. When the trend then moves in to the stage of trendy, awareness is built and fashion-forward companies and retailers dare to enter the arena. Then comes the mainstream – the public join, the visibility of the trend increases and after a while in the spotlight, micro trends are born out of it; countertrends, backlashes, twists or reinventions.

The two last mentioned are particularly true with the dual hair colour trend; dip-dying, bi-colouring, bleaching, washed out colours… It has been seen throughout the last seasons in various combinations, with the ombré trend (dark roots with light ends) being one of the larger ones to hit the mainstream. Colours come in cycles, and the repetitions in colour popularity and preferences are the machinery of boredom; the market gets tired, so new colours are introduced. It’s a phenomena that works the same in fashion as for hair colours. Just when you thought this bi-coloured trend was starting to get tired, large fashion houses like Prada and Jean Paul Gaultier brought it back to the catwalk for Fall/Winter 2012, with a twist.

The models walking the runway in Milan and Paris have been compared to virtual dolls being the ‘avatars of fashion’s digital age’. Leyla, a colour technician at Toni&Guy in Stockholm, confirms that the trend is taking a slightly more powerful and futuristic turn during fall.

“Absolutely! If you take a look at the Jean Paul Gaultier and Prada shows, you will see the same colour pallet but with a slightly different approach where Gaultier used colour spray in the roots, creating a quite powerful colour statement”. When asked why she thinks this particular trend keeps on reappearing the response was: “Because it works! The trend for hair colours is still that it shouldn’t look too ‘alone’ and this is a colour style that doesn’t get a re-growth. Also, it keeps on coming back in different modes. Last season it was more pink and yellow and at the moment it’s more red and blue. The techniques vary as well; now we’re using a lot of extensions and colour spray that washes right off”.

The fashion weeks in Milan and Paris showed that the trend is growing stronger and coming back for the fall, but it’s not withdrawing for summer either. The creative team at Toni&Guy writes in their trend report that one of the biggest trendsfor SS 2012 is the stretch roots and dip-dyed colours, taking us back to the 90’s and 70’s, before progressing into the fall trends. Summer earth tones will be replaced by less low-key colours like eccentric orange, cobalt blue and icy whites. When talking about the trend working both ways for men and women, Leyla explained us: “There are not that many men that can carry so many colours, but the ones who can; go all in! We will be playing with full bleach, silver tones”.

Fringe, trendy or mainstream, this style has been reinvented, swivelled around and gone through the evolution of a trend more than once. The runway inspiration allows the interpreter to play whole new vibrant colour game and it will be intriguing to see how far one tendency can take a whole trend.

Lisa Olsson Hjerpe – Image courtesy of style.com

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14/05/2012

The Future of Indian Fashion

Forecasts talking about Asia as the emerging fashion area and a booming luxury market have had the industry eyes pointed east for quite a while, and over the past years India has become a burning topic in the discussion. It has been a discussion that’s now starting to cool off; the progress isn’t as fast as expected, cultural differences are putting spanners in the works and influential names coming back west are saying that the Indian fashion scene isn’t happening, yet. In New Delhi – the city where opposites collide with an immense energy, the avenues are lined with chauffeur-driven cars, and local star design costs as much as Parisian couture – the Blogazine met with Creative Marketing and PR Consultant Anubhav Jain to talk about the future of Indian fashion.


Fashion, beauty and splendour have throughout the history been a crucial part of Indian culture, and for long the high-end products were reserved for a selected few. “The ‘maharajas’ [royalties] started the trend of luxury! We have a history of royals and jewels, that is our roots and it’s foremost where our fashion inspiration comes from,” says Jain. “Though, now the country is a part of the globalized world and we find sources of inspiration also from the Western part, especially in terms of detailing and quality,” he continues.

The main focus for the Indian fashion industry is growth and even though the business has witnessed a steady rise of attention from international stakeholders and fashion voices, the numbers are small when compared to the horde of buyers and brands represented during the major fashion weeks in London, Paris, Milan and New York. “As the Indian customer is becoming more brand conscious, it becomes imperative to further recognize the importance of craftsmanship, its value, and the value of its price to the customers,” Jain comments. He talks about the pricing levels as a big factor affecting the luxury market, where the ‘boom’ of attention for high end companies entering India principally relates to the brand names rather than generating in sales and profits. Taxes and import duties have reduced the saleability of luxury, and even though the ‘local socialite’ can afford the high end products, it’s a question of how these couture garments are worn. Jain means that if the brand doesn’t have a well-known and luxurious image, or if it hasn’t been seen on models, actors, politicians or other socially high ranked personalities, the company will have a much harder time getting through to their target clients in India.

Though, after some years along the line, now the luxury brands are really pushing it hard in India. The industry has been experiencing a great transformation through social media, fashion bloggers and e-commerce. “Yes, e-commerce in retail and on the high end will be the next big thing here,” Anubhav Jain confirms. He talks about fashion communication inspired by the Western ‘model’ as an important point to boost versatility and means that in a country like India, where various cultures and languages have to get along with each other, the fashion industry and its ‘language’ through garments, colours and trends is what binds them all together. Even though the country is becoming more liberal culturally, the ‘crazy fashion outfits’ that you would not only see during fashion weeks but on an everyday street in London, Paris, Milan or New York is not what you would come across even at the most fashionable event in Mumbai or New Delhi. “People are still rather reserved even though the market is opening up for new styles.”

When turning the conversation to a talk about the point where Indian fashion is directed towards the industry around, Jain thinks that it might be these various cultures, traditions and the history that the country holds that fascinates the western world. “They get influenced from our bright colours and textiles. The European preferences are often in the range of black, grey, navy and brown, but we feel there is a big demand of colours in the European market, and we could supply the Indian fashion products.” Even though the increasing number of international buyers who attend the Indian fashion events demonstrates that there are expectations on the country, the number of actual business that is carried out over the boarders are lower than one could hope, when talking about the American and European markets. Buyers are intrigued to take in the collections, and Indian top designers are chasing foreign markets. A big part of the Indian design generates trading with nearby markets such as the Middle East, where the aesthetics and the style preferences are more similar to begin with. Though, young artists come with young minds, and while the markets are slowly moving closer and finding inspiration within each other, many designers are still longing for the shot in the west.

The industry eye might have taken a minor break from the close watch on India, but with e-commerce companies making an effort to enter the market- as well as Indian e-commerce doing the same towards the world and with social media and fashion blogging on the rise- the reasons for going back to India might become additional, sooner than expected.

Lisa Olsson Hjerpe – Image courtesy Lakmé Fashion Week 

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08/05/2012

General Ideas of Utilitarity by Bumsuk Choi

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General Ideas of Utilitarity by Bumsuk Choi

While critics may claim that the only solid idea in menswear is updated classics, South Korean designer Bumsuk Choi has proved that the tailored or casual sportswear-universe isn’t just one-dimensional.

During the past seasons, South Korea has climbed the fashion ladder and proved its capability. In addition to designer German/Korean Siki Im, Bumsuk Choi is making a name for himself in the business with his brand General Idea, as he was the first person of Korean descent to present his collection during New York Fashion Week, and the youngest person ever to participate in Soul Fashion Week. Since the inception of General Idea in 2004, he has collaborated with a small team of experts to translate his visions and ideas into seasonal collections.

If sporty elements have become somewhat synonymous with South Korean aesthetics, the coming fall/winter isn’t an exception. Choi has dug deep into archived images of hockey players specifically during the 1968 Winter Olympic games, whose slick mid-century silhouette has been infused with General Idea’s modern take on utilitarian and athletic menswear. The result is a transformation of sportswear uniforms into everyday prêt-a-porter.

The main concept throughout the whole collection is the outdoor sportsman, and how he with carefully chosen garments can find protection from the elements of nature. Trousers with knee pad details, varsity jackets with toggle buttons and parkas with quilted fabric accents were all parts of the “After-Games”-themed collection which transcended a wide colour scale, from neutral olive green tones, to burgundy, beige, orange and dark blue nuances.

Other than creating wearable athletic gear with nifty detailing, Choi has also gone beyond clothing, to design a Formula 1 Race Car for Mild Seven’s Renault F1 Team in 2006, packaging and uniforms for Heineken, and an Absolut Vodka bottle. For Fall ‘09, he additionally made a capsule collection for Puma Black Station custom made to the Asian market

To resume his approach to General Idea, Choi claims, “There are a lot of different people in the world, depending on religion, culture, nation, ideas, etc. Therefore, a missing button on one person’s shirt can be my general idea since it is my own point of view. That’s why I named my own label ‘General Idea’ to show my unique style.”

Petsy von Köhler – Photo courtesy of General Idea

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07/05/2012

Yiqing Yin – A Young Couturier

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Yiqing Yin – A Young Couturier

“Couture is about service, the salon, the vendeuse, the box, the way the clothes are wrapped and presented to the client.” These are Karl Lagerfelds words about the package of haute couture; made-to-measure garments in the most exquisite fabrics with the finest embroideries, details and workmanship. It’s the fine art of fashion and Paris is the guardian of it. On its own dates and aside from the hysteria during the ready-to-wear fashion weeks, the couture week presents the few designers and fashion houses that execute the criteria’s of The Chambre Syndicale de la Haute Couture. One of the selected designers is Chinese born, French based Yiqing Yin, who debuted her eponymous brand at the Hyères 2010 and was invited to present her first collection during the FW11/12 Haute Couture shows. SS12 followed and the designer presented her second collection of fluid materials, sweeping dresses and a treasured handwork that makes her measure up to be one of the brands helping to preserve Paris’ position as the World Capital of Fashion.


Yiqing Yin’s collection consists of simple colours, aerial garments and mixes what at a first glance may look like effortless dresses with pieces that make you want to go closer to study the meticulous cuts, embroideries and fine points that make the collection a whole. Haute couture often gets attention as the medium where fashion designers can realise themselves as artists. Even though it’s lovely to talk about haute couture as a form for the highest art of fashion, the two words that make the name are legally protected and a strictly controlled label only to be used by the fashion houses who have been granted ‘access’ by the French Ministry of Industry. Just like fine art, couture is a pricey story, and for the designer, a time consuming one. The designers of fashion houses often justify the costs by the promotional attention it brings to the brand. One would like to think that it’s all about the art, but at the end of the day, ‘the business of a business is business’; one of the reasons why the ready-to-wear industry today is the leading one. Though, young designers like Yiqing Yin, who still is all about the experiments and fully focused on the couture, reminds you that it’s the artistic minds and hours of skilled craftsmanship that are the foundation of haute couture. Because of its exploratory nature, it’s directional for fashion and the ‘heavy’ symbolic value of the art is often conveyed through the garments themselves as well as through the lavish shows.

Yiqing Yin is still young in the haute couture industry, but awarded with the Grand Prize of Creation by the City of Paris, and she’s one of the 8 young designers selected by French Vogue to receive the ANDAM “Premières Collections” prize in 2011, she already has the habit of exhibiting her art, and it’s yet to be seen if she will become one of the young couturiers to make a long-term name on the Chambre Syndicale’s desirable list of designers.

Lisa Olsson Hjerpe – Image courtesy of Shoji Fujii & Yiqing Yin

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04/05/2012

Sean Frank – McQueen prêt-à-porter AW12

Sean Frank – McQueen prêt-à-porter AW12

2DM Blogazine is honored to present the new behind the scenes catwalk film by Sean Frank for Alexander McQueen A/W 2012 collection. For the third time the great Londoner filmmaker has been asked to show the intricacy, vibes and magic of the catwalk preparation of one of the most interesting brands worldwide.

More than 5 hours of shooting is perfectly edited in a 3-and-half minutes of video, which brings us directly into the Sarah Burton’s gorgeous creations. 34 looks that display the idea of a complex and ethereal woman, wearing weird silver visors and près-du-corps dresses, characterized by narrow waists and slim silhouettes. Volume and textures enhanced through the use of fretworked organza, white and fuchsia plum and goat fur that adorns the fabulous garments from shoulders to hems, up to the boots as a glamorous and unique trait d’union.


John Gosling’s crescendo music accompanies the narration giving us the right feeling of the hectic and, at the same time, charming atmosphere, letting us live an incredible experience.

See here the previous masterpieces from Sean Frank for Alexander McQueen: the Autumn Winter 2011 and Autumn Winter 12 haute couture videos.

Once again compliments to Sean Frank. Another beautiful piece!

From the Bureau – Images and video Alexander McQueen with special thanks to Sean Frank 

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