Friday evening, the 43 edition of ModaLisboa – Lisboa Fashion Week Legacy edition opened with Sangue Novo show. Sangue Novo (meaning: New Blood) is a platform for emerging Portuguese designers.
Among ten selected designers FASHIONCLASH Festival 2014 participant Andrea Lazzari of Plùs Que Ma Vie label has been chosen to show his collection within this collective show. On behalf of FASHIONCLASH I had to choose one designer and give out FASHIONCLASH / ModaLisboa award, namely award the designer with participation at FASHIONCLASH Festival 2015.
First I met all designers backstage and got a closer look to their work. Following the runway presentation I had the challenge to choose just one designer out of a severe selection of nine promising designers.
At last, the FASHIONCLASH award went to Inês Duvale who impressed with her menswear collection 'Karma SS2015'.
Sangue Novo is a very fertile opportunity for new designers in Portugal and one of the highlights of ModaLisboa. Sangue Novo / ModaLisboa SS2015 participants: Olga Noronha, Catarina Oliveira, Banda, Rua 148, Inês Duvale, Juliana Cunha, Nair Xavier, Cristina Real, Plùs Que Ma Vìe by Andrea Lazzari and Joaquim Correia.
Taisuke Araki was born in 1980 at Kamakura. He graduated from the Bunka Fashion College in Tokyo and the AICP in Paris, and has worked with famous creators in France for the last few years.
He has recently created his own collection for women as an independent Fashion designer in Paris. He creates all prototypes with his hands, out of fabrics from France, Italy, Japan and the expertise of French craftsmen.
To welcome us in his creative universe, Taisuke Araki is asked to answer the following live questionnaire at a one-to-one meeting around a table in a flat in Paris.
The past: Your relationship with Fashion.
My dream has always been the same. Contribution. I want to contribute. Even if I have always loved clothes, I didn't know that clothes is my own way to follow. Like everyone, I was thinking what I would like to do as a profession for life, and I thought that I wanted to become a scientist or a physician, something which is fundamental for the human. So I decided to follow the path of a scientist by studying science, but I was not feeling comfortable with it. At that point one of my best friends, who is a scientist, asked me why did I not choose the path of garments, as my lifetime profession.
Once she said that to me, I took the decision. But in reality it had already been like that, I just wasn't aware of it. After that I worked in different occupations to finance my studies, and I got academic training in Fabrication, Textiles and Design at Bunka Fashion College in Tokyo.
From Tokyo to Paris, inside the ateliers of Fashion houses.
I first had formal training in Paris; it is important to have a recognised diploma in France. The only school which is international and academic in pattern-cutting was the AICP, which I completed before joining again the profession of Fashion. I have worked with the couturier Gustavolins for more than two years. I then joined the ateliers of Chloe International and Sonia Rykiel.
Then I decided to create my own collection in Paris.
Deciding to create an independent brand – atelier.
To be honest if I was to think about my career, I would have continued working with famous creators. But I somehow felt that existing Fashion does not look deep enough into the woman, the man, the child, the human. And it is not possible to ignore anything out of the human in design. Our work is making clothes for humans. Clothes are the nearest things to our bodies and souls. When we wear clothes, we can feel their process of getting born, what they have been through creation, and we evolve inside them ourselves. It is a birth of life because they are alive themselves. And creating should be done with love, because Love is Creation.
Revelation moment for creating an independent brand, or gradual decision through experience and time?
I was searching within my whole existence, the one thing that would make most sense to put into action. It is maybe common that we do not necessarily think about other people, as we need to think so much about ourselves; but for me it is very important to think about the others. I started my own collection by eliminating my ego to the minimum. I try to pass over my ego in order to be myself and to access the sacred place, which exists in all of us, where our spirits are pure.
What is your own offering to the human through Fashion design? Are your statements relevant to today's social context?
I know that humans are not perfect. In the industry of Fashion, we hold a mentality of the need to make money, by reducing material waste and costs, because we need to sell our products with the lowest cost of production. Of course all members of this industry operate very differently to achieve that, according to their ideal of quality. But at the end clothes are not comfortable. In this way we cannot respect the body and the movements. Clothes are either too tight, or too vast; according to time periods. We always use the mannequin as a base to create clothes; but there's no point doing that, the human body is different than the mannequin and it moves.
Through knowledge, technique and respect we can make humans more beautiful. We need to be more comfortable in our bodies and also in our mentalities. Clothes have actually a lot of influence to the sentiments.
Where do your inspirations come from and how you translate your ideas into garments?
Everything comes from the air, from the universe, from things. I just receive these messages with my feelings; I try to feel what we want and we need to have. It's not me who designs; it's you and us who design. I feel and gaze the feelings and I design whatever you or we want, whatever we need.
How do you translate all these things you receive into garments?
We all receive messages from the universe; the transmission is what changes. My aim is to translate what I receive into garments, without my ego intervening. I engage into translating reality into the garments. I touch the material, the prototype, and my hands instinctively go in the way they should. I do not feel that I decide or dominate, I follow the material, the shape, the prototype construction as the nature of things wish.
Fabrics and techniques of your garments.
The fabrics I use for my own collection are natural/ecological and noble, like cashmere, organza, silk. The only exception is silk polyamide, which is never used in areas of direct contact with the skin, and is only used to give light and lightness where needed.
Lining and finishings are very important to me. I opt to maximise quality in the relationship between the body and the garment, through material, technique, and the touch. I create with my hands and respect the movement of the woman through the pattern-cutting process. I observe life, the body, the movements and I incorporate them in the form and the utility of garments.
Who upon your opinion would be the people to embrace the spirit of your collection and universe?
Everyone. But it takes time. I imagined and realised a collection and I wish to put my garments in availability at places that everyone knows and approaches, because I want to offer my creations to everyone.
Taisuke Araki belongs to the past, the present or the future?
We have always been there. In the past, the present and the future. But I guess I belong mostly to the future; because it's more positive, we have the possibility to dream and change things. Everything gets better as time passes by; we have possibilities to decide and change, there is a margin to reform things.
First collection named by the greek word: Genesis. You come from Japan, you have lived abroad, and you have been in Paris a while now. The relationship between your creations and any cultures?
I want to respect all cultures; there are no borders in real life, like on maps. It's an ideology. Everyone is connected by happiness. But harmony is what is missing. Even within us there is no harmony. I would like to represent the harmony of life in my creations.
Harmony; it's what we really need. We can dance with the air, the light, the water. It's a pity to be alone, everyone has his role, his precious work, and even things or people, which don't please us, have an important role, so we need them, we need everyone and everything. Collective Harmony. My role and my aim is for the woman to blossom in her life with clothes she loves.
Wishing you all the very best for the fulfilment of your fashion and life happiness.
Sebastien Meunier presented a wonderful, wearable collection for Ann Demeulemester's SS15. Although black was essentially used in many of the looks, there were glimpses of light blues and ice whites.. I loved it.
Dapper Dan Magazine celebrated it's 10th issue with a party on rue de Beaujolais in the gardens of Palais Royal. The editors Vassilis Karidis and Nicholas Georgiou with the help of David Giroire hosted the most splendid event to celebrate the magazine and to honor its supporters and friends. All photos by Quentin Saunier
“..AN OBSCURATION IS ANY PHENOMENA IN THE ATMOSPHERE, THAT REDUCES THE HORIZONTAL VISIBILITY. ...”
A NEW BLAST IN FASHION FOR THE BRAND ANGELOS FRENTZOS THAT, WITH THIS COLLECTION FOR THE NEXT SUMMER, WANTS TO REVERT AND DESTROY ANYTHING THAT CAN REDUCE THE MAGNIFICENT SHAPE OF THE WOMAN. EVERY SINGLE ITEM OF THIS COLLECTION IS A SUMPTUOUS CELEBRATION OF THE BODY. THE JACKETS, THE BOMBERS, THE T-SHIRTS AND THE DRESSES ARE WISELY ENRICHED WITH SILK FRINGES, IN ORDER TO GIVE TO THIS VERY SELF - CONSCIOUSNESS WOMAN, THE ALLURE OF A SIREN THAT WALK THROUGH A LIFE THAT DISCOVER S HER AS A NEW IDEAL OF BEAUTY.
EVERY SINGLE GROUP OF FRINGES IS PLACED AS TO GIVE TO ALL THE MOVEMENTS OF THE BODY AN IDEA OF LIQUID ELEGANCE. NOT INVASIVE BUT WITHOUT DOUBT UNFORGETTABLE. THE IDEA OF THE WOMEN AS A MAGNIFICENT SCENT THAT FILL THE ROOMS, THE STREETS, THE UNIVERSE.
“...NOW THE PARTY’S OVER, I’M SO TIRED/THEN I SEE YOU COMING OUT OF NOWHERE/MUCH COMMUNICATION IN A MOTION/WITHOUT CONVERSATION OR A NOTION...” THIS WOMAN IS GENTLE BU T FIRM. AND NOT AFRAID. THAT’S A COMMON THING IN THE WOMEN OF FRENTZOS. THE GRACE IS THE MOST LETHAL WEAPON. AND FOR THAT THE DESIGNER HAS INTRODUCED, AS THE VERY STRONG ITEM OF THIS COLLECTION , A TOP THAT IS INSPIRED BY THE BUCKLE OF AN ANCIENT GREEK VEST .
FRENTZOS HAS BEEN FASCINATED BY THE IDEA OF THE BUCKLE, THAT IS USED IN GENERAL TO KEEP SOMETHING LOCKED, TRANSFORMED BY HIS FRUITFUL RESEARCH IN SOMETHING THAT CAN MAKE THE BODY OF THE WOMAN , MORE OPEN, MORE FREE. RESEARCH AND FOCUS THAT THE DESIGNER HA S TAKEN EVEN ON THE PRINTS OF THIS COLLECTION, INSPIRED BY THE OLD VICTORIAN TAPESTRY, REVERSED AND DESTROYED. FOR THE LEATHER SKIN AND FOR THE KNITWEAR. THIS WOMAN HAS MADE A NEW DISCOVER IN T HE MEANING OF CONSCIOUS ELEGANCE. “... YOU LOOK LIKE AN ANGEL/SLEEP ING IT OFF AT A STATION/WERE YOU ONLY PASSING THROUGH? ...”