Statuesque tall shadows stand composed along the corridors. Clinical, pure and emblematic they seem effortlessly stern, profoundly aligned with their fixated exterior shell. As they commence to interact with their surroundings, a pristine and tranquil silence fills the abandoned buildings. Intellectually freed from societal restraints, fitted with clear perceptions, they are expressing their inner mindsets unequivocally.
The women's collection explores the relationship between vision and a
strong sense towards the exterior. It is in this crossing; harmony, pulse and
atmosphere collide. Tall, narrow elongate silhouettes are presented as
statuesque observers of our times. Their shells are constructed with light
cottons, pliable grey smudged leather and
lush silks; cocooning their advanced spirits.
FilepMotwary: Which experiences helped you form your own aesthetics?
SOSNOVSKA: This formation occurs continuously, as it was first initiated by your birth. Everything you see and feel is reflected by your aesthetic expression. How you see it, how you realize and how you express yourself, are dependent on what you invested and explored in the first place. This is what guides you to the future.
FM: What is your new collection for SS14 about?
S: Both the man and woman collection explore the subject of detachment, inner freedom and being in complete harmony with the environment. Each silhouette adapts a particular form of expression of personal qualities. Overall, the collection is build around clinically clean shapes, muted colors and is devoid of superfluous, therefore eliminating any distraction from the individuality of the inner world.
FM: Why did you choose to design both mens- and womenswear?
S: Initially, we focused on only creating menswear. The male image, is central in this development. Our views were directed to the formation of the male line, as well to our internal mindset and vision that certain regards on society may transfer into reality.
Next to this, we had the desire and ideas to shape our individual female image. Our original male focus slowly moved onto our women's line, which we started to create only a few seasons ago.
These are two different lines, which share a similar story and mood.
FM: In your opinion what are the differences between men and women?
S: For us they are two spatial opposites. The presence of some similarities makes them even more different.
FM: What makes a designer important in your opinion in order to last? How does really longevity mean in this business?
S: I think that this process is continuous. This is how one can draw energy from the universe and get ideas and inspiration for the continuity of the process of creation. Sometimes you just have to look around, see what is going on the sidelines. Longevity shows your ability to use these qualities and possess a level of composed unity of your ideas.
FM: How did you form the hero you dress?
S: Initially, I have a feeling that converts mentally traced image. Then it becomes part of the art and is embodied in the sketch. Determined by the colors, selected textures, fabrics, materials, technology and design techniques. Gradually he finds his features and becomes who he is.
FM: How do you think fashion responds to the financial crisis-if there is one? Is this the moment of great creativity?
S: Personally, I believe that fashion responds to changes, including different types of crises. The financial crisis is really a time to reflect on many of the important things is that you're doing.
It seems to me, in spite of some difficulties, it can be influenced positively and can open new doors and perspectives. Furthermore, it makes you more agile and to some extent it adds on to the development of great creative ideas.
FM: How relevant is creativity to the way the fashion industry functions today?
S: Creativity is a process which cannot be separated from the concept of fashion. It’s somehow included integrally and has a direct impact on the industry as a whole. Therefore, especially now we experience times when creativity has a pronounced effect on the features of our sartorial space of existence.
FM: Is Fashion changing? Towards which direction?
S: Indeed, fashion is changing. According to me, there seems to be a movement addressing the personality and strontium of individuality. Directionally, this means a forces that compounds this relationship within the highly personal individuality of fashion.
Pleasant springlike winds sweep the
city clean. The first signs of summer have arrived. Positive souls appear from
the city’s dusty alleys and stuffy office buildings, keen to step onto the
cities many parks, roaring beach parties and cozy strands of green. As the
light captures their expressive faces, the winter is cleansed away from them.
They all unite in leisurely activities, idling away the time, frittering around
sparkling fountains and buzzy promenades, fully embracing the summery city
For SS14, WACKERHAUS aims to provide
women with a sense of reclaimed freshness, leaving the dark morose winter
months behind. Equipped with a
sense that time is on their side, they aim to reach for new heights. The new
collection invites women to wholly embrace the spring and its many
opportunities. Gallery openings, work gatherings and wine vernissages part of
their summery pallet.
The collection is divided
into two sections, a leisurely socializing part, featuring lightweight
garments, casual knits, boxy sporty jackets and breezy long garments. In turn,
these are contrasted by a more formal business section with structured
blousons, fitted dresses and elongated layers such as a tailored trench and
lengthy throw over cardigans.
FilepMotwary: Which experiences helped you form your own aesthetics?
WACKERHAUS: As a designer, I am quite a sensible person, so I am much aware of what clothes can do
to give you a feeling of comfort and confidence. Next to this, I strive to make clothes that
are accessable, uncomplicated yet with a pensive dimension. For me, small but important
details, for example the meticulous process on how to incorporate pockets nicely in
party dresses, in order to add a functional edge to them, have always interested me. My
aesthetic is centred around the creation of sartorial solutions that are both beautiful and
FM: What is the POLO CITY SS14 collection about?
W:The collection embraces happiness and optimism. I felt like grasping that special feeling
which tingles inside ones body when spring arrives. It is a sentiment of anything being
possible. Pure joy. Which is also connected with the long winters we suffer here in the
North, thusly spring marks a fresh beginning each time.
FM: Why did you choose womenswear and not menswear?
W: As an admirer of masculine tailoring, I have always loved suits and oversized stuff, yet in
an effeminate manner. Subtle detailing, good tailoring and structured fabrics inspire me.
Principally, I must admit I feel very much inspired by mens wear. On the other hand, being
a woman I also have this soft side that gradually gets more and more visible in my
collections. Especially the SS14 is very feminine compared to my previous collections. In
womenswear, I am allowed to explore both sides of me - which would not work that easily
for me as a menswear designer.
FM: In your opinion what are the differences between men and women?
W: The sensibility and mood of women is well translated into our way of dressing. I think
women are way more controlled and in touch with their feelings when they dress.
FM: What makes a designer important in your opinion in order to last?
Style and taste are individual and some times the wind luckily blows in your direction and
some times it doesn’t. As I always say ''We can all shoot wrong for a season, but that
doesn’t hurt anyone. On the other hand by avoiding risks or choosing the safe road of
mediocrity, you will devalue your brand slowly but surely''
How does really longevity mean in this business?
A good design will make both the actual garment and the brand last longer, so in different
ways the longevity lies very much in the design itself.
FM: How did you form the heroine-woman you dress?
This is constructed by looking at many different women. Dissecting their moves,
expressions and general appearance – I love helping women feeling comfortable and
powerful in my designs. When talking to our customers, I feel so proud when I am told that
my designs actually builds their confidence.
FM: How do you think fashion responds to the financial crisis-if there is one?
Personally, I actually think it has been an interesting time the past years - most of us
have had to rethink and trim our business making it more sustainable and in a way more
sympathetic. The crisis has forced the creatives to invent designs within some new
dogmas and I believe that limits are good for creativity - when you can have it all you don't
really need to twist your mind.
FM: Is this the moment of great creativity? How relevant is creativity
to the way the fashion industry functions today?
It depends on how you define great creativity. If there is an expression such as great
creativity for wearability, I think we do wonders right now! I have never seen so many cool and interesting outfits as today, that I would actually wear.
Dear iDEALS, the "Atlas" project was born by connecting a family sentimental memory of spices and herbs and the mythological story of Atlas. The idea behind this series was to give rebirth to the ancient myth and create naturalistic sensational feelings,under the beautiful light of a Greek island.
Atlas was the primordial Titan, the most powerful and skillful ,who after a fight with Dias was punished forever to hold on his shoulders the celestial sphere.
Because he endured this sacred punishment with admirable patience he received the name Atlas which means : endure everything.
For Atlas his adjective is durus, "hard, enduring".
Note: The ΘΑΒΜΑ (THAVMA) collective group (THAnasis, Vangelis, MArilia) consists on the collaboration of three artists interested in photography as well as new media. The idea
behind their projects is to express the animal instinct, the morals of freedom and the limits withing human being. They are interested in taboos, metaphysics and they believe in the dynamic of the artists that consist a project and the power of the moment that creates things magical, exactly like a miracle.
Born and raised in rural Germany, 27-year-old Katharina Gruber studied womenswear design at the international fashion school, Esmod, between Munich and Tokyo, before joining the Parisian couture house of Anne Valérie Hash. From there, Gruber designed for Balenciaga, under the direction of Nicolas Ghesquière, as well as collaborating on various film and dance projects, such as "IRON“ by Woodkid with Yoann Lemoine or Valentino by Johan Renck.
In 2013, Gruber debuted her eponymous line of speciality women‘s clothing, a culmination of research and practice into the intimate links between comfort and elegance.
Giving rise to fluid sophistication, Gruber’s work blends the forms of sculptural shapes with grand, unrestricted movements.
With her second collection, she was presented by Agence74, which has a strong focus on ‚specialty designers’ all over the world. Atelier produced in France, with a focus on Artisanal dyed Twill’s and Cotton’s or on fine japanese tri-acetates, Gruber’s clothes are intended to be lived in and last, while evoking the force and sensitivity of the woman wearing them.
For Spring / Summer 14 collection she was focusing on special
japanese, draped Tri- Acetate fabrics, which is a raw material of
wood pulp ( It releases sweat and dampness and achieves an
elegant and cooling silhouette ), bonded Twill, Satin and Cot-
ton, subtle color’s block’s and 60’s Cristobal Balenciaga’s gown’s
inspired 3D shapes to give a bodily awareness at the moment of
Since the new world began, people feel completely isolated; they think the only place outside heaven where you
be perfectly safe from all the dangers and perturbations of love is Hell.
Once you love anything, your heart will certainly be wrung and possibly be broken.
If you want to make sure of
keeping it intact, you must give your heart to no one, not even to an animal. Wrapping it carefully round with
hobbies and little luxuries; avoid all entanglements; lock it up safely in the casket or coffin of your selfishness.
Inspired by the abstract artist, Niko Luoma, SS14 collection is mainly focused on showing the complicated feeling
between to love oneself or not to love at all. Gun, knife and ghost are three main symbolic elements in developing
the print for this collection. These represent the feeling of being hurt and getting pain.
Different shades of blue have
also been used for developing the color, which represents the sophisticated mood and emotion deep inside of our
A focal interest in the 19th century fine tailoring of the English aristocracy gets combined with the worker clothes
as well as zoo suits with a lot of oversize shape represents the protection you need when you are being in love.
All silhouettes are showcasing the sharpness of the British tailoring; but at the same time, having a lot of layering
reserves the reserved elegances.
Waterproof is the main element on developing the fabric - coated wool, cotton,
and polyurethane finished fabrics are widely used in every single piece of this collection.
Spring/Summer 2014 collection is all about classical tailoring tradition with a new level of protection
elements. Having the typical SixLee characteristics - elegantly tailored silhouettes in rich materials, clothes cannot
just protect your physical self but your mental self – Your SOUL.
“We‘re all accepting the love
we think we deserve…”
“Take all my loves, my love, yea, take them all;
What hast thou then more than thou hadst before?
No love, my love, that thou mayst true love call;
All mine was thine before thou hadst this more.
Then if for my love thou my love receivest,
I cannot blame thee for my love thou usest;
But yet be blamed, if thou thyself deceivest
By wilful taste of what thyself refusest.
I do forgive thy robbery, gentle thief,
Although thou steal thee all my poverty;
And yet, love knows, it is a greater grief
To bear love's wrong than hate's known injury.
Lascivious grace, in whom all ill well shows,
Kill me with spites; yet we must not be foes.--By William Shakespeare.
Dear iDEALS, it was around January 2013 when I visited Florence to work with Linda Loppa and Polimoda's tutors on
a project that focused on three themes: Fetish, Monsters and Bridges. I
did a series of interviews on video as well as in text featuring a
selected number of fashion pioneers and opinion leaders as well as
Polimoda teachers and students using a Q&A format targeted to
trigger reflections on how the creative values of the past are linked to
those of the present.
This series of video-interviews represent the development of the project “Momenting the Memento” in
the prospect of the IFFTI (International Foundation of Fashion
Technology Institutes) conference that will be held in Florence in 2015,
in the premises of Villa Favard. A strand of research addressed during
the first SALON, a closed-door conversation on the theme “Connecting
Cities, Education and Fashion” that brought together opinion leaders
from the worlds of industry, culture and fashion.
In this video I talk with Mr Danilo Venturi, fashion and luxury consultant, author of “Luxury Hackers” and head of department at Polimoda.
Exploiting the same working method for the IFFTI
conference, and to set up a dialogue between different creative
disciplines, withing my Questions&Answers I am trying to grasp how
history, society and art are intermeshed with fashion. All the
interviews will be distilled online in little “nuggets” on
Polimodamag.com in the months to follow.
Dear iDEALS, Parisian Jeu De Paume celebrates the photographic signature, drawings and photomontages of Erwin Blumengfeld.
The exhibition traces his visual creativity and encompasses the early drawings, the collages and montages, which mostly stem from the early 1920s, the beginnings of his portrait art in Holland, the first black and white fashion photographs of the Paris period, the masterful colour photography created in New York and the urban photos taken toward the end of his life.
The retrospective also showcases his drawings, many of which have never been shown before, as well as his early collages and photomontages, shedding fascinating light on the evolution of his photographic oeuvre and revealing the full extent of his creative genius.
The now classic motifs of his experimental black-and-white photographs can be seen alongside his numerous selfportraits and portraits of famous and little-known people, as well as his fashion and advertising work.
In the first years of his career, he worked only in black and white, but as soon as it became technically possible he enthusiastically used color. He transferred his experiences with black-and-white photography to color; applying them to the field of fashion, he developed a particularly original repertoire of forms.
The female body became Erwin Blumenfeld’s principal subject. In his initial portrait work, then the nudes he produced while living in Paris and, later on, his fashion photography, he sought to bring out the unknown, hidden nature of his subjects; the object of his quest was not realism, but the mystery of reality.
Erwin Blumenfeld’s life and work impressively document the
socio-political context of artistic
development between the two World Wars, while highlighting the
individual consequences of emigration. The exhibition devoted to Erwin
Blumenfeld’s multi-layered œuvre brings together over 300 works and
documents from the late 1910s to the 1960s, and encompasses the various
media explored by the artist throughout his career: drawings,
photographs, montages and collages.
Ute Eskildsen, former deputy director and head of the photographical collections for the Museum
Exposition produced by the Jeu de Paume, Paris.
In partnership with A Nous, de l’air, LCI and Stylia, Vogue Paris, Time Out, France Inter and Fip.
We would like to thank the Hôtel Castille, Paris.