Cult Japanese Apparel Brand, A BATHING APE® launch HAITI T-Shirt
BAPE has released a charity t shirt to help support people affected by the recent earth quake in HAITI. Proceeds will be donated to Save The Children.
The t-shirt has been made in collaboration with Gene Krell, International Fashion Director of GQ Japan/Vogue Japan and features an image of Haiti and a sun on the front, while paying tribute to the country on the back, with the words “The sun will shine again on the people of Haiti. One Love”.
This PRE-SALE item is available via in-store and web only. In-store pre-sale for the t-shirts will end March 30th at BAPE STORE® LONDON . Web shop pre-sale dates will close on March 29th 2010 at 12 PM noon.
BAPE STORE® LONDON, 4 Upper James St, London, W1F 9DG
By Roshannah Bagley
LONDON, United Kingdom:: Tim Ryan has well and truly tapped into his innovative inner granny. The Irish born, London based designer is continually pushing modern perceptions of knitwear with his striking creations. Such pieces are lovingly produced by hand and are the result of 12 years self-taught experience. Never one to shy away, always keen to dazzle, Ryan’s talent has now been discovered by Browns – London’s most respected fashion boutique and ardent supporter of new talent. It seems this is the start of something wonderful. FAULT quizzes Ryan on his inspiration, yarns and his fascination with everything “sparkly” and “fringey”.
FAULT:: What is it that you find so fascinating about knitwear?
Tim:: Knitwear is so much more intimate and personal than tailored clothing, to wear and to produce.
I personally love making things from nothing but a single piece of yarn shaping and embellishing the garment as you go, I never work with flat patterns so often the little unexpected things that happen as you knit are the most exciting, the integral shaping has endless possibilities and the end fabric is always more unique in character than a woven fabric.
FAULT:: What or who do you find inspiring?
Tim:: Currently; travellers, discos, Alla Pugacheva, Buffy Sainte-Marie and everything sparkly, fluffy and fringey.
FAULT:: Are there any particular designers who have had a significant influence on your craft?
Tim:: I wouldn’t say there is a specific or particular influence on what I do, I taught myself most of the techniques I use and I suppose how I shape and construct things is more inspired by that learning process than anything else, the main inspirations come from inside the making of the pieces and the chosen yarns rather than from the surface of other things I’ve seen.
FAULT:: Over the last few years, knitwear has experienced a strong resurgence in the fashion industry – particularly in London. Why do you think this is?
Tim:: Well a black jacket is a black jacket and maybe people are a bit bored. I think each of the prominent knitters working now has a very different point of view and this is very exciting, I think it shows a personality which is unique to knit…but knit is expensive to produce by virtue of its specialness so let’s hope it can be sustained and customers continue to appreciate this uniqueness. The new minimalism everyone is talking about is the same as the old minimalism people spoke about before and I don’t think we really need to see that all over again.
FAULT:: How do you construct your garments?
Tim:: All garment pieces are fully fashioned, and garments are constructed as we knit often building piece upon piece. On the other hand some pieces are made very simply from as few components as possible, we drape a lot and work from there but never cut and sew.
Some of the crochet pieces this season are made from the top down shaping as we go from a single piece of yarn to make seamless pieces.
FAULT:: Your pieces often feature metallic yarns and fringe detailing, would you say this is somewhat of a Tim Ryan signature?
Tim:: Yes it probably is at this stage… I’m definitely more attracted to sparkly and textured yarns and things that have a strong surface appeal, they always seems to sneak in somewhere. For Spring there were lots of little sequins on silk yarns and lots of fringing again and for Winter 10 we’re using a new holographic lurex developed for us in the UK which is really exciting so the sparkle will continue for a while yet.
FAULT:: What are you up to at the moment?
Tim:: Developing new yarns for Winter and next Summer, it’s the really exciting part for me, as the garments always come from the yarns and it’s amazing to be working with certain spinners to produce our own exclusive yarns.
FAULT:: What is your FAULT?
Tim:: My personal faults are far too numerous to mention..
New York being her birthplace as well as living in Holland, France and Germany before making London her residence, she has captured the attention of a global audience through her macabre and ethereal drawings. Citing Durer, Memling and Van Eyck as a few of her influences, her elaborate and unique approach to her work manages to be refreshing and innovative whilst maintaining classic quality. Depicting fear, lust, vanity and sexuality to name just some of her themes, her work is always accessible by highlighting the dark and light of humanity.
How best would you describe your work?
My works are amazingly detailed, psychological paintings with pencils… dark with a deadly humorous underbelly.
When did you first realise you had enough talent to make a living out of your pieces?
When I was 4 years old and my parents screamed, “GENIUS!” after I showed them a drawing.
How important is it for you to make social comments in your work?
I don’t think of my work as social commentaries. I am just focusing on the things that disturb me.
What were the advantages of creating pieces by hand/sketching as opposed to painting/sculpture?
As a child I was fascinated by the early Renaissance painters, especially the Flemish School. I developed my own drawing technique after trying, and failing, to paint like them. I loved the detail they achieved in their pictures. I couldn’t figure out how to paint those tiny little lines and no one could teach me, so I began to draw using tiny strokes of the pencil. I found a permanent point pencil & I built-up areas of tone using thousands of lines. It’s an insane and tedious way to draw, but it enables me to achieve beautiful tonality and clear details. It’s impossible to tell, on a computer screen, the amount of work that goes into each drawing.
What current projects are you working on at the moment?
I have a show opening at the Grand Central Art Center in California called WEAPONS OF MASS DELUSIONS and am also working towards a new show that will open at Billy Shire’s in LA in November. There is also a book that has just been published about my work called, “The Extraordinary Drawings of Laurie Lipton”. You can find out more details about these and other events on my website. Just go to: www.laurielipton.com and click on NEWS.
Do you find it difficult to achieve/realize original ideas and concepts?
Not at all. I think in images. I thought this was normal until my mother told me that most people think in words. If anything I don’t have enough time to do all the images that are crowding in my head to get out. If I had my way, I would just sit & draw for 24 hours, 7 days a week… but unfortunately I need to eat, sleep & socialize on occasion.
On average how long does it take you to draw a piece?
I used to lie and make up a number… but to tell you the truth: I don’t know. I don’t want to know. I go into a kind of Zone and there is no time. Thank God. If I sat down in front of a huge, blank piece of paper and said to myself, “Right! This is going to take months.”… I think I’d be too overwhelmed to begin.
Do you have any peers you admire?
There is a whole art movement of new Surrealists and Visionary artists out there that is very exciting. I don’t wish to point out a few individuals and leave out anybody. There’s been a reaction against the dead, de-humanized, boring abstract/conceptual art of the past 70 years. There are artists out there that can actually draw and paint. You can’t look at their work and say, “I can do that!” like with rocks on the floor or dead fish or polka-dots on a canvas. There are a LOT of young artists out there with real talent and skill. The internet is allowing them to bypass the strangle-hold of the galleries and show their work to the public. I suggest you have a look at sites such as Jon Beinart’s (beinart.org) to see what I mean.
By Roshannah Bagley
LONDON, United Kingdom:: Staged in the superb Raphael Rooms at the Victoria and Albert Museum, the London College of Fashion held its annual MA fashion show last month offering audiences a glimpse into the future of British fashion. The event as always exhibited a fantastic array of work – menswear graduate Sven Hoppe displayed one of the strongest collections of the night and subsequently took home the award for Student Collection of the Year. Unusually it was an accessories designer – Sarah Jane Williams – who has stirred the most interest since making her catwalk debut. Entitled “Crafted Fashion” Williams opted for a quirky yet traditional approach to craftsmanship:: based on the “loss of craftsmanship in the fashion industry” (Sarah Williams press release) three key methods were applied to the design process: “Metamorphosis, Anthropomorphism and Presence”. With the range sponsored by industry specialists Metroplitan Leather Ltd and Macneil Metalcraft, each luxurious piece features unique bridle leather and brass frames. The handcrafted treasures were the culmination of a year and half’s work as part of the institutions Fashion Artefact MA course which aims to provide students the opportunity to “explore new methods of production to create Fashion Artefacts that challenge and push boundaries in the area of fashion and lifestyle products.” Only a few years old, the programme has already produced an impressive alumni:: FAULT favourite Una Burke graduated with a range of leather and studded ‘artefacts’ inspired by the human body. Williams takes some time out to tell FAULT about her impressive collection.
FAULT:: What has the reaction been towards your MA collection “Crafted Fashion” since making your debut last month?
Sarah:: I have had a lot of really positive feedback after the MA show. I have been approached by a few different companies and received a lot of press, which is a great start.
FAULT:: What were the advantages of working by hand?
Sarah:: Using hand craftsmanship skills allows the maker a much higher degree of freedom in the production of pieces, as the maker you are in total control and can change any aspect of design at any point. You are not limited by the constraints that machinery can enforce.
FAULT:: Are there any plans to extend this collection? If so, how do you plan to achieve this?
Sarah:: I have started to design another collection. I am looking for funding to be able to kick-start my label.
FAULT:: Are there any fashion designers or labels you would like to collaborate with?
Sarah:: I would love to be able to work with the likes of Hermes, Louis Vuitton and Mulberry, because all of these companies value hand craftsmanship.
FAULT:: What are you up to at the moment?
Sarah:: At the moment I am working on new designs and setting up my label. I am also undertaking some freelance design work for companies.
FAULT:: What is your FAULT?
Sarah:: My FAULT is my stubbornness when it come to realising the ideas which I can see in my mind.
LA Based Artist
By Roshannah Bagley
DUNEDIN, New Zealand:: Every March the southern New Zealand city of Dunedin holds its very own fashion week. The week long event includes the ever popular iD Emerging Designer Awards – held on the 110 metre long platform of the city’s renowned railway station – the occasion brings together a selection of the world’s most innovative fashion graduates of the past year. Recently FAULT featured Otago Polytechnic graduate Roxanna Zamani and her entry Incongruous, an exquisite collection of pleated silk handmade garments. Astonishingly Zamani left the ceremony last Thursday empty handed. Despite this Zamani made quite an impression on the judging panel (fashion designer Zandra Rhodes; Stefano Sopelza, Mittelmoda Fashion Award Project Supervisor, Katie Newton, NZ fashion and beauty editor; and, Isaac Hindin-Miller, fashion blogger) and audience. However this year it was Croatian graduate Igor Galas from Zagreb’s Faculty of Textile Design who triumphed with a knitwear collection entitled Protector From Knitted Galaxy. Out of the 29 finalists, Galas took home the two most anticipated accolades of the evening:: the Life Pharmacy first prize of $5,000 and the Mittlemoda award allowing him automatic entry to show at Mittlemoda, Italy’s premier textile show. Zandra Rhodes said of the winning entry:: “The winning collection by Igor Galas showed wonderful originality that could be translated to a commercial success. His collection demonstrated individuality and his modesty in presenting his collection and describing how he made it was refreshing.”
Life Pharmacy first prize of $5,000 and the Mittlemoda Award:: Igor Galas, Protector From Knitted Galaxy, Faculty of Textile Design, Croatia.
Dunedin City Council second place of $3,000:: Ryota Shiga, AI, Sugina Fashion College, Japan.
Mild Red third place of $1,000:: Ichiro Suzuki, Tweedissimo Volume 2, London College of Fashion, UK.
Golden Centre Jewellery Design Award of $1,000:: Paula Kyle Walden, Inner Battles, Queensland University of Technology, Australia.
Pacific Blue Prize:: Laura Marshall , Men in Men’s Clothing, Otago Polytechnic, NZ
Dunedin Fashion Incubator Residency:: Brooke Fairgray, It’s What You Do To Me, Whitecliffe College of Art and Design, NZ.
Otago Institute of Design Sustainability Award of $2,500:: Sandra Tupu, Tatau, Auckland University of Technology (AUT), NZ.
Pulp Magazine “Pulp Fashion Culture Award”:: Glenn Yungnickel, In the Red, Auckland University of Technology (AUT), NZ.
Simone Shailes’ chunky yet simultaneously intricately woven knitwear caught our eye as soon as it stepped down the catwalk at the autumn/winter 2008-9 Central Saint Martins MA course show back in February and now, thanks to a collaboration with Topshop (which has produced the entire collection as opposed to creating a diffusion range), it can step straight into your wardrobe too when it hits the shop floor today. Take your pick from merino wool jumpers, dresses and cardigans all boasting feather like folds.
Louise Goldin is a unique creature: a knitwear designer whose talent really soars in summer. Her imagination literally took off this season as she approached her subject from the point of view of “remote sensors,” i.e., what satellites see when they look down on Earth. “And then,” she said, “I spent hours in scientific libraries researching data and being inspired by graphs, statistics, and high-tech fabrics developed for medicine.”
Even without knowing that backstory, there’s no missing the futuristic energy of Goldin’s complex, body-conscious bodysuits and dresses. Not that there aren’t pitfalls in the endeavor. Shoulders built up in forms that suggested braces or exoskeletons could have swerved dangerously close to Starship Enterprise territory had Goldin not been so in control of her technique and palette. What saved her from that fate were interplays of sheer and solid fabric, an expert meting out of color (in combinations of white and nude, slowly building through ice blues to mauves), and the sense that, for all her imagination, Goldin has a genuine instinct for what a young woman might conceivably choose to put on her body. One idea was the sheer white hosiery-fine bodysuits and cycling shorts, used as a clever base for layering. Asked whether she’d sewn them from some kind of space-age fabric, Goldin laughed. “Of course not. Who do you think I am? It’s all knitted.”