One of the more forgotten of the Antwerp 6, Marina Yee is set to return 10 years after her last collection with a new collection to be shown at the concept store Laila Tokio in Tokyo. Marina graduated at the Royal Academy, Antwerp in 1981 alongside the Dries Van Noten, Ann Demeulemeester and Dirk Van Saene and went on to show in London as part of the Antwerp 6. Yee then left the group in 1988, setting up her own label to great success but did not want her brand to become large and commercial and so only released small collections off the traditional catwalk schedule, showing her final collection in 2005.
Titled the M.Y. project, the collection will include clothing and textiles from flea-markets reimagined and reconstructed into 5 new designs alongside archive pieces and handpicked artwork. Yee’s work has always centred around the reconstruction of garments found at flea markets in an effort to ‘battle the materialistic wastefulness’ associated with fashion. Yee was at the forefront of recycled and eco-friendly fashion before the issue of eco-consciousness really hit the mainstream.
She calls the latest collection “the micro-collection. It’s very small and it’s a reaction against the over-offering of so many choices today that lacks soul.” The opportunity, said Yee, came about after the vintage shop, which previously hosted pop-ups selling Helmut Lang archive pieces and Phoebe Philo‘s first collection for Céline, purchased some of her designs at an auction. With her latest collection she hopes to shine a light on sustainability within the industry.
The collection can be seen at Laila Tokio 1-5-11-2f, Shibuya, Shibuya-Ku, Tokyo from 30 August
After 12 years of producing their first luxury, minimalist collection, Mary-Kate and Ashley Olsen are set to release a fully fledged menswear range. Over the past few years the twins have been experimenting with menswear, releasing one off capsule collections and shoe collaborations, and are now ready to release a full collection comprising of suits, tailored separates, denim and knitwear.
The collection will go against the grain of the current growing sector in menswear, slogan t-shirts and hoodies, and focus on the simple, minimalist designs reflecting the work of late 80’s early 90’s work of Helmut Lang as well as the labels namesake tailoring of the area in London, Saville Row. The tailored pieces are made in Japan “in order to achieve minimal luxurious construction” with traditional European hand-stitch techniques; the shirting is produced in France, the knitwear in Italy and the denim and T-shirts in the U.S. The range will cost from $3,950 to $5,795 and will be available from The Rows two clothing stores in NY and LA as well as Dover Street Market, Mr Porter and other high end stores.
After founding their luxury fashion and accessories label in 2005, based on the personal challenge to find the perfect t-shirt, the Olsens have since won three CFDA awards, two for womenswear, and one for accessories.
AnOther Magazine: How would you connect Fashion to Elegance?
Do they have to connect? I think elegance can intersect with fashion, but it is not necessary. Chanel said that “elegance is refusal”, and that is certainly a section of fashion. Your Célines, your Narciso Rodriguez. The stripped back stuff. But equally, you could not connect elegance with the ugliness and the vulgarity that is an essential and fascinating part of the fashion conversation. The fun stuff. Fun isn’t elegant. Elegance has a connection to a specific area of fashion, which is in fact quite limited; it is neither good nor bad. It is just there.
Fashion is a language: sometimes, it says too much. It’s frequently like being in a crowd and hearing too many people talking at once. Sometimes, I think that high fashion is a dialect, but clothing, overall, is the language. I think of it in the same way as, when you were at the court of Versailles, words were pronounced in a certain way, only perceived by the other courtiers. High fashion speaks with its own dialect, which is very difficult for people outside of it to understand.
In May of this year J W Anderson put out a call for emerging new photography talent to enter a competition to shoot the brands Spring 19 campaign. Being a part of the NewGen talent given a leg up in London fashion week in 2011, Anderson must of felt it was time to give something back to the next generation of talent coming up through the ranks. The J W Anderson ‘Your Picture / Our Future’ search eventually yielded the talents of photographers Julie Greve from the UK, Yelena Beletskaya from Russia and Simons Finnerty from the U.S.
The three photographers were commissioned to shoot the campaign which has just been released and asked to stay true to their individual aesthetic in order to reinvent the brands image. “This campaign is all about a ‘creative refreshing’,” explained Creative Director Jonathan Anderson in a press release. “We chose to work with three young, talented photographers, all of whom have their own untainted, creative visions. Fundamentally, they were able to grasp the unfiltered essence of the JW Anderson brand.”
Each photographer was given a selection of ready-to-wear garments and accessories from the brands Autumn collection and were asked to add their unique, distinctive style to the images. The photographers worked closely along side stylist for the brand Benjamin Bruno as well as Anderson himself. “It’s been kind of amazing. We had nearly 2,000 entries from all across the world: Japan, China, Argentina, Russia, Canada, the USA, everywhere” said Anderson. The final images are strikingly individual, but remain thoroughly in line with “the unfiltered essence of the JW Anderson brand”.
“Coinciding with the house’s first Artisanal Men’s show, Maison Margiela launches a new first of a kind fashion podcast series: “The Memory of … With John Galliano.”
“The podcast tells a story usually only heard by select fashion insiders. It takes you on a journey to Creative Director Galliano’s Paris atelier where he personally reveals the thinking behind his first Artisanal Men’s Show. He speaks to new definitions of masculinity and femininity, his introduction of bias cut to menswear and the sensuality it brings to a tailored suit and the current regeneration of menswear with new top designers at luxury houses.” Link Below
Just 48 hours after Creative Director Tomas Maier announced he was stepping down after 17 years at the helm of Bottega Veneta, the company has announced British designer Daniel Lee is set to take over on July 1st. Although relatively unknown outside of the fashion industry, 32 yr old Lee, a graduate of Central Saint Martins, has so far worked along side some of the most outstanding current brands today. After putting in stints at Maison Margiela, Balenciaga & Donna Karen, the designer most recently was Director of Ready-to-Wear at Céline were he began in 2012.
Following Phoebe Philo’s departure late last year, and the appointment of Hedi Slimane, who is tearing the house apart to continue in his inimitable style, Lee would have been out of a job. Meanwhile Kerring, the luxury conglomerate that owns Bottega Veneta, have been appointing some shrewd Creative Directors within its houses in recent years, most notably Alessandro Michele at Gucci & Demna Gvasalia at Balenciaga. And after quite public fraught tension with Hedi at Saint Laurent, employing Lee from Céline will go some way to keeping the minimalist understated style of Céline alive once Hedi turns the brand on its head, and bring some fresh vitality to Bottega Veneta in the same way both Michele & Gvasalia have to their houses. “Daniel Lee has a deep understanding of the house’s current challenges both in terms of creation and development.” said Claus Dietrich Lahrs, CEO of Bottega Veneta. “He will bring to Bottega Veneta a new and distinctive creative language that will continue building the house’s success based on the ambitious foundations already developed over recent years.”
Former Creative Director Tomas Maier has laid the foundations for the house in the past 17 years but recent years have seen a steady decline in profits. Maier was known for his strict detailing and rejected out-and-out branding for a more subtle approach.
“I’m both honored and excited to continue the legacy that has been created at Bottega Veneta over the last five decades,” said Lee. “Maintaining the ingrained codes of the House, craftsmanship, quality and sophistication, I look forward to evolving what has gone before, while contributing a new perspective and modernity.” Daniel will start at Bottega Veneta in July with his first collection in September.