Boundaries between masculinity and femininity, straightforward and experimental design, Zeitgeist and timelessness melting away.
People defining their own limits. People deciding for themselves how feminine or masculine they want to dress. Gender not standing above personal taste. The normative momentum of gender roles not ruling over the individual.
Unisex becomes multisex. Shamelessly at ease.
RUNDHOLZ DIP + BLACK LABEL
Carsten and Lenka Rundholz, are the German-based design team behind the wonderful garments of Rundholz and Black Label. In a 200-year-old farmhouse in a tiny rural village in West Germany, Carsten and Lenka combine fashion design and family life under one roof - creating designs inspired by nature and the scenery of the countryside. Their Black Label division is innovative clothing at its best. Black Label merges unconventional cuts, whimsical details, and a sculptural quality to make garments that are intelligently stylish and a pleasure to wear. Black Label is for women who think for themselves.
The avant-garde fashion creations by Annette Görtz are truly timeless, natural and to the point. Clear cuts and unobtrusive non-colours are the label's trademarks. The designer uncompromisingly trusts her own signature. Over the development of a natural colour pallet that signifies the sense of femininity and timelessness, the Annette Görtz collection is a force against ‘fashion’. It is a concentration of style and avantgard aesthetic to compliment the modern-day woman and her wardrobe to go.
Y's is designer Yohji Yamamoto's very first brand, and to this day it bears his vision and philosophy. At the root of the brand is the concept for women to wear men's clothing; clothing for independent women who value their own vision. Each piece is created through careful selection of material and precise pattern making, to achieve a refined silhouette. The brand values the importance of ‘ the space between the garment and the body ’ for a balanced volume. Y's continues to propose its unique category of clothing: functional daily wear with elegance.
Luxury and stylish ladies shawls and scarves for men and women.
The best Italian fashion accessories.
Soft and sensual Peruvian fabrics meet the fresh and flowing style of Iceland. Matthildur Halldorsdottir feels that the boundaries between clothing and the body are becoming increasingly blurred. Silk, Linen, Royal alpaca and Pima cotton from her adopted home of Perú always feel comfortable. Their delightful and intricate texture creates clothes that are easy to move around in. Clothes for passionate and active women who live in the moment.
Icelandic by birth, Matthildur travelled the world before settling in Perú. Her draw to clothing followed artistic endeavors in drama therapy and dance as well as holistic studies, and she cofounded Elm Design 14 years ago. Realising that clothing can play a valuable role in creating the best possible image of oneself, Matthildur envisions timeless casual wear that makes women feel confident and empowered. A wardrobe for the modern woman; versatile and elegant, practical but luxurious and smart yet understated.
Joining the current Slow Fashion philosophy, MATTHILDUR works with small producers to support the development of local business and establish a human relationship with the garment makers, while using local material and resources whenever possible. Her designs always respect the spirit, sense and sensibility of a woman.
Pierre-Louis Mascia uses collage to create intricate patterns of surprising visual clarity which he prints allover wearable items. He seamlessly merges the achingly sharp and the softly organic in the same cadre, relying on sudden about-turns, unexpected parallels and optical duplicity. “I feel more like a dessinateur than a fashion designer. The mix of different patterns, a constant attention to the color palette and the use of certain materials define the identity of my collections” he says.
Mascia, a trained illustrator, hails from Toulouse, France. He launched the Pierre-Louis Mascia line in 2007, under the tutelage of the Uliassi brothers, owners of the Achille Pinto printing factory in Como, Italy, whose glorious history dates back to eight decades of excellence in the field. The collection started with scarves and subsequently grew into a lifestyle proposal which today includes knitwear, outerwear, backpacks, throws, cushions. The electricity of subdued contrast is the defining trait: design is clean, almost bare, while the eye is constantly stimulated by the psychedelic yet rigorous whirlwind of motifs and colors running on surfaces. The peaceful fight of Bauhaus strictness and Rococo abandon translates into a mix of control and anarchy.
Mascia’s compositions are flat patterns that usually begin in 3D, getting closer to their final, flat layout through a process emotional, intuitive edit. When worn, they regain volume. Everything provides inspiration: a mix of vintage fabrics or thorn book pages, laid out in op art mode; antique wallpapers and old pieces of clothing; a curtain, a shadow or maybe even the way tomes are put on a bookshelf. “It all comes from the guts” explains Mascia, who prefers the work to speak by itself.
Mascia works in total artistic freedom while retaining a pragmatic view on the form/function debate. He creates useful objects with a surprising outer shell. “Each season I begin by mixing references, patterns and designs, then reduce it down progressively into a collection” he says. Cut-up is integral to his life and practice, from the prints he conceives to a lifestyle of constant commuting between France and Italy.
When you are inspired by some great purpose, some extraordinary project, all of your thoughts break their bonds: your mind transcends limitations, your consciousness expands in every direction and you find yourself in a new, great and wonderful world. Dormant forces, faculties and talents become alive and you discover yourself to be a greater person than you ever dreamed yourself to be.
-Indian Philospher Pantanjali
The Trippen experiment Contrary to the popular opinion that a company can only be economically successful by ducking its production responsibilities, Trippen proves the opposite: modern design combines environmental friendliness, sustainability and social responsibility.
Since Trippen’s beginnings in the early 1990s, Angela Spieth and Michael Oehler have remained true to the idea of designing shoes whose individual components can be exchanged and replaced. Environmental regulations and ecological production methods are not only taken into consideration, but have a direct influence on the design. The result is a sustainable product which simultaneously offers the consumer great variety.
Rather than simply modifying existing designs or following short-lived trends, Trippen searches for new solutions. Inspired by upcoming developments, the designs take fashion trends on board, but resist their throwaway nature. The shapes of lasts and sole units as well as the types of materials used remain unchanged. Repeatedly coming up with new ideas based on the same principles requires a great deal of creativity. The challenge lies in the pattern technique. Over the years, Trippen has developed its own characteristic style in this regard that has nothing in common with traditional shoe patterns. These unique pattern experiments form the basis of every collection.