Coming up with 100 per cent sustainable products is a difficult task. When you recycle plastic bottles, for example, you need extra fuel to bring them from A to B and they will still end up as landfill. However, we have to start somewhere. Finding solutions for the problems the fashion industry is causing is like a puzzle and requires a combined effort of all of us. I wrote an article about this for JNC magazine that came out a couple of days ago. Here’s an extract, other findings from this week and whatever this has to do with the guy in the picture.
What the new Celine has to do with porcelain from Meissen, the nonsense of social media, the must-have for spring summer 19 (at least according to the German Press Days) and the most contemporary concert ever. Here’s what happened last week
Meissen porcelain exhibition opening on Thursday
Since Hedi Slimane’s first show for Celine a couple of weeks ago, there’s been a lot of fuss about the new direction and the question why the designer stops dressing Phoebe Philo’s grown up, real-life woman who needs clothes for everyday life in favour of the clubbing twen. Even at Highsnobiety, generally reporting on street wear and not what is considered high fashion (whether that separation still makes sense is another conversation), the topic is being discussed: While Alex Rakestraw argues that Slimane’s commercially successful clothes deserve a break, Eugene Rabkin thinks that the designer simply lacks a vision. While I tend to agree with the latter, Jackie Mallon picks up the conversation and makes an interesting point on Fashionunited.
According to Mallon, in 2017 millenials were driving 85 per cent of growth in the luxury goods market. Gucci and Louis Vuitton are the most popular brands — 33 per cent of their growth comes from users aged between 21 and 33 years. 65 per cent of Saint Laurent’s growth comes from millenials. It is estimated that 45 per cent of all luxury spending will be made by millenials in 2025. Mallon argues that this might be the reason Slimane abandons the grown up customer Phoebe Philo addressed and turns to the younger. We’ll be watching closely if Slimane’s Celine turns out the commercial success he achieved for Saint Laurent.
Last Thursday the Staatliche Porzellan-Manufaktur Meissen opened their exhibition Modern Opulence in Berlin’s St. Elisabeth-Kirche. A majestic table that stretches along the entire length of the building and that reminded of the colourful Memphis style that was popular in the Eighties was the stage for an eclectic blend of the manufacture’s products, from tableware to decorative figures and ensembles.
As beautiful as it was, one question remained: Who is Meissen’s future customer? There certainly are still many people around the world who invest in china as a status symbol. However with dowries being a thing of the past, what do these products mean to the younger generations? And what does this mean for a business like Meissen (see the Celine argument above)?
In today’s cities, life is dense and our personal space extends into the public space. At London Fashion Week Men’s many collections revolved around utility and protection
It is said that more than half of the world’s population live in cities rather than rural areas — and it’s getting more. You can get a little taster of what this feels like when you’re in London, a city where every hour is rush hour. Life in cities is dense. Our personal space becomes smaller because of continuously increasing rents and we share public spaces and transport with more and more people.
A-Cold-Wall spring summer 2019
Our commutes become longer because life in the centre of cities becomes unaffordable and, therefore, we’ll spend more time on trains. This is where we do our nails in the morning and where we watch our favourite show on the phone on our way back home. Our lives don’t just become more claustrophobic, they also extend into public space.
Sometimes I find myself reminiscing about ”the old days“. My preferred decade of fashion lies between the mid 70s and mid 80s. Everybody wanted to be chic. Women wore pencil skirts and clutches, men had a sports jacket effortlessly hanging off their shoulder. Not only does that make me sound old. It’s also a fantasy of times past.
Introducing designer Teddy Glickman who moved from SoCal to Berlin and needed a coat — and launched his own fashion brand for men
When you first meet Teddy Glickman you can’t help an instant crush. He is young and has a velvety voice. He takes his time to speak which gives him an air of masculinity that is rare to find in a 27-year old. Not surprisingly, his own appearance reflects his approach to clothes, which have a certain softness without being feminine.
Glickman has not yet given many interviews as a designer, however, the occasional glimpse of insecurity must not be misinterpreted as a lack of assertiveness about his work. Again, a reflection of his brand: although he is still figuring out what he wants it to be (which, at this stage, is totally okay, and we’re curious what’s next), one thing is for sure, he does have a voice — and he wants it to be personal.
Meet Teddy Glickman who traded in Southern California for Berlin and, for obvious reasons, needed a coat. He decided to sew it himself because he couldn’t find one he liked (Glickman is a self-taught sewer, however, the finishing of his sample collection was close to impeccable) — the foundation for the brand of the same name which he launched in 2017.
Fashion designer and performer CHANG13° about gender, not wanting to make a decision and what clothes got to do with it
Writing the introduction to this interview is proving to be the most difficult introduction I ever had to write. Because writing an introduction is about giving a direction. It gives the reader a category, something to hold on to — it tells them what to expect. It is about putting things in boxes.
So I’m trying to do that as little as possible because this piece is about not having to put things into boxes and not having a definite answer for every question.
Which still leaves me with the problem of introducing you to the star of this edition of The Moment — HFT’s new series in which we explore what happens with our identity the moment that we get dressed.
Let’s try a non-exhaustive list of keywords: Chang-Zun-Gabriel-Pierre-Chanel Chung is our star’s given name, he was born in South Korea but has lived in Cologne for most of his life, he is a fashion designer and performer, he loves Madonna and Voguing — and his current topics are gender, identity and letting go of the pressure of having to make a decision.