• surreal Digital Collage in Print: Heidi Andreasen’s cross-media artworks

    Sep 15, 2014 • Art & Design, Issue 2Comments (0)

    We speak with Heidi Andreasen, whose digital collages grace the pages of our printed magazine. The Berlin-based artists talks about Interview magazine, digital manipulation and the German art scene.

    phoenix_mag_illustration_heidi_andreasen_02You’re based in Berlin now, how does it compare to the experience of living and studying in London?

    London is a buzzing city with many opportunities. Sometimes I really miss it, especially the people who I met at CSM. It was an extremely inspiring time and it taught me a lot. London is too expensive though, and that’s the reason why I decided to move. I really love the slow pace of Berlin and the liberal nature of the city. The art scene is young, vibrant and inspiring. It’s a great place for artistic growth.

    Would you say that your work style has changed since graduating?

    Since graduating I’ve been very interested in the subject digital vs organic. The style in which I illustrate started out as digital, but has slowly become more hands-on. I’ve found mixing digital manipulation techniques with hands-on collage extremely interesting. In my mind, this combination of techniques really brings out the essence of collage-making and the juxtaposition of the organic and the digital in a computerised culture.


    We know that since moving to Berlin, you’ve interned at both Saatchi&Saatchi and Interview magazine. How was it to  move from an advertising agency to a magazine?

    At Saatchi, I worked closely with the creative team in creating new ideas and concepts for upcoming campaigns. Pitching and designing layouts was part of my daily routine. At Interview I had been working with their online team in redesigning their new website, which has been nominated for Website of the Year in the German ‘Lead Awards 2014′. Both experiences have been great and I’ve met some extremely talented people.

    “I really love the slow pace of Berlin and the liberal nature of the city. The art scene is young, vibrant and inspiring. It’s a great place for artistic growth.”


    Do you spend much time producing your own work and freelance commissions, now that you’re working full-time? 

    The past year has been pretty full-on. I’ve been trying to squeeze in time for my own projects in the evenings after work and on weekends. There’s been a couple of freelance projects I had to turn down due to lack of time. It’s been quite stressful when I’ve been freelancing or preparing for an exhibition while working full-time. However, I definitely learned that I get more work done when I have a busy schedule.

    Quite a few of your earlier illustrations reference Dadaism and sci-fi shorts by H.G. Wells- both from the early 20th century. Have your topics of interest changed much? 

    Influences come from everywhere and the topics change every day. The latest series, which I created for the STITCH group exhibition in London earlier this year, was inspired by how digital imaging has changed and how it’s become a rather sterile and precise process. The idea was to reintroduce the beauty of imperfection to the precision of digital imaging.

    1granary_1_granary_central_saint_martins_heidi_andreasen3Looking at your BA work, some of it can easily be thought of as fashion editorial. Is working in fashion something you’ve explored?

    The graduation projects ‘Bloom’ and ‘Spring Up’ were in collaboration with my good friend Tristram Mason who is an amazing illustrator. We met through our course at CSM and began collaborating during our second year of uni. We both love collage and fashion, so it was a perfect match. Together we also worked on professional projects for artist ‘Kristjana S Williams’ and fashion brand ‘Beyond the Valley’.

    “Creating work for online and for print is very different. It’s extremely crucial to be aware of the technical aspects in order to get the best result.”

    Because some of your work is quite tactile and textured, do you approach the work that you produce for magazines, online, and exhibitions differently?

    Definitely. I think a lot about the final outcome and the whole process from start to finish. Creating work for online and for print is very different. It’s extremely crucial to be aware of the technical aspects in order to get the best result. Personally, I love print and the texture of ink on paper. My family runs a small envelope and printing factory back in the Faroe Islands, so I grew up being around big presses and machinery. I think this is what sparked my interest in print.

    We know a few students from Berlin, so it’s on our list of places to visit. What places would you 
    recommend that we check out there?

    Oh, there are so many places… I love Tempelhofer park, a former airport which is now a public park. It’s a perfect spot for BBQ’ing and chilling in the sun. Martin-Gropius-Bau is a well-known museum and exhibition hall which is definitely worth visiting. Every Thursday there’s the Food Market in Markthalle Neun, which serves delicious food. On weekdays the club Berghain hosts great live gigs. The list is endless…

    What are your plans moving forward? Do you think you’ll stick with illustration as your medium after spending time working for Saatchi and Interview?

    My goal is to continue to grow as a designer and artist. I feel like my style and approach is constantly changing so it can go anywhere from here. It’s been a long time dream of mine to create large-scale artwork. Also, fashion-related work and collaborations are definitely something that I wish to explore even more in future projects.


    Get a copy of 1 Granary’s second issue to see more of Heidi’s work!

    Follow @1granary on Twitter, Facebook and Instagram

    No Comments

    Read More

    Sep 13, 2014 • BA Final Collections, Fashion, MA, Photo ShootsComments (0)

    HAIR_500You don’t frequently see students figuratively ditching their writing course to go and do something completely different, like hands-on styling. However, Lou’ana Carron - who’s going into her second year of Fashion Journalism at Central Saint Martins – does it over and over again. Having styled this year’s White Project shoot (featuring the work of first year fashion design students), she’s now continued to work with this year’s BA and MA graduates, shooting a story with photographer Alexei Izmaylov. With the start of fashion week, don’t take yourselves too seriously, #silly.


    Angel Chan

    Georgina Mae top | Maria Jahnkoy jumpsuit, Maria Lavigina jacket1granary_csm_central_saint_martins_louana_carron_hashtagsilly_photoshoot_csmgraduates7
    Alice Marrone shirt, Woo Seok Jeon glasses | Maria Lavigina
    Maria Jahnkoy jacket, Maria Lavigina dress
    Chin menswear top, Christine Charlebois top (underneath) | Graham Fan collar, Pauline Edvall trousers1granary_csm_central_saint_martins_louana_carron_hashtagsilly_photoshoot_csmgraduates4
    Alice Marrone shirt, Angel Chan shorts1granary_csm_central_saint_martins_louana_carron_hashtagsilly_photoshoot_csmgraduates3
    Kenji Kawasumi top, Alexei Izmaylov scarf | Georgina Mae top, Christine Charlebois trousers and top (underneath)
    Angel Chan jumper, Alexandra Arsenault jeans, stylist’s own socks and shoes | Angel Chan jacket, Terezka Drabkova necklace, Chin menswear shirt


    Juliette Khamak 


    No Comments

    Read More
  • Op-Ed | The New Identity of the Fashion Designer in the Age of the Internet

    Sep 12, 2014 • OpinionComments (0)

    Those who have chosen to work in creative industries are constantly expected to “top” not just one another, but themselves. The music industry has been this way for years, with artists constantly expected to evolve from not only musicians into performers, but to dancers, and even actors and all in order to get ahead and to become the best, biggest and most sellable acts possible. Over the last few years, it seems the fashion industry has been catching up to this ethos; with an ever growing influx of multi talented designers who stand to shift the views on what it means to be a fashion designer today. With so many young designers trying to attain a voice, is it still enough to simply design clothing or is a fluidity of craft, and a brand image that involves numerous avenues of creative outlets of expression, becoming more of a requirement rather than just an advantage?


    Perhaps the poster boy for the modern fashion designer with a lengthly list of professions and artistic endeavours is Henrik Vibskov. This Danish fashion designer shows each season in Paris (where he is currently the only Scandinavian designer on the schedule) in the form of his now signature whimsical patterned knitwear and colourful avant grade designs. He has shown a number of his innovative sculptures and installations at major exhibitions in prestigious galleries all over the world, is the drummer for Danish electronica band Trentemøller, and has taught at his former institute of education, Central Saint Martins. For his most recent Spring Summer 2015 show in Paris this June, entitled the “Sticky Brick Fingers“,  Vibsov cast members of the Norweigian National Ballet to perform a beautiful tribal-like water-dance choreographed by Alexander Ekman in the centre of the runway outside of the Place Baudoyer.


    When crossing over into so many different creative outlets, it seems difficult that one is able to successfully attend to each body of work in a way which complements and contributes to an overall brand aesthetic. This is where beauty of vision and of natural creative coexistence within process reaches the foreground. Fine Art MA student Dennis Vanderbroeck, who interned for Vibskov during the creation of his A/W 2012 collection – “The Shrinkwrap Spectacular” -  says that working with the designer was a very unique experience, and one which very much  influenced his own work. “Although I define myself as an artist first and foremost, I want to approach my practice as a brand, wherein all my separate works will coexist. I no longer feel the desire to become the typical artist with a gallery in my studio, cigarette in one hand, red wine in the other – but rather I want to create a place where different art forms come together and where my commercial and ‘free’ work are both able to sit side by side as a collective of fashion, fine art, and performance.”


    “The rise of those who choose to show work outside of the usual confines of fashion weeks – which has become too hectic for some and too expensive for many – are now all the more prevalent.”


    Gosha Rubchinskiy‘s photographs and films symbolize a world beyond clothing – one which intrigues and excites – by having the clothing fit into his universe, acting as an extension of his aesthetic. In his film, “Transfiguration” – which Gosha created on a year out from designing – he provides a glimpse into the lives of skateboarders during the development of a new cultural centre in St. Petersburg, Russia called the New Holland. Over the span of 2 months he interviewed different boys and allowed them to speak about their dreams, their choices and their fears. It’s through offering us a look into the worlds of these boys with their endearing youth, rebellious energy, and sometimes nihilist ideals -  in the form of his photo zines and films – that we are able to see Gosha Rubchinskiy as not fashion brand, but as a distinct and comelling narrative to an overall concept.

    Although the desire to transcend the labels of  “designer” or “artist” is a sincere argument that pushes creatives towards this new ideology, another dominating factor is the sheer amount of designers that are out there today. With older fashion houses such as Celine, and Saint Laurent who have had their brand identities created and recreated so many times, its no wonder that emerging designers attempting to break into one of the toughest industries in the world have been left feeling as though letting the clothing speak for itself will simply no longer cut it. There is a the notion that working beyond one craft and being able to tie together a network of skills becomes no longer a case of something that can add to a brand image, it is a brand image. With so many emerging labels jumping at trends and the chance to generate hype through recognizable branding, it has become necessary for designers and design teams to create a universe that surrounds their work, and one which can speak to not only a wider target audience, but the youth of the internet generation; the market that ultimately decides who and what will stay relevant.


    As fashion is being twisted into an entirely new industry – one which is constantly thrust into the public eye thanks to social media – the objective of the consumer has undoubtably evolved. If those who consume – mouths constantly agape with an insatiable appetite for the new – are ultimately who products are made for,  then the job description of the fashion designer has inherently evolved with them. A recent article published by the Business of Fashion featuring a study by multiple groups suggested that U.S. millenials (those born between 1977 and 2000) no longer have the desire to fit into a category and refuse the act of blindly following in the direction of marketed trends and fast fashion. With this suggestion, a new pressure has been thrust upon designers to both enhance and define, and to find a new angle at which to not only sell clothes, but to sell their image and have it resonate with those who are interested in more than just branding.


    “With so many emerging labels jumping at trends and the chance to generate hype through recognizable branding, it has become necessary for designers and design teams to create a universe that surrounds their work.”


    Then there is the fashion show; the theatrical personification of the garment and the ultimate portrayal of the way in which a designer chooses to present their collection to a selected audience.  For many young designers their first fashion show or presentation is the single greatest starting moment of their early careers. But recently, the rise of those who choose to show work outside of the usual confines of fashion weeks – which has become too hectic for some and too expensive for many – are now all the more prevalent. Gareth Pugh’s recent SS15 collection at NYFW, dubbed “an immersive fashion experience” choreographed by Wayne McGregor saw a warehouse space on the East River transformed into an eerie den of dancers in front of giant screens displaying selected haunting images such as clouds, barely clothed figures and tornadoes. Gareth, who also showed a film directed by Ruth Hogben for his collection presentation in 2009, is no stranger to the unorthodox and to redefining stereotypes and has expressed this distaste with the conformation to the fashion industry’s constructs and rituals time and time again, most recently in an interview by Murray Healey in the A/W 14 issue of LOVE magazine.


    If at the end of the day, fashion is a business and garments are made to be sold, then the way in which a designer chooses to represent their clothing through their brand image is part and parcel to the course. Through creating a universe that involves a multitude of avenues in which to define a whole aesthetic, or deciding to present a collection in a way which courageously shatters and redefines the molds of the industry, the face of the fashion designer is quickly and inevitably evolving and it is with this new identity that the fate of fashion’s future ultimately lies.


    By Katrice Dustin

    No Comments

    Read More
  • shit or bust: fashion designer Raimund Berthold talks about art brothels and army solutions

    Sep 11, 2014 • Fashion, Graduates, Louise Wilson, MAComments (0)

    There’s a handful of fashion designers that keep the Charing Cross Road ethos of the previous Central Saint Martins campus alive, and Raimund Berthold is one of them. His Soho studio is serene and white, that is, if it would be completely empty. There’s aluminium foil covering walls (a moodboard-to-be), two full rails with his new collection stand between the cutting tables and kitchenette, an intern is nearly strangling himself with metres of name labels, a ‘shit or bust’ image covers the wall, and there’s a plate full of sweet pastries on the table that’s gently being pushed toward me, while I take a seat. “This is the challenge… Will she eat, just before fashion week?” Laughter fills the studio and immediately breaks the ice. No bucket, no challenge, a warm reception.


    Raimund grew up in Austria. His family was involved in the hotel business (ski resorts), making it a natural choice to study hotel management, though he’s always had an interest in fashion design. “They didn’t know anyone in fashion,” he says, “ there weren’t any fashion colleges even.” Travelling a lot to New York and London, resulted into meeting loads of fashion people, which led him to eventually think, “fuck it, I just have to do fashion.” It was just a matter of finding a way to make it work. Next step: studying at Central Saint Martins. Raimund graduated from the MA menswear course in 2005, and then started his own label, Berthold.


    While eating a Danish pastry, Raimund talks about the style range of his recent collection, and says he’s trying to keep it simple (in a way) by sticking mostly to black. “You don’t want to split it over too many different fabrics and colours, otherwise production becomes difficult as well,” he says, “Minimal is back anyway, which I always encourage. Love it already. People always push me for colour, but it’s difficult.”


    Why should he, I wonder? He explains that there are two sides involved. Firstly, the buyer’s side: they looks at their customers, who like all black everything. Secondly, the press side, who request lots of colour. “You know stylists, they can’t pick black, because it just doesn’t shoot very well. Or, it just doesn’t show up or fit in with whatever they’re doing. You always have to have colour; which I sort of get around a little bit by using print. It amuses me more. Last season, I worked with a great artist called Tara Langford. I just let her do her own thing without getting involved with fashion. I said “you just do your art and then reapply it as a print.”


    Print or colour has never been the thing for Raimund, not even in his Saint Martins days. When he did research for his graduate collection in 2005, the starting point became 9/11. “I just found this book with beautiful images; terrible but beautiful. It was of these shops in Manhattan and all the windows were blown in. But on the inside, everything was covered in this fine dust. Almost like powdered sugar, and everything, all the garments, bags, tills… everything was just white. It almost looked like someone had spray painted it in a white powder, it looked amazing and very haunting. So I used that as a start for the collection, and I experimented a lot with textures.”


    In design terms, it’s always shape first. “I always have to push myself to pick the colours for the collection, because I’ve no interest initially. For me, the research is almost never colour based, everything is printed out in black and white, so I don’t distract myself. It’s all about the shape and the silhouette, that’s what attracts me. Figuring out a silhouette, drape, whatever, and then I think about colour. Regarding print projects, I never have a garment in mind. I work with the artists, and once I have a print I like, then I think ‘what shall we put it on? Where would it look nice?’ So no, colour is never on my mind.”


    “It’s very easy to get sidetracked by other people’s visions. I find that is very true with lots of people, even starting at college. All collections are starting to look quite same-y, because you get a little bit paranoid and you think “oh God, someone’s doing something better” and it sort of morphs into that.”


    As a full-on colour collection is out of the question; I’m trying to imagine Katrantzou prints in his studio, and ask what the most experimental thing is that he’s ever done. The answer is unexpectedly amusing.

    “I got part of a collection – funnily enough for the MA – made in a sex shop. That was pretty weird, because, my God, they have things there…it was pretty unmentionable. They made lots of tents for the weirdest reasons, let’s say they called them the ‘piss tents’, with funnels… Really weird stuff. Louise [Wilson], God bless her, put me in touch with them; how she knew them, I don’t know!  They were amazing, the weirdest people, like really really fetishy hardcore, rubber and kinky stuff. There were things hanging from the ceilings, like chains and swings. They were brilliant though, we had such a laugh there, they were such nice people.”

    His studio, I find out a bit later, is filled with artworks. They’re pretty much everywhere. On the floor, attached to the walls as plexiglass seats (with a ‘don’t sit!’ sign on it), in the bathroom, everywhere. In the corner of one room, there are a few slabs of cement – an artwork that still needs to be installed properly, which originally comprised a crushed can of coke that a cleaner threw away by accident. He then had to call up the gallery to have the artist crush another one, cos, you know, you cannot really call it ‘art’ anymore when you demolish them yourself. It should come as no surprise that when I ask, “you’re pretty into art, aren’t you?” he smilingly says yes. “It probably influences my fashion design work much more than I think,” he says.


    “Reena Spaulings gallery is literally a brothel. You walk up to the first floor, and it’s like one big long room, and you still see the colour changes for all the little separation rooms where the prostitutes would work from.”


    When I ask him if there’s a gallery he’s particularly fond of, I didn’t expect a barrage of galleries to be released from his mouth, as it does – very energetically and with more passion than I’ve heard some designers talk about a bias cut. He talks about a ‘weird garage space in Mayfair’ called ‘Project Native Informant’, which is run by his American friend who ‘finds all the young, super cool artists – before they’re super cool – and puts them on.’ He mentions the Approach Gallery and Maureen Paley, “she’s the godmother of the East-end in terms of galleries. I don’t know if you’ve ever come across her: American with a beehive and kind of stern looking. She looks like you don’t want to call her names.” He goes on to talk about Reena Spaulings, which is an old brothel in New York’s Chinatown “It’s literally a brothel. You walk up to the first floor, and it’s like one big long room, and you still see the colour changes for all the little separation rooms where the prostitutes would work from.”


    He mentions many galleries, but what does he usually look at inside those walls? I read in an article on the Guardian that the art in his house has got a slightly dark edge to it, which he says is true, but not intentional. Though a lot of his collection is very minimalist (‘almost like a blank canvas with some splatters on it’), he does has some pieces that simply aren’t ‘that painterly’. He talks about his David Altmejd sculpture, which is “basically a head with human hair on it, but it’s upside down, it’s got fangs and lots of different colours in the face; then there’s an opening where the ear is and inside there’s some crystals.”


    How does he usually select? Is it something that immediately strikes him, or rather lingers on in his mind?


    “It’s usually the instant attraction, and then, if I know the artist, then it’s quite easy. Then it’s just a matter of negotiation. If I don’t know the artist, then I have to do a bit of research. Sometimes I see an artwork, then I look at all their other work – easily, on my phone in a booth at Frieze or whatever – and actually think “I don’t like any of the other pieces”. So it puts it all in context, and it makes you realise that actually you don’t like the aesthetic, and the sensibility of the artist at all. Sometimes, it’s the other way around, and the gallery suggests something and says they think you like; you research it, you fall in love with it, and it all sort of falls into place.


    Shifting the conversation back to his profession, he says that he also collects fashion, but they’re always army pieces. “I’m usually not so much interested in the piece itself, but in solutions. Army solutions are brilliant – they always find such a clever way of hiding this and fastening that,” he says. Raimund admits to taking inspiration from some of these subtle ancient solutions, and works them into his collections. Does he ever look at what other designers are doing? Not necessarily. “I’m very bad at keeping up with things. I go through my magazines, but I’m not following too much.”


    I murmur ‘that’s good,’  as a sign of approval, and he says, “I think it is, definitely, because it’s very easy to get sidetracked by other people’s visions. I find that is very true with lots of people, even starting at college. All collections are starting to look quite same-y, because you get a little bit paranoid and you think “oh God, someone’s doing something better” and it sort of morphs into that. I think it’s quite healthy not to bother too much.”


    “Minimal is back anyway, which I always encourage. Love it already. People always push me for colour, but it’s difficult.”


    Is there anything memorable, I ask, that Louise has said to him which he remembers?


    “Oh my God, she said so many things. One time, it was quite early on and we had a deadline – we had a project and then a tutorial with her. About a week before, I had a one to one tutorial with her, and I don’t know how it came about, but she was talking about summer holidays and “I’m going to Bali”, because she had a house in Bali. So I said, “funnily enough, I’ve just been invited to go to Bali, to go on someones plane”, it sounds bad, but that’s how it was, and she said “why don’t you?” and I said “well, we’ve got a very big deadline with you coming up”. She was on a diet – as always – and she had a crispbread with some weird turkey bacon thing on it – it was so dry -and she just threw it on the table and said “you’re the biggest fucking wanker I’ve ever met in my entire fucking life, how stupid, of course you’re going to Bali, it’s a great chance, fuck the deadline.” I just thought “wow”, because for me that was such a shock because I was not used to that kind of thinking; it just set the scene for the whole MA. If you had a good excuse, then just do it, run with it, have fun, and then work really hard afterward.”


    Though Raimund didn’t go to Bali in the end (and did meet the deadline), his approach to life seems pretty clear: just fucking go for it, enjoy life, have a laugh, collect ancient tables with meat slabs and put them in your bathroom, so that inspiration will rain down on you when you take a piss.

    Have a look at Raimund’s new collection on

    Follow @1granary on Twitter, Instagram and Facebook

    Words and photography by Jorinde Croese

    No Comments

    Read More
  • what we hoped the iWatch could do… illustrated by Charles Jeffrey

    Sep 10, 2014 • Fashion, Fashion TechComments (0)

    “Other smart watches have been geeky and unattractive but Apple has aimed for beauty first, tech second. Unlike previous gadgets it comes in multiple looks using six straps in different materials to coloured metal finishes,” the Independent wrote about the iWatch, which was released last night. What was the fashion world’s reception? And, more importantly, what did we ultimately dream the iWatch would be able to do? Illustrator Charles Jeffrey took to the drawing table and showed us his hopes for the tech innovation of the decade.


    “The launch of three distinct collections – Apple Watch, Sport and Apple Watch Edition – mimicked the traditions of a fashion brand, with each collection aimed at a different demographic, with the latter clearly designed to capture the luxury fashion customer,” reported Rosie Swash at the Guardian, and a-ha, here we see Angela Ahrendts‘ involvement (Burberry Brit – Burberry London – Burberry Prorsum?).


    GQ’s Daniel Dumas voices his opinion about the stylish side: “The Apple Watch certainly has a lot going for it from a technological standpoint, but we’ll never vouch for wearing a digital watch with a tux. If you have a special occasion coming up, opt for something classic… Remember; the Apple Watch is built to check emails. You don’t want your wrist lighting up with a message from the CEO when you’re toasting the groom.”


    At times during the tech unveiling of the decade, social media was more entertaining – the iPhone 6 was released minutes before the iWatch, and immediately the scarf guy had been hyped up, and the iPhone 6 ridiculed (glitter dispenser et all).


    The fashion world seems to be divided about the watch, according to Reuters, and so are we at the office, but as Lisa Armstrong from the Telegraph said: “the company is entering the style arena. It should be one hell of a show.”  A show we’re looking forward to see… What will be the young designer’s contribution to this new trend?


    Here’s the fash-tech future. If you want to step in and be a part of it straightway, and you’ve got a spare weekend ahead, why don’t you head over to the Google campus for their start-up weekend? You’ll have the best coaches, most fun, and you can win win win. If you want to make £££ in fashion, laborious hand printing probably won’t bring you far. Learning to perfectly pitch and explain your unique ideas (very CSM), will help you grow as a designer-entrepeneur (even Anna Wintour said it). They’re offering a pretty awesome discount for anyone who’ll sign up via 1 Granary; email Jorinde at for more information.

    Follow @1Granary on Twitter, Instagram and Facebook

    No Comments

    Read More
  • Stillness in the Darkness: serienumerica clothes are ‘made to last’

    Sep 8, 2014 • FashionComments (0)

    Clothes that are created to fuel consumerism aren’t just getting increasingly boring and lack integrity, they’re also becoming dangerous, aren’t they? With an eye on the exploitation of both earth and man-labour, and a desire to wear something timeless, we take a look at the work of serienumerica, a brand by Stella Tosco and Maria De Ambrogio.


    For the two designers, beauty can be found in everyday life, as there’s “a bit of beauty in everything you run up against, assimilate, and absorb during the day.” There’s a stillness in their work, which is supported by their belief that what they design shouldn’t be something that’s linked to seasonality. The aim is the create a product that’s valid as a design which will be valid for a very long time, so more or less like the relationship with a very close friend. “We want things to last. That is important to us, and that’s what we want to pass on to our clients,” Stella says.

    Their design ethos is pretty straightforward: it breathes timelessness, takes references from classicism and one of the main importances of the garments, is that they don’t lose the beauty that they’ve been given.

    1_granary_1granary_centralsaintmartins_csm_serienumerica 1_granary_1granary_centralsaintmartins_csm_serienumerica 1_granary_1granary_centralsaintmartins_csm_serienumerica

    Do they have any routines or rituals? No, nothing special, but “it’s good to have a nice black coffee in the morning,” Stella says. She then goes straight to the studio, which is situated in the centre of Turin, just around the corner from one of the biggest food markets in Europe (Porta Palazzo). Apart from the admin duties (checking mail, phone calls, which is pretty much the drill of the day when you start your own company), they don’t just stay behind the desk: they’ll chase suppliers to make sure that everything’s going according to plan, “nearly every day one of us goes by car to our knit or leather suppliers to check on them and on the products.” Then, this could be followed up by pinning new images on a moodboard, or planning trips to view new companies that could show new materials or techniques. But then again, as they value handcrafted piece immensely, they can often be found doing the actual design work, and ‘live’ cutting.

    “At the end of the working day we love to have an Italian ‘aperitivo’, a glass of wine in one of the Italian bars just around the corner.”

    1_granary_1granary_centralsaintmartins_csm_serienumerica 1_granary_1granary_centralsaintmartins_csm_serienumerica

    As the brand is not very widespread, I ask if their aesthetic is intended not to be for the masses, and Stella agrees, then says: “but for sure there are a few more people out there who would appreciate serienumerica. We’re not keeping our brand intentionally small, but we want to make it grow gradually, in order to be able to follow its production step by step. It is our will to grow, but in the meantime to maintain the high quality that we’ve always cared about. Furthermore, we want to continue to work closely with Italian artisans, as we do now almost everyday.”


    Tell me about a strange dream you had recently…

    “Speaking vegetables.”

    1_granary_1granary_centralsaintmartins_csm_serienumerica 1_granary_1granary_centralsaintmartins_csm_serienumerica 1_granary_1granary_centralsaintmartins_csm_serienumerica 1_granary_1granary_centralsaintmartins_csm_serienumerica

    What music do you enjoy?

    We enjoy from classical to minimal eletronic, jazz, funky… nearly everything except heavy metal.

    What films do you love?

    Among many others, Italian classics like ‘ladri di biciclette’, ‘amarcord’, ‘la grande abbuffata’, ‘ i vitelloni’.

    What books do you read?

    La Triologia della citta di K’, ‘Augustus’, and many crime novels on the beach

    Tell me about a strange dream you had recently.

    Speaking vegetables.

    Which fashion ‘trend’ would you like to fight with a hot glue gun?

    Men wearing bum bags.

    Octopus-ink pasta or white pasta?

    Homemade pasta.


    Follow @1granary on Twitter, Instagram and Facebook

    No Comments

    Read More