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Unlike the trend-focused media frenzy surrounding most designers, Phoebe English is quietly eccentric – not in her street style (a concept beyond boring), but in her – gasp – ideas. With needle and thread, she builds witty concepts. We ask the designer just how she got to where she is, and how she created a glass bead globe for Dover Street Market.

How did you decide to pursue fashion design?

It was a series of fatalistic events really alongside a long standing interest in it, I first started to apply to drama schools and then after being unsuccessful decided to do fashion, after getting into Central Saint Martins I just carried on doing it. The label didn’t come into life until I met my business partner Rose Easton and we set up the company together.

What is your process from concept to creation?

Everything just starts out as a bit of imagination then everything from that point consists of trying, failing trying, failing, trying, trying, trying and trying until you get to the right ending!

Do abstract touches, like the mouth pieces in your last collection, influence the path of your designs?

Yes they do lead the path of the designs very much, they are often the first things that I arrive at and often the clothes come after this initial and central visual statement.

Do you find your designs are very textile-focused, especially as a womenswear focused designer?

The collections are always about trying to strike an equal balance between textiles and cut and sew womenswear pieces, it is often quite hard to split my mind in half to develop both these sides but as they both serve equal importance in the final spectacle it is very important.

So, what made you decide to create this glass globe?

I wanted to make something that referenced the blue prints of the womenswear collections but was the label reimagined into a large object, it was about filling the space in a dramatic but sympathetic way, the viewer can walk around all sides to examine its surface.

Are intricate and highly specified inspirations, like the Astrolabes, prevalent in all of your work?

Yes I suppose so, its often about finding very differing routes of inspirations and juxtaposing them in interesting ways.

The process sounds very intricate – can you explain how your team managed to create it?

It was a long process of hours and hours of hand sewing and complicated geometry and maths to get the grids to hug the dome in a tight and fitted way so it could look like a solid floating object.

What is the meaning behind leaving cotton threads exposed, as a ‘reminder of its construction’?

The cotton threads were all used to stitch the piece together so leaving them in evidence and not trimming them off to tidy them up was a reference to the piece being constructed by hand, they are left hanging as if the piece has only just been finished.

What does the future hold for Pheobe English?

We are working on the next fashion film, and some really exciting commissions and projects for exhibitions and events.

And finally, tea or coffee?

TEA!!!

The Phoebe English installation is displayed from May at Dover Street Market

Words: Elise Marraro (follow Elise on Twitter: PardonMe_Lissie)

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Turning the big 50 today, Marc Jacobs proves more fair and fabulous than ever, flaunting rock-hard abs with his porn star partner on a Rio de Janeiro beach via Instagram. Bow down, Karl Lagerfeld: Jacobs is the ultimate ugly duckling turned swan.

Not only has this previously bespectacled geek headed up two signature lines, served as creative director for power house Louis Vuitton since 1997, but over the last decade he’s managed to morph himself into a successful model, celeb, and all-round playa. True to fashion, Jacobs has never stopped experimenting and cavorting with the boundaries of taste… Here are our 6 unforgettable looks from our fave self-made birthday boy:

1. Just plain ol’ nudity

Stripping down in the name of Diet Coke, Louis Vuitton, and his own perfume brand, Jacobs has literally lived the saying, “Less is more.”  And we do mean that literally.

2. Make-up

Parading a palette from Sephora glam to Lady Gaga-like spooky, only Jacobs could make a classic red lip and facial hair look this good. Why should girls have all the fun, right? And when in doubt, accessorise with (1).

3. All dressed up

Given that his 2011 Halloween costume ball in Provincetown, Massachusetts was the stuff of legends, it’s no wonder that Jacobs is no stranger to the dressing-up cupboard. You have to wonder how he walked around in that giant cameltoe, though.

4. The power skirt

Who should we blame for Kanye West’s much-mocked Givenchy leather skirt? Probably Marc, who’s been snapped wearing skirts as a casual, daytime look since the late 2000s. But unlike Kanye, who tried to ban pictures of his skirt, Marc doesn’t care about what people think. And as a result, he’s probably the only man who could pull off a Scottish kilt with leather gladiator sandals.

5. Just dresses, period. 

‘Nuff said.

6. Boytoy accessory

You’re here, you’re queer and we love you for it. And your cute boyfriend too. There’s a 25 year age gap between Jacobs and Harry Louis, his Brazilian porn star boyfriend – which makes Jacobs the ultimate cougar, right? Between their adorable Instagram feed and paparazzi photos of them frolicking on Rio beaches, we’ve got serious relationship envy.

Words: Christine Jun

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Born in San Francisco, Fassett (above) grew up in a artistic community of Big Sur, California, before hopping across to pond to make his fortune as an artist in London during the swinging sixties.There, his intuitive grasp of colour and willingness to bend the rules of traditional knitwear and textile construction launched his career as one of the most creative and out-there practitioners of the craft, and got him noticed by print-loving labels like Missoni.

A Life In Colour is Fassett’s first exhibition since a retrospective at the Victoria and Albert Museum in 1988, features over 100 works within a dramatic installation designed by Sue Timney. Rugs, blankets, dresses, shawls, cushions – name the knitwear, and chances are Fassett has put his own acid-coloured spin on it. Below, Fassett tells us more about his illustrious career.

This is an amazing exhibition, could you tell us more about it?

It is 50 years of work in this exhibition, starting from my very first sweater – all the colour explorations through knitting, needlepoint, patchwork and quilt. Basically, what I’m always doing is trying to understand colour and trying to make it more vibrant, sexy and juicy. Interestingly, when I first started to paint, I was always doing white paintings – everything was monochrome. But I grew out of that and fell in love with Indian prints and Persian miniatures: the little flowers against paisley, against stripes, against checkerboards… All of that really appealed to me. When I look at a fashion designer like Kenzo, he has the same feeling and aura – and Christian Lacroix, he loved romantic patterns and so do I.

So besides colours, what else inspires you?

Patterns! How else are you going to organize that colour to make it exciting? I look to old Roman mosaics and ancient Japanese kabuki costumes, things which have these fantastic scenes of patterns.

You once collaborated with Missoni, what was that like?

Fabulous! When I first took my first piece of knitting (a sweater) to British Vogue, they said that it was beautiful and very unusual. The editor then, Judy Brittan, said: “One day you will be designing for Missoni”. The very first garment I had in British Vogue was photographed by David Bailey, and when Vogue came out, I got a call from Missoni the next day. They understood my sense of colour and their colours are absolutely beautiful and immediately, I was not nervous ’cause I knew they spoke my language!

Do you experiment with different techniques to achieve the colours and fabrics you want?

Absolutely. When I started to knit, I was known for mixing things that I shouldn’t – man-made fibers with old scratchy yarn that was used from carpets. I’d take silk and chenille and mohair and mix it all up. Nobody did that in the early 70s. Everything was by hand and of course I had to get fast.

You seem to treat your craft as a friend, almost like a lifelong companion.

It’s my solace. I use to be very social, but when I started to knit, all of those that just fell away. I was on fire, I had all these ideas and I wanted to stay home and get them done. I wanted to knit the next big throw for my bed, the next big coat, the next big fabulous dress, I couldn’t stop. It made me realize I’m happy with my own company and there’s not many things in the world that can make you that way. So when people say knitting has changed their life, I know what they mean!

The last exhibition you did was 25 years ago. What made you do another one?

It was during my autobiography. It took me three years to decide how to write my own biography, what stories am I going to tell, what am I going to leave out. The book contains 500 pictures of my work and I thought that people should see the actual thing, so I called up the museum.

Do you still get inspired by the language of fashion?

Occasionally, if I see something that’s colourful. I’d like people to be more adventurous with colour; I’ve travelled to Japan, India, Guatemala and Africa, where they love colour. I often don’t agree with fashion; it’s sad when fashion tends to be grey, which it has been for quite a while.

Kaffee Fassett: A Life In Colour runs from now till 29 June at the Fashion and Textile Museum, London. ftmlondon.org

Words: James Lennon Tan

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Based in Paris (albeit with a factory operating out of her hometown) LaurenceAirline is a menswear label that avoids the predictable cliches associated with African-inspired fashion. No embarrassing ‘tribal’ references or mistaking one ‘ethnic’ print for another – LaurenceAirline is authentic and modern in a way that many European labels can only hope to be. It’s little wonder she’s been hailed as one of the most promising African designers and been spotlighted as part of Diesel x Edun’s Studio Africa campaign.

What’s the story behind your name, LaurenceAirline?

I named my label LaurenceAirline as an hint to my own itinerant, almost nomadic, lifestyle. Indeed, I was born in Cote d’Ivoire with a double culture: European and African. And now with my brand, I am always travelling back and forth between my headquarters in Abidjan and Paris. I spend half the year in Côte d’Ivoire designing and producing the collections and half year in Paris to promote and sell the collection.

You’ll sometimes see European designers cite ‘African’ influences in their collections. As an African designer, how do you feel about that?

I find interesting when companies who take Africa as an inspiration have a true respect for its culture with all that implies. Especially on conscious and sustainable matters. More than a trend, I see it like a great opportunity to put the spotlight on African cultures scope, which subsequently can arouse the public interest to African potentialities.

Your use of fabric and print is exceptional. Where do you source these prints?

I source the printed fabrics that I use in my collections directly in Africa.

Why is it important to you to make all your clothes in an Abidjan atelier?

To me, the main goal of LaurenceAirline is to produce high quality garments produced In Ivory Coast so that local people can be trained and can learn from work exchanges in a positive and conscious process. We’re  building Africa’s modern reality for the international fashion scene in terms of high quality production and bold contemporary design made in Africa. I want to make Ivorians proud of their achievements in the fashion industry and personal self-esteem.

Describe the LaurenceAirline man.

An expressive authentic man keen on equally going in search of himself and others. A modern dandy and explorer who chooses anywhere he feels like embarking himself. A traveller, literally or figuratively.

Is there a difference between the way African and Western designers create garments?

I think creativity is universal and that there are as many ways to design garments as there are designers. In my case, with LaurenceAirline as an international label, I want to tell a story of West Africa meeting other continents through the fashion medium.

Can you describe the first garment you ever made?

It was a flared skirt, with wide lapels in a beige canvas fabric silkscreened with white tribal designs.

What’s your signature piece?

The total look in colorful print and how I mix different origin fabrics on geometric yokes.

You initially started out in womenswear, so why did you switch to menswear?

While showcasing my women’s line, men constantly expressed to me their desire to design them clothes so they could express their own creative taste. With menswear, I love to explore the minimal structure of the masculine wardrobe as a base to introduce unexpected colors and patterns as well as material associations. Some of the men’s clothes I design can actually be worn by both sexes.

How has your design aesthetic changed over the years?

Through the years, I have come to think that I like the idea of a functional creative ageless fashion. Like a simple and beautiful particular piece that one has pleasure wearing through time.

Who are some other African designers that you rate?

Craig Native, Loza Maleombho, Sawa Shoes , Taibo Bacar.

Words: Zing Tsjeng

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Krakow-born Mona Kowalska has been marching to the beat of her own drum for some time now. After she cut her teeth running the Paris design studio of Sonia Rykiel, she headed to the Big Apple to set up A Détacher, the quietly cool label that always brings a much-needed sense of architectural, whimsical individuality to New York fashion.

How did you come up with the name A Detacher? I found it.

What does it mean? It means “ to be detached”.

What is the inspiration of your new collection? Travel and camouflage.

Where are your favourite travel destinations? I would happily return to Istanbul and Lisbon.

Where do you get your fabrics from? I get my fabrics mostly from Italy. Occasionally we will have something woven in India or Peru.

How has Peruvian culture influenced your clothing line? I have always been interested in traditional dress. Peru still has many communities that maintain old customs and old techniques. I think my collection is richer as a result.

When did you know you wanted to be a fashion designer? At some point in college.

What are your favourite things about living in New York? I like the craziness.

If you could dress any celebrity right now, who would it be? I would like to dress Javier Bardem.

What is your guilty pleasure? Crime novels.

adetacher.com

Images and words: Hatnim Lee

The post A DÉTACHER: Mona Kowalska studio visit appeared first on Wonderland.

Starting from the beginning, why did you choose London for your women’s wear education? It’s a far move from Seoul, after all.

I wanted to stretch myself and get a European perspective on fashion so I applied for the womenswear MA at the Royal College of Art and was lucky enough to get a place. I fell in love with London almost immediately and even while studying I knew I wanted to make it my home.

What do you think makes London such a nurturing place for up-and-coming designers?

London is the best place in the world to be for a young designer. There is some much talent, freedom to experiment, and support here. All of these things helped me get to where I am today.

Is there any pressure to stand out as a designer?

I don’t see myself competing with other designers because think I have a distinct point of view, nor do I see myself as the next this or the next that. I just continue to do what I do in evolving the Eudon Choi aesthetic.

And how would you characterize that aesthetic?

In a nutshell, it’s masculine yet feminine. I also stress a mix of fabrics and the exploration of textures.

Do any influences from your childhood or hometown come into play in your work?

Sometimes I see it in my work. For me, it’s all about the cut and engineering of a garment and the juxtaposing of textures, but I wouldn’t say that that is because I am Korean.

What about your background in menswear?

I focused on menswear initially because I could then just design the type of clothes that I wanted to wear. When I moved to womenswear, I think that those techniques really helped make the clothes wearable.

Would you ever be interested in adding a menswear branch to your label?

Never say never! I would love to design menswear again but for the moment, I want to focus on evolving and perfecting my women’s wear collections.

You made your LFW debut with your A/W 2010 collection. Would you say your point of view has changed since then?

I definitely have more confidence now that when I started. I started my label out of a desire to create things and to present my own personal aesthetic, but I never imagined that things would develop as they have!

Any lessons learned?

It is really important to have a strong sense of what you are doing and who you are so that the opinions of other people do not sway you.

Looking forward, what do you have in store for your brand?

Well, aside from expanding, I am working on two exciting collaborations at the moment, one with a major high-street brand. Unfortunately, I am sworn to secrecy so I can’t tell you anything more!

We know you’re keeping hush about A/W 2013. Perhaps you’re willing to dish to Wonderland even the smallest of hints for the upcoming season?

Well what can I say… One of my references is Doctor Zhivago, the 1965 film by David Lean. As for the rest, you will have to wait and see!

www.eudonchoi.com

Words: Ricardo Hernandez

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Do you have a particular philosophy behind Mandarin & General?

Culture is only alive when it is being practiced, and can only survive if it continues to evolve in our lives.

What is it about Mandarin-dress making that made you want to use it as the foundation of your collections?

I’m specifically interested in traditional Chinese garment construction, before Western tailoring techniques were introduced. It’s a lot like folding an origami with fabric. The simplicity of this type of structure has its shortcomings, but has a lot of personality. I’m very curious about how the construction can be applied to other type of garments we are familiar with.

What process do you go through to rediscover the traditional Chinese garments?

I treat traditional Chinese clothes not as costumes but as a type of garment – like how I would treat a button down shirt or jacket. I work on its structural framework with consideration of today’s function and aesthetic.

How did you manage to become an apprentice for a famous Qipao (traditional Chinese dress) master?

Both masters (two of them worked together all their life) care deeply about the heritage of Qipao technique and tradition. I convinced them that although my goal is not to be a traditional Qipao tailor, I had conviction in preserving the heritage in a different way, a way that can possibly shed new light on traditional techniques. They decided to take a chance on me, and at the end, they were impressed by my learning curve. We built such a strong bond that I still visit them every time I go to Taipei.

So are our cultural traditions are something that we should hold on to?
I think it is individual’s choice to hold on to cultural tradition or not. Civilization is built on history and advances from past experiences. I find it benefiting to learn, rediscover, and reinvestigate cultural traditions.

Do you have a particular type of woman in mind when designing your collections?

I admire the young female intellects from early Republic China such as Phyllis Lin and Eileen Chang. Phyllis Lin is the first Chinese female architect, architectural historian, poet, and was one of the most beautiful women in China at the time. Eileen Chang is a talented and free spirited writer who’s was not afraid of being challenging the status quo. Today, my customers are women in their 20s and 30s who are confident, have a great sense of style, and acquired taste in culture – any type of culture.

Do you think that the modern Chinese consumer has inspired a new wave of creativity in China and Taiwan?

The rise of the Chinese consumer certainly inspired and encouraged new waves of creativity because new demands were created. I use my Chinese heritage as foundation, and incorporate everything I find interesting or important as inspiration. For example, my current Fall collection contrasts Victorian and Cubist visual structures. My new Spring 2013 collection was inspired by my concern about the impact of nuclear energy.

www.mandarinandgeneral.com

Words: Christabel Reed

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So you have a clothing line, but what made you want to make a documentary?

BOL$HIE is a whole lot more than a clothing line. There are so many mediocre labels around now with no meaning or substance.. I wanted to explain to people what BOL$HIE is about, what I’m about and why I do what I do.

What’s Notorious BOL$HIE all about then?

Notorious BOL$HIE started as a capsule collection influenced by my younger years, and my love for rap music. I shot the campaign in NYC, and filmed the trip featuring people who represent what BOL$HIE is about. Over 4 days I met rappers, dancers, designers, hustlers and community leaders all telling their stories as I told mine.

What was the first rap record you remember hearing?

I grew up with a lot of motown and reggae, I’m not sure what the first rap record I heard was.. I was always into a lot of underground rap, Channel U/1xtra freestyle stuff..

Define ‘hustle’.

Getting what you want/making things happen in ways others might not think of.

Are there any similarities between the fashion and the rap world?

The whole rap/hip-hop culture hugely based on style and image, just as fashion is hugely influenced by street style and culture – they go hand in hand.

What do you think attracts British kids to American rap?

Money, bling, cars, hoes.

notoriousbolshie.com

Words: Zing Tsjeng
Images: Rowan Papier

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How would you describe your work?

I am just a simple person who had a dream, I worked increasingly hard to make my dreams come true. Many people have described my work as eclectic and ethereal. But personally my style is in awe of the glam goth look.

You have been described as the most anticipated upcoming designers of the 21st Century. How do you feel about this?

I am unkeen of such labelling – however, as a fashion designer I find it very touching and fulfilling that many people look up to me and my designs.

You have worked with some of the biggest names on the planet, such as Katy Perry. Would it be fair to say that she has become your unofficial muse?

Yes, of course! Katy Perry is such an inspiration to me. I love working, and collaborating with her she is a breathe of fresh air. She is such a talent and a great person. When I find out that someone is wearing one of my creations to a event of any kind, it becomes overpowering and I remember why I got into design all those moons ago.

Did you expect the level of success you’ve gained? What advice would you give to aspiring designers?

I think anyone with determination and persistance can really change their lives forever. For aspiring designers, I can only say keep honing and perfecting your craft. If you build it, it will come true.

If you were stranded on a deserted island miles away from civilisation, what three items would you want with you? Why?

Wow, could you imagine? This would be a god-send to me sometimes – especially when I look in my schedule and don’t have a planned day off for a while. I dream of a place miles away from civillisation – I would take water and food to nourish my mind.

Words: Jimmy Outhwaite

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