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5/20/13

hussein chalayan at audi fashion festival singapore

Each year, the Audi Fashion Festival Singapore invites a handful of international designers to show at the event.  This year, Hussein Chalayan was selected to be given the honour of closing the festival.  Other international stars who showed this year included fashion mainstay Carolina Herrera, British newcomers Peter Pilotto, Japanese favourite Tsumori Chisato and Australia's queen of cocktail dresses Colette Dinnigan.  Chalayan's recent Fall/Winter 2013 collection which he showed at Paris Fashion Week in March was heralded as one of the most innovative shows of the season.  It even moved many a show-goer to tears.  And the reaction of the audience in Singapore was no different, with many attendees stunned by the gorgeous creations they saw.  Chalayan is travelling to Hong Kong next and will be in town with I.T this Wednesday and Thursday.  He's then off to Beijing.  So, Chalayan fans, don't forget to keep an eye out for him!







Hussein Chalayan greets the crowd at the end of his show.

The finale strut.

Electric sekki's luxury team, Giusi Genzano and Jessica Lee, on their way to the show (via @jesssiii Instagram).

The view at the show (via @jesssiii Instagram).

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5/16/13

sassy sunnies

One thing that we can't live without is a fantastic pair of sunglasses, and we typically add at least one new pair to our collection each season.  Lately, we've been loving sass & bide's sunnies.  The beloved Australian fashion brand launched their first collection of sunglasses back in 2011 and they have been a huge hit ever since.  This season, we are particularly loving their lookbook, styled in sass & bide's trademark bright and creative way, with lots of tribal influences.  With so many spot-on styles to choose from, which pair is your favourite?
















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5/15/13

miranda kerr in nanushka

Spotted: Miranda Kerr ready to throw down on a basketball court in New York City, dressed in a Nanushka top and metallic shorts.  All right, so maybe she's not really playing basketball.  In fact, she was spotted by People magazine on the set of a sports-themed photo shoot, hence the excessive extra gear in the form of a striped terry cloth sweatband and kneepads.  This is one of our favourite looks from Nanushka's Spring/Summer 2013 collection; those metallic shorts in particular have caused a mini-riot of obsessed colleagues in our showroom.  Needless to say, the Hungarian brand designed by Sandra Sandor is definitely having a moment!

Miranda Kerr in a Nanushka top and shorts, as captured by People Magazine in New York City.

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5/14/13

woolmark prize nominee: ffiXXed

The second of the Asian nominees for this year's Woolmark Prize hailing from Hong Kong is the label ffiXXed, which is the brainchild of Fiona Lau and Kain Picken.  With a studio and in-house production team at the base of the Wutong Mountain in Shenzhen, this duo is definitely not your average design team!  Originally from Melbourne, the two then travelled to Berlin, where ffiXXed was born.  Eventually, they briefly moved to New York before settle down in Hong Kong and Shenzhen.  While Kain comes from a fine art background and Fiona from a design discipline, the two work seamlessly together to create a unisex collection with localized production values.  Their excitement about being nominated for this year's Woolmark Prize is infectious and we're confident that their enthusiasm will be aptly reflected in their designs.


ES: Tell us a little bit about how you work together.
F: We come up with our ideas either separately or together.
K: It's very organic.
F: It's not linear at all.
K: And there's no formula to it.  One of the things is that we never actually intended to start working together in fashion and I think because it comes from that starting point, it's not very strict.
F: Maybe I'll come up with an idea and then I'll have to pitch it to him and then I make a small sample and show him, then he gives me feedback and we might change it.  It's a lot of dialogue between us.
K: In the beginning, we used to always work together to come up with the initial idea, but now the collections are getting much bigger and we're doing so many projects so it works faster now that we each have our little ball of ideas that we start with and then start to work on it together.  Or we might just come up with something and say, "Let's do this."
F: Or we might both at the same time say, "That's terrible!"

ES: What happens if one of you doesn't like the other's idea?
F: I have to really fight for it!  I might make some samples to prove to him that it's good.  He might then give me some feedback about whether I should continue or not continue.  And it goes the same for him.  We have to get each others' opinions.
K: If we have two ideas that we can't agree on, we might try to combine them.
F: Or ditch them both.

ES: Is there anything that ends up in the collection that only one of you likes?
K: No.  There has to be a level of consensus.  
F: Maybe we both like it, but one of us likes it more than the other!
K:  There are a lot of factors, but if I really couldn't stand an idea, it would never get through.


ES: Would you say that your styles individually are quite different from each other?
F: There's some general similarity.
K: There's a framework that we work with.
F: Sometimes I think Kane can be a bit quirky, but then sometimes Kane will think my ideas are a little bit more technical than you'd prefer?
K: We both have our different directions and, of course, Fiona comes from a fashion background.  I studied fine art.
F: Painting.
K: I come from a completely different place.
F: Kane's not so into pattern making.
K: She has more sympathy for it!  If you ask me to make a pattern for something, I probably couldn't do it, but I have a general understanding of how it works.  I'm not into this idea of overworking the pattern. It's just a way to realise the idea.
F: I'm the same, but sometimes I'm a bit more sympathetic to a more interesting cut.


ES: I think it's interesting because you're a girl and you're a guy and I understand that ffiXXed is largely unisex.
F: Exactly.
K: Well, we do both men's and womenswear.
F: When we started and we were living together, we didn't have that much money and I would always wear Kane's clothing and I like to wear oversized.  We just thought, "Why make two sets of clothing when we can just make one!"  And I'm into quite masculine clothing.
K: So it works quite well and a lot of the pieces can be work by either men or women equally, but we do do some more dedicated womenswear pieces.
F: Just a few.
K: And maybe there's a piece in the menswear that needs to be adapted a bit to make it more wearable for a women.
F: Our sizing goes from XXS to L, so if a women's shop comes in to buy, they might buy a piece in XXS to S, but a men's shop will buy M to L.
K: I think it's not actually that difficult to navigate.

ES: So tell me about how you met.
F: In Melbourne, the social scene is really small if you're into design, music, fashion, etc., you go to the same venues and Kane was working with a friend of mine, and his twin sister went to school with me, so that's how we became friends.

ES: And how did ffiXXed come about?
K: That was when we were living in Berlin.
F: When we were in Berlin, I was doing an internship with a label and Kane was working at a gallery.  Kane got invited to be a part of Art Rotterdam and he wanted to make some fabric sculptures and he thought it would be a good opportunity for us to make it together, and he didn't want to be "Kane Picken and Fiona Lau" so we just made up any word to be under this title, so that's how it happened.
K: That was the first time we ever used the name ffiXXed.  We enjoyed working together and it developed from there.
F: We started in clothing sculptures and we developed the line from there.  Then we decided to come to Hong Kong and do it more seriously, but keep it still under the banner of ffiXXed.

ES: So why 'ffiXXed'?
F: Well, that was because Kane was doing these 'X' paintings at the time...
K: And I always thought it was strange how your email was Fiona Lau, but "Fiona" with two F's.
F: In the beginning, really, the project was not that serious so we just thought, "Oh, just choose a name."
K: But that's the beautiful thing about making something up because it invites all these other meanings to come to it.




ES: Tell me about the ffiXXed brand.  How are you different from the other nominees?
K: I think we have a different approach to fashion; we're not particularly interested in the glamourous or sexy side of fashion or any super conventional idea of fashion.  I think we come from a more conceptual point of view, in terms of the ideas, but in terms of the designs we come from an everyday basics idea.
F: It's classic, with a difference.  For example, Kane today is wearing these jeans, but it's a trouser on the other side, but if you reverse them they become a classic trouser.  Combining different fabrics.  We don't want to make it crazy, because that's not what we do.  We want to keep it within the framework of clothing you can identify, but subtly different.

ES: Will you continue with this approach for your collection for Woolmark?
F: Yes.
K: Definitely.
F: We have two avenues we're working towards; one is that we're trying some knitting.
K: But working with surface patterns with the knitting.  For us, the fabric has to be champion of the piece.
F: We don't want it to be too complex.  We want to see the wool.  Not a design that could be made from any other fabric, because then it wouldn't be utilizing the special characteristics of the wool.
K: Keeping it simple is really difficult!  The temptation is to become more technical.

ES: What's your concept of 'simple'?
K: Not simple as in dull or plain, but simple as in not a labour-intensive idea. 

ES: Do you think then for this prize you need to push it further?
K: We've been given now these opportunities and contacts to work with new yarn suppliers, so we have this opportunity to do something that we wouldn't ordinarily be able to do.  But we don't want to do something that wouldn't fit in our next collection.  We want to explore techniques, fibres and fabrics that we wouldn't ordinarily be able to do.


ES: Have you worked much with wool in the past?
K: We have.
F: We've always worked with wool from the very beginning, because we work with a lot of natural fibres, but we haven't done that much machine knitting and we also didn't know that much about it.  Coming into this competition, we've be able to learn a lot and visit a lot of factories, so it's been really great.  Even the different approach to thinking about construction and how knitted fabrics go together as opposed to how woven fabrics go together.  It's a lot of learning!

ES: I can tell from your energy that you're truly excited about all this.
F: Yeah, for sure.  We're such nerds!  When they said we would be visiting this yarn factory in China, we were so excited and I don't think anyone else was that excited by it!

See more from ffiXXed here.
See more from the Woolmark Prize here.


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5/13/13

woolmark prize 2013 nominee: PLOTZ

The Woolmark Prize recently announced its Asian nominees in Hong Kong at The Fringe Club on May 7th, including two Hong Kong-based designers, PLOTZ and ffiXXed.  At the nomination ceremony, we had the opportunity to sit down with PLOTZ designer Singchin Lo to learn more about his design aesthetic, initial ideas on his approach to his upcoming Woolmark Prize collection and his thoughts about the Hong Kong fashion scene.  Singchin Lo is a quintessential Hong Kong boy; he was born here, he grew up here and he studied fashion design here at the Polytechnic University.  Having initially begun his studies as an engineering major, Singchin Lo is very interested in the technical properties of fabrics and textures, often aiming to create new and original textiles from plain fabrics sourced in China and Hong Kong.  Hallmarks of his design include detailed patchwork and silhouette contouring techniques, making his designs incredibly female-friendly.


ES: How is your collection received in Paris at Tranoi Louvre each season?
PLOTZ: Actually, it's the third time I've been to Tranoi, before that I went to Atmosphere twice and also Rendez-Vouz three times, but now they're closed already.  I've been showing in Paris for almost 10 seasons.  At the beginning, the collection was less commercial.  The label is called "PLOTZ" which means something that creates excitement.  At first, I just wanted to do a small collection in a funky style, in Hong Kong.  That's how I started.  In the beginning, I did anything I wanted to do, I didn't focus on any commercial areas.  Then, because the first season I went to the Paris trade shows, I didn't get many orders, so I started to learn how to balance my design and the market.  Mostly, people think my work is original with a lot of craftsmanship.

ES: One of the things I've read about you a lot is that you're very conscious of the female body and working the clothes around the female form.  Tell me about that.  What kinds of materials or shapes do you think look best on a woman?
PLOTZ: Actually, what I start with is always from the fabric.  I like texture.  Each season, I like to redefine fabric.  I always think that if I can design some new fabric, then the design will be original.  It's about the texture or some kind of new interesting feeling of the material.  After I have designed some interesting texture, I will try to think, "Which part should I put this on the body?"  For example, [for one of my designs], the original fabric was made from circular patterns of lace, but then I tried to play with it with some pleating.  I do a lot of inverted pleats; inside the pleats, I put a stud, so when you move, the pleat expands and you see the studs.   We have to pleat, then sew and put every stud on by hand.  This is how I work with my designs; I love texture.  I love plain fabrics, then I play with it and I make some original fabric.  Then the design can be original. 


ES: A lot of work goes into your pieces; how to do you deal with expensive costs?
PLOTZ: Actually, I think it's not that expensive, not like Europe.  We have the benefit of China; skillful, experienced workers who are not as expensive.  The sample is done in our studio in Hong Kong and then we give the mock-up to the factory to finish the sample for us.  Factories in China are all about money.  Money can solve your problems!  They don't know how to design; they just think, if the design is too complicated, they always deny to help you to produce the sample, so if you talk about money, they say, "Okay, I can do it for you!"  But, actually, it's good, because we have a stable relationship with the factories and we hire their pattern-makers and sewers for our own production, so they like to help us to do small quantities and complicated designs for us.

ES: Now that you've been nominated for the Woolmark Prize, what's the next step for you?
PLOTZ: My ideas always changing!  After watching the movie [about last year's finalists], my ideas have changed; they seem not enough!  I have to revise, improve and add some more ideas.  
ES: What are you thinking about right now, for your Woolmark collection?
PLOTZ: I want to stay true to myself and try to express myself through the use of the wool to make some designs that I like.  I think it's all about texture.  I hope I can make some interesting texture.  With the contest, one of the requirements is that it has to have commercial value, so it can't be too creative.  I have to think about the production side, as well.  Balance.

ES: Your work is very creative; do you think that one of your biggest challenges will be finding that balance between creativity and commercial value?
PLOTZ: Always.  Nowadays, fashion is too fast.  Although you can do some commercial clothing, it won't be for sure that you can sell, because H&M, Zara, Topshop, they are selling very trendy, cheap clothing.  It's difficult to design commercial and original clothing.


ES: I understand that you designed a bag that was very popular in Hong Kong.  The fringe bag. Tell me about that bag.
PLOTZ: How do you know about that bag!  Yes, the fringe bag.  I love texture and I was thinking, "Why can't thread be fabric?"  So I used threads to create a fabric.  That's where I started.  For that bag, I wanted more people to be able to use it.  I think it is a bit crazy for people if they work a lot of fabric like that on their body, but for accessories, like bags, they can be more bold and unusual.  I thought a bag is the best item for me to try this interesting fabric.  Actually, I just wanted that bag to get noticed by people so they would know our label so, for that bag, we didn't earn a lot.  The price is very reasonable for a lot of work.  That bag was very trendy, there were lots of colours you could choose, like neon colours.  Trendy colours.  It's a "calculated design"!  That's why a lot of people could use it.  People thought it was interesting and started to know our label more.  When it started to get more and more popular, I started to become afraid that people would copy our design, so we haven't continued to include this bag design in our next season.

ES: How do you think that your designs are different and unique to the rest of the Asian nominees?
PLOTZ: I don't know, because I don't try to be different to others.  I just try to be myself.  I only know about one of the other [nominees] called Sibling.  It's from London.  I know that label, the rest of them I don't know!  And I know [fellow Woolmark Prize nominees from Hong Kong] ffiXXed.

ES: Working in Hong Kong as a designer, do you think that the environment is supportive?
PLOTZ: Not really.  I think Hong Kong fashion designers are not admired by the Hong Kong people; maybe they will think China designers or Thai designers are good, but not local designers, because -- I don't know why!  Maybe Hong Kong is too trendy and commercial.  I don't know why.  They'd even buy a Thai fashion designer label rather than a Hong Kong fashion designer label.  To me, it's difficult, because I studied here.  I am not from London's Saint Martin's.  I'm just a Hong Kong boy and I don't have the value for people to look into here.  That's why I try to use my collections to speak for myself.  My clothes sometimes are not really wearable, because I want to do something that is really individual and original; Hong Kong fashion, in Hong Kong.


ES: Have you used a lot of wool in the past at PLOTZ?
PLOTZ: Not really, because I source in Hong Kong and China and here wool is a very quality and luxury fabric.  I don't have much to choose from.  And, actually, our target audience is mainly from the Middle East and in Hong Kong or other Asian countries, so the weather is not very cold and I can't use a lot of wool for my colletions.  The main focus of our label is not wool.

ES: Will that be challenging for you, to use more of this wool for the Woolmark collection?
PLOTZ: Yes.  I have to be like a student and go to the bookshop to research how wool is produced, how it can be used, the properties of wool, felting, merino wool, knitting, I have to study all of this so that I can get more ideas about how to use it.

See more from PLOTZ here.
See more from the Woolmark Prize here.

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5/10/13

embrace the rain

So, it's been raining a lot in Hong Kong recently, and we've all been complaining a lot because of it.  Although we ended up having a red herring of a beautiful day yesterday, it seems from today, however, that the rain has returned.  And so, instead of complaining, we've decided to begin embracing.  Once you've started to embrace it, you actually begin to see the beauty in Hong Kong when it rains.  In particular, photographer Christophe Jacrot, whose work captures various famous cities in the world drenched in rain, captured the mysterious essence of Hong Kong when it rains.  His photographs evoke a romantic calm and a mysterious serenity that we rarely see in the city.  If we could see Hong Kong when it rains the way that Christophe does, we think we'd almost go so far as to say we'd hope it would rain every day!













See more from Christophe Jacrot here.

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5/9/13

woolmark prize judge: simon lock

When the Woolmark Prize announced it would be coming to Hong Kong this July to announce the 10 Asian nominees, we were immediately excited.  When Electric sekki was then asked to be involved in the organization and production of the Hong Kong nomination event this past Tuesday, we jumped at the opportunity.  We were especially looking forward to working closely with Mr. Simon Lock, heralded in the fashion industry as "the Godfather of Australian fashion week".  Simon's knowledge of the fashion industry is vast; his passion for supporting emerging design talent is unwavering.  We were lucky enough to have the chance to sit down with Mr. Lock before the nomination event to pick his brain about last year's Woolmark Prize winner, this year's nominees and his thoughts on the future of the wool industry. 

Woolmark Prize judge, Simon Lock.

ES: The Woolmark Prize and company have a long history in supporting both the wool industry and emerging designers.  Tell us a little bit about how the two go hand-in-hand.
SL: The creation of the Woolmark back in the 40's and 50's was quite revolutionary, because a group of wool producers - sheep farmers, really - came together and said, "We want a way to brand our wool that goes into fabric."  So we came up with the Woolmark and, if the Woolmark was on a garment, you could be sure that it had beautiful, quality wool in it.  The thought was quite new at that time, and they wanted to ensure that, as the Woolmark became more famous, that they were always working with new designers who were coming into the industry who could be encouraged to use wool in their designs.  So that was the initial thought behind the inaugural Woolmark prize back in the 50's: to engage with young, emerging designers, for them to be able to showcase this fantastic fibre.  You couldn't have written a better script that, in the inaugural event, Karl Lagerfeld and Yves Saint Laurent would win it!  And subsequently Donna Karan and Giorgio Armani.  The philosophy today is still exactly the same: to engage and connect with emerging designers, to showcase this wonderful fibre and, in doing so, help both of them.

ES: What did the Woolmark group see in past winners that inspired you to believe in them?
SL:  I think it's very simple.  It's something that hasn't been seen before.  That's what this event is looking for; something that hasn't been seen before, but that has universal appeal.  What Lagerfeld and Saint Laurent brought to the judges all those years ago is what designers such as Christian Wijnants, Dion Lee and Sophie Theallet brought to the judges last time around.  The essence of the event hasn't changed.

ES: How do you see the Asian designers' aesthetic differing from the rest of the contestants?
SL: It's an interesting question, because you can come up with a stereotypical answer such as, "The Japanese are really quirky and avante garde, the Hong Kong designs in the past have tended to be over-embellished, special occasion, bridal wear of sorts."  But I'm not seeing that in this case.  I'm seeing a group of globally-inspired designers who have developed their own handwriting through various experiences that aren't always culturally specific.  That's what's, I think, interesting.  If you were to round up the ten Asian nominees, you're not going to be able to go, "Oh, they're from Japan, they're from China, they're from Hong Kong."  They all have a unique handwriting and it's not necessarily lead by the culture in which they live.  I think, when a customer goes to ultimately buy an emerging designer, they don't really care where they come from.  It's not a disadvantage; it used to be a disadvantage, but people don't care where a designer comes from anymore.  People are looking for a designer's specific handwriting and one that has universal appeal.

ES: What are your thoughts on the Hong Kong nominees, PLOTZ and ffiXXed, here today?
SL: I think they're really strong.  They've already shown great discipline in how they've built their businesses.  The Woolmark Prize needs to also embrace designers who have that balance between art and commerce, because the opportunity that's going to come to the regional winner or even the global winner, we want to make sure that they can take advantage of that and make sure that they can fulfill an order for 500 pieces, know how to deal with the media and run a business.  I think that these two designers are very, very deserving nominees.  Quite a lot of people were considered to be the nominees for Hong Kong and they came out on top.


ES: What do you think the Woolmark Prize experience gives to its nominees?
SL: Well, I think the very experience is the most valuable thing.  Just the fact that they're here and involved means they're a winner.  They get to meet people that can mentor them, give them advice, give them the right contacts.  The judging pannel here in Hong Kong is going to be well-connected to them and will be able to help further their career.  Just because you don't win doesn't mean that there's not going to be a buyer in the audience that wants to buy your designs.  They're the sort of relationships and opportunities that happen to all of the nominees, not just the winners.

ES: How do you feel that working with a fabric like wool is different from working with other fabrics?
SL: When people are looking for premium ready-to-wear clothes, they want to feel that they are getting something special that has value for money, because they're paying a premium for it, and with wool it's an incredible natural fibre which is so flexible.  It can be woven into a cool wool for summer, or knitted for winter, it can have wonderful drape and feel.  And when it comes with such a quality mark such as the Woolmark, I think the consumer responds well to wool when there are so many synthetic fabrics in the market; wool is something different, wool is all about a natural, economically- and environmentally-sustainable fabric.  It has all those things that people can feel good about, but it also has the innovation and creativity that makes it a very user-friendly fashion fibre.  It's got a lot going for it.  Ultimately, I think that if consumers have the choice to buy something that's synthetic or something that's wool, hopefully, they're going to go for something wool.

ES: What are some of the exciting ways in which you've seen designers use wool recently?
SL: You don't need to look any further than the global nominees from last year.  What Christian did was this almost sculptural knitting with different dying techniques, then we saw someone like Dion who used a completely new technique of felting.  That's absolutely sensational.  Really, really interesting.  I think that's something that's really special.  We saw Japanese designers Dressed/Undressed last year create this quite androgynous fashion, mixing both knitted and woven together.  We're seeing some very interesting creative advocations of ways this great fibre can be used and that's what's going to continue to make it relevant to consumers.

ES: How commercial viable are those techniques, however, in terms of large production quantities?
SL: I think both those designers had to answer that question to the judges, because that was something they wanted to ensure; that commercial production runs could be made of those garments.  As I understand, for those particular examples, the judges felt confident that they could; so much so that Christian won.  Because he was going to immediately receive hundreds of orders for those garments and he needed to be able to commercially produce them.  We're not here to promote haute couture or demi-couture; we're here to promote ready-to-wear designs, so they have to have commercial viability.

ES: And, in terms of the future, what do you see for the Woolmark group and also the prize?
SL: I think the prize is going to go from strength-to-strength.  We're looking to expand the industries involved and expand the number of regions involved globally.  The next final will be held in Milan and I think Paris after that, then New York; I hope, also, at one stage, the global final will be held in the home of wool, Australia, which would be great.  We are fully committed to this for the next number of years.  As part of the process, wool is going to continue to push innovation and work with emerging designers.

See more from the Woolmark Prize here.
See more from the nominees:
PLOTZ
ffiXXED

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