Thursday, 14 December 2017

The Vulgar - Fashion Redefined - Modemuseum Hasselt

The Vulgar - Fashion Redefined on show at Modemuseum Hasselt

30.09.2017 - 12.01.2018 

The word ‘vulgar’ was originally used in the English-speaking world to characterize a social class and to describe anything that was commonly prevalent. Over time, this neutral description became an insult. Vulgarity became associated with pretension and ambition, with aspirations to special privileges. And it still conjures up negative connotations – words like ‘provocative’, ‘over the top’ and ‘common’ spring to mind.

Judith Clark has curated and designed the exhibition around 12 new definitions of the word by psychoanalyst Adam Phillips. Arranged around thematic categories, such as ‘Too Much’, ‘Showing Off’ and ‘Extreme Bodies’, Clark and Phillips enter into a dialogue that accompanies the visitor through the exhibition. Creations by Walter Van Beirendonck, Christian Dior, Karl Lagerfeld for Chloé, Prada, Vivienne Westwood, Louis Vuitton and Givenchy amongst others illustrate this complex idea. The exhibition combines historical costume, couture and ready-to-wear fashion with every exhibit reflecting certain aspects of the vulgar. The garments illustrate the instability of taste: what was once equated with vulgarity is re-conjured by designers to become the height of fashion.

Mantua dresses with their extremely large skirts and dramatic silhouettes, which were worn at the English court in the mid-eighteenth century are presented next to creations by contemporary designers. The famous ‘Mondrian dress’ by Yves Saint Laurent engages with copies and reworked versions, and the popular designs by Moschino are confronted with Andy Warhol inspired 1960's Souper dress.

This unique and acclaimed exhibition was previously shown at The Barbican Art Gallery in London and at the Winterpalais in Vienna. For the exhibition in Hasselt new looks from the museum’s collection will be added. ‘The Vulgar’ at Modemuseum Hasselt- located in a former convent- promises to be a provocative and engaging experience.

Tuesday, 5 December 2017

Crafting Plastics! Studio launches 100% Biobased Eyewear

100% Biobased Eyewear Fighting Global Warming 

In November 2017 Crafting Plastics! Studio will launch its first-of-a-kind eyewear collection — the world’s first bioplastic designer frames, created from a new generation of plastics made completely from 100% renewable plant-based materials.

Crafting Plastics! Studio was founded in 2016 by Vlasta Kubušová and Miroslav Kral and is today based between Berlin and Bratislava. The studio was established following a Master’s thesis exploring sustainable and transparent production processes in response to the fashion industry’s exploitative practices. Motivated by the opportunity to develop a product from its very origin, and remaining in control of its entire lifestyle, Crafting Plastics! Studio is revolutionising the properties and the value of the material we know as plastic.

Over the past three years, Crafting Plastics! Studio has been working closely with materials scientists from the Slovak Technical University to create a new form of oil-free, carbon neutral bioplastic material. Strong, malleable and for the duration of its use, the bioplastic decomposes completely once placed in industrial compost, leaving no impact on the environment.

The first manifestation of the material’s properties takes the form of a limited edition designer eyewear range.

About the collection:
The first ready-to-wear eyewear collection is produced purely from our own bioplastic material that we spent the last two years bringing to perfection. Thanks to its pure organic nature, the eyewear can be disposed directly into compost. The material is coloured with natural pigments, such as algae, earth or food pigments.
This eyewear collection comes in 4 colorways (nude, mysterious blue, bohemian earth, orange seaweed) and 4 unisex styles. Thanks to our 3D printing technology, we are able to reduce the amount of waste during disposal of this material up to 90% in comparison to other traditional technologies.

Link to Kickstarter campaign:

Crafting Plastics! Studio
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Sunday, 3 December 2017

The Boat is Leaking. The Captain Lied Fondazione Prada Venice

“The Boat is Leaking. The Captain Lied.”

 Fondazione Prada Venice 

“The Boat is Leaking. The Captain Lied.” is a transmedia exhibition project, the result of an ongoing, in-depth exchange between writer and filmmaker Alexander Kluge, artist Thomas Demand, stage and costume designer Anna Viebrock and curator Udo Kittelmann. The exhibition unfolds on three storeys of the 18th century palazzo – the ground floor and the two main ones – and include photographic and film works, as well as spatial settings and loans from private and public collections.

The long process which led to the realization of this project is not only the result of discussions and exchanges between the authors involved in it, but also the outcome of a misunderstanding. The sharing of a reproduction of a painting by Angelo Morbelli Giorni… ultimi! (1883), generated in the three artists and in the curator different interpretations of its subject, which depicts a group of elderly destitute men within the Pio Albergo Trivulzio in Milan. More specifically, the portrayed individuals had been mistaken for retired sailors spending their old age at the hostel. This suggestion not only caused the marine metaphor in the exhibition title, inspired by Leonard Cohen’s song Everybody Knows (1988), but also the choice to devote a monographic room to Morbelli, hosting seven of his works. 

Quoting William Shakespeare’s Julius Caesar “Why, now blow wind, swell billow, and swim bark! The storm is up, and all is on the hazard”, Udo Kittelmann underlines how this collaboration generated out of a “shared awareness, both on an emotional and theoretical level, of the critical aspects of present times and the complexity of the world we live in”. In a dialogue of polyphonic references and constellations between the contributions of each artist, the exhibition spans film, art and theatre media. The confluence of image spaces and scene settings for a variety of atmospheres transforms the historic palazzo of Ca’ Corner della Regina into a metaphorical site for the identification of the worlds we live in and our personal attitudes towards them. The exhibition aims to provide comprehensive insight into the respective production of Alexander Kluge, Thomas Demand and Anna Viebrock, whose artistic endeavours have always extended beyond the aesthetic and imaginative, and were conceived with political and historical intentions. All three artists reveal themselves as pathfinders and clue seekers, witnesses and chroniclers of times past and present.

Out of this, an exhibition is generated, intended as a space for experiences and encounters. This visually powerful, multi-layered environment bestows expression and meaning on the everyday and on the worlds of yesterday and today, between apparent normality and catastrophe, in a society divided between lust for life and loss of trust, extreme distress and never-ending hope.

As stated by Kittelmann, “It is a particularly lucky coincidence that Alexander Kluge’s filmic production, Thomas Demand’s photographic work and Anna Viebrock’s stage settings are brought together in this collective exhibition concept, melding what are usually distinct artistic forms of expression. Until now their different creative fields have prevented them from engaging in this kind of symbiotic collaboration, even though they know one another personally and have often exchanged ideas.”

In “The Boat is Leaking. The Captain Lied.” each visitor can create its own narration in complete freedom, physically and conceptually moving through the visual imagery of the three artists. Through this, three commonly accepted ideas are questioned: the traditional separation between spectators and theatre set designs, the reduction of filmic products to mere exhibited objects and the visual isolation where artworks are usually presented within a show.
The exhibition “The Boat is Leaking. The Captain Lied.” will be accompanied by an illustrated book edited by Udo Kittelmann and published by Fondazione Prada. Made up of three volumes, it includes the English and Italian editions of “The Great Hour of Kong. A Chronicle of Connections” by Alexander Kluge and the catalogue of the project with essays, poems and texts by Devin A. Fore, Niccolò Gravina, Udo Kittelmann, Alexander Kluge, Rachel Kushner, Ben Lerner, Helmut Lethen, Thomas Oberender and Aurora Scotti.

images: brankopopovicblog

Thursday, 30 November 2017

Design Academy Eindhoven Graduation 2017

Graduation Show 2017 - MINED 'Digging deep is digging hard'

MINED – the overall theme for the Graduation Show 2017 – indicates how individual designers build on intelligence and empathy, and dig deep into themselves and into every available resource to share their ideas with the world.
During the Dutch Design Week I have visited the DAE graduation and had the pleasure to meet many talented designer who, as the theme implied, openly shared their stories.
In the following post you can take a look at some of my encounters.
Dasha Tsapenko

9th edition of Serbia Fashion Week

Isidora Ceković
The 9th edition of Serbia Fashion Week took place from 20 - 27 November.

Taking place in Novi Sad, Serbia Fashion Week is one of the biggest fashion events in Eastern Europe. Each edition designers from all over the world are showing alongside national designers.
The event takes place in Novi Sad, Serbia's second largest city in the Vojvodina region. Novi Sad is elected to be European Capital of Culture in 2021.
Main event location is at the Novi Sad fair, the Master Center.

With the Serbia Fashion Awards on Monday November 27, the 9th edition came to an end at the Italian Embassy in Belgrade. Honoring the Serbian and international designers that stood out this edition. Special guest this edition was Miss Patrizia Gucci, the heiress of the Gucci family who visited Serbia to promote her book 'GUCCI'.

The first award, which I had the honor to announce was for Iva Kujundžić, the winner of FTDC (Fashion Talent Design Competitions). With this award, Iva Kujundžić has won participation at FASHIONCLASH Festival 2018 in Maastricht.
In general, for me personally the Fashion Talent Design Competitions (FTDC and EFTDC) are the highlights of the fashion week. Other Serbian talented designers and finalists of the FTDC are Kristina Ivković, Isidora Ceković and Katarina Vučićević.

Master Centar fair Novi Sad
The three international designers, finalists of EFTDC are Igor Lukić, Nina Grubar, Cesan (Gabriela Sanchez and Cedric Grunewaldt). Bosnian designer Igor Lukić, won the EFTDC for his collection of bags presented under his brand name Monolith Leather & Wood.

Since few years FASHIONCLASH collaborates with Serbia Fashion Week by means of exchanging designers. Dutch fashion talent, Maastricht based designer Maarten van Mulken has been invited to represent to represent FASHIONCLASH Festival at Serbia Fashion Week.
Maarten showed his collection 'Kill Your Darlings' that he presented at FASHIONCLASH Festival 2017 edition.
"They call deleting ideas ‘killing your darlings’, but often good ideas are being cancelled instead of the weakest. The general idea is getting dumbed-down to make it more commercial and gain more money. This to me refers to fashion being dead, because it’s all about just selling as much as possible these days. Fashion to me is not dead, it just needs to change into a new form and people need to be encouraged to pursue their ideals/ideas instead of killing them." 

Taking place from over the period of seven days, the Serbia Fashion Week has a rather intense programme, giving stage to both established designers as young designers. Highlights this edition included Marios Karavasilis (Greece), Cyril Mirat (France), Boško Jakovljević (Serbia) and the Young designers show curated by stylist and editor Srđan Šveljo.

Take a look at the highlights from the shows and behind the scenes here below.

Maarten van Mulken

Glasstress 2017

Ai Weiwei
Glasstress: Contemporary glass art work

Glasstress brings together 33 leading contemporary artists from Europe, the United States, the Middle East and China in an ambitious exhibition exploring the endless creative possibilities of glass. Conceived by Fondazione Berengo, the project will take place in two exceptional historic locations: Palazzo Franchetti in Venice and a converted furnace in Murano.

Glasstress is a project by Adriano Berengo to further his mission of marrying contemporary art and glass. Artists of all disciplines from sculptors to musicians have been invited to collaborate with the maestros in creating art in glass. Since 2009, these works have been exhibited in the historic Palazzo Franchetti, home of the Istituto Veneto di Scienze Lettere ed Arti. Glasstress has always been accredited as an official collateral event of the Venice Biennale of Art. Glasstress, a showcase of this collaboration of craft and creativity, has forged a new trajectory for glass and a new path for contemporary artists.

Karen Lamonte
Since its debut as a collateral event of the Venice Biennale in 2009, Glasstress has revived the traditional craft of Murano glassblowing by forging new alliances with internationally renowned artists and designers and has since become an unparalleled platform showcasing ground-breaking new works in glass.

The 2017 edition of Glasstress presents an impressive line-up of artists including Ai Weiwei, Jan Fabre, Abdulnasser Gharem, Alicja Kwade, Paul McCarthy, Laure Prouvost, Ugo Rondinone, Thomas Schütte and Sarah Sze. With little or no prior experience working with glass, these artists have embraced the challenge of creating extraordinary works in this very delicate medium in collaboration with Muranese artisans. The remarkable output of this unusual encounter defies the stereotypes associated with this ancient craft, ultimately pushing the boundaries of both contemporary art and glass.

Glasstress 2017 is curated by Dmitry Ozerkov (Director of the Hermitage 20/21 Project for Contemporary Art at the State Hermitage Museum, St. Petersburg), Herwig Kempinger (President of Secession, Association of Visual Artists, Vienna) and Adriano Berengo (President of Fondazione Berengo and founder of Glasstress, Venice), with the consultancy of Clare Phyllis Davies (Assistant Curator of Modern and Contemporary Art, Middle East, North Africa, and Turkey at The Metropolitan Museum of Art, New York).

New artists 
Ai Weiwei (China), Charles Avery (UK), Dike Blair (USA), Graham Fagen (UK), Gaia Fugazza (Italy), Abdulnasser Gharem (Saudi Arabia), Loris Gréaud (France), Xenia Hausner (Austria), Siggi Hofer (Italy), Halim Al-Karim (Iraq), Brigitte Kowanz (Austria), Karen LaMonte (USA), Paul McCarthy (USA), Haroon Mirza (UK), Laure Prouvost (France), Monira Al-Qadiri (Kuwait), Ugo Rondinone (Switzerland), Markus Schinwald (Austria), Sarah Sze (USA), Sabine Wiedenhofer (Austria), Dustin Yellin (USA)

Returning artists 
Monica Bonvicini (Italy), Tony Cragg (UK), Erin Dickson (UK), Jan Fabre (Belgium), Josepha Gasch-Muche (Germany), Shirazeh Houshiary (Iran), Alicja Kwade (Poland), Vik Muniz (Brazil), Jaume Plensa (Spain), Thomas Schütte (Germany), Koen Vanmechelen (Belgium), Erwin Wurm (Austria)

Wednesday, 22 November 2017

Damien Hirst - Palazzo Grassi Venice

Treasures from the Wreck of the Unbelievable Damien Hirst

‘Treasures from the Wreck of the Unbelievable’. It is the first major solo exhibition dedicated to Damien Hirst in Italy since the 2004 retrospective at the Museo Archeologico Nazionale in Naples (“The Agony and Ecstasy”) and is curated by Elena Geuna, curator of the monographic shows dedicated to Rudolf Stingel (2013) and Sigmar Polke (2016) presented at Palazzo Grassi.

The exhibition is displayed across 5,000 square meters of museum space and marks the first time that Palazzo Grassi and Punta della Dogana, the two Venetian venues of the Pinault Collection, are both dedicated to a single artist.

Damien Hirst’s most ambitious and complex project to date, ‘Treasures from the Wreck of the Unbelievable’ has been almost ten years in the making. Exceptional in scale and scope, the exhibition tells the story of the ancient wreck of a vast ship, the ‘Unbelievable’ (Apistos in the original Koine Greek), and presents what was discovered of its precious cargo: the impressive collection of Aulus Calidius Amotan – a freed slave better known as Cif Amotan II – which was destined for a temple dedicated to the sun.

Tuesday, 21 November 2017

Venice Art Biennale 2017

Lorenzo Quinn

The 57th edition of Venice Biennale is closing 26th of November. Beinig there for the very first time, I felt rather overwhelmed but the intense programme. However, during the short stay I have managed to see most of the national pavilions in the Giardini and the ancient industrial buildings of the Arsenale. Furthermore, I visited several collateral events.
Starting at Giardini, among the 29 national pavilions in the city’s public gardens there are standouts and dissapointments. The next day was more satisfying at the Arsenale, that also includes Christine Macel’s specially curated show Viva Arte Viva.
The national pavilions that stood out where South Africa, France, Germany, Finland, Austria, South Korea, New Zealand, Italy and Great Britain.
The 57th International Art Exhibition, titled Viva Arte Viva, is open to the public from Saturday May 13th to Sunday November 26th, at Arsenale and Giardini venues, and in several locations in Venice. The show features 120 invited artists, 103 of these are participating for the first time, 86 national participations, special projects, and 23 collateral events and exhibitions.

The Venice Biennale has been for over 120 years one of the most prestigious cultural institutions in the world. The history of the La Biennale di Venezia dates back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival in history). In 1980 the first International Architecture Exhibition took place, and in 1999 Dance made its debut at La Biennale.

Here are some images from Giradini, the city and Arsenale.
The Golden Tower by James Lee Byars

Wednesday, 15 November 2017

Vivian Heyms - The Modern Dutchman

Vivian Heyms presented her project 'The Modern Dutchman' at TAC during Dutch Design Week.
Graduated from AKV|St.Joost, with her project Vivian questions the Dutch Identity.

In a changing Netherlands there is an indistinctness about our country and our citizens. And there is an ongoing search for the Dutch Identity. And a clear call for nostalgia. ​
Our Identity has a lot of different aspects but what we all recognize and acknowledge, is our cultural heritage and our directness. In this project the modern Dutchman is put into our cultural heritage in a simple and direct way. In this way it aims to connect the old Netherlands to the modern Netherlands and the other way around. ​
The illustrations were placed on top of everyday products to portray and show the beauty of the modern Dutchman. In this modern interpretation of classic Dutch cultural heritage, you can see that the Netherlands is constantly changing but remains the same.

Fashion as a platform for protest

Markéta Martišková
Wat is the role of fashion in the context of society? With the 2017 edition of FASHIONCLASH Festival aim to question if fashion makes sense I kept thinking about the morality of fashion. Can fashion be more activist and is it legitimate for fashion to take a position in critical debate.
Recently, there is a shift and  increasing involvement in relation to sustainability issues. Without taking away the importance to this, the question is what other topics can be addressed with fashion.
Looking back through the eyes of the past events there are many examples to be highlighted where fashion as a form of protest played a major role in historical events.

Fashion hasn’t always been the way it is now: increasingly acceptive, liberating and accessible to everyone. Fashion overcame many obstacles, which were back in the day ridiculed and controversial. It might be hard to imagine, but women from past generations, were shunned for wearing pants. The idea of menswear-inspired suits for women was unthinkable. Risking their reputation and career, a number of fashion designers challenged the rules with their designs. Coco Chanel was at the helm of popularizing the lady trousers and thankfully for us, she succeeded. Yves Saint Laurent,  fearlessly brought back clothing styles and cuts reminiscent of the war years — think bouffant shoulders and mini shift dresses — and had to go into hiding from the public in consequence. His 1971 'Scandal' collection saw revealing sheer blouses, flared pants, bouffant shoulders, short dresses, and platform shoes. It was dubbed the "Ugliest collection in Paris" and YSL had to go into hiding as he waited for the public's politically-fueled rage to pass.
Nowadays we have maxi, midi, knee-length and ultra-short skirts. But the latter only started in the 50s, when Mary Quant's customers asked her to stitch them shorter skirts. Finally she coined the term 'miniskirt' in the 60s, naming it after her favourite car, Mini Cooper. She said the practical frock allowed her to run for the bus, and is in no way restrictive.
Dame Vivienne Westwood is the heroine of punk. She helped the trend emerge in the 1970s, with her tartan clothing, metal studs, gothic makeup and eccentric hair colours. It was a much-needed freedom to express creativity in the mainstream British society.

It remains hard to define what platform fashion takes within our contemporary society. Though often dismissed as superficial and irrelevant, perhaps fashion plays a much more important role in our lives than we might think. What is the right format to do so? How can we engage the younger generation to get active and really speak out, not only by wearing a slogan.

Hereby, I would like to share with you some examples articles concerning 'fashion and protest'.
In particular, looking back to actual historical events proves the power fashion possess as a medium to address issues.

Fashion and protest articles in media
i-D magazine published an article 'Is fashion a legitimate form of protest?' Clothes can send a powerful message, as long as the activism doesn't begin and end at a t-shirt.

In 2016 published a very relevant article 'When Fashion Becomes a Form of Protest' written by Alexander Fury, illustrating a connection with 18th century punks and our contemporary rebels.
Bof already published an article in 2014 'Is Fashion a Credible Platform for Protest', followed by the fashion show Karl Lagerfeld presented for Chanel where he appropriated the visual signifiers of feminist protest for its seasonal runway show.
"The $1 trillion fashion industry has a huge impact on lives, economies and the environment. Thus, it has the capacity to engage with the serious issues affecting these things. But to do so, first and foremost, requires a real message. To treat social and political causes as little more than a marketing stunt undermines the meaning of a protest. The next time a fashion brand picks up a placard, it should first make sure it has something to say."

Worth to read is also the article published by Not Just A Label, 'Fashion and Protest; Where is the Call to Arms? 

Monday, 13 November 2017

HOW & WOW - Crafts Council Nederland

Jules ten Velde
Crafts Council Nederland presented HOW & WOW exhibition during Dutch Design Week, highlighting the importance of crafts in the context of design.
At Veem building, an exhibition was set showing the processes of making and inspiring examples of crafts in design. In addition, masterclasses where organized.

'We’re at the beginning of a new creative era. The value of crafts and the urgency to preserve this immaterial heritage is finally being recognised. Designers explore how things are made and give more attention to craft processes, new industrial techniques and unique handicraft. The making process serves as the overarching theme for the crafts center.'

The curated exhibition contained designs by Koos Breen, Walter Van Beirendonck & Gerard van Oosten, Isaac Monté, Bibi Smit, Esmé Hofman, The Anti Efficients collective and many more.

Sunday, 12 November 2017

Digital Realists - Modebelofte 2017

Sander Bos

Digital technologies have impacted our world to such an extent that we can hardly remember or even imagine a pre-digital reality, other than the vaguely romantic notion of it being ‘real’ at least. The speed with which digital technologies have developed has been quite bewitching; propelling us into unknown territory, be it in terms of behavioral psychology or mere aesthetics, and leaving others behind in their dysfunctional analogue age.

Modebelofte’s theme for 2017 - ”Digital Realists” - proposes a refreshing stance towards this modern day chasm: a down to earth and hands on embrace of the digital age as the new normal. Instead of allowing our minds to be sucked into the information cloud, why not bring the cloud down to street level and travel through time and space together? Instead of allowing virtual reality to disengage us from the tangible world, why not just hold each other’s hand and share in its joys? And instead of indulging in total control over each and every pixel of a carefully edited wet dream, why not just allow this pixelated perfection to mingle freely with the transient grittiness that comes with the real thing?
Maddie Williams
Participats 'Digital Realists'
- Fabio Bigondi (Polimoda, Italy)
- Sander Bos (Royal Academy of Fine Arts Antwerp, Belgium)
- Alexa Chia Wan Yu (Parsons The New School for Design)
- Aimee Determan (University of Westminster, United Kingdom)
- Kira Goodey (Royal College of Art, United Kingdom)
- Iuliia Gulina (Royal Academy of Fine Arts Antwerp, Belgium)
- Han Kim (Royal College of Art, United Kingdom)
- ChungIn No (Central Saint Martins College of Art and Design, United Kingdom)
- Creepy Outfit Lab (Secret)
- Chorong Lim (London College of Fashion, United Kingdom)
- Laishu Lin (Polimoda, Italy) Lauren Rowlinson (University of Salford, United Kingdom)
- Christian Stone (Central Saint Martins College of Art and Design, United Kingdom)
- Marta Twarowska (Royal Academy of Fine Arts Antwerp, Belgium)
- Nathaly Vlaun (Rietveld Academy, The Netherlands)
- Maddie Williams (Edinburgh College of Art, United Kingdom)
- Emily Witham (Middlesex University, United Kingdom)
- Zheng Pei Yuan (Shih Chien University, Taiwan)

pictures: brankopopovicblog
text source:

Thursday, 9 November 2017

Karim Adduchi - Ode to the Berber woman

Karim Adduchi SS18 collection as ode to the Berber woman 

Moroccan designer Karim Adduchi presented his new collection "She Has 99 Names" in the Dove in Amsterdam on Wednesday, November 8th . In addition to Karim himself an immigrant, he works with his collections together with Syrian, Russian and Eritrean laborers and artists, who recently found their home in Amsterdam. He specifically aimed at workers whose work you do not often encounter on the catwalk.

In "She Has 99 Names" Karim has given an oath to the women he had around when he lived in Imzouren as a child; the Berber village where he was born too. Adduchi shows these women in their distinctive complexity: beautiful and confused, sad and sad, furious and fragile.
Adduchi dives in the rich heritage of Morocco prior to each collection. He designs woolen fabrics, hand-woven by local laborers. Adduchi: "I want to revive local crafts, and transform them into contemporary looks." 

Even though Adduchi is not a political artist, he tries to map social problems with his art. Immigrants and refugees invite him to work with him in his collections. At first, these people were all unknowns, but their shared passion for craftsmanship and design brought them together. Adduchi does not like the title refugee :"It's very limiting. I work with two Syrian tailors, a woodworker from Aleppo, an Eritrean embroiderer. They bring all the skills. " 

" It was a crazy mix of people. We had a Syrian tailor who cut patterns at a table, five Moroccan women embroidering and chatting at another table and a half naked model dressed in the middle. Total culture shock. Yet the people all returned. A Moroccan elderly lady prepared cooked chicken tajine for all who we ate together between the substances together. " 

About Karim Adduchi 
Illustrator, painter and fashion designer Karim Adduchi was born in Imzouren, Morocco, in 1988. He grew up in a family of tailors. He moved with his family to Barcelona at age five. For the first time, Karim enrolled into primary school. After seeing his drawings, his school mentor advised him to attend art school. He did, and during the next ten years Karim developed his technique in Italian painting and drawing. Karim continued his studies for two years at the Pompeu Fabra Academy where he developed his personal style, which he later refined at the Fine Arts University of Barcelona. In 2010 he moved to Amsterdam to continue his training at the fashion department of the Gerrit Rietveld Academie. His graduation collection She Knows Why the Caged Bird Sings received international press coverage. The collection combined traditional Berber craftsmanship with sharp tailoring. In 2016 Adduchi presented She Lives Behind the Courtyard Door in which he once more confirmed his talent as a designer. As in his previous collection, he used the rich cultural heritage of Morocco as a foundation on which to build. He draws the fabrics away from connotations such as exotic and oriental and presents them in a present-day style, on equal footing: design, couture.

photography: Team Peter Stigter

Tuesday, 7 November 2017

First FASHIONCLASH Fashion Film Festival

The first edition of FASHIONCLASH FASHION FILM FESTIVAL took place from 3 – 5 November in Maastricht.

FFFF is the first international film festival in the Netherlands dedicated to fashion film.
The 3-day program contained screenings with a selection of more than 60 short fashion films from all over the world. The program kicked off with several avant premieres at de Bijenkorf, followed by the screening of the ‘We Margiela’ documentary. On Saturday, there were inspiring workshops by Canon and Pascal Baillien, various screenings and award ceremony at Lumière Cinema. In addition, an exhibition was presented in cooperation with AKATAK Studio.

FFFF showcased both emerging and established international filmmakers and designers who experiment with the genre. The program contained several premiere screenings such as ‘Kill Your Darlings’ by Maarten van Mulken and Pascal Baillien, Dance a Measure by Studio Selvedge & Project Sally Maastricht and MARTAN by Daan Groot and Martan. Being the first fashion film festival in the Netherlands, there was a special focus on Dutch fashion films.

One of the highlights was the State of Fashion Film Talk moderated by Niccolo Montanari. An inspiring discussion on the state of the fashion film, experiences and future speculations. The speakers of the panel where Kathryn Ferguson (film maker, director), Marie Schuller (film maker, photographer), Raquel Couceiro (head of fashion film Showstudio), Ditte Marie Lund (director Copenhagen Fashion Film Festival).

Niccolo Montanari also modertated the Act! Cut! Play! Screening and talk.
Act! Cut! Play! is an interdisciplinary talent development project with the ambition to lift the quality of fashion films to a higher level. Four teams existing of a designer, theatre maker, and filmmaker were challenged to work together to investigate the possibilities and boundaries of their disciplines and the provided ‘format’ of the fashion film.

Award Ceremony
On Saturday evening the award ceremony concluded the festival with the announcement of nominees and winners. The winners were decided by the jury panel members; Diane Pernet (ASVOFF), Leendert Sonnevelt (editor-in-chief, Glamcult), Marcel Schlutt (editor-in-chief KALTBLUT Magazine), Michael Daks (photographer, director), Richard Dols (director DocFest).

And the winners are:
- Best Fashion Film: A Hommage to David Bowie in Sound and Vision, CANADA
- Best Dutch Fashion Film: iii, Femke Huurdeman, Suze Milius, Marie-Sophie Beinke
- Best Emerging Talent: Parallel Pyramid Platform, Daniel van Hauten, Studio Dennis Vanderbroeck, Emmanuel A. Ryngaert
- FASHIONCLASH One-to-watch: Burning Oceans into Deserts, Emma Westenberg for Hardeman
More about nominees, winners, film links:

FFFF is an initiative by the Maastricht based foundation FASHIONCLASH that is known for organizing high-profile projects and supporting emerging talents from all over the globe. One of the projects is the annual FASHIONCLASH Festival.

Wednesday, 1 November 2017


In THE BOLD, THE BOUND & THE BRITTLE a portrait of our current time is made, live on the theater floor. A new piercing performance by choreographer Jelena Kostić, with unrestrained dance and sudden music.

Two powerful women play their personal, destructive, comfortable and erotic moments until they are redundant. They leave behind the conflict between the brittle and the obscene.

Hinging on a past both distant and nearby, THE BOLD, THE BOUND & THE BRITTLE opens the door to a space where we all step out of our uniform. What remains is our own delicate humanity.

The performance will start with two personal speeches on power and vulnerability by two leading ladies in Maastricht: Mieke Damsma (alderman in the City of Maastricht) and Jacqueline de Groot (quartermaster Public Affairs at Maastricht University).

Photo Nikola Kostić

The Bold, The Bound & The Brittle + speeches 
Friday November 3
AINSI, Maastricht
8.30 pm (introduction at 7.30 pm)
Tickets: here


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