Fyodor Golan’s Pre-SS17 Collection Brings Grown-up fun and a catalyst for post-Brexit change

Fyodor Golan are somewhat of a paradox –  at once intellectual and playful, they traverse the fringe of a fashion industry in a state of flux.  Whilst contemplating the structure and aim of their fashion business, they are questioning the importance of individualism in a sea of rampantly ‘cohesive’ and highly refined fashion.  The designers open the interview with the revelation that they delayed their seasonal trip to their Paris showroom in order to vote in the referendum.  The fallout from the vote in favour of ‘Brexit’ has left them with a sense of resilience in the face of potential EU funding losses.  Many of the projects and initiatives they have undertaken whilst establishing and growing their business have been supported by EU funding and they predict a Darwinian ‘survival of the fittest’ situation will ensue amongst young independent fashion designers in London who are struggling to create seasonal collections and remain solvent.   

Where this dramatic and uncertain political climate could potentially trigger cautious conservatism, Fyodor and Golan are intellectually and pragmatically assessing all areas of their business and considering the needs of their customers and the best platforms with which to engage them.  They resolve to stay ‘individual’ and adopt an ever more digital and tech-driven approach to their seasonal collections.  Why do a show at London Fashion Week that draws vast energy and finance away from the business and requires the creation of some garments that they know will not be good sellers, but that are necessary in order to create requisite looks simply for the purposes of the show?  If the show is to the clear detriment of their product offering and bottom line, what is the point?  The vast press generated by a fashion show is well documented and, as any fashion designer involved in London, New York, Paris and Milan fashion weeks will tell you, the credibility gained from showing on-schedule during fashion week is immense and affirming – at least ostensibly.  But the rise of social media has taken fashion out of the hands of the few and placed it in the hands of the many global consumers.  Digital platforms have a life beyond a seven-odd minute fashion show during which time it is ‘impossible to see the clothes properly’ as noted by Fyodor.  In summary, fashion shows aren’t fit for purpose and the stigma attached to designers who decide to no longer ‘show’ is waning.

With new presentation platforms comes new opportunities for self-expression and consumer interaction.  Golan explains how insightful and inspiring the dialogue from client to designer is on Instagram.  Their clients post images of their self-styled ‘FG’ looks, thereby contextualising Fyodor and Golan’s seasonal work –  a dialogue that never occurred pre-social media when the only route to market was through wholesale accounts – meaning no direct contact between the designer and the consumer.  That’s all different now and brings me back to questioning the point of ‘cohesiveness’ of a fashion collection.

Screen Shot 2016-07-15 at 17.19.13Screen Shot 2016-07-15 at 17.22.26Screen Shot 2016-07-15 at 17.17.20

The generally accepted framework for the study and application of fashion design that I, and many other designers have experienced at London/UK-based fashion design institutions, hinges on a refined, highly focused – ‘cohesive’ – presentation of a design concept/concepts in order to ensure that a specifiable ‘aesthetic’ is presented.  This occurs to me to be a useful tool for categorisation and identification of a designer or brand for the purposes of critique, but may be at odds with the way fashion is best presented, experienced and consumed in a digital age.

Burberry-Prorsum-Spring-Summer-2013-DECORCohesive uniformity – Burberry Prorsum SS13

Sure, brands like Burberry are built on a largely singular aesthetic/design language and their merchandising depends on a sort of ‘cohesion’, but what of the explosion of Vetements against the backdrop of such ‘cohesiveness’ and singularly focused vision – and what of the conversation about this collaborative, multi-faceted and un-cohesive aesthetic that is starting on social media (of course)?  Will cohesiveness and a singular aesthetic vision be relevant to millennials and Generation Z’ers?   If they’re shopping online and creating individual looks according to their own vision, and Instagram and Snapchat are ultimately more influential and engaging and more readily consumed than fashion shows, what is the point of cohesiveness at the expense of alienating consumers?  And again, if fashion shows continue to lose favour as the predominant presentation format, individuality becomes an even more powerful element of fashion’s presentation.  Fyodor Golan question this uniformity and go on to state that they have never sought ‘cohesiveness’ in their collections, but rather the creation of clothing as a vehicle for self expression and fun for their broad customer base, whose age group spans four decades and is global.  It could be argued that cohesiveness can kill creativity by stamping out individual expression, spontaneity and the charm of the unexpected – a fate unlikely to befall Fyodor Golan.

20 14 8Vetements P/E 16

On the subject of individualism in an increasingly ‘global’ market the duo explain, ‘Our clients come to us to express a different side of themselves… they have serious, professional jobs and wear Fyodor Golan as a way of tapping into their personality and as a visual representation of that (fun) side of themselves’. 


Screen Shot 2016-07-15 at 17.17.41Screen Shot 2016-07-15 at 17.21.16Screen Shot 2016-07-15 at 17.15.52

Fyodor Golan’s creations are seriously fun.  Frothy?  Yes.  Flimsy?  Definitely not.  The products are underpinned by solid, quality-driven construction techniques employed since the launch of their label (which drew heavily on couture techniques initially) in 2011, and have evolved to express a sense of confidence through playfulness.

tumblr_mjul0m2iXs1s4mpljo3_1280Fyodor Golan SS2012

A further discussion that touches on current challenges in the area of fashion tech centres on product design versus fashion design.  Golan expresses the frustration at being restricted to short development times due to the seasonal nature of the fashion industry and longs to be able to explore design concepts in greater depth – as a product designer would, for example.  The approach through product design of creating a perfectly formed, functional and beautiful object is a luxury that just may be possible once Fyodor Golan have broken free of the restrictive cycle and demands that come with staging a fashion show each season.  Fyodor and Golan lament the unresolved design ideas that ping into their minds at that last evolutionary design stage – often the week before their London fashion week show – leaving them no time to see these ideas through to fruition because of limitations caused by show preparation and the restrictive need to create ‘looks’ for the show, rather than individually strong and exciting garments.  Due to the seasonal nature of fashion, the scope to pick up and continue such ideas in following seasons does not always present itself.  There is a serendipitous aspect to such ideas and sometimes, when the moment has passed, the opportunity and magic passes too. Essentially, dropping the traditional fashion show format allows the freedom and time to be more innovative.  It’s during this stage of the interview that Golan mentions the Makerversity, which is situated near their studio in Somerset House, which has clearly provided a point of reflection for the designers where the process of product design and development is concerned, versus that of fashion.

Screen Shot 2016-07-18 at 18.34.49 Screen Shot 2016-07-18 at 18.34.23Screen Shot 2016-07-18 at 18.33.54 Screen Shot 2016-07-18 at 18.34.05Fyodor Golan Pre-SS17

In their Pre-SS17 collection, Fyodor Golan have furthered explored a number of concepts initiated in their AW16 collection, including hybrid sportswear with strapping and bows that are silhouette-changing, rather than simply surface details.  This plays into their desire for individuality within the collection – so one garment has many guises depending on the wearer’s styling preferences.  The collection, entitled “Sakura Kawaii’ was inspired by Hatsune Miku – a hologram-generated pop star – resulting in a collection that expresses “romance through plastification”.  It’s surreal to see real live fans at the concert of a holographic pop star screaming and waving glow sticks, but it perfectly illustrates the blurring of lines between reality and artificiality that Fyodor Golan have distilled into this collection.

The animated look book is the perfect expression of this darkly psychedelic-samurai mood, in collaboration with digital artist and animator, Ignasi Monreal.   Part of the joy of Fyodor Golan’s look books is that they seek to excite the imagination, rather than simply sell, and it expresses an aesthetic that the designers describe as resolutely ‘digital’.

Fyodor Golan Pre-SS17

The digitally driven playfulness in the presentation of their Pre-SS17 collection causes me to speculate as to the format of their next fashion presentation for London Fashion Week in September.  ‘We’re still exploring options’ and ‘we’re looking at integrating the process of creation into the presentation’ were the official standpoints at the time of our interview – suffice to say it will be an exciting, experimental and likely experiential offering that will gloriously break with tradition in yet another refreshing Fyodor Golan chapter.  It’s an exciting time in an evolving industry where as many lessons come from Darwinian truth as they do from social media metrics.  If fashion’s future is about creative adaptation, dynamism, freedom of thought and individuality, Fyodor Golan are surging ahead.

Header image:  Fyodor Golan

Fyodor Golan lookbook credits:  Mark Rabadan (Photography), Tati Cotliar (Stylist), Ignasi Monreal (Animation), Michelle Webb (Make up), Johanna Cree Brown (Hair)

Follow me:  Twitter @Thetechstyler  and  Instagram @techstyler

Fashion Mannequins Transformed Through 3D Printing

To chat to Paul Sohi is to geek out over all things 3D printed.  He takes me on a journey from 3D printed mannequins (the subject of his PhD) to a new polycarbonate composite prosthetic leg he is developing with a team spanning half a dozen countries but centred at Autodesk in San Francisco, for an Olympic cyclist bound for Rio later this year.  It’s a helluva ride, so buckle up!

What initially prompted me to get in contact with Paul was a question I’ve been pondering whilst working at the fringe of fashion and technology for some time.  Why aren’t there robot models?  And why don’t I create the first robot modelling agency?  It makes sense for so many reasons, but more on that in a later post.

Paul’s research and development at the Royal College of Art in conjunction with the Makerversity at Somerset House centres on solving an immense problem in mannequin manufacturing.  Mannequins are currently sculpted by hand before being moulded and cast – a time consuming process which imposes mass standardisation.  As someone who has hired mannequins for London fashion week I can attest to the limited offer currently on the market. Consider a museum requiring a custom-sized mannequin to display historic clothing, and then consider a new technology allowing such a mannequin to be 3D printed in days rather than laboriously hand made in months.  Then consider that currently, the best way of creating mannequins to display such costumes is to 3D scan the clothing to determine the volume inside of them when worn on which to then base a mannequin shape – requiring reverse-engineering of the mannequin to mimic someone that did actually live and wear those clothes at a point in historical time.  It’s on consideration of these weird truths it’s possible to begin seeing the benefit of Paul’s creation of an algorithm designed to transform actual body (or garment) measurements into 3D printed mannequins, rather than relying on artistic creations inspired by – but anatomically untrue to – the human body.  The key here is that measurements entered into Paul’s program are manipulated and represented visually in line with actual metamorphic landmarks.  For example, height has an impact on body proportions.  It is incorrect to simply scale a mannequin up or down directly proportionately – there are intricacies in height ratios that Paul’s rigorous algorithm takes into account so that the mannequins he 3D prints are true to the human form, rather than a sculpted representation of an imagined ideal.  Shorter people’s legs are proportionately longer than their torso compared to taller people, for example, but you would not detect this by looking at them – both body proportions simply look ‘right’.  Herein lies the difficulty in artistically interpreting the human form where size and fit are concerned.  

IMG_1749DSC01633Paul’s 3D printed scale mannequins being printed in parts for later assembly

The motivation behind Paul’s PhD was to find out if he could create a 3D printed mannequin using mass customisation algorithms built upon an immense amount of research underpinned by the International Standards.  These standards provided all the necessary body measurements to create a digital mannequin which can then be 3D printed.  

DSC01628

DSC01631

An important point made by Paul during our conversation is that mass customisation via 3D printing is now possible on a production scale – it has evolved beyond prototyping.  This means that standardisation of mannequins is no longer necessary and the skilled work required for each fashion retail market does not have to be localised.  Since a ‘standard’ size small in Asia is nothing like a ‘standard’ size small in Europe, mass customisation shatters geographical boundaries and means standardisation – at best badly sized and limited in terms of body shape and at worst pushing damagingly unrealistic body ideals – is no longer necessary.  The mannequins Paul is developing can be tailored according to cultural specificity.  Regional cuisine radically effects body shape, size and proportion and genetics also has a considerable impact.  These factors can be taken into account in Paul’s algorithm.


IMG_0570
A complete 3D printed scale mannequin

From an aesthetic point of view, every fashion brand has its own ideal mannequin which in some cases may be seasonal.  These are made from master moulds and if done by hand using current methods, take months.   3D printing takes a fraction of the time, allowing greater flexibility and mannequin diversity.

Components of a scale model printing whilst Paul and I chatted at the Makerversity

Paul describes his work as creating avatars and body forms.  He is currently working with the Victoria & Albert Museum, London to find rapid solutions for mannequin making for display of historic costumes.  As an extension of this revolutionary development for display mannequins, Paul is looking at how the current mass standardisation of garment making mannequins relates to sizing within the fashion industry.  There is no datum on mannequins – no system for sizing and no standard approach to it across the industry.  When creating clothing, we have anatomical landmarks (nape to waist, for example) but the way this is measured is still variable.  Paul is determined to standardise measurement taking and sizing to put an end to what is a slow, laborious and repetitive process.  He makes the point that, for example, three people in the fashion industry will measure the same dress and get three completely different sets of measurements .  Compare that to Architecture – or any other creative industry – and you would be laughed at for not having and applying a set of standards.  He makes a strong point and I have personally dealt with this often painful aspect of sampling and production in the fashion industry.  Paul is confident that a set of standards can be extrapolated from the points mapped in his algorithm.

DSC01627

Interestingly, Paul tells me that the standard nape to waist measurement of garment making blocks used routinely in the fashion industry came from 1920’s military uniforms.  Today’s approach to garment sizing and pattern proportions has only marginally evolved since then.  ‘Standard sizes’ are in truth specific to each individual fashion house and are not related to any actual standard, which to me makes sense because each fashion house/brand has it’s own silhouettes and ‘fit’ which are part of its aesthetic, but I can see how this isn’t customer friendly and how in an increasingly e-commerce driven industry sizing standardisation would reduce returns and help consumers make better style choices.

Returning to museum mannequins, the Alexander McQueen exhibition Savage Beauty at the Metropolitan Museum of Art in New York was one of the most successful exhibitions of all time but despite this, when it ended it was not picked up immediately by another institution.  The hand-sculpted mannequins, made specifically for the garments they displayed were destroyed.  Shortly after, the V&A took on the exhibition, and set about hand-making the mannequins all over again.  Almost a year later they were complete.   If these had been created using Paul’s 3D printing method this would have been simpler, quicker and less expensive.

main_imageSavage Beauty, The Metropolitan Museum of Art, New York 

The exception within the Savage Beauty exhibition was the Plato’s Atlantis 3D printed mannequins which closed the exhibition.  See the 3D rendering by Asylums FX and a photo I took at the exhibition below:

IMG_0999Plato’s Atlantis, Savage Beauty, Victoria and Albert Museum, London

When I ask Paul about the response so far to his work he says it has been met with distrust and caution from a number of museum curators and fashion designers who feel things are working just fine as they.  The fashion industry is famously and paradoxically resistant to change (the out-of-synch seasonal cycles and some luxury brands still refusing to sell online are just two examples) but why isn’t the way things are done being challenged?  Why can’t we do things better?  Why can’t we explore technology to do things in a better way?  As long as we pose the questions, it appears technology will provide the answers.

Paul and I leave the Makerversity disagreeing over the recent Batman V’s Superman film (he’s a fan, I’m not) and agreeing on the amazingness of The Hulk.  I wish him well on his bumpy but worthwhile journey to fashion mannequin disruption.

Header image: Paul Sohi

For more about Paul’s work, click here and follow him on Twitter

Follow me:  Twitter @Thetechstyler  and  Instagram @techstyler

Fashion Hacked – The Designers Giving Zara a Lesson in ‘Derivative Design’

There are constant rumblings throughout the fashion industry about copyright, Fast Fashion and IP ownership.  Add to this debates about the impact of Fast Fashion outlets copying designer fashion and you have to wonder; how will small independent designer brands survive in an industry that is getting faster and cheaper by the day?  Independent designers can’t compete with the likes of Zara, the mega-brand owned by Inditex fashion magnate Amancio Ortega who was for a time last year the richest man in the world ahead of Bill Gates and is currently the second richest.  

Zara can copy a design developed and crafted by an independent designer or more established fashion house – check out this example of Zara copying Celine – that may have taken months to create and have a cheaper version for sale in their stores within weeks of that design being presented (and snatched). How should independent designers confront this?  If they claim infringement of their design rights can they afford to pursue legal action against the likes of Zara?  Doubtful.

tmm_hacked_1_foto_johannes_schwartz tmm_hacked_3_foto_johannes_schwartzImages: Johannes Schwartz

Dutch designers Alexander van Slobbe and Francisco van Benthum took the bold and unexpected approach of hacking Zara and other retailers guilty of copying theirs and their contemporaries designs – they’re playing them at their own game. They’ve added another phase to the clothing lifecycle by purchasing a huge quantity of dead-stock (unsold and out of season clothing that often goes to landfill) from clothing retailers selling garments ‘inspired by’ or derived directly from the work of other designers and re-engineered it to make it new.  Some garments had pockets added.  Others were slashed and had sections of fabric inserted into them to create new silhouettes.  In summary, the duo have created a new collection from a number of unsold ones – hacking the hackers.

DSC01456 DSC01457 DSC01458

It’s ingenious and inspiring.  It’s green and creative.  The exhibition staff were on hand to explain the designers’ motivation and inspiration, and what was initially a statement about industry ethics and environmental awareness has now grown into a brand.  Pieces from the collection are currently exhibited and for sale at the Het Nieuwe Instituut in Rotterdam and the statement has been so popular and garnered such demand that the designers are setting up an online store too. Their stockists include Margreet Holsthoorn, an expansive gallery-like boutique I visited en route to the ‘Hacked exhibition’. 

DSC01279Margreet Holsthoorn Boutique, Rotterdam

DSC01466 DSC01468

The exhibition ‘Hacked’ features their ‘re-made’ collection and the work of fashion students from the Willem De Kooning Academie invited to re-engineer clothing and consider the lifespan of a garment following a week long masterclass with van Slobbe and van Benthum.  The thinking here is that if a garment is altered it becomes new and therefore at least equally, if not more, valuable. 

DSC01470DSC01473DSC01472

Workshops are also being held at the Instituut for school children to learn how to customise clothing to renew its appeal – even taking it as far as turning stains on t-shirts into decorative embroidered sections to make them wearable again.

DSC01481DSC01479DSC01477

This exhibition compliments the Instituut’s third floor gallery presentation ‘Fashion Data’, a stark reality check about the Western consumption of clothing and its societal meaning, along with the implications for the planet.  I’ll be expanding on this in an upcoming post.

Right now, fashion is ripe for disruption – hackers welcome!

Header Image: Techstyler

Follow me:  Twitter @Thetechstyler  and  Instagram @techstyler

Darwinism and Luxury Fashion Brands

Flicking through Vogue Italia August 2011 issue I came across a campaign image from Moschino. Wowsers, has it changed since Jeremy Scott took the helm?! It got me thinking about Alexander Fury’s FURY over what he surmises as Hedi Slimane’s butchering and ‘dishonouring’ of Yves Saint Laurent’s name since he took on the Creative Directorship in 2012. I’ve just seen the images of the S/S16 Saint Laurent show and I can’t wait to read Fury’s (Fury-ous?) review of this one. Yikes.

In British Vogue, October 2002 issue I came across a calf-length tweed boot by Loewe, ripping me right back to a time when Loewe was a sleepy Madrid-based label loved by the conservative and well-healed Spaniard with a respect for well crafted and extortionately expensive leather goods to last a lifetime and be handed down to family members through the generations. A Loewe handbag had since become a right of passage for all girls entering their late teens whose parents were flush. I worked at Loewe as a knitwear consultant for a couple of seasons before JW Anderson took up the proverbial reins and Loewe is speaking an entirely different language now – a new hybrid Euro language we’re all trying to learn, where the feminine and masculine tenses are replaced with gender neutral ones and that’s full of knowing slang dosed out with bags of attitude. At least he’s saying something interesting.

moschinoMoschino 2011

AW14-Moschino-Ad-2Moschino 2014

YSLYves Saint Laurent 2011

image21-1Saint Laurent 2015

MariacarlaLoewe2011Spring1

Loewe 2011

raquel-zimmermann-by-steven-meisel-for-loewe-spring-summer-2016

The current Loewe campaign

So what’s in a brand? Does the history of the brand matter? Should it’s design ‘codes’ be respected for all time? If so, how does a designer do that while remaining current, or better still, trail blazing? Today’s fashion consumer is not the same as yesterday’s. We live in a digital, dynamic and immediate world. The old codes of luxury have to give way to new ones to maintain relevance. The design, craft and processes are paramount, but luxury design does not have to mean conservative design. Technology will drive the fashion industry, at least in terms of online sales; quicker, greener manufacturing, social media growth leading to increased connectivity between brands and customers.  This must in turn lead to innovation in design and changing design codes.  Consider how the innovation in digital knitting has changed the trainer landscape? Nike Flyknits are the single most exciting development in knitting technology that has spearheaded design in the last decade, in my opinion. This technology is now being applied in the premium and luxury sector and an explosion in the trainer market has led to luxury brands upping their trainer offer. Check out the trainer offer from Chanel and Dior, and the trainer that sparked the following luxury textile incarnations, Nike Flyknit:

Belle-Helene-schoenentrends-2015-6

Chanel A/W 2015

04d44b6e-d250-11e4-_876720b

Christian Dior Haute Couture S/S 14

nike-flyknit-zoom-agility-fit-multi-color-release-date-3

Nike Flyknit Zoom Agility Fit (since 2011)

Perhaps the answer ultimately lies in the lessons of Biology. In Darwinian terms we must evolve to survive.

Follow me:  Twitter @Thetechstyler  and  Instagram @techstyler