Pour ce lieu de travail, le projet de l’agence d’architecture espagnole MAIO consistait à transformer un lavoir peu lumineux en un espace professionnel de partage où la lumière serait idéalement optimisée. Ils ont donc créé des fenêtres et des ouvertures, ainsi qu’un bel espace vert au coeur du bâtiment : à découvrir à travers les photos de Jose Hevia.
We know you love a nice drawing implement, so for this month only, anyone taking out a subscription to CR will receive a Rotring mechanical drafting pencil absolutely, positively free. Fits behind all sizes of ear
Mmmm, it’s a fine looking instrument alright, the ol’ Rotring 500. And it’s yours free with every new subscription to CR. Just call us on +44 (0)20 7292 3703 or go here to subscribe
Look out for a host of new offers and special events for CR subscribers, including guided tours of museum and gallery shows and discounts on some very cool brands
The October issue of CR is a fashion special with features on the future of the shop, fashion and film, the influence of Instagram, one of our readers’ favourite labels, Folk, and how the humble carrier bag has become a collectors’ item
We talk to Folk founder Cathal McAteer and to the brand’s regular graphic design collaborators IYA Studio about the brand that has found a place in many a CR reader’s wardrobe
Plus, we feature Tripl Stitched, a new British-made shirt brand that is collaborating with up and coming illustrators such as Jack Cunningham (whose work appears on our cover this month). And, CR subscribers can get 25% off Tripl Stitched shirts, go here for details of how to claim it
Now that we do so much browsing and buying online, what is the future for fashion retailers on the high street? Rachael Steven looks at how the likes of Dover Street Market, Prada and The Apartment by The Line in New York (“the place to discover and purchase some of our favorite things in the intimate context of a home”) are providing shoppers with unique experiences
The shift from photography to film as the medium of choice for many fashion brands has been underway for some time: Eliza Williams looks at how the genre has matured and even started to learn to laugh at itself a little
Antonia Wilson charts the rise of the Instagram fashion bloggers and thier growing influence with the brands they feature
For fashion stores, the carrier bag is a valuable piece of advertising real estate and an important brand communications platform: for collectors, they are artefacts of cultural history. Antonia Wilson reports
In Crit this month, Nick Asbury reviews new book Read Me: Ten Lessons for Writing Great Copy
While Paul Belford bemoans the standard of current VW advertising in comparison to the brilliant work featured in the updated edition of Remember Those Great Volkswagen Ads?
And our regular columnist Daniel Benneworth-Gray muses on the many choices designers have to make while Michael Evamy explores the enduring appeal of using animals in logos
Plus, for subscribers, we have a special Monograph this month featuring our pick of the ilustrations we have commissioned for the magazine over the past five years. Every issue of CR features work commissioned from young and extablished illustrators, here our art director, Paul Pensom, chooses some of his favourites
If you are not yet a subscriber to CR in print, we have a special offer this month: a free Rotring 500 mechanical drafting pencil for every new subscriber. To subscribe, please go here
Remember the dreaded school portrait? In a new project, currently taking place in Sydney, The Glue Society’s James Dive is asking strangers to come together and relive these formal portraits in the name of art…
Titled Us, Dive’s project forms part of Sydney’s annual festival ‘Art and About’, which runs until October 12. Dive will be photographing his subjects within a makeshift outdoor studio in Sydney’s business district at various dates and times until October 5 (see artandabout.com.au for further info). Each image features 21 participants and all are given a signed and numbered copy of their photograph to take away. All the images Dive takes are also housed on a dedicated Tumblr site, here.
Dive’s inspiration for the piece came from seeing the reaction of strangers when he was in a bike accident. “The idea began when I was knocked off my bike,” he says. “A random group instantly formed to help and I still have no idea who any of them were to this day. I became enamoured with the thought of formally capturing a spontaneous groups of strangers that come together for the briefest moment in time.”
The project has been popular, with the strangers involved embracing the opportunity offered by Dive to be part of a ‘moment’. “The work now has taken on a life of its own,” he says. “In a good way. What is remarkable is how quickly a group becomes an actual group. And I suspect in this case it has a lot to do with the process of a formal group photo. For instance all participants are asked to sort themselves out from tallest to shortest. And that seems to be a remarkable way to get to know someone.
“The group is then arranged in a deliberately squashed formation on the benches. All standing must put their hands behind their backs, those seated must put fists on knees and feet together. Everyone must have straight backs and chins up. There is a lot of banter and jest as the group work together to get their photo to the required standard. And once the photo has been taken there is spontaneous applause, every single time.”
The outdoor photo studio
The finished portraits on the Tumblr site also feature all the participants’ names
Dive has created a number of artworks during his time with creative collective The Glue Society, all of which contain a combination of wit and poignancy. These have include God’s Eye View, a series of biblical scenes reimagined in Google Street View, and I Wish You Hadn’t Asked, created for the 2012 ‘Art and About’ festival, which featured a suburban house that visitors could enter which was raining on the inside.
While his work may be quite disparate in style and format, Dive sees it as all being linked by the need to communicate an idea. “The execution of my work is quite varied but the underlying principal always remains the same,” he says. “My primary focus is communication, how best to communicate a certain idea or notion. As a result, every artistic execution is what I deem to be the most successful way to present a certain idea or notion.”
Well-known for being awash with emerging talent from across disciplines, Designersblock has been a mainstay of the London Design Festival, now in it’s 17th edition. This year saw the event move from its Southbank home on the River Thames to a more central location, in a jaw-dropping location in a soon to be converted 18th-century courthouse (sold only recently, the story goes, by London Masons). Exhibitors could not have asked for a more inspiring location for their work—enormous projections on the domed ceiling bringing the already epic space to life.
Designer low energy bulb makers Plumen took over one of the grander spaces on the buildings top floor with a stunning installation—’The Glowing Oak’—featuring their newest bulbs, the Plumen002, hanging like fruit from a pretty sizeable tree seeming to grow straight out the centre of the room.
by James Willard When the first generation Audi TT was unveiled in 1995, it was a sensation for car-maker, its customers and the industry as a whole. Not only did the design of the car step…
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This group of Brazilians in a small boat spot a massive anaconda, the woman on the boat proceeds to..(Read…)
Pour l’événement Nike « SNEAKERBALL » (qui a eu lieu cette année à Madrid), Nike Netherlands et Rosie Lees London ont demandé au créatif new-yorkais Shane Griffin de concevoir une grande sculpture de balle de basketball autour de laquelle des baskets sont incrustées. A découvrir à travers les clichés de Ruben PB.
Fashion and technology: sports brands like Nike and Adidas are the only companies pushing “technological innovation” in the fashion industry, says Rem D Koolhaas, co-founder of footwear brand United Nude (+ interview).
“Fashion is actually running behind with the use of technology if you compare it with architecture and product design,” Koolhaas told Dezeen. “It’s stuck in its way and with the seasonal calendars and therefore it’s limited in time for development.”
“That’s perhaps also the reason why outsiders from the world of fashion have helped and are still helping to stir things up and push boundaries. The fashion industry itself often prefers to run in circles.”
Related story: “Technology adds an incredible advantage to fashion design”
However, Koolhaas thinks that brands like Adidas and Nike are setting the bar for the fashion industry by using technologies for practical applications – creating specialist sportswear like 3D-printed studs and digitally knitted materials for football boots, for example.
“A lot of technological innovation that’s actually useful is done for performance purposes by the sports brands,” he said.
“The problem with many of the most advanced technologies is that only the big companies can get their hands on them through big budgets and mass production. Compared to some of the sports brands, everybody else is old fashioned when it comes to technology.”
Koolhaas launched his footwear brand 11 years ago with the Möbius shoe, which he first designed in 1999 while studying architecture in the Netherlands.
United Nude‘s latest release is a shoe that can be 3D-printed at home on a compact desktop machine, and the company has frequently collaborated with 3D-printed Haute Couture pioneer Iris van Herpen to print the footwear for her catwalk shows.
Koolhaas admitted he is “just a small experimentalist” compared to the sportswear giants, but that the leaps made by Nike and Adidas are now paving the way for others to follow suit.
“The good thing is that the door is now open and that the fashion industry has finally woken up,” Koolhaas said, stating that young fashion designers who are being taught to use, and experiment with, digital technology will be the ones to step up to the challenge.
“Some of the best fashion schools are now really promoting technology, which I think is a very positive development. Not everything that will be tried will work, but there’s only one way to find out.”
Read on for an edited version of the interview with Rem D Koolhaas:
Dan Howarth: What has the fashion industry gained from digital technology?
Rem D Koolhaas: Fashion is actually running behind with the use of technology if you compare it with architecture and product design. It’s stuck in its way and with the seasonal calendars and therefore it’s limited in time for development. That’s perhaps also the reason why outsiders from the world of fashion have helped and are still helping to stir things up and push boundaries. The fashion industry itself often prefers to run in circles.
Dan Howarth: What new materials and processes have already been successfully integrated into fashion?
Rem D Koolhaas: 2D printing of fabrics, 3D printing, injection moulding and 3D weaving like for socks and shoes. A lot of technological innovation that’s actually useful is done for performance purposes by the sports brands. When a dress or a shoe is 3D printed it’s still more experimental than functional.
Dan Howarth: What are the most important digital technologies currently used in fashion?
Rem D Koolhaas: 3D printing might soon be as there’s a huge potential. For the moment 3D weaving is pretty big too, but this also depends on how you define fashion.
Dan Howarth: How can 3D printing be developed to improve its suitability for fashion?
Rem D Koolhaas: I sometimes think that the ultimate method of 3D printing is not yet invented, or not yet available. This method will be cheaper, faster and more flexible in choice of materials. So perhaps not current technologies as you say, but a new form. For now laser sintering comes closest as it’s the most advanced, but it’s slow and costly.
Dan Howarth: How will digital technology benefit the fashion industry in the near future?
Rem D Koolhaas: Somebody from Nike should answer this question, I’m just a small experimentalist compared to them. The good thing is that the door is now open and that the fashion industry has finally woken up.
Dan Howarth: What about biological materials and processes? How are they influencing the way we design clothes?
Rem D Koolhaas: 3D growing used with 3D printing is a beautiful sustainable way forward, with silk-spinning insects living in new 3D bio printers… I will discuss this in my next meeting with [technology company] 3D Systems. For now recycling in fashion is already a huge challenge and for designers to design good fashion with a certain timelessness.
Dan Howarth: How will clothes and accessories become better integrated with the body?
Rem D Koolhaas: Through design evolution. The problem with many of the most advanced technologies is that only the big companies can get their hands on them through big budgets and mass production. Compared to some of the sports brands, everybody else is old fashioned when it comes to technology. When they collaborate more with really clever designers instead of the more popular ones they could make bigger steps.
Dan Howarth: What developments are you currently working on that bridge technology and fashion?
Rem D Koolhaas: We are doing more 3D-printing projects than ever before, but not necessarily as a functional exercise, but more as a play on form and shape. A lot of our experimenting with technology we do for fun and to push boundaries rather than to re-invent the wheel.
Dan Howarth: Has the fashion industry accepted technology yet?
Rem D Koolhaas: Not the old guard. You can see that in their horrible interpretations of the fashion forecasts. You can see that most clearly, for instance, with some sneaker design by the big luxury fashion brands. But you see a lot more experimentation by young brands and young designers these days. Some of the best fashion schools are now really promoting technology, which I think is a very positive development. Not everything that will be tried will work, but there’s only one way to find out.
The post “Compared to the sports brands, everybody is
old fashioned when it comes to technology” appeared first on Dezeen.
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