L’atelier hollandais Ted Noten a pensé et conçu cette arme de beauté appelé “Dior 001″. Reprenant tous les accessoires concernant la mise en valeur des femmes par le maquillage, ce pistolet impressionne par son design fait à partir de nylon imprimé 3D et de l’or 18 carats.
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Being one of the rare type designers who happen to be female, I occasionally get this question from other (mostly male) designers. It’s difficult to find other female designers with whom to exchange experiences and share knowledge.
The most common explanation is that type design is a “technical” profession. This is rubbish. Yes, font production does involve some programming, but, as a whole, doesn’t type design have much more to do with the patience required by classic female handcrafts, like needlework and knitting?
My guess is that the real answer is found in gender-specific socialization, both in general society and in the type design scene itself.
In Germany, women and men are still not treated equally. Young boys are rewarded much earlier in life, and for much less, than most young girls. Being born as a boy — and therefore a son and heir — is for many parents an achievement in itself. They project this sense of worth on their son. Everybody is already proud of him, by default.
As a daughter, you have to prove that you deserve being rewarded. Yet even a concerted effort may not lead to a positive reaction from adults. The girl also isn’t worthy of the same support because she won’t carry the family’s name.
Looking at type design as a working process, you must eventually decide when the typeface is finished. For most designers it’s difficult to find an end and be satisfied with the result. Then you add the expectations of others, amplified by the gender gap. Women constantly think they could do better. It’s never enough, they could get judged, they have to please, etc.
There are many of women who have great type designs tucked away in their drawers. They don’t dare to show them to the public.
The same is with women on the stages of type conferences. For most guys, public speaking is less of a problem. They are used to show off with every little bit they produced, knowing they will get rewarded — and if not, well, it’s no big deal.
I have the impression that this imbalance in our upbringing is stronger in Germany than elsewhere in the Western world. It could be one reason why some great female designers with German or Swiss roots had to get out and become successful abroad.
Another aspect is networking, which is still a male thing, and which women typically aren’t taught. They tend to be solitary fighters, which of course has a negative effect on their careers.
Later, if that career does progress, our social structure simply makes it very difficult for women to combine the time working on a typeface with having a family, given the mother’s traditional role as primary caregiver. You find a lot of over-qualified female designers doing production for type foundries, which gives them a financial security in their beloved profession.
One more sad truth: as a lesser known woman, the (male) type scene just doesn’t take you seriously. You are just a “student” who fancies the cool “boys”. You can sit down and listen to them, but you won’t be asked to give your opinion on “serious” type issues. This attitude may seem prehistoric, but honestly, I’ve heard it often.
The solution? Women should be aware of self-censorship, be less hard on themselves, and continue to maintain a high standard of quality without hiding in their chambers. (And some guys shouldn’t jump on stage at the drop of a hat. These changes alone would enhance the quality of some type events.)
I had to do this too. I pushed myself to give lectures and presentations and face the reaction of other type designers. And now, I like it a lot.
Verena Gerlach was born in Berlin and studied Visual Communication at Kunsthochschule Berlin Weissensee. Shortly after finishing art school in 1998, she founded her own studio (fraugerlach) for graphic design, type design and typography. Gerlach has lectured in type design and typography at designakademie berlin from 2003–2009 and gives lectures and workshops about type- and graphic design all over the globe.
 | InnerspeakerTame Impala Arrivano da Perth ma non sono dei canguri bensì un gruppo di ragazzi che ha mandato alle stampe uno degli esordi più interessanti degli ultimi anni in ambito rock. Per certi versi, almeno nell’uso della voce, mi sembra di sentire J.Lennon che esce dalla tomba e decide in acido di addolcire il nostro presente, infatti ho detto ‘rock’ inizialmente ma va specificato che i Tame Impala si rifanno principalmente a una certa psichedelica dei ‘60, quindi è adeguato immaginare che hanno voglia di sognare in salsa lisergica, basti vedere quanto è drogata l’immagine di copertina, quanto LSD? Sono undici i brani che vanno a comporre innerspeaker come una squadra di calcio, il ruolo del fantasista va a Solitude Is Bliss che è il singolo quindi la punta di diamante anche se trovo Desire Be Desire Go una versione psichedelica dei Beatles con quel suo mood accattivante da canticchiare, diciamo una bel centrocampista di qualità. Nel suo insieme non ci sono pezzi che mettono in secondo piano altri, è una formazione molto compatta ed equilibrata che ha in Runway, Houses, City, Clouds una specie di summa del loro stile, qui la parola sperimentare si ripete come un mantra. I trip lasciano ricordi talvolta forti talvolta annebbiati, questo disco è nettamente più vicino ai primi senza alcun dubbio. Avere vent’anni e non sentirli, se questo è l’inizio il loro futuro potrebbe essere tra i più incisivi di sempre, ma io a vent’anni cosa facevo? VIDEO SOLITUDE IS BLISS |
 | Public StrainWomen Quella fitta nevicata di copertina lascia presagire il carattere di questo secondo album dei canadesi Women. Anzitutto disco ad alto livello qualitativo che fa della dispersione, dell’oscurità, del rumorismo un suo marchio di fabbrica dal quale non se ne esce vivi se non in qualche episodio isolato che allenta la presa, decisa. Sotto un certo punto di vista sono una sorta di Velvet Underground del secondo millennio, infatti mettono le parti vocali in secondo piano rispetto al suono che è spesso tagliente come le chitarre di ‘Heat Distraction’ che fa tanto post-punk. Va dato atto alla band di essere ad un livello compositivo importante soprattutto se si pensa al genere di riferimento, quel ‘lo-fi’ che se maneggiato maldestramente può farti tanti danni e immediatamente cancellare da qualsivoglia ascoltatore talebano di musica ‘indie’. Per ricollegarci all’accostamento con la band di Lou Reed vi spingo all’ascolto di ‘eyesore’ che è senza dubbio alcuno ‘il pezzo’ per eccellenza del disco, da non tralasciare altri episodi come ‘China Steps’ dove rischiate di sentire graffi sulla pelle tanto lo sono le chitarre che lo caratterizzano, ‘Penal Colony’ è quella ballata malinconica che non ti aspetti e infine ‘Narrow With The Hall’ impasto noise lacerante. Questo sarà uno dei dischi che verranno ricordati negli anni, è quasi inattaccabile anche dalla critica ‘puzza sotto il naso’ che cerca appigli anche sugli specchi. VIDEO EYESORE (live) |
 | The Way OutThe Books Non avete mai fatto dei ‘collage’ da piccoli? Io sì, prendevo pezzi di giornali scartati dalla famiglia e mi divertivo a creare buffi articoli, così non posso non dare attenzione e visibilità a questi due ragazzi newyorkesi che definiscono il loro stile musicale ‘collage music’. Il loro punto di forza è quel meltin pot sonoro meglio definito come ‘folktronica’ che vede appunto un saliscendi di classico folk abbinato a tappetti sintetici talvolta di stampo ‘new age’, a questo giro le parti vocali sono completamente prese da campionature come in ‘a cold freezin’ night’ dove a cantarcela è un ragazzino che vede la sua vocina ‘distorta’ da beat oscuri. Trovo che i primi due pezzi vanno a creare un ‘climax’ perfetto per introdurci all’ascolto del disco in modalità ‘fai di me quello che vuoi’, ‘Group Autogenics’ è un reading con istruzioni per l’uso mentre ‘I Didn’t Know That’ introdotta dalla strumentale ‘IDKT’ è l’esempio pratico più concreto per far capire cosa si intende per ‘collage music’ un continuo passaggio fra fusion,rock,pop e quello che vi pare. Ci sono comunque episodi più ‘tradizionali’ come in ‘Thirty Incoming’ dove fanno il verso agli Animal Collective o in ‘Free Translator’ che è folktronica d.o.c. Non è ancora finita la benzina, sentiremo ancora parlare di questa combo e dei suoi mischioni sonori. VIDEO A COLD FREEZIN’ NIGHT |
Magnetized lingerie makes getting undressed a snap
Ripping off clothes in a fit of passion always sounds hot—until you find your expensive, “somebody’s-going-to-see-these” underwear torn to unsalvageable shreds. To keep the heat up without sacrificing silk and lace, former costume designer and the Parisian mastermind behind Lingerie Dement Laetitia Schlumberger created rip-off bras, panties, bustiers, and ensembles perfect for getting busy in a hurry.
Tiny, almost invisible magnets hold the pieces in place, holding tight enough to ensure that there won’t be any accidental panty-dropping in the office. But when the moment arrives, the well-placed connectors snap apart in one swift tear.
Made of seductive fabrics in delicate, feminine designs, the pieces have all the allure of French lingerie. Bras run between €70 and 90, panties between €50 and 60, and the garments are available online at Jollia, as well as at a
handful of stores in the U.S. and France.
Illustration and story via My Little Paris
Channel your inner Rosie The Riveter with this sexy collection of Brooklyn-crafted duds
Combining WWII simplicity with an utterly feminine silhouette, Wintercheck Factory‘s recent endeavor into fashion is a sexy Rosie The Riveter-esque collection all made in Brooklyn.
Sourcing styles straight from her grandma’s closet in Dallas, Wintercheck founder Kristen Wentrcek designed a six-piece strong collection with each item as a limited run. With an average of about 275 pieces for each style, Wentrcek tells CH “It’s all based on the fabric roll sizes so once the manufacturer finishes cutting, that’s it for our production in that color. Should a style sell really well, we may have it remade but never in that same color.”
Imported Japanese fabrics are prewashed for ultimate softness, and boast a keen eye for details. Standouts include the insanely soft, lined Eunice Dress (named after her grandmother), the striped Sarah Skirt (guaranteed to show a little leg without flashing people on the street) and the Anna Romper Swimsuit, which features a built-in bra, adjustable straps and a hidden zippered pocket.
The Wintercheck Factory collection sells online and spans $62 to $98, with each piece individually numbered.
Bekväm Clothing, named for the Sweedish translation of the word “comfortable,” is meant to be easy to wear, with simple lines and pretty, feminine details.
The cuts are classic, yet contemporary; scalloped details and Peter Pan collars dominate its spring lookbook. The garments are crafted with natural materials, relying heavily on organic cotton, linen, silk and hemp.
Hannah Elise, a college student and self-taught clothing designer, is the woman behind Bekväm Clothing. Based in McMinnville, Oregon, she makes dresses, separates and accessories by hand and posts them online in small batches. Each batch sells out within days. She informs her customers of new items through her blog and mailing list.
To purchase items, visit her online shop. For updates on what items will be available, sign up for her mailing list by contacting bekvamclothing [at] yahoo [dot] com.
Capturing the contradictions in everyday life, Iranian photographer Shadi Ghadirian draws on her environment and culture to create her work. Born in 1974 in Tehran in the Islamic Republic of Iran, Ghadirian “fell into photographing women” after completing a B.A. at Azad University. Soon after, Ghadirian gained an international audience for her innovative images, depicting Iranian women in stark contrast to the way most Western media portrays them.
“Quite by accident, the subject of my first two series were women,” admits Ghadirian. “Perhaps the only mentality of an outsider about the Iranian woman is a black chador, however, I try to portray all aspects of the Iranian woman.” The results, two exceptional collections, reflect the duality of a modern Iranian woman’s life.
The first, “Qajar,” features women in headscarves interacting with items thought to be typically Western—a ghetto blaster, Pepsi can and bike helmet—posed against traditional Iranian interiors. The “Like Every Day” series takes an image of a woman in a chador and replaces her face with an everyday household item such as an iron, dishwashing glove or cooking pot. “I wish to continue speaking of women because I still have a lot to say,” says Ghadirian. “These are my words as a woman and the words of all the other women who live in Iran, where being a woman has its own unique system.”
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