Wanted Magazine: Graham Tabor

From the premiere issue of Wanted Magazine: http://www.awantedmag.com/Issue-1/grahamtabor.html

“It’s always very important that whatever you’re working on feels modern, even if you’re working with an archaic technique,” remarks New York-based knitwear designer Graham Tabor. “Like macramé, for instance, which has been around for thousands of years. The challenge is how you’re able to take that technique and reinterpret it to make it exciting and new– and something that’s appropriate for now.”

There is a quality of organized chaos to Graham Tabor’s sophisticated designs. With his layers of deconstructed translucent fabrics, perforated wool knits, torn stitching and fantastically distorted facial masks made in collaboration with Kristen Barron, Tabor’s overall vision is an archetype of the primitive merging with the futuristic.

The designer has been developing his innovative tailoring techniques for the past ten years, and is currently making a name for himself as a forerunner in a skill that has remained largely untouched by American designers. “Knits are a very marketable commodity in New York,” says Tabor. “There aren’t a lot of people here who’re both technically skilled and have a good eye, and there’s very little production in the U.S.”

Born and bred outside of Detroit, Tabor later studied at Johns Hopkins and took several patternmaking classes at FIT before attending the Sorbonne in Paris for courses in photography. It was then that Tabor began to make an organic transition into the world of fashion design. “It actually happened almost by accident– I had all of these different interests, but I wasn’t necessarily really looking for a job in fashion. I was mostly trying to justify a reason for staying in Paris,” laughs Tabor. Clearly cut for the cloth, Tabor snagged an internship with Sébastien Menier, who is now the head of menswear at Maison Martin Margiela. The internship led to a knitwear design job under Melanie Ward at Karl Lagerfeld. “Lagerfeld was one of the best working experiences I’ve ever had,” comments Tabor. “It was a bit of a dream because it was so design lead. The team was very strong, and the product that we were doing was really amazing.”

Following his position at Lagerfeld, Tabor spent two years as the head of knitwear at Helmut Lang. Prada had just sold the company to Link Theory Holdings of Japan, and Tabor describes the challenging experience as “a bit mental.” But it was a challenge that prepared the designer for the launch of his own label. In 2008 Tabor was invited to show his debut eponymous collection in Paris at the annual Hyeres Festival of Fashion and Photography– the same event that has set the careers of Viktor and Rolf and photographer Sølve Sundsbø into motion. In addition to creating his own label, Tabor has consulted for TSE Cashmere, Rachel Roy and Camilla Staerk, and also styles photo shoots regularly for the likes of Qvest, Metal and Wad, among others.

Inspired by his natural surroundings as well as avant-garde Japanese designers Yohji Yamamoto and Rei Kawakubo of Comme des Garçons, Tabor cautions, “You always have to be careful to not be too directly inspired by someone, because then what is your voice?” With his body transforming creations and curiosity for the cutting-edge, Tabor’s voice is an escape to a brave new world of adventurous fashion: a black and white world of structural illusion and sexual ambiguity; and a world where apocalyptic drifters search for new life.

“I’m interested in the idea of how knowledge is transferred by certain groups in certain situations, and from one civilization to the next,” comments Tabor. “The knowledge that we have of the past is very fragmentary, and it’s through these bits and pieces that we try to bring together a story– and that’s what I find so interesting. Whenever I make a collection, I’m putting forth my own universe. And what I was trying to do was to put forth fragments of this universe, so the spectator can excavate and fill in the gaps with their own ideas and theories in order to make it their own.”

Also influenced by the work of American artist Gordon Matta-Clarke, Tabor's eyes light up when discussing the man’s unconventional processes. “One of the things he’s most known for are his excavations of abandoned buildings,” Tabor says. “He would cut out apertures in the ceiling and walls to allow light to come in. By removing these pieces and revealing many different dimensions at once, he was able to completely transform how your brain experienced the space.”

Adapting and expanding upon Matta-Clarke’s architectural techniques, Tabor uses his intricate stitch work, cut-outs, and various sheer fabrics to manipulate one’s perception of his own line of garments. “Part of the whole understanding for the collection was the idea of opening up this transparency,” he says. “Not necessarily actually revealing the body or the garment, but transforming it. These transparencies alter the texture of the skin and add to and change the dimension of the body, so it’s as if the transparency has been negated.” In shades of ivory and black, Tabor’s paper-thin trousers, seamless translucent jackets, and gash-filled knits play with the silhouette of each wearer. The garments drape and unravel around the body, forming a complex sort of camouflage for the new millennium.

What’s up next for this talented young designer? In a joint effort with photographer Miguel Villalobos (a regular contributor to Jalouse, Fantastic Man, Metal and more), Tabor’s latest project, titled 1 – 100, is a seasonless collection of uniquely handcrafted one-off cuffs, bracelets and headpieces. Each unisex collection of accessories will focus on a different material and artesian technique, the first being leather molded and dyed by hand. Sold in numbered editions of 100 pieces, 1 – 100 is currently available in Japan— though Tabor and Villalobos plan to enter the European market very soon.

While his conceptual fashions are currently available through private order only, Tabor has been working with Woolmark and Australian Wool Innovation to develop some more commercial pieces to add to his line. “Creating unconventional clothing can be a bit self-limiting because it can be too extreme for consumers,” says Tabor, “But I still want to make something that people are excited about.”

Written by Carolyn Brennan

Photos courtesy of Migue Villalobos, www.miguelvillalobos.net

Wanted Magazine: Matohu Interview

From the premiere issue of Wanted Magazine: http://www.awantedmag.com/Issue-1/matohu.html

With a new guard of forward-thinking young talent emerging, Japan is rapidly becoming a fashion destination for those seeking an escape from the mundane. Hiroyuki Horihata and Makiko Sekiguchi are two of these such designers. Taught by the very best (i.e.: Yohji Yamamoto and Rei Kawakubo), Hiroyuki and Makiko were well qualified by the time they launched their label in 2004. Titled Matohu, the designers are well versed in the art of traditional Japanese textiles. They use the same fabric techniques developed by wealthy Japanese merchants in the Momoyama period, a fleeting era that existed from 1568 to 1603. Though their craft stems from the past, Hiroyuki and Makiko fuse these rich techniques with their innovative design concepts of freedom and movement—in the end creating something that extends itself beyond fashion.

Matohu’s latest collection for Autumn/Winter 2009 further expands upon these ideals. The theme for this collection is “Kabukimono,” a type of anarchic wandering warrior from the Keich? era of 1596 to 1615. Just like the modern-day punk movement, the Kabukimono refused to behave by society’s rules. They defected from their Samurai masters and chose to dress and act with reckless abandon. The collection itself is sharp, angular, textured and almost entirely black—except for several splashes of white and vibrant blue. Long coats and strong shoulders, futuristic leather jackets and skirts, and complex knits made from Tibetan lamb and mink created severe silhouettes on the catwalk. Blending the past with the new, Matohu are carving their own creative niche in fashion history.

WANTED: What triggered your decision to first get involved in the fashion industry?

Hiroyuki Horihata: To have seen works by Yohji, Issey and Comme des Garcons in a museum in Kyoto.

W: You and Makiko met each other while attending Bunka Fashion College-- how did you meet exactly?

HH: We actually met at a foundation course on the first day of class-- we soon became best friends.

W: “Matohu” means “to wear lightly” – to wear in a way that creates an atmosphere of beauty but also with a sense of restraint. Can you discuss these notions and why you decided upon this name for your label?

HH: We wanted to name our label not just after our own names, but a pure Japanese word that is impossible to translate into other languages. “Matohu” is a verb, and it is originally a very special word of how to wear the Kimono.

W: You’ve worked for both Yohji Yamamoto and Rei Kawakubo. What was it like to work for two of the biggest designers in Japanese fashion (as well as fashion in general)?

HH: It was extremely tough-- beyond description.

W: What are some of the most valuable lessons you learned from these designers?

HH: We learned that they were our masters. We learned everything from them such as creativity, a special way to make clothes, textiles and the mind of “Never-give-up.” / the thought process of never giving up.

W: Your label is known for taking a spin on traditional Japanese themes and concepts by reinterpreting them into modern-day fashion masterpieces. Can you discuss your focus on the ‘Momoyama’ period?

HH: It was the most attractive age to us in Japanese History. It was a brief span of free thought, chaotic fashion, foreign influences and trade, which gave birth to an elegant, minimalist style.

W: Where else to you take inspiration from when designing your clothing?

HH: In ordinary and beautiful things in our lives, like seeing blooming flowers on the way home from work.

W: How are the two of you able to work together to achieve your collective vision? Is it ever difficult to agree on certain things? How did you develop the label’s style?

HH: There is no difficulty between us. When there is some disagreement, we discuss it until we can each share our opinions.

W: What is going on in your heads when you’re in the middle of designing a collection?

HH: Just concentration. Nothing except that.

W: I like how the Kabukimono warriors share characteristics with the modern-day punk movement – both were resistant to conformity and social norms, and both, (with their dark garments and bold hairstyles) stood out in a crowd for what they believed in. Can you discuss this?

HH: If you want to be original, you have to be brave in your own style. Kabukimono is a way of life-- of standing alone and having a strong will.

W: What types of fabric do you most enjoy working with?

HH: We’ve always enjoyed making original textiles for every collection.

W: The economic downturn has caused some designers to introduce more austerity into their collections, while other designers have opted to provide their clients with a route of escapism and fantasy. Do you think that the recession has had any effect on the way you design clothing?

HH: Nothing. We are going to do it according to our way.

W: What are you plans for the future of your label?

HH: To go global.

W: Horihata, you originally studied menswear in school – do you think Matohu will launch a men’s line as well? Your designs are already very androgynous.

HH: We already make making men’s sizes in Matohu already as well. It is actually a unisex brand.

W: Do you plan to eventually have a fashion show in Paris? Or would you rather continue to promote Japanese fashion week?

HH: Right now we are waiting for what we should do next and the right time to do it.

Written Carolyn Brennan
Photos courtesy of Matohu

Wanted Magazine: Damir Doma Interview

From the premiere issue of Wanted Magazine: http://www.awantedmag.com/Issue-1/damirdoma.html

Damir Doma is a young Croatian-born menswear designer in the prime stages of his career. He grew up in Germany, studied fashion at Esmod in Munich and Berlin and is currently based in the fashion capital of Paris. Doma’s creations are unlike most options available to men today, and the 28-year-old Raf Simons protégé has already been compared to gothic greats like Rick Owens and Ann Demeulemeester. After his debut collection, Damir Doma quickly became a name to watch in the menswear industry– however fickle it may be. While greatly inspired by his natural surroundings, Doma is also a purveyor of art, and counts significant 20th century German artists Anselm Kiefer, Joseph Beuys and Gerhard Richter as important influences in his creative design process. A perfectionist who values originality in every dimension, Doma is known to even compose the music played during his own runway shows.

Doma’s Autumn/Winter 2009-2010 collection featured pale-faced models swathed in layers of beautifully draped fabric, heavy wool coats, leggings and asymmetrically cut jackets with rounded or sloping shoulders. An abundance of looks came in winter white, though Doma didn’t forget to include various shades of grey and his favorite, jet black. There were zip-front jumpsuits and boots, full trousers with tapered ankles, head wraps and lots of braided detailing.

The designer’s latest collection for Spring/Summer 2010 was shown at the Palais de Tokyo in Paris this June. His new looks expand upon the ideas and silhouettes formed in the previous season: oversized shapes, multi-layered fabrics and thought-out androgynous appeal. The collection has a much more natural pallet of earth tones, with neutral shades of beige, cream, and ivory– although the most surprising aspect this season is a multitude of eye-popping blood red pieces. With slicked-back hair and stern gazes, the models were outfitted in sheer tanks, oversized linen tunics and trousers, crisp white jackets and sheer harem shorts paired with sturdy boots or strappy Jesus sandals. Doma paid great detail to the varying textures and movement of the fabric, making the collection one of his strongest yet.

WANTED: How did you first become interested in fashion?

DAMIR DOMA: Fashion was all around me when I was growing up. My mother is a fashion designer as well. My sister and I were always playing with her fabrics, and at an early age we started to create our own things. My first contact with a well-known fashion designer was when I was about 14 or 15 years old. I grew up in a little city in the South of Germany, so it was quite hard to buy fashion clothes. There was and still is one tiny fashion boutique called “Altra Moda.” That’s the shop where I bought my first Helmut Lang pieces! I used to be a big fan of Helmut– I think it’s really sad that he stopped designing.

W: What was it like growing up in Germany?

DD: My childhood was really amazing. I was very lucky growing up in South Germany, just in front of the Alps-- between the lakes and the mountains. I spent most of my time outside, playing sports and exploring the nature.

W: What made you decide to start designing your own label?

DD: My personality is one that needs to create new things. I believe that it’s my destiny to create and it actually doesn’t matter so much if it is fashion or anything else. I need to merge myself into my work and I always wanted to create my own universe and to express myself.

W: Can you tell me what it was like to show your collection at Modniy Desant in St. Petersburg?

DD: Modniy Desant was an exiting experience for me and also for my whole team. It was my first time in Russia. As I’m originally coming from a Socialistic country, I had some kind of image in mind before entering Russia. At the border we immediately had the pleasure to meet the Russian custom officers. That was shocking. I remember I thought that we would never enter Russia with the full collection! Besides some initial difficulties, the trip was nice. We did a beautiful show and I met Frol [Burimskiy], who is now part of my team. He moved from St. Petersburg to Paris, and is the responsible for our Paris Damir Doma boutique.

W:W: What was the purpose behind your Viel video collaboration with Alessandro Tinelli?

DD: When it comes to art, most of the time the process is the purpose. I met Alessandro during my first visit to Tokyo in 2007. Alessandro is an Italian artist who moved to Japan a few years ago. Masahiro Tsunoda from Lift introduced us to each other. In the last two years we’ve done so many things together. Alessandro’s specialties are video, video post-production and music. Viel is the video/music form of Damir Doma. We tried to explain my universe through different “eyes.”

W: Your Identity project shows how influenced you are by nature– can you discuss how the great outdoors has shaped your character as well as your collections?

DD: First of all, I believe that it’s crucial that my personality and my collection is 100% as “one.” As I mentioned earlier, I grew up with nature all around me, and I believe that a big part of my aesthetics developed in my early years. I love natural materials and colors– but my concept goes much further. I believe that clothing and body have to be a unity– clothing shouldn’t fight against the shape of the body. Clothing needs to respect the individual’s identity. A masquerade is not an option for me. I’m a very respectful, calm and sensitive person– and that’s what you'll find in my clothing. They are subtle and profound. My collections need to be explored and well understood.

W: What was it like to work for your mentor Raf Simons?

DD: Raf has a great personality. I remember that I was overwhelmed at the beginning. When I was at fashion school I looked up to him. Raf showed me a new perspective on fashion and a new way of working. At the end, it’s hard to recognize his influence on my work, as we don’t share the same aesthetics, but I adopted some of his concepts.

W: What other designers are you influenced or inspired by?

DD: As I mentioned at the beginning, I loved Helmut Lang and I also like Jil Sander. I adore the early work of Issey Miyake.

W: You also worked for Dirk Schoenberger– what was that experience like?

DD: Working with and for Dirk was more difficult for me, as we were never able to find a common denominator. At that time, Dirk was part of the BVBA 32 [a Belgian collective that produces high quality designer goods]. I believe that from a business point-of-view, I learned a lot during that period. I learned how to structure a good collection, and I learned to be focused.

W: You referenced the German painter/sculptor Anselm Kiefer as an inspiration behind your latest collection for A/W ’09-‘10– can you explain why?

DD: Anselm Kiefer did a fantastic exhibition in the Grand Palais two years ago. I love Kiefer’s images, haptics and structures. I imagined the models walking through the deserts of stone towers, which he built up. In his work, nature conquers the human creation, and I think that’s an amazing idea.

W: I got a bit of a post-apocalyptic Star Wars vibe from this collection– I could see Luke Skywalker wearing a lot of these looks– is that something you thought about?

DD: I’m not a big Star Wars fan, but I can see the connection. In particular, you are probably thinking of the priests in the movie. I like the idea of spirituality!

W: What are your favorite fabrics to work with?

DD: I work with all kinds of natural materials. It really depends on the product, but in general, linen is my favorite material. Linen has some kind of life of it’s own– you have to treat it with respect.

W: How do you pick the haunting music for your shows?

DD: For a while we have been composing the music especially for the shows. I decided this way works better for me, because I don’t want to give any references. The music goes hand in hand with the clothing, the materials and the colors. I’m a creator. The fashion show is giving an idea of the future and I believe that it’s wrong to use music that already exists.

W: You recently opened your flagship store in Paris – can you describe the experience?

DD: The store is our little baby. We take good care of it and we’re trying to raise it at the moment. We want it to be an amazing and cool adult!

W: What are your plans for the future of your label?

DD: We want to keep the label very exclusive. In the future we are planning to expand the Damir Doma universe with new products. I’m working on some very secret stuff right now. I also want to come up with a women’s line quite soon.

W: What are your other interests besides fashion?

DD: I love the arts. Every season I try to collaborate with a young artist to create other projects next to the collection.

Damir Doma’s designs are available in the U.S. at Atelier New York, Sartorial Loft and H. Lorenzo in Los Angeles, and Mixmix in Honolulu and Waikiki.

Written by Carolyn Brennan
Photo courtesy of Damir Doma and Etienne Tordoir

Wanted Magazine: Jessica Sofia Mitrani Interview

Jessica Sofia Mitrani is a Colombian artist and performer based in New York. She has spent years dissecting and interpreting the stereotypes of femininity, and it all started with a single shoe...

WANTED: So I have to ask, what shoes are you wearing today? And why?

JESSICA SOFIA MITRANI: Right now? Alexander McQueen, flats. In this weather I wear flats. These I love so much, they are my summer shoes.

W: Do you ever wear heels?

JSM: Yes all the time. [laughs] All the time.

W: You grew up in Colombia and have been living in New York since 1999 - what made you decide to make the move to NY? Was it for art?

JSM: Yes, I did a short film called Rita Goes To The Supermarket and at that time the lab in Colombia was having some trouble. I decided to come up for the summer to do the post-production of the film. And when I got here, I just... I knew I had to stay. I love this city, I adore New York, and there was no choice but for me to stay.

W: How did you first get involved in the art world?

JSM: When I was in Colombia I was part of a theater group, an all women's performance-theater group. I was always interested in gender and women's representation and the company dealt with those issues, I performed and wrote some sketches for them and later I did the short movie. When I came to New York I worked with the New Stage Theatre Company doing several productions and it was a great experience because I was involved in everything from the concept and script to the costumes and the set design. It was on that context that I made the first single shoe: the two-foot black patent leather platform for the performance piece Some Historic/Some Hysteric.

W: How do you actually make the shoes? Just how regular shoes are made?

JSM: I have a friend that is a shoemaker and had a factory in Colombia; it was a really nice collaboration. He tried different molds and it was a really interesting process to figure out how to make the perfect single shoe- you can see the forms over there made out of wax [points across the room]. So we made them just like they make regular shoes.

W: Who and what are you influenced by?

JSM: Hans Bellmer is a big influence of mine. I'm actually working on a book and exhibition about the time he spent with his lover, a poet named Nora Mitrani...

W: Any relation?

JSM: Yes! [laughs] So I'm interested in highlighting their scandalous affair...

W: What will be on view at your upcoming exhibition?

JSM: There will be three videos where the shoe is the protagonist : Mary Jane, Nurse, Stiletto . The complete series of shoes and their molds will be on display as well as stills from the videos. Also a baby shoe and a baby bronze shoe! There are going to be women standing in my shoes in the window display, but I prefer not to describe them yet. It is better to just see them in person...

W: Can you talk about the messages of femininity that you are sending throughout your work?

JSM: I think that more than a message my work arises questions around the aesthetics of femininity...My inspiration for the single shoes comes from the s and m culture, there is a single shoe that is used in the bedroom, and it's all about power. So I was interested in someone having a woman immobilized and actually giving the immobilized woman all the power...and then I took the shoe out of its original context and moved it to the everyday life...

(Alexander McQueen heel S/S '10)

W: Why do you think women like to wear heels?

JSM: Well, I love to wear heels because I feel powerful... they do hurt my feet, and are terrible for my knees but I feel, like lots of women, that they make you look desirable...

W: At the opening of your exhibition there will be a woman wearing an outfit by ThreeAsFour, who you also worked with for their A/W 2009 presentation at Greene Naftalie Gallery in NY... Can you talk about those collaborations?

JSM: I made a little dreamy film out of their performance called "She tends a Bonsai in her crystal dream" which will be projected in a giant mirrored couture screen at the Macro Museum in Rome this upcoming September... I was interested in creating a mood, more so than documenting the actual clothing so the film is more about the atmosphere, music and the spirit of the performance. For my single shoe exhibition they designed an original black super sexy outfit for the woman standing in the two-feet platform!

W: You have been studying feminine representation for the past ten years. Would you describe yourself as a feminist?

JSM: Yes, definitely, for sure. I always say I am a feminist, not to be a misogynist.

W: Why did you name one shoe Vivienne Westwood, while the other shoes are not named after a designer?

JSM: I named the shoes according to their type, like the Mary Jane, the marabou mule, sling back...I named the two-toned ballerina, Chanel because it was originally made for that house and it is usually called like that even if it is not a real Chanel. In the Westwood case I made an exact replica of one of her famous shoes.
I admire the parody and humor in her designs. It's both subversive and elegant. It is anti-bourgeois but consumed by the customer she makes fun of. I just find that she embodies aesthetically a lot of what I personally like in fashion. I like how for her fashion is a parody and it is a parody that I love to wear.

W: What other fashion designers do you admire and like to wear?

JSM: I admire Comme des Garcons... a lot... Alexander McQueen too... I like the idea of not taking fashion or anything too seriously, and keeping a distance. They do smart fashion, its fashion that comments on fashion - but it takes it to another level, and it's gorgeous to wear. I love the intellectual aspect, but I love the way it looks as well.

I wear ThreeAsFour all the time and Tsumori Chisato. She used to work with Issey Miyake for a long time...it is a bit more whimsical than what I would normally wear but I think her prints are amazing and I like her sense of humor. The sense of humor of the designer is what I like best.

Jessica Mitrani: In a Single Shoe opens September 12th at Partners & Spade, 40 Great Jones Street, NY. (646) 861-2827

Written by Carolyn Brennan