Office Magazine- Molly Goddard by Slow Waves

 

Molly Goddard’s work often reclaims a traditional feminine aesthetic that has long symbolized, if subtly, the oppression and societal strictures of young womanhood. The British designer’s bright, embroidered smock dresses—baggy, ruched, something fit for a doll—are girly, and yet still leave room for you to breathe, and, if you fancy it, to not be girly at all. Goddard appreciates a youthful sort of anti-fashion sense, finding inspiration in the way kids appear “when they’ve obviously dressed themselves, and are looking a bit mad.”

Do you ever sort of get pushback or any criticism from using the term “girly”?

I don’t know, I think I use it very lightly if at all. I don’t want to be too closely associated to that because I think it has the kind of connotations that aren’t completely positive. But I think it’s a useful, descriptive word. I don’t think it’s a bad word. I don’t know, I guess I’m always keen to not be put into that bracket of pretty, girly clothes. My clothes are a bit more than that. I’d like to think so anyway. [laughs] And I’m not very girly.

 

What’s the most interesting or inspiring way you’ve seen someone style your clothes?

There was a Beauty Papers thing someone did and I thought that was really lovely because it was about skin, and skin through the tulle which was really amazing. I think Tim Walker and Jacob K did a Vogue issue that I loved. They used my stuff in a few things and it was really transformed. There were two shoots—one with Kate Moss which was really romantic and another one which was a bit weirder and darker. And it was nice to see the two in the same issue. Then also my sister Alice Goddard, she’s a stylist and she always uses my things. I always like seeing what she picks because often what I don’t imagine she’d like is what she ends up picking. So I think that’s interesting to see. And we work closely together on the collection.

 

 

What do you wish there was more of in the fashion industry today?

Maybe more money? [laughs] I don’t know, I’d say money because it was really fun when everyone had loads of money to do really frivolous shows. There aren’t many things that are meant to be quite so frivolous as fashion, so I think it’s kind of a good thing to celebrate in that way. But then I also find I’m most creative when I don’t have the money to do something. And we definitely always work on a really tight budget. I suppose I wish there were more of the theatrical shows that there used to be.

 

Read the full interview by Rachel Hodin for Office Magazine HERE

 

Office Magazine- Ambush by Slow Waves

 

There are no better "couple goals" than those of Ambush. Originally founded by Yoon Ahn to restyle the image of her rapper husband Verbal, the line has since evolved into a total reconstruction of Japanese style. It's a notable feat for an Asian-American originally from the suburbs of Seattle, even moreso considering the patriarchal standards upheld by a large majority of Japanese culture—not to mention the fact that she is completely self-taught. Ahead of the LVMH Prize announcement, we sat down with the designer to talk all things fashion.

 

 

What do you want most out of fashion?

I don’t expect anything out of fashion, but as long as the destiny allows me to work and create in this industry, I want to deliver things that will make a mark in history.

Do you feel you have a responsibility to reflect the times and make political statements in your art? If not, why? If so, how are you accomplishing this?

There is a clear distinction between being an artist and a designer. I don’t see myself as an artist. We live in time so certain ideologies might get reflected in the tone of the design/collection. However, I try not to mix political statements into my designs. I believe my role as a designer is to makes things people want to wear and enjoy no matter what’s going on in the world, not forcing my views and beliefs on the customers. We are not that kind of a brand.

 

Your top 4 designers dead or alive?

Rei Kawakubo. Walter Gropius from Bauhaus. Steve Jobs. Martin Margiela.

How do you want to be remembered?

Still figuring that out. I’ll let you know in 10 years.

 

 

 

Read the full interview by Marz Lovejoy for Office Magazine HERE

Cool Pretty Cool- Ava by Slow Waves

 

Read all about Melbourne model Ava in the interview on Cool Pretty Cool, wearing pieces from Slow Waves

 

KYE Red Jumpsuit

'She got into modelling after shooting with friends and from people online asking her to do shoots for school portfolios and independent brands. Folk collective found her through that. She counts Jane Birkin, Christy Turlington, Jerry Hall and Kate Moss among her all-time fave models, but really prefers “amazing mod/glam/punk musicians from the 60s and 70s.” Based on the above info, we’re pretty bloody excited to cop her new vintage store!'

 

MOLLY GODDARD Patty Dress and JIWINAIA Mono Daisy Earring

MOLLY GODDARD Patty Dress, JIWINAIA Mono Daisy Earring

 

Words by Maddy Woon, images by Bec Martin, fashion by Marli Atterton

Read the full interview HERE

yoon on the evolution of the ambush universe by Slow Waves

 

From their beginnings as a jewellery brand for the hip hop set, right up to their announcement as a finalist for the LVMH prize in 2017, Ambush has served as a brand that "reps for the kids." Built up and based in Tokyo, by life and business partners Yoon Ahn and Young-Kee Yu, the label was born during Young-Kee's previous life as a rapper called Verbal. They began creating bold chains and rings that quickly became coveted by rap superstars after Pharrell fell for the brand.

 

We're sitting above the Ambush store right now and it's so beautiful, when did you decide you wanted a label home where you could contextualise the brand yourself?


We took our time with the store because we really needed to build our identity first and create a whole world. We have the Ambush universe now, it's been 10 years and along with the jewellery we have ready-to-wear, glasses and exclusive items that are only available here.

 

 

 

I'm looking at your t-shirt that says 'YOUTH', if I had to sum up Ambush in a word, youth would be it. 

The thing about getting old is that there truly is nothing new under the sun, it's a cyclical existence. Youth is a spirit and a state of mind, you need to be a little naive to things. Not over calculating things is youth to me and it's important to play a lot, do things as you grow older just for the hell of it. You don't stop playing because you become old, you become old because you stop playing. I'm not saying I literally act like I'm 21, although I still do a lot of clubbing!

 

I have admiration for couples who work together, do you and Verbal have rules about not talking business at home?


We talk about it constantly, it was originally a hobby and naturally evolved into this thing, we didn't get into fashion with the motivation of "let's start a brand and takeover." Verbal is very clever with the dry side of business, that isn't my strength, he's a pragmatist and so we balance each other out. If we ever get too caught up in the drama or disappointments of business we take a step back and realise that this is our dream and a part of that dream is the fact that business ain't easy.

 

Read the full interview by Courtney DeWitt on i-D HERE

How designer Glenn Martens inherited a brand in mourning by Slow Waves

 

Y/PROJECT IS THE MILLENNIAL ATELIER WE DESERVE

 

 

Jina Khayyer: Who is Y/Project?

 Glenn Martens: We are a small team where everyone has a voice. An intern has as much influence proposing a solution as I do. Our idea of fashion is not to create an army of lookalike people. There are enough brands who create for people that buy a piece to become part of the brand-gang. We create to ask questions. Y/Project is driven by emotions.

 

 

 

Many designers of your generation who are now building their own fashion houses, like Demna Gvasalia of Vetements for example, show their men and women collections together. You stick to the pace of divided shows. But you actually show the same pieces twice, just in different materials and colours. Why? 

I like the idea of showing the exact same cut that looks good and masculine on a guy and that looks good and feminine on a girl. I don’t make a distinction between genders. For me, it’s important that you put the garment on and you ask yourself, "How am I going to make this my own? How am I going to make this me?"

 

Last year Y/Project was nominated for the LVMH prize. 

Yes. It changed a lot. Especially regarding the visibility of Y/Project. LVMH is an amazing platform. I’m very grateful to have participated because you meet so many people and legends, like Anna Wintour. 

 In which way is fashion relevant to you? 

Clothes are relevant if people own them and are happy in them. For Christmas I gave my grandmother a Y/Project coat, which she loves and wears. A friend of mine has a similar coat. When clothes are not connected to gender and age and still work, then fashion is relevant.

 

Read the full interview with Jina Khayyer HERE

Wonderland Magazine- SERGIO by Slow Waves

 

Phebe Schmidt and Thalea MV explore SS17

 

Faustine Steinmetz Handwoven Mohair Top and Jeans from Slow Waves in Wonderland Magazine

Photography- Phebe Schmidt / Fashion- Thalea MV / Hair- Xeneb Allen

See the full feature HERE

COLLECTION- works by Clinton Hayden by Slow Waves

 

Join us in-store Friday April 7th from 6-9pm for the launch of COLLECTION, a solo exhibition by Clinton Hayden

 

COLLECTION is a fundraising exhibition of photographs, objects and assemblages in preparation for residency at the Berlin Art Institute

clintonhayden.com

Meet 2017's 8 LVMH Prize Finalists by Slow Waves

 

The experts’ votes are in. Following the showroom presentation at LVMH headquarters earlier this month, the 45-member panel behind the LVMH Prize for Young Fashion Designers has narrowed the candidates down to eight finalists. 

 

What happens between now and the announcement of the prize on June 16?
Now we’re just focusing on preparing for the morning of June 16, when the finalists will meet the jury. That’s a major milestone for all the designers, but it’s a very enriching experience for everyone. We’ll be preparing a space at the Fondation Louis Vuitton, where each designer will have slightly more space than in the showroom. Each has 10 minutes to present his or her work to the jury, and then there’s a brief question-and-answer session.

 

It’s also a good year for women . . .
It’s wonderful to see that five of the eight finalists are women. That shows how fashion is evolving, with more and more women designers coming to the fore.

Any words of advice?
I know it’s not easy but . . . relax! Focus on the pieces and styling you want for your models. We’re interested in your inspirations and creative process, but 10 minutes goes by fast, so be concise. And try not to be too impressed by the people sitting in front of you. Karl Lagerfeld got his start with a competition, too. Explaining one’s work is not always an easy exercise, but it’s part of the commercial reality of a designer’s job.

 

Read the full interview with Delphine Arnault HERE