BULLETT MAGAZINE /  by Slow Waves

'Heavy Fog' is up on Bullett featuring pieces from Slow Waves.

See the full editorial here- http://bullettmedia.com/editorial/heavy-fog/

JIWINAIA X VOGUE /  by Slow Waves

'Trading in Sophia Loren for Foxy Brown and Felix the Cat, Seok’s line, JIWINAIA, shakes up the refined reputation of the Italian fashion capital by fully embracing the eye-catching and whimsical style of flamboyant rap MCs and the illustrated feline. '

'When I was studying at Central Saint Martins. I decided to take the jewelry B.A. course, mostly because I finally wanted to make real pieces for myself. After graduating I launched my own brand, Jiwinaia.'

Slow Waves is pleased to be the exclusive stockist of Jiwinaia in Australia.

Read the full article here- http://www.vogue.com/13408550/marisa-jiwi-seok-jiwinaia-jewelry-milan-fashion-week/

s!x exhibition @ sarah scout /  by Slow Waves

MM6 Maison Margiela items from Slow Waves were recently on show at the S!X Runway Presentation at Sarah Scout Gallery as part of VAMFF. (Virgin Australia Melbourne Fashion Festival)

Pictured- MM6 Maison Margiela Cut Out Silver Choker and MM6 Maison Margiela Sequin Boots

Editorials /  by Slow Waves

Jiwinaia gets a write up in the latest Nylon Magazine, which the Dean Tabloid Jeans by Filles À Papa are also in and worn by Riley Keough!

                          SHOP JIWINAIA                                                           SHOP DEAN TABLOID JEANS

 

The Dean Tabloid Jeans are shown again this time in Paris Vogue, and styled by Emmanuelle Alt.

 

The incredible Sequin Boots from MM6 Maison Margiela are in two Korean magazines this month, WKorea and Korea Vogue.

FAUSTINE STEINMETZ London Fashion Week Presentation /  by Slow Waves

The presentation we can safely say is nothing new. Presentations have been a staple at London Fashion Week for many years, the preferred options for emerging design talent on limited budgets.
But now, in this digital age, where the consumer wants more, presentations have gone from being held in pale rooms with models lying about to become the main attraction and no-one does this better than LFW designer Parisian born Faustine Steinmetz.
Maybe it’s because she came from Paris, the land of couture, so the feel of the collection as a whole is more directional, with that true balance between art and fashion.

For this season AW16, her collection has become a talking point both on social media and offline. Her models were contained within boxes, with each box representing a different colour, and holes within the boxes for the audience to peer through into her magical world.

Talking about the collection backstage to The Daily, Faustine said: “I wanted to do something fresh and say, ‘We’re going somewhere different.’ The idea was to do something a little bit absurd…What I really like is objects as sculpture.’
Faustine is definitely putting on captivating presentations, WGSN’s Catwalk editor Christa Kaufmann, fresh from seeing the collection, says: “This is a designer who doesn’t follow trends, but creates them and as such everything she curates from the set design to the clothes- has this unique personal touch that truly feels fresh and innovative.
‘The dynamic set is all part of the collection, the way in theatre a set is an integral part of the production’
So unlike with a runway show where the audience is sat there waiting for people to be seated and for the lights to go down, with a general feeling of ennui, we’re instead captivated, on the edge of our seats, wondering what we’re about to discover,” adds Christa.

 

What Faustine does with her dynamic presentations is show the possibility of presentations as a way to capture the imagination, do away with old catwalk structures and get consumers excited about the product she is putting out there.

 

http://www.wgsn.com/blogs/the-disruption-of-the-fashion-week-model-and-how-presentations-became-the-new-runway/

Vetements' Demna Gvasalia talks to BOF /  by Slow Waves

In an exclusive interview, Demna Gvasalia, head of the Vetements collective and newly appointed artistic director of Balenciaga, talks to Imran Amed about a new operating model designed to fix the ‘broken’ fashion system, as well as his time spent at Margiela.

IA: What was it like to work in that mythical place?
DG: It was exceptional. That period of my life was probably the most formative in terms of fashion. My real studies, where I learned about clothes, was working at Margiela, especially in this kind of transitional period after Martin left; when the company was trying to modernise its DNA and find ways to continue its history. For me it was like an MA in fashion.
When you’re a student at a fashion academy, it’s all really theoretical. Here it was real, it was something that people made — that people wore. The most amazing thing was actually discovering the archives and looking at how the pieces were made and learning the way that the clothes were designed.
I saw the pieces that were done at the beginning of Margiela at the beginning of the 1990s. It was investigative fashion. They took a shirt, they took it apart, and they made a new one out of it. This whole idea about understanding the core of what you are doing, to make something new. They needed to take a shirt apart to make a new shirt. They didn’t come up with a new garment that didn’t exist.
It became a method of working for me. You really needed to understand the construction of the garment and to kind-of be in love with it in order to make something out of it. That’s something I learned there.
IA: Why is that important to you?
DG: A garment is a product. It’s not made to be in a museum. It’s meant to be in somebody’s wardrobe. But then again, you need to like what you do. You don’t just need to like your job, but you need to like the product. I don’t want to compare it to an artist working on an artwork — but it’s the same. You are kind of subconsciously in love with what you do, and I think as I am working on a hoodie, I love to work on that hoodie. That’s what enhances your ideas and your creativity.

 

Read the full interview here- http://www.businessoffashion.com/articles/intelligence/demna-gvasalia-reveals-vetements-plan-to-disrupt-the-fashion-system

Catalogue Magazine /  by Slow Waves

'Catalogue Girls: Sue Talks Chanel, Creativity and Reminds Us Fashion is Where the Heart is'

VAMFF Presentation /  by Slow Waves

A big thank you to everyone involved and everyone who came on Saturday!