Ersöz Ata, having articulated various religious and spiritual codes in his last collection introduced in Spring 2012, assembles an era extending from Antiquity to Renaissance, through a single frame. Maria Magdalena, on of the most remarkable pieces among his last collection of Ata, represents the spiritual references upon the body of a woman in a sculptural form.
This costume stands gracefully in the lounge of the marvelous Grand Hotel de Londres and is fully made out of metal and glass. Ersöz Ata works and lives in Istanbul. He studied design, ceramic and fashion design and specialized in leather and fur product design.
(photocredits: JW Kaldenbach) Covers (2001-2012) is a chronological display of the front pages of BUTT, Fantastic Man and The Gentlewoman, three international magazines founded and published by Gert Jonkers and Jop van Bennekom from Amsterdam, The Netherlands.
However different they may be, the magazines share a keen interest in fascinating personalities and real people with captivating stories that please both readers and spectators. The show that originality and personal style are inspiring qualities in men and women of the 21st century.
Down the historic city centre of Istanbul you can find FAI. It stands for Future Anecdotes Istanbul. A graphic design studio run by Asli Altay who has an MA from Graphic Design and Communication, Chelsea College of Art and Design, London. Her book 'Future Anecdotes'; which gave the name of the studio, is in the Tate Modern Artist’s Book Collection in London, amongst some other private and public collections. Asli has also conducted lectures and workshops in London College of Communication, Chelsea College of Art & Design and University of Creative Arts.
Merve Tuna's idea to put a belly dancer in a black latex outfit with matching mask, started when she travelled the London tube while listening to German cyber punk rock. Tuna originates from Istanbul and doesn't deliver boring fashion. This Turkish fashion designer has a keen sense of disturbing fashion.
After a period of taxidermia-fashion, she went from dead animals having orgies on a dress towards belly dancers in latex. At SALON/ we are more than happy to demonstrate a fresh vision of fashion with contradictions.
After her performance in the garden of design-store Building, she elaborates on her love for contradictions. "The song made me think about my youth, which is odd because it was German cyber punk, something that was not there when I was a child." She explains how one thing let to another. Because she felt there was a real resemblance with belly dance music, she felt she had to take this weirdness into a higher level. And she put in into an act.
A wise decision. Months later she shows her London tube idea by using a belly dancer wearing a S&M mask, a bra and a skirt with strings. All latex, all black, all Merve Tuna.
A silhouette without arms or head that continuously changes shape. This fantasy-figure is covered in crude oil in which various symbols of religions and pop culture are awaiting to be discovered. With HOPE Peters investigates the relationships between capitalism, power, belief and nature without prejudgment. His goal is to draw new connections and urge his audience into engaging in thoughtful dialogue.
The original idea for this project was to create a new world out of the purity of silhouettes and print design. This new world became a character, an abstract figure that changes shape all the time. Peters' collection are always subversive and socially critical, however in this project the designer is even more outspoken than usual.
Antoine Peters: "When someone sees connections between religion and being covered in oil, it probably comes from somewhere. However, it would be unfortunate if people only see the negative. With help of the negative I can illuminate the positive. For me, it's all about hope. For some, hope may be about wearing a chain with a cross. For others, hope is the belief in love, or the belief in the potential of the internet to create a better world. This project focuses on how to get along with each other and the world. Hope, in whatever form, breathes life into life."
In collaboration with dancer Alexe Jansen and photographer Marc Deurloo, Peters captured his design in a series of pictures, and together with Oscar Verpoort he created a short movie featuring music by Krause.
The print design is developed in collaboration with self-trained designer Alain Delluc, living and working in Istres, France. The design was created with 3D programs that were used for animated movies by Pixar and Disney.
There it is. A quick coming of age. One month ago the idea came. One week ago the actual building started. And after a two-day-ride from the Netherlands to Istanbul it erected on the quay of Karaköy Harbor. "We wanted to symbolize the 400 years of cultural relations between Turkey and the Netherlands."
The idea of this trading office began to form when Bruggeman was working on his flower pieces for the quay of Karaköy Harbor. There, next to the Clipper Stad Amsterdam, the symbol of 400 years of cultural and diplomatic relations between the two European countries stands strong. Bruggeman joined forces with Eric Roelen to work on the concept of a trading office, which is more or less a humble shop that has no goods on display but is only shifting papers that accompany the flow of goods. Roelen designed the Evergreen trading office. Elements of a trading office were combined with tulip bulbs and other plant materials that symbolize the large Dutch flower and plant export. This installation can be perceived as a kind of revenge: bulbs and plants that existed only on paper have suddenly come alive to reclaim their central position in the trading office. Inside the trading office, which is a small wooden house, the size of a garden house, there is a variation of nature locally found by Bruggeman, for example the dead branch of an conifer in it. This piece of work has more symbols. The tulip, the most Dutch symbol, is actually a Turkish flower. Therefor Bruggeman used one tile with a blue tulip. A typical Turkish decoration. The trading office is called 'Evergreen'. Bruggeman explains: "There is a huge Dutch trading company called Evergreen, they use big containers which you see everywhere. Besides that Evergreen is also a kind of fir, I am, in my work, keen on using dead pieces of green. They are, of course, not ever green at all."
Lernert & Sander were asked to create a film about bespoke tailoring for the Handmade issue of Wallpaper*. They hooked up with the famous italian tailors of Brioni and came up with the idea that a hand would be the ultimate customer to prove the skills and craftmanship of a brand as Brioni. The video is on show at Tailor Ismail at the French passage in Karaköy, Istanbul.
Stig and Sassen occasionally collaborate on photographic projects such as the one SALON/Istanbul shows at Nefaset Kantine. They were inspired by the way young Muslim women manage to express personal taste and creativity in their clothing while maintaining strict rules and regulations set by their culture and religion with regard to female dress. The images they made were published recently as a series of fashion spreads in the British magazine Dazed & Confused.
Finale of the Günseli Türkay show of October the 10th.
Günseli Türkay showed her S/S '13 collection full of flowing silhouettes. Simple elegance emphasized by handwork and eye catching details. Bianca Jagger, Marisa Berenson, Lauren Hutton are leading icons in this collection for next year. Creme and pastel shades cover the color palette. The collection will range from 70's inspired loose blouses, a trend during last show season in Paris and evening gowns.
Born in 1973, Hatice Gökce graduated from Mimar Sinan University of Fine Arts. Her own design atelier was established in 1998 and since then Gökce has been the leading figure in menswear. As a designer she adopts experimentalism, uses innovative fabrics in her work and provides consultancy for Turkish institutions.
She currently lives in Istanbul, Hatice Gökce is both collaborating with professional institutions and persons in order to carry her brand into the future, and designing customized wear for artists. In 2012, Hatice Gökce collaborated with Chinese brand Ilchi to design their upcoming menswear collection. As the first Turkish designer in Chinese fashion industry, this succes story in highly appreciated both in national and international arenas.
Bright colors in a brightly lit supermarket. Maryme-JimmyPaul lives up this tiny supermarket in the French passage in the neighborhood of Karaköy. The collection is a tribute to an epic character, the deceased beauty queen JonBenet Ramsy. The attributes of her pageantry are the icons of a doomed world of constant self-representation. Maryme-JimmyPaul is a combination of forces united in Amsterdam. With an assortment of backgrounds that bring together art, architecture, fashion and sculpture they offer an unique projection and perspective of the world around them. Maryme-JimmyPaul works within the area that exists between art and fashion. Taking inspiration from their own created stories, worlds, people and perspectives on current (and past) pop culture; they present fashion in a different way. www.maryme-jimmypaul.com
The ambition of SALON/ is to intertwine location, public and designer. This picture of Marga Weimans at VASA Woodcarving is not only breathtaking but also an example of a successful integration of design in its surrounding. Marga Weimans is a fashion house which explores and pushes the borders of fashion by incorporating elements from various other creative disciplines, such as architecture, industrial design and fine arts. For this dress the designer has also developed the woven fabric herself and combined it with inspiration from an iconic silhouette by Christian Dior. By closely studying this dress and conducting many experiments to find the perfect structure and shapes she created the Apartment Dress as part of the installation ' Fashion House: Most Beautiful Dress in the World'. www.margaweimans.com
SALON/ was proud to present the most recent electronic design by Pauline van Dongen: the Flip Dot Dress. A dress which proves Van Dongen's true inventive nature as a fashion designer. "I really have to explore the boundaries of fashion." During her artist in residence in Vienna she started out from the idea that every action has a certain result or consequence; the concept of leaving an imprint after each intervention or a certain interaction and thereby creating an interesting topography on the body. With this piece Van Dongen investigates the undulating surface of the body. She explores the idea of erosion, patterns, change and passing of time. In Vienna she focused on wearables in fashion technology. Her wish to merge analogue and digital technology led her to flip-dots. They have a physical presence and tactility, emphasized by their flickering sound. Together with electrical engineer and robot hacker Daniel Schatzmayr, who she met in Vienna, she developed an interactive garment, by using the principle of flip-dots. Schatzmayr designed all the electronics and technology behind this kinetic piece. Each dot can individually be addressed by a computer to animate patterns swirling around the body. During the performance at the 333KM Gallery in Istanbul the dots were adjusted to react to the music. DJ Onur Karagöz created an eclectic mixture of electronic soundscapes with traditional Turkish influences.
Istanbul Foundation for Culture and Arts (IKSV) organizes the first Istanbul
Design Biennial (IDB) in its 40th year. The IDB covers the fields of
urban design, architecture, industrial design, graphic design, fashion design
and new media design as well as relevant creative products and projects.
12th of December the IDB hosts over 100 projects by nearly 300
designers and architects from 46 countries. Using two different exhibition
venues curators Emre Arolat and Joseph Grima interpret the theme “Imperfection”
from their own perspectives. The theme of the IDB was adopted after the
suggestion of Deyan Sudjic, member of its Advisory Board and Director of Design
Museum in London. Sudjic stated: “There
is nowhere better to explore it than in Istanbul, a city of infinite layers,
charged with the vitality that comes from engaging rapid urban, social and
cultural change.” Sudjic also highlighted that “Istanbul as a city, is far from perfect, yet it is one of the most
exhilarating and dynamic centres in the world. Its special quality is that it
makes so much from the imperfect, the inexact and the provisional. “
Istanbul Design Biennial is transforming the great city of Istanbul into a city
of design during two months by presenting academy programme, workshop
exhibitions, seminar programme, film screenings, parallel participant programmes,
like SALON/, and design walks as well as both main exhibitions.
‘Musibet’ curated by Emre Arolat at Istanbul
One of the
two main exhibitions of the IDB is located at the Istanbul Modern, a venue
designed by EAA-Emre Arolat Architects. This exhibition is named ‘Musibet’ and curated
by Emre Arolat. ‘Musibet’ congregates more than 30 projects of 165 designers
and architects, displaying multiple faces of grand transformations continuously
being realized in Istanbul, as well as in many other geographies. The
exhibition aims to question the self-styled-marvellous legitimacy of the
arguments of design activities in this context.
organized the curatorial framework of the exhibition under two headlines. Under
the first headline, ‘Transformation’, Arolat will question urban transformation
and mass housing projects, which have been on the table lately in Istanbul, and
social tension due these projects while comparing them to other sample cities.
Under the other headline, ‘Anti-Context’, the parallels in the thoughts of
local and global actors on a geographical scale with Istanbul in the centre,
universal consent, the changes in new technologies, architectural and fashion
design practices of the new world will e debated.
Bora Ozkus, Batu Kepekcioglu, Ali Pasoaglu
‘Adhocracy’ curated by Joseph Grima at Galata
Greek primary school
main exhibition is hosted by the Galata Greek Primary School and reunites 60
projects by 120 designers and architects. ‘Adhocracy’, curated by Joseph Grima
in collaboration with an international team, surveys the contemporary design
scene in the wake of a wave of social and technological revolutions that have
transformed the realm of desing in recent years. The exhibition argues that
rather than in finished products, the maximum expression of design today is to
be found in processes-system, tools, networkds and platforms that involve users
in the process of definition of the end products. The exchitbtion charts the
mirgration of the epicenter of production from the factory floor to back to the
craftsman’s workshop. The title, Adhocracy, is a reference to the move away
from the dominance of the bureaucratic model of organization, typical of the
indurstrial era, towards an apporoach that embraces bottom-up innovation.