November 28, 2012


The SALON/ route has a central piece of the new collection on display made with Turkish Ikat fabric that Mattijs van Bergen found on his visit to Istanbul.

Mattijs van Bergen (1980), known for his neoclassical designs with distinct colours and refined fabrics, studied at ArtEZ and has a Masters degree at the prestigious Central Saint Martins College. In 2008 he launched his label MATTIJS. According to British Vogue "One of the most promising young designers". Craftmanship and a sculptural use of pleating define Mattijs collections.

(photocredits: JW Kaldenbach)

November 26, 2012

Deniz Buga @ DEPO

Untitled, 2012

This work aims to imitate cinematic time through sequencing in photography.

In WH II (2012), he re-worked the film adaptation of Emily Brontë's Wuthering Heights directed by Andrea Arnold in 2011.
From the original film, he eliminated the actors, and worked with the elements surrounding them; the shots of objects, animals and landscapes. With a new edit and sound design, these shots created their own alternative narrative altering their original intention of use. (photocredits JW Kaldenbach)

November 24, 2012

The modern harem style by YER

The 'YER fan' by Friso Dijkstra and the 'YER mattress' by Borre Akkersdijk were made for  SALON/Workshop, the interdisciplinary part of SALON/Istanbul where Dutch designers collaborate with Turkish artisans.

Located in the back of the Mavra café, this installation, a.k.a. the 'YER project', doesn't contain signs prohibiting visitors to sit down. The white opium-flower shaped fan and the, probably, most colourful mattress ever made are not just pretty objects. They ought to be used. Textile designer Borre Akkersdijk and product designer Friso Dijkstra, both graduates from the Design Academy in Eindhoven, ask that café-goers sit down and have a rest. The colour coordinated cushions are completing this cozy YER corner and make this part of the SALON/Workshop ever so inviting.

The YER (meaning place, ground or floor) project was inspired by paintings of Istanbul illustrating the social life which often takes place close to the floor. Think rich fabrics, beautiful brass and copper ware in tea houses decorated with tapestries and cushions.  

"We worked quite intuitive translating the idea into shape and colour. It is much our image of their culture."

(photocredits: JW Kaldenbach)

November 19, 2012

Student project SALON/Workshop with IKSV

(photocredits JW Kaldenbach)

Imperfection provides an opportunity to participants by bringing professionals in local and international creative industries and different brands together with university students and co-experience the thinking and producing processes.
The Istanbul Design Biennial Workshops where held with students, undergraduate and graduate, in urban design, urban and regional planning, environmental design architecture, interior architecture, industrial design, graphic design, fashion design, fine arts, and new media design departments of relevant universities.

Students that worked on this project are: Elif Isik,
--> Övünç Sevinç, Buket Onat, Mustafa Kemal Yurtta, Hasret Özdemir, Berilsu Hatirnaz and Bahar Mey.

November 15, 2012

YOUASME MEASYOU @ Jean Botter House

(photocredits JW Kaldenbach)

Youasme Measyou has installed a virtual reality installation at the Jean Botter House called Lovers. The Jean Botter House was the workshop and family house of Dutchman Jan Botter, a famous couturier to Sultan Adbulhamid II. The installation consists of a cloud of dialogues between lovers, that can be seen with the iPhone app 'YOUASME'. The app can be downloaded for free at iTunes.

Youasme Measyou is a refined knitwear and jersey brand that specializes in contemporary knits for men and women.

November 14, 2012


(credits: JW Kaldenbach)

Anuschka Blommers (1969) en Niels Schumm (1969), both graduated of the Rietveld Academy, started working together ten years ago. Today, they are a succesful photography duo, ranked amongst the top fashion photographers. Their work is about people: focus is on the individual, something that is rarely done in the fashion world. They throw the expectations of the viewer off balance, playing with perspective and proportions. In each photograph, the viewer is hit with a big surprise, but always one that is beautiful and exactly on the mark. 

The picture shown above is the press image of UNSEEN photo fair in Amsterdam. It is hanging in the lovely HOUSE Cafe on Istiklal. 

November 10, 2012


Sara Vrugt studied fashion design at the Koninklijke Academie van Beeldende Kunsten in The Hague and graduated in 2006. In her work she balances between fashion design and art. She uses textile as a medium and the human body as an instrument. 

Look At You is a series of textile installations, collections and community projects. The subject matter is the fine line between the human instinct and conventions in our society. She likes to reflect and criticize her immediate environment and society. A returning aspect in her work.

(photocredits JW Kaldenbach)

Sara, why did you start the Look At You series?
The way people look at each other and are being seen fascinates me. What are you showing of yourself with the way you dress, your presence, your behavior? Is it a pose?
In what way does this influence your opinion of another?

In Istanbul you showed two parts of the Look At You serie. Number 7 and number 10.
Yes I did. Look At You 10 I did as a performance in The Netherlands. It is an embroidered installation. I embroidered myself into an installation. Therefor I became an attached part of the work, the spectator was free to move. Looking and being looked at are the ingredients for the performance in this setting. It is about the confrontation the artist engages the spectator in, simply by looking at him, it can be felt as inviting, intriguing and intimidating at the same time. 
Look At You 7 are five miniature embroidery pieces I made while traveling overland from The Netherlands to Iran. These miniature embroideries are like textile blog posts. These embroideries contain 'pictures' over encountered people presented as strangers, but I was the stranger as well. It is about the question of perspective. 

Number 10 is the last of the series. Why did you use this piece to end the series?
In the original version, in which I was attached, different elements came together. Embroidery, being looked at, looking, being part of a space, performance and encountering others. It was all I had done before but It felt like I had to experience the whole series. 
In Istanbul I used a doll to be attached into the embroidered installation. 

What are you doing at the moment?
I'm working on a series of embroideries as well as preparing new projects in which I'll ask others to join.