THE WHITE STRIPE PROPHECY

published in SSAW Magazine Fall/Winter 2013, p. 174-179

Dirk Schönberger on freedom of creation and the collaboration principle for adidas by Raf Simons. As one of the most quintessential designers of the early 2000s, Dirk Schönberger defined and pushed the idea of what menswear could and should be. Patchwork trousers, ruffled shirts, slashed fabric and detached sleeve cuffs were recurrent themes and constituted his defined signature. in 2004, he presented a collection that featured athletic formal wear and striped track suit bottoms – an omen, prophecy and, maybe subconsciously, promise for his personal future and design career. After working for Joop and being celebrated as well as criticized for his progressive ideas, he joined the Adidas Sports Style division as creative director in 2010 where he is currently overseeing the y-3 and SlVr collections as well, and most importantly, the various designer collaborations. Here, Schönberger enters the dialogue not only with the brand’s symbols and history, but with other designers such as Rick Owens, Yohji Yamamoto and, most recently, Raf Simons. When do attitudes collide? What meaning do the three stripes hold? And how does one cater to the inevitable question of performance versus aesthetics, day to day? An interview with the golden boy turned big gun who, quietly, accomplishes it all. Hi Dirk, lovely to meet you. How are you today? I’m really well. Working on the Y-3 show and the Originals campaign in New York. The most important question to begin with, which shoes are you wearing right now? I’m wearing the energy boost shoe in neon yellow. I love this great combination of the most innovative technology for a running shoe and its pure modern design. How big is your team, how can we imagine the scene in your studio? I work with several teams in Herzogenaurach, Portland and Shanghai. The way I work with the Y-3 team is very different than with the Originals teams. There is no typical scene and that makes it exciting. Could you quickly talk us through your design career and personal history? I studied in Munich and right after i went to work for Dirk Bikkembergs who at that time was one of the most inspiring menswear designers. He encouraged me to start my own line which I did in 1995. Then, after 12 years I moved back to Germany to work as creative director for Joop. And in 2010, I joined Adidas as creative director for Sport Style. How would you define and describe the mood of the 2000s in retrospect? It was the decade of hedonism. It was a bit like dancing on a volcano. Then people got tired of that and started to look for content and not only super- ficial ideas. Networks, innovation, optimi-zation, multi-tasking, parallel identity. Can clothes answer those needs? If they would, they would be an overloaded mess. Tradition, handcraft, tribal culture, the archival. How do you think fashion can push forward humanist ideas and build heritage? If you look at fashion today and the references to the past – sometimes literally, sometimes deconstructed and totally overhauled – I think it is the field which will leave the biggest footprint in the history in modern life. Looking back at your own line and work for Joop which was often referred to as ‘avantgarde’ – did you feel misunderstood and ahead of your time? I did what I believed was right at that time and didn’t feel misunderstood. But I don’t like the word ‘avantgarde’ really. Can design ever be ‘too much’? Yes. When it is purely decorative and doesn’t have an innovative new look as an object.

Looking at your oeuvre, names such as Comme des Garçons, Calvin Klein and Dries van Noten come to mind. Deconstructing sportswear and traditional tailoring in a similar manner, what are your thoughts on these designers? For me, Comme des Garçons initiated the passion I have for fashion. And when you look back at Dries van Noten’s career, he is one of the most impressive creative designers there is. What is your connection to Raf, you know each other from Antwerp? We both started out around the same time in Antwerp and got to know each other. I am very pleased that we now have the possibility to work together through Adidas. Working together on the adidas sneakers collection, what was the leading principle? It is important that both sides bring something to the collaboration. For me there has to be a connection. With Raf, I know he has been a fan of the Adidas Stan Smith and his work always has a lot to do with youth culture. It is always forward thinking and questioning the status quo of fashion, and I think it’s important to challenge it. How important was the equation of performance and design for the final range? The performance and the technology side of sportswear is fascinating and it brings something completely new to fashion. The Adidas by Raf Simons range brings the fusion of sport and fashion to the next level. How many styles were developed and how can we envision the actual design process? 21 unique designs for Spring/ Summer 2014 and then there are 8 unisex models in up to four colors and material executions. Raf is given creative freedom. I don’t want to intervene at all. It would make the collaboration weaker. The moment i would step in is when an idea is too far off Adidas as a brand, but I haven’t experienced that so far. How does one reinvent the sneaker? Never look back nor be too literal. Have an own point of view. Be radical and uncompromising in your approach to challenging fashion and sportswear. If you had to pick one style from the Raf collaboration, which would it be? I can’t just pick one... With its current portfolio, Adidas is on the top of its game. How does it make you feel? Adidas has always been a pioneer in bringing sports to a fashion audience. Our collaboration with Yohji Yamamoto was the first of its kind, fusing sport and fashion. The appeal of this new look has surely opened doors and influenced other fashion brands to follow suit. What do the three stripes metaphorically stand for you? When I was kid, Adidas was a sports brand only. But I loved the look of their footwear and used it for daily use and not just for sports. Do you own art? Which are your preferred artist and most loved artworks? I’m into Gerhard Richter for example... How does the Dirk Schönberger closet look? I like tuxedos. I have also begun to match some casual items into my look, like chinos, and I like to mix and match few different styles together. I always like to incorporate some trendy and unique pieces. Are you emotional or analytical? Colours or black- and-white? Black is my light. black, and for the same reason, white are the perfect alternatives for revealing apparel silhouettes and creations. And black is the most stylish of all the achromatic colors. And one final, dear question: Will you come back? The idea of having my own label again is certainly in the back of my mind, but I like my job at Adidas. I might consider setting up my own label again on the side. We’ll have to wait and see. But won’t ever do only that.

A SECRET SOIRÉE

published in SSAW Magazine Fall/Winter 2013, p. 214-223

When thoughts ponder on the oldest fine leather luxury goods company, a sensual exchange unfolds. A semi-fictive conversation of a group of three: the creative director of the house of Delvaux (thinking), the master craftsman of the house of Delvaux (working) and an anonymous enthusiast of the house of Delvaux (dreaming). While fantasies unfold and ideas are being exchanged, we discover what it means to love leather and luxury, what it means to craft and create – and how it feels to hold a piece of perfection. Chapter I:  The Creative Director It is a pleasure to meet you, may I ask how you are today? Feeling excited to be in Paris presenting our Spring/Summer 2014 collection. Imagine an intimate dinner party. What are you wearing?  A white jeans and our Brillant Black Edition Nude bag. What would you like as aperitif? Our Brillant cocktail, based on Blanche de Bruges beer with a touch of champagne and strawberries. When did you start working for Delvaux? Two years ago. What does the house of Delvaux mean to you? Delvaux means that I finally found the house that is matching myself completely. What does it symbolize? Good luck. How would you describe your personal style compared to the aesthetic universe of Delvaux?   Feeling elegant but always with a twist and touch of fun and paradox. Past, present, future – what era and time do you prefer? Love all three: past for heritage and history, present to optimize the time and future for new challenges. What are you aiming for? To be faithful to the Delvaux core values and bringing the house to the level it deserves. What does pride mean to you? Never doing things you do not trust. How would you describe your character? Enthusiastic, passionate, dedicated, curious. How can we envision your creative process, your style and attitude when it comes to exploring ideas?  Sharing ideas as a team and coming together to an agreement, feeling like a sponge who absorbs everything around without any boundaries. How does a scene in the Delvaux studio look like? Looking all the time after papers, drawings, and leather swatches. The studio is a big mess despite all efforts. Would you rather describe yourself a visual connoisseur, artist or philosopher? A third, a third, and a third… If you were to write the ten commands of great image and design, how would they start? You should… open your eyes. You should not… listen to everybody. You should never… launch something you are not convinced of. What is your favourite mistake? I love all of them. Which meaning do you associate with the word 'it' within it-bag? The it-bag policy is not Delvaux’s strategy. What touches your senses? Perfect proportions and perfect manufactory, subtle and precious colours, the touch of Delvaux leather. What is your favourite emotion? To cry. What do you feel when you see your accomplishments? I feel that I am belonging to a wonderful family in which each one has its own important role. Which materials attract you most? Stingray for its exclusivity. Fetish holds a very specific meaning within the fashion terminology. Which fetishes do the Delvaux designs propel? The incredible touch of our leather linings. What is the metaphorical value of giving luxury leather goods as a present? Its sensuality and long-term commitment. How would you advise women to style their look with a Delvaux handbag? Jewellery, hat, gloves? They don’t need anything else… just being themselves. Which textures, materials and colours are going to be caressed by our touch next season? Mother of pearl python, stingray, crocodile, printed leather in tropical colours such as flamingo, ocean, sunset as well as soft and sensual ones as lagoon, nude and sand. What is next? Which images are wafting on your current mind mood board? Unsure certainties. An espresso for dessert? A cigarette? Cigarette. Will you take a cab? Or walk? A cab. Can I call you tomorrow? YES. Chapter II:  The Master Craftsman Good evening, Monsieur. May I take your coat? Yes. Did you have a nice day so far? Yes. How does one become a master craftsman? I studied fashion design. After graduating, I worked in some restaurants and realized I want to create things, so I started to study ‘leather goods’ for three years at Arts et Métiers in Brussels. I did an internship at Delvaux for one month. My teacher was Mister Mohammed Benelcaïd, one of the master craftsmen at Delvaux – he has been working there for 40 years now… the best teacher ever. They called me after my internship and hired me. Tell us about your team, how would you describe the relationship? Our relationship is professional and sympathetic. How strict is the hieratic structure and which importance do clear rules hold in a traditional production context? The hieratic structure is strict but we work with confidence and responsibility. How is a bag born? Please talk us through the most important steps. Everything starts with a mood board based on the season theme with inspirational images that evoke strong feelings of desire. The studio team chooses the materials: the right leather, the right color, the right accessory, the right shape – leading to first drawings. Then, the research and development department takes those drawings and creates a prototype that is put into production.

What is done differently at Delvaux? We are perfectionist. Unless 100% are achieved, we don’t introduce a new design into our collection. It can take us up to one year to perfect a new design. Which tools are the most precious to you within the creation process? Hands, eyes, thoughts and above all: mastery. Luxury – what does the term mean to you? Perfection and details. Why Delvaux? Delvaux is a prestigious house with craftsmanship of more than 180 years. Moreover, Delvaux is a Belgian company. I also think that Delvaux is a leader in adapting new technologies for an improved production process. Which aspect interests you in leather goods? The touch and to work with the best leather in the world. Which is your favourite item? The Brillant in Alligator Goldfinger but I also really love the simple Louise Cabas. Which element would you define essential? Passion. Would you prefer utterly practical products – or is the decorative part a functional aspect as well? Of course I prefer to have a beautiful bag with decorative parts but it still needs to remain functional. This is what we try to do at Delvaux: to create design that is beautiful and functional at the same time. Every leather good is hand-made and its various parts carefully applied. Which part is the most challenging? The most challenging part is the ‘goussets’ (piece of leather on the sides of the handbag) and the handles. Do you dream about the work process? Yes, I often dream about it. Telling myself: we could do this or that, we could improve this or that… Do you like art? Yes, I like art. I think that those who like to create, like art just as much. Shall we go to an exhibition tomorrow? I have to work but I would have loved. Which museum or show would you pick? Les Beaux-Arts in Brussels. Do you have a Sunday routine? Something you love to do all by yourself? Having a walk. And ironing my clothes. Chapter III:  The Anonymous Enthusiast Good evening, Madame. How was your day? Exhausting but quite exhilarating. What do you love about shopping? The search, the thrill. I like to express myself through clothes and I get excited when I find something that matches my ideals and fantasies. The feeling that something ultimately belongs to me is priceless. I have to have it. The best shopping is intuitive, without second-guessing, impulsive. I guess it's true: shopping is better than sex. Can expensive ever be too expensive? Expensive is relative. Yes, some things are expensive, others aren't. But that's not what matters to me. I like thrift-shopping, rediscovering things i haven't worn in a long time in the corner of my closet. Being able to collect and surround yourself with things you like and have a personal attachment to, is the important part. It doesn't matter how much it cost. So in a way, 'expensive' as a word doesn't exist to me. It's all about personal value. Where are your limits? I am very selective. I know what I want and I will do everything to get it. Honesty is a rule, and dishonesty my personal limit. Which values do you hold on to? Integrity. What do you long for? Longevity. How many bags do you own? About forty. Which one of them is dearest to your heart? And why? Humeur de Brillant. A white handwriting on the bag says ‘Ceci n'est pas un Delvaux’ – I love Magritte. For me, that bag evokes the perfect form of desire: surrealism that can become reality. Who gave it to you? A gift to yourself? A woman silently enjoys. Why handbags? They are practical; they deliver a function but add a second layer to its wearer. They are also sculptures in a way. No wonder every woman loves to collect them. Why leather? First of all, there is the haptic experience that creates the first instant connection. The softness, the matte shine, and the fine surface you can sense when slowly touching the leather with closed eyes. It feels warm somehow. And it is timeless. A material that looks pretty when new but grows on grace and beauty with age. I could do leather head-to-toe! Why luxury? Giving attention and appreciation to oneself and others is the highest state of satisfaction and the true meaning of luxury. Were you ever interested in or dreaming of being a designer yourself? Not really. I appreciate designers for every idea they create. Have you been to the Biennale in Venice? Your thoughts? I liked the atmosphere this time. Of course it is a big hype and the art market becomes a little pop circus but at the same time it regains a certain relaxed-ness. I love the fact that we finally overcame the discussion of painting versus sculpture, or photography versus painting. As in fashion, everything goes. And I think that is liberating right now. Though, I am looking forward to the next Schule – so to say. It is going to be interesting to see what the freedom of genres and markets will create. In which forms will subculture emerge again? I am looking forward to Neo-Dada. A highly educated establishment-anti-establishment art, maybe? How do you live? How would you describe your interior style? Eclectic. I have a thing for little things that sparkle and I love books. At the same time, I always try to get rid of too many things. It's a constant interior flux so to say. What is more important to you: home decoration or clothes? Clothes. How would you describe your look in one word? Pointillist. Would you like a dessert? Strawberry cheese cake please. Shall we go on a shopping spree together? Definitely.

IN THE BAG

published in SSAW Magazine Spring/Summer 2012, p. 52-57

Juha Marttila, Design Director of Accessories at Nina Ricci, opens up his bag for SSAW. Hi Juha, how are you today? Very cold. Exceptionally, it’s snowing and below zero in Paris today. You joined Nina Ricci in 2009, a mo- ment of change. What was that like? Change is always invigorating and exciting. It gives you the possibility to challenge yourself. Hopefully I’ve been able to rise to these challenges. What’s changed since then? Both for you and the brand? We’re climbing a steep upward learning curve and building our business in tough finan­ cial times. But we’re moving in a very positive direction. With every collec­ tion we try to better ourselves, our limits and our targets. Have you hit any bumps in the road that you’d like to share with us? I try not to dwell in the past and certainly not on my failures. I hope to learn from them and move on fast. How do you motivate yourself? I’m lucky enough to have a job that is ex­ citing and diverse enough that I ac­ tually get out of bed every morning feeling motivated and inspired. What’s it like to work with Peter Copping? It’s very easy and enjoyable to work with Peter. Both of us are rela­ tively calm and we both appreciate details, form and quality. Peter has an amazing eye for colour and an un­ canny and effortless ability to add a contemporary twist to tradition. Could you take us through how the evolution of a Nina Ricci accessories collection differs from the evolution of the ready-to-wear line? They’re si­multaneously very different and very similar. It’s important to us that the products reflect the general spirit of the house as opposed to a fleeting seasonal inspiration. How many people work in your team?  We are a small very democrat­ ic team of five. What’s your leadership style? Are you more of a charming dictator or a BFF?  I try to listen to the girls around me as much as I can. How do you feel about handbags for men?  I think you can never have enough! What kind of bag do you carry?  I constantly change bags depending on the weather, season and where I’m going. I have a pretty vast number of bags in my closet, but it always feels like I never have the right one. Do you remember what kind of bag your mother used to wear?  Unfortu­nately, I don’t have a clue. Nowadays she’s a loyal fan of Nina Ricci bags, as long as they come with a handy shoulder strap. Do you ride horses? Or do you at least like horses?  I only ride my bicycle in Paris. What toys did you play with as a child? My absolute favourite were Lego toys, I loved to build boats. Why do you feel the urge to create and to be creative?  I have a real passion for this profession and the craftsmanship that goes into making quality bags, which for me is a cons­ tant source of inspiration. It amuses me and keeps me young at heart. What do you love and/or hate about fashion?  I hate the futile consume­ rism side and love the uncompromi­ sing devotion and savoir­faire that go into making a timeless object. What’s the biggest cliché about your work?  That we are all hysterical su­ perficial ‘artists’. Is there any truth at all to that cliché? Not at all. What’s your favourite bag from the new collection?  My favourite bag is always the one I’m working on for the next collection. How would you describe ‘perfect femininity’?  It’s a balance of self­assurance, spontaneity and individuality. Do you personally love decoration and exuberance?  I find simplicity a braver and a bolder choice, but when necessary I can also accommodate the occasional need for decoration and exuberance. Art Deco or Surrealism?  Art Deco.

Round or square?  Je suis carré, but I prefer rounded edges. Black or colour?  Colour. What’s your favorite colour? Orange. What is your favourite painting or sculpture?  James Turrell’s Meeting installation at PS1 in New York. Do you collect art? I try to buy con­ temporary Finnish photography. My latest acquisition is a photo by Pentti Sammallahti which I discovered by pure chance in a gallery in Paris. It’s a picture of storm clouds over Airisto in Finland, which is where I used to spend my summers when I was young. Who is your favourite new or emerging designer?  My good friends Ed­ward and Ben from the label Mead­ham Kirchhoff who have had the strength to believe in their singular vision throughout all these years. What is your favourite macaroon flavour?  Caramel beurre salé. Where do you live? We live just out­ side Paris – close enough to the city that we can take the metro yet far enough that we have a bit more space and a garden for our dog. Do you keep a personal archive of your designs?  No. It’s all in my head. As I prefer working in 3D format, keeping everything would take up far too much space. What other little treasures do you collect?  Stones and driftwood. Besides handbags, what accessories intrigue you most? Animals. Is there a particular woman that you admire for her choice of handbags? Anna dello Russo. Who do you most like to ‘accessorise’? The woman who really falls in love with my bag and not with its label. What can a handbag do for a woman’s posture, attitude and sex appeal?  The 3 P’s: protection, privacy and power. Would you describe yourself more as a visionary or an artisan? I’m very crafty, but unfortunately I lack the patience to do more than stapling bag shapes together. What makes you fall in love with a person? Their eyes. What’s on your current inspiration board? Hunting belts and vintage cosmetic cases. What does luxury mean to you? Time and peace of mind. How would your friends describe you in three words? Reliable, calm and easygoing. How would you like your friends to describe you in three words?  Adven­turous, funny and spontaneous. What do you love about Finland? Peace and nature. Where did you grow up?  In the coas­tal region surrounding Turku. Name three Finnish things that are near and dear to your heart?  Rye crisp bread, the Finnish sauna, and Lapland. What’s your favourite Finnish word and what does it mean? Hämärä = twi­light... I love the number of ä’s in this word and it just corresponds so well to Finland. What’s it like to live in Paris? I’ve moved around quite a bit and nowadays I’m constantly living out of a suitcase, so I kind of feel rootless. I don’t really think of myself as being very Parisian. Do you go back to Finland often or are you happy to have escaped?  I do oc­casionally miss Finland and I’ve even toyed with the idea of moving back there one day. But then, when I visit Finland and it gets really ‘hämärä’, I’m instantly cured of my homesickness. And finally, what’s the most beautiful thing on earth?  The sea.