Duvet Days: Fighting Violence Against Women Through Empowering Visual Stories

Duvet Days is an engaging storytelling platform and community enveloping captivating visual language to bring together victims of violence and guide their path towards the healing process. Savant had a chat with Jenna Wiebe, graphic designer and author of Duvet Days, on what it means to communicate emotional real-life stories through beautiful, curated visual imagery.  In this zeitgeist of women's empowerment, by encouraging everyone's individual journey to self-acceptance and self-love, Duvet Days aims to break apart from all things taboo.

Duvet Days, 2016. 

SAVANT MAGAZINE: What is Duvet Days in a nutshell? What's your mission and what inspired you to create Duvet Days, platform for fighting abuse and encouraging self-love?

DUVET DAYS: Duvet Days is for all the brave women out there who have been affected by rape, sexual assault and domestic abuse, who are on their journey to self-acceptance and self-love using my own experiences with these things as a tool to speak about these issues. I am a Graphic Designer, so I was inspired to use design — graphic design and photography — as an aid to communicate about abuse and promote self-love. I want women to know that these experiences do not define them, but instead are a part of their story and who they choose to become. [I created the platform] to let their experiences empower them and others, not define them.

Duvet Days, 2016. 

Is there a personal story that links with starting the platform?

Yes, I am a survivor of rape, sexual assault, and domestic abuse — all by different men that were in my life throughout all of my 20s.

Considering the cultural climate we live in, do you feel speaking of violence against women is still a taboo in our society? How does your project encourage women to speak out?

I think culturally, from a North American standpoint, we have come a long way with speaking openly about violence against women, but we still have a long way to go, especially in other parts of the world. I am fortunate to live in North America, where we have the freedom to speak. I do think that it is still taboo to talk about violence against women to some degree, as it isn’t an easy topic for many to hear or see, and there is a lot of judgment and shaming that goes along with it. I believe my project helps others not feel afraid to speak out and that they are not alone. I try my best to not filter my own personal experiences in my posts, so that others have the courage to not be afraid to share their own stories, opinions and experiences. Creating a space for people to feel heard, understood, supported, loved, and inspired is so important for the survivor community. The more people speak out, the less it will be taboo. 

"I want women to know that these experiences do not define them, but instead are a part of their story and who they choose to become."

Duvet Days, 2016. 

Duvet Days, 2016. 

How is the visual language you use helping to convey the message?

Before I started Duvet Days, I had done a lot of research trying to find something that was for survivors that were in the healing process, and found it difficult to find anything that was done in a visually pleasing way. Everything I came across was very clinical, or more on the extreme activist side. I think both of these approaches have a place and are needed, but I personally felt there was a missing piece. I think there is a time and place for explicit and in-your-face imagery to convey these messages, but I also think that using visual language, like I do with Duvet Days, connects people in a different way to these topics and gets in front of a different audience. It helps people visualise or feel what others possibly feel from abuse. Words are powerful, but photography also plays a big role in evoking emotions which help people connect on another level.

Who are the ones that benefit the most from your community? How have the audiences reacted so far?

Survivors of either sexual or domestic abuse. I think the most prominent feedback I get on a regular basis is that survivors are happy to know they aren’t alone in feeling the everlasting effects of rape, sexual assault and/or domestic abuse, and that they are not wrong for feeling these things. I also have had great feedback from men, who have thanked me for helping bring awareness to these topics though my own experiences, as many men have lost their mothers, sisters, and daughters to the hands of an abuser. I think if people can see how these events cause everlasting effects in a more relatable way, it helps others become more mindful and hopefully become an advocate for others and these issues.

"Words are powerful, but photography also plays a big role in evoking emotions which help people connect on another level."

Duvet Days, 2016. 

Duvet Days, 2016. 

What are the most touching stories you have heard in the months involved in the project?

I communicate regularly with so many amazing survivors with equally incredible stories, but out of the privacy of these individuals I cannot share these stories due to the sensitive nature and their consent.

"Creating a space for people to feel heard, understood, supported, loved, and inspired is so important for the survivor community. The more people speak out, the less it will be taboo." 

Duvet Days, 2016. 

Duvet Days, 2016. 

"I think there is a lack of dialogue that is happening with the everlasting effects of sexual and domestic abuse for survivors. People are expected to just somehow go back to the way they were before all these violent acts, but in reality, it isn’t that simple."

Why do communities, such as Duvet Days, need to gain more visibility?

We need more visibility to help reach other survivors and for survivors to not be afraid or ashamed of their experiences. I think there is a lack of dialogue that is happening with the everlasting effects of sexual and domestic abuse for survivors. People are expected to just somehow go back to the way they were before all these violent acts, but in reality, it isn’t that simple. Survivors need to be a part of the change and to let their experience empower them and not define them. The more survivors speak out, the less abusers can hide and be protected and enabled by others. Yes, there will be judgements and shaming from some, but overall there is an overwhelming amount of support, love, and kindness that stretches all around the world. This project has given me a new hope in humanity. The love that I have received has outweighed by far any hate that has been directed at Duvet Days or me personally.

Thank you to DUVET DAYS for sharing their experience!

You can follow and engage here: https://www.instagram.com/duvet_days/ 

fb.me/duvetdaysorg

The Wälderhaus Hotel: A Forest Sanctuary in Hamburg, Germany

We often wonder how sustainable living and slower lifestyle could be incorporated into our day-to-day lives. One approach that benefits living slow is making the most of your time — enjoying the various experiences life has to offer to the fullest. Travelling is a great example of that experience, and having a relaxing stay, without too many fancy, digital nuisances, is something we often strive for. Thanks to innovations in architecture and increasing interest in running a healthy lifestyle, some hotels have now become the epitome of sustainable design — creating a pure, holistic atmosphere for your stay. We took a glimpse into the environmental solutions at Raphael Hotel Wälderhaus in Hamburg, Germany, where modern architecture meets fully sustainable accommodation.

Words: Johanna Raudsepp

Raphael Hotel Wälderhaus, 2016. 

The extraordinary wooden façade prominently stands out in the middle of a busy city — made from mostly locally sourced certified wood, the Wälderhaus (which literally means ‘forest house’) is a modern forest delight. “Guests are fascinated by the innovative atmosphere within the hotel and how it is created,” says a Wälderhaus representative. “A nice bonus is, after a visit to the Science Center forest or an overnight stay, you can truly learn something about the connections between the city and nature. The forest house polarises, fascinates, and encourages communication and reflection.” The architecture of the building, despite standing out with the use of materials, fits in with the cityscape. 

The building meets passive house standards — it is self-sustainable and thus doesn’t damage the environment. In addition to a restaurant, which serves the guests only locally sourced food, the three-star plus standard hotel Raphael Hotel Wälderhaus, with 82 rooms, offers space for special exhibitions and conferences. Here sustainability meets modern innovation to provide the guests with a 360-degree, relaxing holiday. Sleeping between organic cotton sheets and enjoying gastronomic treats at the restaurant ensures you will depart your stay with a well-rested, worry-free mind. As a cherry on top, the Wälderhaus features a green roof, planted with 9000 bushes, 500 hornbeams and various North German tree species.

“The forest house polarises, fascinates, and encourages communication and reflection.”

A fully natural approach is surely gaining popularity. As people are becoming more aware of their impact on the environment, they hold higher standards in terms of sustainability when travelling, as well. The Wälderhaus meets the needs of a conscious traveller. “The guests want as little plastic or artificial in the room as possible, also little electrosmog or superfluous ‘energy eaters’, like minibars. The interest in health is rising, even in healthy indoor air. The architecture should be clear, straightforward, modern, but nevertheless cozy and comfortable.” 

“The interest in health is rising, even in healthy indoor air. The architecture should be clear, straightforward, modern, but nevertheless cozy and comfortable.” 

An eco-approach in the hotel world will definitely be more prevalent in the future. “The eco-concept pays off. We save about 30% energy in the forest house compared to a conventional hotel. The issue will hopefully become even more important.  We like to be pioneers and show that it is possible to [be] sustainable, comfortable and modern at the same time. The number of 100% eco-hotels will surely continue to rise.” The Raphael Hotel Wälderhaus is truly a pioneer in this field, and we cannot wait to see more of such creative, yet environmentally conscious solutions in a modern, urban setting, leaving space for a slower approach to life. 

http://www.raphaelhotelwaelderhaus.de/en

Fonnesbech's DNA of Intelligent Functionality

Fonnesbech is a Danish label with its heritage taking us back as far as to 1847. Without compromising its delicate DNA of intelligent functionality and the tailored quality of impeccable classics coined by Anders Fonnesbech’s legacy, the brand was re-launched in 2014. Aiming to deliver history and craftsmanship not starved of sustainability, Fonnesbech’s vision remains embedded in creating a captivating capsule wardrobe — long-lasting designs that are forever relevant. Fonnesbech’s take on innovating the urban classics may make you forever want to do pirouettes in their elegant silhouettes. We ventured into Fonnesbech’s maison of multipurpose classics with Andrea Friis Laursen, Brand Manager of Fonnesbech.

Fonnesbech AW 16/17. 

What are your brand's principles related to sustainability? 

We get everything produced within Europe. The fabrics we work with need to have a sustainable story, for instance certified GOTS or Oeko-Tex, as well as recycled and organic materials. We are continously searching for new, innovative fabrics. We do not compromise the final look of the product, regardless of sustainable production. 

You mention the multipurpose functionality of your garments.  What's your take on the concept of 'capsule' wardrobe?

We think that having a ‘capsule’ wardrobe in good quality is a luxury nowadays. We like the thought of wearing clothing, which hasn’t affected people, animals or the environment in a detrimental way in the course of its production. We create clothing that contains no harmful chemicals and we aim to design clothing that you feel you can’t live without — be it in five or ten years.

Who is the woman of Fonnesbech?

She is an ambitious, driven and conscious woman, who loves good quality items and classic design with a twist.  

Fonnesbech AW 16/17. 

How to still look chic with buying less? 

It is essential to build a wardrobe formed of classics in good quality, like the trench coat, the light blue shirt, little black dress and jeans. It is also important to take care of your clothes as much as you care about your own hair and skin. The fibres will stay intact longer, if you lower the temperature when washing.  Do not tumble dry, buy a lint roller, and do iron your shirt every once in a while. It’s actually the little things that matter.

"It is essential to build a wardrobe formed of classics in good quality, like the trench coat, the light blue shirt, little black dress and jeans. It is also important to take care of your clothes as much as you care about your own hair and skin."

What are the main improvements in the clothing industry you look to push forward with Fonnesbech?

We want to be an example of sustainability that is modern, innovative and cool. We want to make timeless clothes you want to keep forever and use season after season, without failing to still look chic. 

In year 2026, where do you see sustainable fashion stand? 

We are wishing for the day to come, where sustainable fashion becomes mainstream. Instead of having to carefully search for sustainable clothing as today, the conventional part will take much less space in stores. The speed of the technological development should make it realistic, or at least that is what we hope for.

https://fonnesbech-cph.com

nitsn: Bespoke Furniture Filling Living Rooms with Ideas of Eternity

nitsn is a sustainable French furniture studio excelling in bespoke, one-of-a-kind furniture with a modern twist. In addition to the slow and carefully considered approach, the minimalist furniture — each wooden piece touched up with metal inlays, carved textures or laser engravings to boast unique identity — aims to recreate the short-lived moments of our existence. By connecting ideas of sustainability and renewal, the very essence of nitsn's bespoke pieces is to remind us that nothing is eternal, and that way bring the practice of mindful, circular economy closer to the end customer. Savant went into further detail with Roman Wisznia, nitsn's creative and technical mastermind, regarding what connects the creativity and sustainability behind the brand. 

nitsn sustainable bespoke furniture, 2016. 

What's unique about the way you imagine furniture? 

I see furniture as pieces of nature that we shape to suit human needs. I like to work with natural materials — wood for structure, wool and cotton for fabrics, small touches of polished metals here and there — then shape them with absolute straight lines, like only humans can do. This way, the pieces reflect both the nature and the human side, a perfect balance between the two.

Because every tree is unique, every home is unique, and every person, too, it makes sense to me for each piece of furniture to be unique as well. I understand why mass production eventually has become a standard in the industry. Yet, I like to believe that there is space for a more meaningful approach to work, and to life. Humans have this wonderful ability to think of new things and be creative, and this should be applied every single day. Mass production doesn’t encourage creativity. 

What are your brand’s values?

I try to develop genuine relationships with my customers. It matters to me that people who purchase my pieces, understand who I am, and how these pieces were made. My goal is to make sure the person, who will sit on my chair or put their vest on my coat-hanger, is conscious of the seed that was planted to provide the wood they are using. Perhaps even conscious about the person who planted that seed, and realise that everything works in a circular model. Having a neutral environmental impact is therefore an essential part of the consistency and sense I am looking for. 

nitsn sustainable bespoke furniture, 2016. 

Do you think customers today show more interest towards one-of-a-kind pieces and furniture brands with a story? 

I think our societies have reached the peak in bare buy-and-throwaway consumption model. We’ve come to realise that acquiring mass-produced things at an ever increasing pace does not contribute to filling the shells of our existence in any way. I believe we need fewer things, things which will make sense to us and that we will truly care for. Making one-of-a-kind pieces that will live once and never be produced again is a way to remind us that nothing on this planet is eternal, and that the shortness of life is what eventually gives it meaning. The story is equally important, and it has to be clear. If people don’t understand the story, they cannot understand the role they play in it.

nitsn sustainable bespoke furniture, 2016. 

What made you start with nitsn? 

After I graduated from my mechanical engineering school in France, I went to Stockholm’s Royal institute of Technology, where I specialised in renewable energy systems. That Scandinavian adventure certainly played a role in giving me a taste of a slow and cosy lifestyle, as well as minimalist design. After that, I worked for an international organisation known as the authority in energy security and energy-related environmental concerns for three years. I enjoyed it, but quickly realised that I would feel more at ease creating my own means of expression in this world. nitsn appeared to be the answer, a creative activity that would gather all my interests — visual arts, craftsmanship, engineering, politics and environment — in one place. I taught myself woodwork mostly on Youtube, spent my first salaries on professional tools, and began this adventure.

"I understand why mass production eventually has become a standard in the industry. Yet, I like to believe that there is space for a more meaningful approach to work, and to life."

What’s the niche you aim to bring to the market?

With nitsn I chose the approach to have very simple designs for each piece, that I call my standards, and to differentiate them with subtle touches, so that every piece ends up being different. These touches can consist of metal inlays, carvings or laser engravings. They are usually fine-detailed and time-consuming works, but I make each of my pieces an artwork of their own. My standard designs are just like a blank canvas on which I can express my creativity to create a continuous sequence of unique pieces.

nitsn sustainable bespoke furniture, 2016. 

What's your opinion about sustainability trend in furniture design?

Making stools from recycled cardboard is great and can prove very useful. Finding uses for things that are abundant and that should be recycled is one important part of the equation. Another part of this equation is to reconsider the way we consume objects and furniture. My personal approach is to keep things simple and focus on the essential. Whatever I can do without, I’ll do without. Owning fewer things gives me extra freedom that I really enjoy. It doesn’t mean you shouldn’t redecorate your place when you feel like it, but perhaps there is another way than throwing away your sofa, chairs and coffee table, and replacing them with new ones. We never get tired of seeing trees in the forest. Yet they are the same trees, only the change in seasons make us see them differently, and their appeal is renewed every year. Perhaps there is something to think about there. 

"Making one-of-a-kind pieces, that will live once and will never be produced again, is a way to remind us that nothing on this planet is eternal, and that the shortness of life is what eventually gives it meaning."

What’s your brand’s link with sustainability?

My approach to sustainability is to make robust and great looking pieces that my customers will want to take care of. The goal is for the piece to last at least as long as the time it took for the tree that provided the wood to grow. I also committed to planting one new tree for each piece produced. If my customers have a garden, I offer them to plant it there. This way, I create the missing link in completing ‘the circle’.

nitsn sustainable bespoke furniture, 2016. 

What are the materials you are using, where are they sourced from?

The wood I use exclusively comes from French forests that I know are managed responsibly. I have nothing against foreign woods, but the further away you get them, the harder they become to trace. It matters to me that I know exactly where the things I use come from. And using local resources simply makes more sense. Because France only produces linen and velvet, I had to look elsewhere for my wool. I’ve had a great experience with a Danish producer, which manufactures absolutely stunning fabrics made in a transparent and environmentally conscious way.

"My standard designs are just like a blank canvas on which I can express my creativity to create a continuous sequence of unique pieces."

What trends appeal to you personally in furniture design?

 Because I don’t have an academic background in design, I really draw what comes to my mind and find a way to make it work once I am settled in the workshop. I don’t usually follow the design trends. I like things simple, and straight lines are usually the simplest way between two points. My engineering background encourages me to understand, how everything is made and how it works together. I think this is reflected in my designs in which every part is visible and every joint shows clearly. Nothing is hidden. Some of the decorations I make, like metal inlays, can require complex calculations and very fine adjustments of CNC machinery. Yet, when you look at the finished piece, a straight line of brass triangles inlayed in a piece of walnut, following an inclined plane, looks very simple. I think that’s where the beauty of the nitsn pieces really stands out — in this apparent simplicity. 

nitsn sustainable bespoke furniture, 2016. 

Do you reckon French customers are more after comfort, visual appeal or a mix of both?

When it comes to comfort vs visual appeal, I am not sure what the French market is after. Because being ergonomic is such a crucial quality for a chair, I made the designs of my chairs entirely parametric, so that I can adjust any dimension and angle to precisely fit my customer’s body types. I just need the measurements of 5 parts of the body and my computer can instantly generate a fully bespoke chair according to their measures. I don’t think any mass-produced chair can achieve such a perfect fit. It’s like wearing couture as opposed to ready-to-wear.

Learn more:

http://www.nitsn.fr/

https://www.instagram.com/nitsn_france/

https://www.facebook.com/nitsn.fr

Chic Made Consciously: How to be a Sustainable Shopper and Create a Lasting Wardrobe

Sustainable fashion is on the rise and there is a shift in brands offering more eco-friendly and ethical goods. But what exactly does it mean to be a sustainable or conscious shopper?

Oftentimes, people assume that clothing or accessories deemed sustainable are not chic or trendy. In fact, it is extremely easy to stay fashionable and sustainable, too. I believe that being a sustainable shopper is about bringing more awareness to the present moment before making decisions surrounding what we buy. Stop and question how the company is operating in terms of social and environmental responsibility, and take the time to analyse your purchasing decision from a place of consciousness instead of impulse. 

Author: Cassandra Ciarallo

Coral Necklace by Cassandra Ciarallo, Chic Made Consciously 2016.

Here are some simple guidelines to help reduce your fashion footprint:

Read your labels. By reading the label you can find out what country your clothes are made in and what material it is made out of. Did you know the average worker abroad makes .03 cents for every $10 t-shirt we buy? Unfortunately, there is a huge amount of human exploitation to make the items we wear, so ensure you are supporting companies that are FairTrade!

The material used also has a big impact on our environment. Choose fibers that are natural over synthetic: cotton, linen, silk, hemp, modal (beech tree pulp), tencel (tree pulp), rayon (if specified from bamboo or tree pulp) or wool. Any product made from recycled materials is also a great choice!

Buy less: Ask yourself: Do I really need this new thing? Instead of buying new, get creative with your closet by reusing old pieces in a new way, accessorising or repurpose an old piece into something totally new! One of my favourite quotes by Vivienne Westwood is: “Buy less, choose well, make it last”.

Shop second-hand: A fun way to spice up your closet is to visit your local thrift store for vintage clothing or swap clothes with your friends. It’s a great way to find some unique pieces and feel good about having a low environmental footprint. 

Do your research: Google “brand name + sustainability/responsibility” or use http://projectjust.com/ to find out how the company is operating in terms of social and environmental responsibility. Once you know, then you can decide if you want to shop there! 

Ask questions and demand transparency! I truly believe it is up to each and every one of us as consumers to make a difference. Ask as many questions as you can to help you decide if you are ready to support that brand. Ensure that the company is being transparent with how they run and what their impact is to the planet and the people. I like to think of it like we are casting a vote with each dollar we spend, so make sure you are doing so wisely!

Use these easy tips to reduce your fashion footprint and be a more conscious shopper! For more updates on how to live a more mindful life and be part of this global fashion movement join my Facebook group here. 

Cassandra Ciarallo is the founder & designer of Chic Made Consciously, a social enterprise dedicated to social and environmental responsibility through fashion. Her line of handmade accessories are fair trade & upcycled from tire inner tubes. Visit her collection here at: http://chicmadeconsciously.com/

Behind the Brand: Getting Under the Skin of Supermood’s Holistic Approach

Supermood is a holistic natural beauty brand from Finland, founded by Anne and Joni Kukkohovi, a charismatic duo and life partners. Both have background working in advertising and were settled in the bustling media industry until a few years back, when Anne, a former model and current TV host, was bidding adieu to her rewarding career, to set a base for something more close to heart — beauty with holistic approach. 

Anne’s Nordic, but uncharacteristically lively character is a measured yin to Joni’s soft-spoken, calculated yang, whereas the couple is a living proof to the statement 'team work makes the dream work'. The duo essentially represents the core values of its brand — as I should know first-hand, being Scandinavian calls for a reserved, demure nature, which they bring to the table with an unusual, whimsical twist. 

I shared a friendly coffee and a chat with the couple at Maison Assouline, my favourite secret hideaway in London, and explored the way they think — although the duo still adamantly insists I avoid the O-word — organic beauty and its role in the cosmetics industry today… 

Egoboost: 'Inner Beauty' smoothie with nutritional supplement powder of Chaga and collagen.

Anne (A), what’s your personal relationship with the beauty industry?

I’ve been breathing fashion and beauty since I was a teenager. First time, I was 12 and I saw ELLE magazine, that’s where it hit me. For years, I was a well-know model in Finland, and then I got into the advertising business. I have also been working as a TV host for many famous shows, such as ‘Finland’s Next Top Model’, and I’ve been an ambassador for different beauty brands before. Supermood is where everything combines — the communication, art direction, and my passion for beauty. I always knew I wanted to have my own brand at some point. 

Joni (J), what does your role as a Marketing Director at Supermood incorporate?

First of all, we are married, so it’s a family affair! We both have a background in advertising and we also met through the industry. Then, we worked at the same agency for a while, which wasn’t such a great idea. Soon after, Anne decided to go for the entrepreneur route. She is taking care of the product concepts and the vision of the brand, and understanding of what sort of beauty trends there are, and how to approach it. Therefore, my job is to interpret her vision and then execute, so I am in charge of the branding and marketing, but I still do work as a ECD (Executive Creative Director) at an advertising agency.

You started in 2014 from scratch.

Both nod in agreement. 

J: I think one of the things that really helped is our agency background in advertising. You’re used to story-telling, you have an idea [of what you want to produce], and then you just have to find the right people, brief them and direct the final outcome.

Joni and Anne Kukkohovi, founders of Supermood.  

How does the whole process work with product concepts?

J: Firstly, Anne briefs the chemist at the factory, with some references and desired ingredients. Then what follows is that our chemists make samples and she gives feedback — this is too rich, too heavy, too intense, and so forth and so forth. The testing and trial-and-error lasts 4-6 rounds, until you find that product you’ve imagined. 

A: For me it is important that they understand, how I want the products to feel, what are the ingredients, expected texture, and time it takes to show effects. They also ask, if we want to have a long INCI (ingredient) list. Of course not, because the cosmetics we are doing are very pure and transparent, so we try to avoid anything extra.

The direction you have chosen with Supermood is (excuse me for the categorisation) organic or green beauty. How does it resonate with our cultural climate and the current beauty industry trends?

A: This is the present and future already ingrained in any other field, it’s in cars, in textiles, in design— it’s everywhere — so I don’t even emphasise the green aspect so much.

J: People often ask, what’s the one thing that sets us apart, but it’s never just that, it’s more about our approach to beauty. It’s not about some compound or secret ingredient. We wanted to build a brand for women who love prestige brands, and are accustomed to using premium luxury brands, but are conscious about green beauty and also the fact that most of the established beauty brands are synthetic. 

A: Unfortunately, there was not any kind of alternative for these women at the time, because most of the green beauty looks to be kind of home-made to an extent.

How do you see the industry change in the future?

J: We feel that in 10 years, it’s not about green beauty, it’s about just beauty. We have to be something else as a brand, not just organic beauty.

A:  The way we see it, in 10 years, all production will have a greener approach and a more conscious impact. What we do emphasise on, is the holistic approach.

Could you elaborate on the concept of ‘holistic beauty’?

A: Holistic beauty means that you have edible things, then we have a range of ‘therapeutic’ products, we aim to bring together a ‘holistic triangle’ of beauty, so it’s not merely one-dimensional. The world around us inspired us for such approach — you see people and they want to eat well and they want to take care of themselves in a 360-degree way. 

J: In the beginning it is about your skincare — what kind of things you put on your skin, whether it is artificial or organic, what gets into your system. That’s one part. Then it is about the edibles, what you put into your body as nutrition. Then the last part is, how do you sleep, how do you give your body time to recover. 

Beauty Sleep: youth restoring night cream. 

So that’s the holistic, conceptual approach. I saw a pillow in your range and then the moist for it…what’s the beauty pillow about?

A, J: This is also a part of the therapeutic aspect of the ‘holy triangle of beauty’, which comes with a scent for the pillow or bed linen. 

A: Coming up with product concepts doesn’t need to be always led by one way of thinking — calming herbs and florals, they have been used for years and years, but you wouldn’t think of featuring a pillow in a beauty range. 

What inspired you?

A: The idea came, when we were once staying at a hotel with huge and, by what they looked like, comfortable pillows, but when I woke up, I had deep ‘pillow lines’  (Anne illustrates theatrically, with bold gestures) all over my face. So the pillow I invented helps to avoid those lines and doesn’t give you any puffiness at all. When you think about it, you spend one third of your life in bed, so it is crucial to have special beauty equipment for bedtime. 

J: We got the idea when we read about this surgeon, who developed a pillow for post-surgery patients. Obviously when you’ve had something done, you cannot sleep on a regular pillow, because otherwise your face will become disfigured. He had designed this kind of pillow that distributes the pressure differently; it doesn’t impact on your face, or leave any lines on your face, as it does with your regular pillow. It was based on a study about how blood circulation goes into your face.

Who is the buyer the pillow is meant for? 

A: These niche items are for ‘beautyholics’, like me. I can make out the kind of people by looking in their eyes, sometimes they just grab the pillow and they don’t even talk to me, and then the others ask, ‘Why would you do this?’, and I would think, maybe it’s not exactly for you. 

"We aim to bring together a ‘holistic triangle’ of beauty, so it’s not merely one-dimensional. The world around us inspired us for such approach — you see people and they want to eat well and they want to take care of themselves in a 360-degree way." 

Who is that person who lives and breathes Supermood?

A: It is somebody who is in the radar of the new things, takes care of themselves; someone who is conscious about the natural environment and wants to do something about it, but also wants to look good and wants to look fashionable at the same time. I call it like the ‘W Hotel and Wholefoods person, or Net-A-Porter user, so this person is present all over the world. It’s not about age. It’s not about what ethnicity you represent. It’s not about where you live. It’s more about the way you think about things. 

When it comes to working with your partner… do you experience any creative clashes at all?

J: Constantly!

A: It hasn’t always been easy, to be honest. But I think the vision we have is the same. We are a young brand, so it always comes down to those big decisions and projects. But vision-wise we don’t have so many differences —

J: Artistic differences! 

A: But it’s more about, how to use time more efficiently and find the right deals. 

J: We are both hands-on engaged in our other projects, like TV and advertising, so time is our biggest challenge. When we do have a lot on the table, we always consider all the options and priorities. Often Anne says adamantly, ‘this is more important, and we have to go forward with it!’. They’re not exactly arguments, but a way of making out what’s actually important. 

And what saves you in those moments?

A: We are really passionate about the whole thing.

Meanwhile Anne tells a story about presenting to a bunch of male investors in a fancy, formal setting, whereas Anne, keeping her enthusiastic spirit, had invested a great deal of inner passion in storytelling. The reaction was the men going, ‘It’s just a beauty brand. Why are you so passionate about it?’, whilst Anne lost her temper explaining the passion comes from the fact that it’s her vision, and she has invested a lot of time and energy in it, ‘Of course I am passionate about it,’ Anne tells full of spark.

What brought you to London?

A: We are going to have a Space N K launch in December, which will be our biggest UK distributor. It’s a huge thing for us, as you have all the best boutique brands in there, so we are exploring the possibilities of publicising the launch and PR with them.

J: Other markets that we’ve been working with so far have had an incredible response. We are hoping that UK follows the same route, because it is such a big and important market. It is a priority for us to break through here. 

Anne boasts such a radiant, youthful glow that I unapologetically turn to her, asking whether she uses her own products. Her confident smile reveals there shouldn’t be a degree of doubt.

What’s the absolute must-have product from your range?

A: 1-minute facelift. It’s one of our key products, although we think that there is no one main product on the importance scale. It does exactly what it says effectively — it really tightens your face and skin up. We also sell it in the States.

J: It’s the most effective sculpting and lifting serum, which also happens to be everyone’s favourite. 

Egoboost: 1-minute facelift serum with Chaga. 

A: We also have an eye serum, ‘Eyes Wide Open’. [To illustrate its effectiveness], first showing it to Joni, I put it on one eye and I said, ’compare it to my other eye’, — he is really suspicious about everything — and he said: ‘It’s really bigger than the other one!’. So it is very effective. For that we used a local Finnish ingredient called Chaga [immune-boosting medicinal mushroom]. That’s one of the main ingredients we use. 

J: We do all the testing with Anne. As she said, I am fairly suspicious about claims of products. When we started, I wasn’t a big believer in organic cosmetics, so I told her strictly that it is adamant that our products are effective, it is not enough that we do great branding. That was like the first penny drop for me.

A: It’s still very few people, who want everything to be super clean, without any extra additives. We are not aiming for that, but the actual effectiveness. 

Egoboost: 'Eyes Wide Open' firming serum for the eye area. 

Where do you produce?

A: We found a local Finnish factory — despite exploring opportunities as far as up to Italy — but I wanted it to be closer to me to learn, too. They are the first Eco-Certified factory in Finland, so they know about that sort of [organic] cosmetics. 

It is, of course, very difficult to get those 100% pure components. Where do the ingredients come from?

A: Chaga comes from a city called Kauhava in Finland, and it is handpicked. The other ingredients are the produce of organic farming in different places around the world. It does depend on the climate a lot — when you have monsoon rain somewhere, it might affect some ingredients. They cannot assure the stability of the supply country, but therefore they make sure it at least feels the same. 

J: Chaga is basically forged — it grows wild on the trees and that’s the main reason why products with it cannot get eco-certified, because it’s not controlled by any agency, so it remains the type of product that you cannot classify as ‘certified or organic’, even though, in theory, it is found in its purest form. The EU legislation hasn’t quite figured it out, whether its a pharmaceutical, but through clinical tests it has been proven to be super effective.

A: Chaga has been used in folk medicine for thousands of years and also in Eastern countries, because it makes your skin really even. Also, when you consume it, it is really good for your immune system. It has a very strong effect — say, when you are taking antibiotics, then I would recommend using or consuming it. 

Egoboost: 'Beauty Chocolate', raw chocolate with collagen.  

J: We feature it in some of the skincare products — we have a collagen and Chaga powder, which is a nutritional supplement that you can blend into your milkshake or smoothies, and also with collagen we have beauty chocolate, which is a raw chocolate.

I saw it! Yes, it is the most interesting product. What’s it about?

A: Everybody says that. Whispers to Joni, ‘now you hear it’. 

Laughter. Anne, it was your idea, of course. 

A: It’s raw chocolate, so we are not talking about organic chocolate, which is heated up. Raw chocolate is cold-pressed, and it’s really expensive to produce. Often the issue is that the price and quality of cocoa varies seasonally. 

J: When it comes to chocolate or coffee, it reacts to weather changes, which right away affects the price of chocolate. A lot of things are very expensive to produce, because you cannot have such volumes, where you could leverage the buying power. That’s why green beauty, as well as green fashion, is still highly priced. 

"Brands have to evolve over time, but at the moment, I think the more layers and perspective you have as a brand, it becomes actually more interesting rather than having this Bauhaus-aesthetic approach."

In today’s visual culture, branding is very important. Advertising background and knowing you target audience well surely works in your favour…

A: People usually want to categorise into either ‘organic’ or ‘normal’, meaning synthetic cosmetics category. We are organic, but that is secondary. On the ferries that are going between Finland and Estonia, they’ve put us next to Dior. That’s exactly the perfect way to explain it, ‘just place it where the good brands are’.

J: It is less to do with the fact that it is green and more to do with communication and how we build the story and tell it, but it doesn’t have to scream ‘green’ at the display. It has to look nice on your bathroom shelf or nightstand. It has to fit in with your other luxury cosmetics.

I have even gone for some beauty stuff only for the packaging, then found out later, ‘oh, it’s 98% bio-organic, too’. 

A: I remember one retailer telling me ‘I don’t care what’s in it, I take it!’, when they saw those pictures of what Joni did — illustrative mockup in 3D of all the range.

J: The first question is, ‘Is it appealing?’, when you see it in the store. Then the next question is, if it something that I would actually use for its utility.

Youth Glo: luxury peel with AHA acids and fruit extracts.

I am totally in love with the packaging!

J: The appearance is a bit whimsical, we felt that green beauty is often strictly about the environment, using green hues. With such personal product that should reflect the user’s values, we wanted to give ourselves that permission to be funny. 

A: [It is] a little bit bold. Also flirty, because when you see all those lines that we have hidden in the packaging — if you find them, you find them. Those little messages. 

J: If we would have chosen kind of a minimalistic and clean, too rigid, approach, I am not sure that would be as much fun to do, it just wouldn’t be entirely ‘us’. If we don’t get that first reaction that it looks good, then it’s a lost case. 

There is this standard Scandinavian minimalism style and approach. Are these the end days?

A: There are so many brands doing this, so it’s already too repetitive. 

J: I think this [Maison Assouline] coffee shop is a good concept — the new and the old meets. The age of ultra design and ultra clean is getting old, in my opinion. In that sense, brands have to evolve over time, but at the moment, I think the more layers and perspective you have as a brand, it becomes actually more interesting rather than having this Bauhaus-aesthetic approach. 

Egoboost: 'Inner Beauty' supplement with Chaga and collagen. 

Tell us an interesting story.

A: There was an online beauty retailer in California looking to buy our beauty chocolate — 2 pieces, which is a very small quantity. The argument was going on and on, because that comes without saying, sending them to California would have been much more expensive than the chocolate itself (8.00 euros per small chocolate bar). We were having this argument with her, because we couldn’t lose the money, when sending the package that far. It went on and on, and then we just told her to order the chocolate directly from our web store, if she really wants it, but we cannot sell 2 pieces of chocolate and pay for it ourselves. That’s how it goes, when you have a really small business and you don’t want to take the risk of losing the profit. 

J: The comfortable things for us are to work on the brand and on the products, but what we didn’t have experience with, when we got into advertising or out of advertising, is how to handle logistics worldwide. The fact that we are based in Finland, Helsinki, doesn’t make handling international shipping any easier. I think that’s a crucial part of starting your own brand — that it’s a learning curve every day.

What is on hold for the near future?

J: Hopefully, what this UK opportunity brings is that we get more exposure and find new partners to work with, that way we can also grow the business and a bigger audience. 

What are you missing?

A: We need some rest! I wouldn’t mind a nice holiday together…

That leaves Joni reminiscing about a personal father and son road trip in the States with their teenage son few years back, whilst Anne was working at the other end of the country in the midst of mid-summer blizzard. Both admit they haven’t gone on a holiday for long time. 

All goes slowly, step-by-step. 

A: Yes, because we’re still very young. Well, we’re not young, but at least the company is… 

Anne says in her confident tone of wit. We then burst into laughter and finish off the — when so much effort goes into conversation — already cold cappuccinos. 

I hug them goodbye, and rushing through the city’s marvellous Mayfair district, baby pink Supermood goodie bag loosely waving in hand, I soon find myself comfortably in a relaxed super mood. 

www.supermood.fi

Steinway & Sons: 4 Sustainability Pillars to Piano Making

What makes an honest company experienced in the craftsmanship of a single musical instrument? In the world of sustainable luxury, for Steinway & Sons, 4 base factors are the key — tradition, green issues, transparency and durability. In this world crammed with disposable items in every aspect of life, Steinway & Sons, with more than 160 years expertise in piano making, reassures our confidence in quality, sustained craftsmanship and environmental consideration, and as if by accident, connects with the most talked about emerging trends in the current global luxury sector.

Steinway & Sons, 2016.

Transparency and environmental issues are no longer living in an extinct, faraway land only concerning the global fashion superpowers, but are widely prioritised on the consumer awareness agenda, whereas it is a no-brainer luxury brands get more exposure on revealing their behind-the-scenes. With #whomademyclothes increasingly trending on social media as a form of attracting sustainable fashion more visibility, even companies with tradition and history have been affected, due to popular demand, by a new wave of embracing transparency. Yet, what if there is nothing to hide? Steinway & Sons is a company that unintentionally stands in line with the global trend of stripping ‘bare’ in the luxury industry. We may still consider fashion as the most obvious example of an industry aspiring to turn a great degree greener, but also a great deal of craftsmanship and environmental consideration can be put into making a piano — a Steinway piano, made of wood from sustainable sources, can be played and enjoyed for decades, and — coming without an expiry date — even centuries. 

“In today’s marketplace, brands like ours must continue to innovate in order to remain relevant to the world around us, but that doesn't mean that quality and craftsmanship can suffer.”

Steinway & Sons, 2016. 

Steinway belongs to the segment of sustainable luxury products, but understanding the real quality and durability often takes more than just a fancy exterior — it is easy to plaster a product with a luxury label, without making sure the product actually delivers towards the sustainability criteria. At Steinway, in addition to aesthetic appeal of the instrument, the role of actual craftsmanship, skills and the quality of raw materials is taken with utmost importance, where there is no compromise — it takes about a year to make one Steinway piano. In addition, the company boasts only two factories world-wide, based in New York and Hamburg. It takes only a glance under the lid to reveal the complexity of the artisan-built musical instruments measured with great care, assuring the customer that they are not simply paying for ‘luxury’ label, the name.

Steinway & Sons, 2016: Painting of the logo. 

Similarly to the flourishing #whomademyclothes trend, the answer to questions like, ‘Who made my piano? How well treated the workers are? Where are they based? How much are they paid?’ , lies in highly-skilled craftspeople and artisans treated fairly and ethically. As a customer, in addition to the basics, like how, where, and by whom the product is made, we shouldn’t discard the most important question — whether the expertise is actually there. Like many other notable luxury corporations, Steinway has chosen to downplay the ostentatious label and opt for a greater degree of transparency — many of their staff have been at its workshops for decades and there are generations of the same family who have dedicated their lives to Steinway. At Steinway, interactive approach is also the key — customers frequently visit the workshops before moving on to the factory’s Selection Room, where they can try out a variety of pianos to find the one that feels right for them.

Steinway & Sons, 2016: Making of. 

Steinway is also highly dedicated to the exclusivity aspect — any experienced pianist can tell that every Steinway piano sounds slightly different. Over the years, they have introduced a variety of limited editions — the Steinway Crown Jewel Collection is a range of visually striking pianos created from unusual, precious woods that challenges the perception of the ebony high polish concert grand, is typical of this trend. In 2015, in partnership with Wayne Stahnke, Steinway Spirio, the world's finest player piano system, available exclusively on select Steinway grand pianos, was introduced as a remarkable innovation, which is expected to last the full lifetime of the piano. 

Steinway Spirio launch, 2015. 

According to the brand's spokesperson, “Since the founding of Steinway & Sons over 160 years ago, innovation and craftsmanship have served as the core tenets of the company. In today’s marketplace, brands like ours must continue to innovate in order to remain relevant to the world around us, but that doesn't mean that quality and craftsmanship can suffer.” Relying on these core principles of sustainability, craftsmanship, tradition and environmental responsibility,  and more than a century worth of expertise, no wonder Steinway is the choice of nine out of ten concert pianists as well as countless professionals and amateurs.

For years on end, Steinway proudly serves as a company that, first and foremost, has its core values in place. 

http://steinway.com

Gudrun & Gudrun — Funky Knitwear Extravaganza from the Faraway Faroe Islands

Gudrun & Gudrun, bringing sustainability to life using Faroese wool and traditional knitting techniques, is a fashion-forward knitwear brand gaining momentum with its bold heritage. Emerging from the faraway Faroe Islands, the remoteness of the geographical location inspired Gudrun & Gudrun to use the island’s scarce wool resources wisely, not to let them fade away. Adding a touch of women’s empowerment led thinking and mind-blowing creativity to Gudrun’s journey is what makes the brand as powerful as it stands today. We also never knew knits assembled of natural wool could look so good.

Gudrun & Gudrun AW16/17 Campaign. 

What brought together Gudrun & Gudrun and sustainability?

We didn’t start as some brands might start today, saying ‘we are going to make a sustainable brand’. We just discovered that all the resources on the Faroe Islands [located halfway between Norway and Iceland] were very limited and used poorly. We discovered that we must take very good care of the scarce resources, like in the old days. It’s to do with the heritage of the place, nothing can grow and it is very remote, so we just had to use what the nature has to offer — we have wool, we have sheep and we have fish, that’s all we have here on the Faroe Islands. Sadly, in the rapidly growing economy of the 1990s people didn’t care too much about the natural resources and the local produce, but thought that everything imported from abroad was much more valuable. We came to a situation where most of the wool was burnt and lambskins were destroyed completely, because nobody wanted to use them. Whereas we felt really upset about it, because these were not the values we were brought up with, what we had learnt to do. Then we thought we should put an end to it somehow, sooner rather than later, that’s where it all started… 

Faroe Islands.

So you would say that the isolation of your geographical position, Faroe Islands, closely connects with the story of the brand?

It has a lot to do with being from the Faroe Islands and seeing the natural resources go to waste, seeing that they’re not being used properly. 

 I see more and more brands turning to sustainability. What’s the importance of it, why do we need to move away from the fast-everything culture and mass production?

I think the answer lies in people being more conscious and aware after the financial crisis that really had an effect on their consumption habits. Getting through that crisis, we have learned not to blame the ‘others, or the big ones or the global superpowers’, which were the attitudes flourishing for long, but we have understood that we ourselves are to blame, and we have to take collective responsibility for changing the detrimental patterns. We are all a part of the world, so we all have to play our part in being responsible and making a change. 

Gudrun & Gudrun AW16/17 Campaign.

Also, you have a special kidswear range, which many brands have not thought of, or find too difficult to run. How did you come to this idea? It looks so playful… full of colour. 

We started with womenswear only, but often the customers would be like, ‘Awww, I want this type of quality for my child as well’, because we are only using natural materials, and organic yarns, and on top of that, we have the contemporary design and modern thinking. So we have combined everything that has to do with sustainability with the modern, creative side, which is really cherished with kidswear. When it comes to sustainable clothing, I think parents are thinking, first of all, about their babies, who would need the comfort — clothes that don’t do any harm to them. The combination of having the sustainability element and also the design, the aesthetics, is what makes our knits so unique and popular. Kidswear is not found everywhere, but people often look for the quality, the natural materials and longevity, but with that often comes a high price tag, and people refuse to pay for it. Often it is the same price producing a kid's sweater and sweaters for grown-ups, but people are still looking to pay half the price for it. So we have reversed it. 

How does the sustainability aspect come across in the production phase and use of materials?

We always use only natural materials. For example, Faroese wool — the sheep are in the mountains all-year round, they are never kept inside, so they are living on natural, unfertilised grass. The wool is not eco-certified, but just made using common sense and highest quality technology. For it to be the best possible [quality] is more important for us than just having a certificate to say that it is sustainable and organic. In addition to Faroese wool, we also use yarn from a lot of other places — we produce in Peru, using Alpaca wool from Peru, because that also makes sense for us to use the material from the place we produce and we learn a lot of techniques from the Peruvians… then we use organic Merino wool, for example. In addition, we use yarn from a lot of different places, from Italy, Norway, Iceland and Japan. But we always use natural materials, that’s one of our principles. 

"We could not change the fact that the women have a specific role in the family and home, but we could help to empower them by giving them the opportunity to earn their own money."

That must be complex to produce. How big is the workforce?

All in all, we have about 100 knitters, and they are divided more or less equally between Faroe Islands, Jordan and Peru.

Gudrun & Gudrun AW16/17 Campaign. 

There’s also a link between women’s empowerment and your brand… what countries is it related to?

We have a group of women knitting for us in Jordan and Peru. The project in Jordan was started, because before Gudrun & Gudrun I had a completely different career. I was working as a consultant stationed in Jordan, namely as a UE expert, and I always met a lot of ambitious people, and we were talking about the possibility of giving those women a way to earn their own money, because when we are talking about women’s empowerment, we believe that earning your own money is the base of this, the first step. 

"There are a lot of other brands that are so much better at making cheap T-shirts, but it’s not our field of expertise, so it is better that you concentrate on what you are good at, what you truly believe in."

In Jordan, for example, which is a restricted, patriarchal society, for a lot of women, it is difficult to get acknowledged outside the boundaries of their own home, so they are deeply ingrained in the role that they have to take care of the home and their children, there’s no option of having a career. We found that it would be a very good way, if we could fulfil that gap that they too contribute to the society. We could not change the fact that the women have a specific role in the family and home, but we could help to empower them by giving them the opportunity to earn their own money. I have been working with projects a lot and simple projects are often good projects that help to benefit the women the most. Also, for the husbands, it is not a threatening project, because the dinner is still served at the same time and they are still home by the evening, so that structure works for everybody. If it’s a project that the men will oppose, then the women would participate for a few times, and then they would not be allowed anymore, because they cannot take this discussion of freedom at home with them. They meet us in a charity organisation and surprisingly, some women, who started already 8 years ago, are still working with us. 

"Getting through that crisis, we have learned not to blame the ‘others, or the big ones or the global superpowers’, which were the attitudes flourishing for long, but we have understood that we ourselves are to blame, and we have to take collective responsibility for changing the detrimental patterns."

Do you boast a global audience?

We have a very global audience, from Japan to Italy to U.S. We have our flagship store in Faroe Islands and pop-up shop in London at the time, and last year we had pop-ups in Oslo and Copenhagen as well, and then we sell wholesale to a lot of different stores. 

What’s your message, how to give quality production more visibility and reduce the mass-production mania? 

As a first thing, this is what we are good at — we are good at making hand-knit collections. We don’t know any other companies that make full collections in hand-knit, as it's not a machine, it is extremely difficult to execute and control. Quality production from natural materials is something that we have expertise in. There are a lot of other brands that are so much better at making cheap T-shirts, but it’s not our field of expertise, so it is better that you concentrate on what you are good at, what you truly believe in. 

Faroe Islands.

https://www.gudrungudrun.com

Sustainable Fashion To Die For — Eyglo

Be it the incredulous natural landscapes or modern design, Iceland does not cease to impress us. Reykjavik’s local design store Kiosk, run by 6 designers and named the best place to buy local fashion by The Reykjavik Grapevineun, makes a wonderful hub, providing the customers with latest fashions. From the Kiosk selection, Eyglo is a brand for a stylish and fun woman, led by designer Eygló Lárusdóttir. Her latest collection called 'Murder She Wrote' caught our eye and we were dying to know more.

Words: Johanna Raudsepp

Eyglo Campaign 2016: Photography by Rafael Pinho.

They say first impressions are everything. How would you describe the woman you design for?

I guess I don’t use anyone as a muse when I design. I basically do whatever I like. There’s a certain playfulness mixed with classics, I guess. My clients are women between 24 and 65. [They are] cool, classy and fun. I’d say it’s for women who like to experiment with something fun, but well-made at the same time. 

You like using bold patterns, sharp cuts and pops of colour. What was the inspiration behind your latest collection ‘Murder She Wrote’? 

The inspiration for my last collection was triggered by the series “Murder She Wrote”. I used to watch these kinds of TV series when I was a kid, so Jessica Fletcher certainly has a special place in my heart. It’s kind of strange to come from a place with almost zero crime rate and create a crime-themed collection. I feel that people from the U.S. can relate more to it in a funny way than us, Icelanders, do. 

Eyglo: Jessica Fletcher Jacket, 2016. 

I’m into different ways of doing textile these days. I’m doing knitwear with patterns of victims on it — I laser-cut the images and peel the upper layer off, so it gives a 3D-effect, and I also use digital printing. I used to hate orange, but now it’s my favourite colour in the collections. I named one dress after the prison in Iceland, and another one is called Orange Is The New Black, Investigator, etc. 

At Savant, we believe in sustainable living, which is applied to the fashion we feature as well. How do you feel about the issue that people often buy what they don’t need? Is there anything you do as a designer that could alter people’s perspective?

I think people should certainly be more aware of what they’re buying. I do understand people that buy their basics from these big chain stores, like H&M or Zara, but I cannot comprehend how it can be fun to wear any of the other stuff they make. It’s made in such huge quantities that you will become tired of it immediately. The same goes for IKEA. They might make nice items, but you get fed up with them within a few months. At least that’s how my brain works.

"It’s kind of strange to come from a place with almost zero crime rate and create a crime-themed collection. I feel that people from the U.S. can relate more to it in a funny way than us, Icelanders, do."

As a designer, I try to be aware of how I do things as well. Most of my fabrics come from Europe and the garments are made in Europe (Estonia, Lithuania, some in Iceland). I’m looking into attending a sustainable fabric fair early next year, as it can be very difficult to source fabrics when you live in Iceland. 

I have a store called Kiosk in Reykjavik that I run with 6 other designers. We split the rent and the shifts, help each other with contacts and give advice. Kiosk has been named the 'Best place to buy local fashion' by The Reykjavik Grapevine for all of the 6 years we have had the store. We have been recommended by The New York Times, Vogue, Glamour, and many more. All this contributes to altering people’s perspectives in the long run. 

Eyglo at Kiosk, Reykjavík.

We recently interviewed Milla Snorrason, one of your fellow designers from Kiosk. It comes to show what a positive impact such a concept store can have — everything fresh and IN can be found in one place. What made you create the store 6 years ago?

One of my friends came up with the idea shortly after the financial crash. We had finished art school few years earlier and wanted to give it a try. We teamed up with about 6 other designers — now it has been 6 years and it has grown so beautifully. I would love to see similar shops like ours in more cities around the world. We have been super lucky with the rent so far, but we are losing our space soon. The plus side of the tourist boom here is that we can sell more, but the downside is that the rent has gone seriously high. At the moment we are actually looking for another space, possibly bigger to add more designers in. So there are definitely exciting times ahead. We also have a pop-up shop in Copenhagen coming up and another one in Laforet, Tokyo, at the end of November.

Eyglo Campaign 2016. . 

Finally, who do you look up to as a designer? What kind of design makes you swoon?

I do look up to Vivienne Westwood for everything she has said about sustainability. Just buy less and better. Take care of your clothes. Design-wise I´ve always loved Bernhard Willhelm, Christopher Kane and Mary Karantzou, to mention a few.

http://www.eyglocollection.com

COS x Agnes Martin at the Guggenheim

To celebrate their support of Agnes Martin at the Guggenheim Museum in New York, COS have created a limited-edition capsule collection.

COS x Agnes Martin Capsule Collection, 2016. 

The collection features 12 items for women and men, inspired by the minimalist and abstract expressionist artist’s work. Well, we can’t think of a better collaboration. Martin’s soft palette and refined details correspond perfectly with the COS brand, who are well known for their minimal aesthetic.

COS x Agnes Martin Capsule Collection, 2016.

“Artwork is a representation of our devotion to life.”

- Agnes Martin

The collection is reminiscent of Martin’s light colour wash canvases as well as the loose fit workwear she wore when in the studio. Just like in her work, the new COS collection is soothing and meditative, with subtle design details and interesting prints. We love the waffle knit jumper (softer than soft) and the folded wrap over skirt. The latter of which we can image Martin wearing at dusk in her studio in New Mexico. 

Agnes Martin. 

COS x Agnes Martin – On display at the Guggenheim New York and available in selected London stores and online now.

Read more about Agnes Martin here >>