On Friday 1st April, Hunter’s Creative Director, Alasdhair Willis, and CEO, Vincent Wauters, hosted a reception party to celebrate the opening of the brand’s new flagship store in Tokyo, Japan.
This is the brand’s second global flagship, following the opening of the first flagship in the brand’s 160 year history on London’s Regent Street in November 2014.
The 3100 square foot store, set over two floors, is located within the new Tokyu Plaza building in Ginza, Tokyo. The building and Hunter’s flagship opened to the public on Friday 1st April at 11am local time.
In attendance were Alasdhair Willis; Vincent Wauters; Soichiro Fujiwara; Loveli; Kozue Akimoto; Kana Oya; Elli-Rose; Melody Yoko; Ayana Miyamoto; Rene Takeshita; Teruma Aoyama; Taylor Suzuki; Joe (of Tokyo Dandy); Yuya Nara; I Don’t Like Mondays; Harry Sugiyama; Zoe; Emi Renata; Kelly; Sakimi Kanda; Nina Ito; Rei; Seina Shimabukuro; Daiki Ito; Seria Kawachi; Taiki; Noah; Natsuno Aoki; Mami Mochinaga; Yayoi Sato; Miyu Kogawa;
For entertainment, acclaimed Scottish bagpiper, Calum Adamson performed traditional music, reflecting both the heritage and the humour of the progressive British brand. Following on, DJ Yuru Nara was on the turntables for the remainder of the evening.
Fish & chips, finger sandwiches, potato & pea croquette, spinach pie, Scottish cream pastries, Empire biscuit, Gin and Fever Tree cocktails.
Autumn/Winter 2016 draws inspiration from North West Europe by looking at various attributes of teutonic cultures, namely Germany.
Known ultimately for its economic success, Germany is currently a very compelling destination for Middle Eastern migrants. However, Germany is also responsible for many other facets of western culture that we overlook and take for granted.
For instance the culture of fairy tales and hence Walt Disney, The “self-make” culture (Burda Magazine and make it yourself endorsement), art movements and literature, many artists we know as American but who were educated in Germany, the techno culture, electronic music, as well as more obvious contributions such as car technology and the autobahn and how these have had an influence and played a role in our lives one way or another.
In light of all the above, the collection is a study on abstracting these teutonic attributes and merging them with clothes. These are, as always, based on precision cutting, experimentation and practicality proposing an innovative, luxurious wardrobe of a modern woman.
The Collection is divided into 8 chapters:
The experience of driving through the autobahn is translated into a luxurious jacquard where the signs of various destinations are replaced by German words taken from fairy tales. The textural jacquard weave developed from what we call the ‘Nowhere’ image is set against a backdrop of German forests, creating a sense of space combined with crafty cosiness of the jacquard, therefore blurring the lines between being indoors and outdoors.
This section is based solely on jacquard weave of words from German fairy tales which resonate with certain thoughts and actions only seen in fairy tales. Pieces made in this specially developed fabric are classic, relaxed and minimal.
The military past of Northwest Europe is touched upon by hiding military details with large pleats. Functioning pockets are still accessible through the pleats, the combination of the two leading to a new undefinable design detail in itself.
The pressure of the past events that took place in Europe is represented with weights as part accessories part talismans, subtly weighing down and punctuating shapes of dresses at the same time.
The rebuilding of a nation post-war, the reconstruction chapter puts emphasis on the skeletons of structural change. Featuring Swarovski crystal embedded chains.
A section based on the economic success of the Teutonic industry, namely it’s speed and efficiency. The numbers tick up on the speedometer of a Deutsch car as it speeds through tree-lined landscapes along the autobahn.
A reference into the home craft culture of North West Europe featuring a crystal overlay and printed fabric from a dissected sewing Pattern from one of the iconic Burda Magazines.
Loss of Self.
In light of Teutonic pressures stemming from a culture of discipline, work ethic and strict conduct, ‘Loss of Self’ is about the idea of relief from these restrictions that can be experienced in the Berlin night club scene.
Chapters Landscape, Weight, Reconstruction, Economic Success, Yourself Culture and Loss of Self all feature Swarovski Crystals.
— March 21, 2016 —
Zoë Jordan is all about boyish elegance. Empowering women with hard wearing separates that they can wear season after season, staying true to the wardrobe building aspect of her collections. We caught up with the designer in the Electric sekki Showroom during Paris Fashion Week and we got to know more about the Autumn Winter Collection: "Off Road" .
Off Road hails from a photography trip to the Maasai Mara, the work of Peter Beard and the journey of motorcycle tribes. These influences translate into a collection steeped in rich history and mechanics, modernized, simplified, and made urban.
"The idea for this collection was to bring the nature an exploit of an African road adventure to the city" says Jordan, "respecting the need for practicality and mixing elegance and tough motorcycle elements."
ES: Describe the Zoë Jordan woman...
ZJ: "This woman, she is strong and equally comfortable in male or female company. I often describe her as the boy's bestfriend and the woman's confidante. She has the respect of both sides and she is comfortable. She's a city girl but she's international as well, she's traveling."
Jordan again plays with proportions to affect a confident, often androgynous shape.
ES: You lived in Hong Kong for a couple of years, tell us what your observations are.
ZJ: " I picked up a lot more about style, colors and shapes they like. The challenge was getting the fabric right while keeping the structure. We now have more petite shapes, can be sexy but not showing too much skin. I noticed that the market is very mixed. There's daytime casual, but there are certain pockets where people dress up everyday. Sometimes it's very hot outside but then there's the airconditioning inside to consider, so people wear extra layers- practical. "
ES: What were your favourite things to do in Hong Kong?
ZJ: "I lived in Stanley and enjoyed strolling around the market. Dragon's back, Shek O. I had friends who lived in Lantau- that was fun. Kowloon side- I like the flower/ fish market. I love that kind of buzz and deep kind of cultures in there. There's this place where you get your eyelashes done, and I miss the footrubs! All new experiences. "
— March 16, 2016 —
. E L L E R Y . unveiled their new Autumn-Winter 2016 collection as part of Paris Fashion Week. The show took place in Palais de Tokyo’s, ‘Galerie Haute’.
The collection explores the relevance of garments that were once considered essential; the starting point - a corset.
Autumn Winter ’16 is about the liberation of women from strict silhouettes once worn at the turn of the 19th century.
“We want to unravel, deconstruct and reconstruct pieces from another era, in new ways making them relevant today” said creative director, Kym Ellery. “It is a collection that explores the contrast between old and new, filled with pieces that are both fluid and structured in equal measure.”
The colour palette is anchored with deep blacks, flesh tones, warm rusts, soft grey and velvety blues. Accent colours of yellow and candy pink lighten the mood whilst metallic tones flicker throughout.
Fabrications vary from liquid lamé to double silk georgette, velvet corduroy, wool suiting, snow fox fur and shimmering lurex velvet.
The brand’s trademark flares were presented in different proportions; some with raw then embroidered edges. New-romantic tucks cinch in feminine dresses with voluminous sleeves. Turn-of-the- century blouses are made modern, and classic shirting is once again key.
It’s where the new world order and the old guard clash. A thump, a rebellious stance, a sudden click, a lightbulb, a fleeting feeling, remembering something that doesn’t necessarily exist.
Ultimately, no matter the origin of the idea, the end goal remains the same: to empower the wearer through design and to create clothes for women of excellence.
Cheers to you once again, Kym Ellery!
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