Issue 1 Sells HERE [£9.00]

MANYTHINGmagazine

An Object about Objects

BALENCIAGA AdvErTIsEs HErE [£47,800]

GUCCI AdvErTIsEs HErE [£47,800]

MANYTHING MAGAZINE

06-07OBSERVATION

12-13PROfumI dEl fORTE

14-15ETTINgER ShOE hORN

16-17wAllAcE # SEwEll

185 gRAmS

20-26NOTE· BOOK

26-29PAcKAgINg

309,000 gRAmS

32-35AN INTERVIEw wITh TOdd mclEllAN

36-37ThE VAluE Of TRENd

40-41BE AN OBJEcT, ANY OBJEcT?42-43ARTE POVERA44-45KIOSK : A STudY Of mATERIAl culTuRE46-47wANg’S 8 OBJEcTS48-49hERBAl TAlK50-51IRIS VAN hERPEN52-53mOYNAT54635 gRAmS56-57whAT IS TO BEcOmE Of ThE PEARl BuTTON?58TRumPER cOmB

CONTENTs

4

he concept behind MANYTHING is not a new one. As consumers of the everyday, we interact and fraternize with its contents hourly; often the

smallest and most insignificant objects or ‘things’ prove to be the most significant.

That is what we are all about.

Allow me to personally welcome you to MANYTHING’S first issue: a personal display of carefully considered and intellectual material, based on everyday objects and processes.

This issue is dedicated to: the day. MANYTHING has considered the simplicity of 24 hours (after all, as we work harder, each day seemingly slips by quicker) and the content or processes with which we organise our day. As you read through the

magazine, notice how it is split into morning, afternoon and evening: there is a deliberate formula, be it a discrete one.

We have investigated a series of social, environmental and cultural components, ensuring all content is male and female friendly: fashion; beauty; art; transport and the utilitarian detail a few themes.

We want our magazine to shed fresh light on those objects or processes each of us commonly takes for granted: with contributions from a number of top industry professionals, we aim to inform, educate and humour.

Through a mixture of long and short pieces, MANYTHING has complied the best product information possible, sourcing unknown brands and silent success stories. We recommended how is best

to use featured product; in some cases, we are certain the suggested technique and application of items will have been unconsciously bypassed, until now.

via a minimal design aesthetic, MANYTHING aims to inform its readers as best it can, supplying them with intelligent writing and innovative page layouts. We want for our first issue to be compelling: a publication perceived as great yet made up of daily, commonplace material.

On behalf of myself and the team, we hope you enjoy reading MANYTHING.

Thank you for reading.

EDITOR : REBECCA STEVENS[Rebecca_stevens_89@sky.com]

EDITOR’S L E T T E R

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T

Observation is requisite: as you caress the thing in your hands and feel ‘its’ coldness between your fingertips, it’s lifeless.

It lulls: unable to sustain itself unaided, we assist it, holding it upright, allowing the contents to slump and spill, cataracting from one page to another.

Inaudibly, it observes.

We are the dominant party: we sit, we stand, we speak and we read.What we choose defines who we are; we allow others to observe our choices.

Through touch and sight we forge relationships: holding, smothering and preserving.

We take items into our own hands and we protect them; objects acquire worth and sustain worth as we own and personify them.

Without human intervention, we believe it is lifeless: it is brought to life as we interact with its features.

Tightly packed, asphyxiated, it is eager to be unwrapped. We lacerate its malleable skin, avidly ripping at the plastic so we can view it.

We don’t know it but it’s already seen us, through the pages and through the plastic.

The moment we took it in our hands, it discerned us.

OBsErvATION OBsErvATION

6

OBsErvATION OBsErvATION

7

Observation is requisite: as you caress the thing in your hands and feel ‘its’ coldness between your fingertips, it’s lifeless.

It lulls: unable to sustain itself unaided, we assist it, holding it upright, allowing the contents to slump and spill, cataracting from one page to another.

Inaudibly, it observes.

We are the dominant party: we sit, we stand, we speak and we read.What we choose defines who we are; we allow others to observe our choices.

Through touch and sight we forge relationships: holding, smothering and preserving.

We take items into our own hands and we protect them; objects acquire worth and sustain worth as we own and personify them.

Without human intervention, we believe it is lifeless: it is brought to life as we interact with its features.

Tightly packed, asphyxiated, it is eager to be unwrapped. We lacerate its malleable skin, avidly ripping at the plastic so we can view it.

We don’t know it but it’s already seen us, through the pages and through the plastic.

The moment we took it in our hands, it discerned us.

KING CLIVE BENNETTNEIL BOORMAN

MELANIE BURDONMELANIE CRETE

ANDREW DARGUEGUILLAUME DAVINCHARLOTTE ELLIS

ETTINGERPROFESSOR SIMON FAITHFULL

ELIZABETH FEATHERBYZANNY GILCHRIST

ALISA GRIFOCARMEN HAID

ANDRES HERNANDEZQUEEN MARGARET HEMSLEY

PHILLIP HODSONTODD MCLELLAN

RAMESH NAIRJULIAN OKINES

DR. ROSEMARY O’NEILLSARAH OWEN

RICHARD PARRYDOMINIC SEBAG-MONTEFIORE

EMMA SEWELLMICHELLE SEYMOUR

PETER SMITHNIK THAKKAR

GEO F. TRUMPERHARRIET WALLACE-JONES

MIKE WALTONGEOFF WATTS

EdITOR-AT-lARgE, cREATIVE dIREcTOR & PhOTOgRAPhERREBECCA STEVENS(REBECCA_STEVENS_89@SKY.COM)(07854 157 098)

IlluSTRATORCATHERINE PAPE[CAThERiNENOEl@hOTMAil.CO.uK]

gRAPhIc dESIgNERMICHAEL HARROWER[dangergoat@hotmail.com]

gRAPhIc dESIgN ASSISTANTKIRSTIE KRAIL

TuTORSSARA HASSAN,ROBERT DE NIET

MAsTHEAd · THINGmANYThINg mAgAZINE

All RIghTS RESERVEd. NO PART Of ThIS PuBlIcATION mAY BE REPROducEd IN whOlE OR PART wIThOuT PERmISSION fROm ThE PuBlIShERS. ThE VIEwS ExPRESSEd IN mANYThINg ARE ThOSE Of ThE RESPEcTIVE cONTRIBuTORS ANd ARE NOT NEc-

cESSARIlY ShAREd BY ThE mAgAZINE OR ITS STAff. ThE mAgAZINE wElcOmES IdEAS ANd NEw cONTRIBuTORS BuT cAN ASSumE NO RESPONSIBIlITY fOR uNSOlIcITEd

mANuScRIPTS, PhOTOgRAPhS OR IlluSTRATIONS. mANYThINg IS PRINTEd IN ThE uK ANd PuBlIShEd 2 TImES A YEAR.

© 2012 mANYThINg

CHANEL AdvErTIsEs HErE [£24,400]

PACO RABANNE AdvERtisEs hERE [£47,800]

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All Scents £95.00 for 50mls, £148.00 for 100mls. Available from www.averyfineperfumeries.com

PROFUMi dEL FORtE

here is much to be said for a perfume that evokes memory and meaning within its scent. Especially one developed in an unknown tuscan village in the depths of italy. initially established

as an intimate family business, Profumi del Forte first entered the UK market in 2008 and has since introduced three scent collections. in contrast to its commercial, branded competitors, Profumi chooses not to advertise, instead selling only on exclusivity and recommendation.

the brand captures the essence of tuscany and isn’t initially created with the wearer in mind: carefully considered ingredients evoke specific towns and personalities associated with the area’s rich history and heritage. Whilst commercial competitors typically base their colognes on florals and similar, Profumi champions by creating story and association within it’s ranges.

Colonia del Forte is Profumi’s current range developed in 2011. The range is formed around three infamous tuscan sons – dante Aligheri (1265), Michelangelo Buonarroti (1452) and Leonardo Da Vinci (1475) – produced in memory of each man’s success. Each scent is unisex and is based on the artist’s birth date in commemoration of their lives.

Application is key. Men: dab two spots of 1475 (ginger and green leaf) on the neck and one on the wrist, and women: dot a small amount of either 1452 (citrus and creamy) or 1265 (orange, moss tones) on both arms, beneath the crease of the elbow. these elusive spots will retain the mystery and appeal of the scent and will prevent wastage.

Profumi’s inaugural 2008 range is interpreted from the diary of the Maitre Parfumeur, Mr torre and alludes to five distinct Tuscan memories and

locations. sampling each scent, intuitively the inspiration becomes clear. Each unisex perfume conjures indelible summer days reminiscent of its source, thanks to the sweet, mellow tones.

the scents are pungent: ‘Macroni 3’ references a visit to torre’s grandmother’s house by the sea and is sweet with essence of coconut: this scent is the least favourable of the range due to the dominating coconut and earthy tones, reminiscent of an untended house. ‘terrenico’ is woody with an assertive, masculine edge in kudos to the sea that laps tuscany: it is best worn on a summer’s day, when one fancies a refined scent. ‘Roma Imperiale’ has potent floral and fruit tones, named after a luxury destination on Forte dei Marmi: this perfume is suited to an older, female clientele due to its robust, vanilla tones.

We recommend ‘Forte + Forte’ for women also as it is the freshest scent of the five with saccharine and lemon tones. however keep this scent to a minimum as too much of a good thing can dominate and become overpowering; much like biting into a sour lemon tart.

Our favourite scent is ‘Roma imperiale’: a strong, fruitful scent roused from the lanes of coastal pinewood in Forte dei Marmi. the fragrance evokes a calm, summer’s evening with the jasmine and vanilla tones it emits and is suited to men and women of all ages. in comparison to other scents one may have on their dressing table, Roma imperiale is unconventional, blending a distinct array of ingredients.

despite the recommended application, each scent is longwearing and reliable. suited to those who are serious about perfume, Profumi offers a remarkable product with expert antiquity and creativity in mind. Close your eyes, breathe in the aroma and escape for a brief moment to italy.

Perfume Created Without the Wearer in Mind

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Whoever knew the shoehorn would be such an attested item? Obviously it was purpose-built to be handy (to assist with the putting on of shoes), but the concave and convenient design remains a mystery, as there is no known original creator. African-American inventor Andrew d. Washington received a patent for the shoehorn in 1903, however basic examples have been found across the UK dating from the early 18th century.

Although patented in America, the shoehorn upholds a typically British repute. On many occasions, one finds themselves using a shoe horn and not paying any attention as to why: traditionally, it is an item we don’t give much thought to, however couldn’t be without.

Available in a wealth of materials – from clear plastic to buffalo horn – the implement retains a somewhat snobby appeal due to its association with upper and working class city men; commonly gifted in hotel rooms, vanity packs and first class business lounges the shoehorn is convention-ally a man’s object. Over the years however it has gained popularity with women also, helping with the putting on of brogues, loafers and boots.

Andrés hernández is the creation and development director at bespoke, men’s boot makers: John Lobb. “don’t only use a shoe horn every morning when putting on your shoes in the privacy of your own home to maintain the backs and stitching of the shoes,” hernández says, “but create a stir by being the perfect well shod gentleman by putting your shoes back on in style at the airport using a shoe horn.”

As an object, the shoehorn is a preferable item in size and design. varieties include small travel sorts, a standard size of 20cm that is often supplied by shoe shops and similar, and the long handle type extending to 50cm.

ironically, almost all varieties can be picked up from local hardware shops for under a fiver and yet this basic article unceasingly maintains its desir-ability and appeal.

London luxury leather goods company: Ettinger have realised the appeal and created the covetable ‘havana’ travel shoehorn. the company has over 400 years combined experience and has enlisted bespoke products for both the Queen and ex-Prime minister tony Blair.

The travel contraption is handmade in the UK, comes in an array of col-ours and is finished in unique Bridle leather. It is made of metal and folds small enough to tuck into a briefcase compartment or trouser back pocket (the compact, leather design could easily be confused for a stylish coin purse). The odd spoon-like shape is Ettinger’s new take on the shoehorn, however whether it makes the putting on of shoes any easier is question-able; the original arrangement has never knowingly disappointed before.

Nevertheless, thanks to the slick, masculine design the havana horn can be displayed solely on a dressing table, with or without the leather pouch. Not only will the abnormal shape draw curiosity, but it can also double as an attractive accessory ready for use at any given moment.

For complete ease one might use Ettinger’s compact travel horn through-out the day, with socks (the metal spoon may not bode well with sweaty feet). Whether in a changing room, an airport or when leaving home, un-fold the horn, slip it down the back of the shoe and slide your foot in.

Welcome to modish, utilitarian joy.

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E t t i N G E RshOE hORN

A Spoonlike Contraption with Lifelong Service

to your Shoes..

hey say every cloud has a silver lining. in the case of the London Olympics and predicted public transport overload this summer, the silver lining comes in the form of textile designers: Wallacesewell.

the British duo have created the latest moquette design for the Central line seat covers, in accordance with the tube’s renovations, ready for the expected summer mayhem and bottom want for seats. Not only will there be an expected 20m extra journeys on the tube throughout the games, but for the predicted 800,000 that will travel on the Central Line, each can grapple for a fresh, new seat.

At present, 3.4m people get the tube every weekday, travelling between the 270 total stations. The Central line in particular carries 588,000 people daily and runs 76 trains each rush hour to accommodate passengers.

Harriet Wallace-Jones and Emma Sewell previously designed the 2008 moquette pattern for the London Overground and tramlink seats. the pair graduated from the Royal College of Art in 1990 and together they have produced vibrant and innovative work to satisfy each design specification.

“the colours and weighting of the Central Line commission were set in the competition brief and the moquette was only allowed to have four colours total,” says Emma. “the blues and reds are reminiscent of colours found on the tube map and are synonymous with London and various landmarks.” Although selected for their relevance, the colours are a bit of an odd combination: stare too long and you may feel delusional.

A total of 23,000 Central line seats are being ripped out and replaced in time for the Olympics, all featuring the Wallacesewell design. Although only a small detail (one that many of us fail to observe every rush hour), the moquette seat cover is practically invincible, lasting for a staggering 25 years and woven to sustain itself through constant demand. First established in the 1920’s, the moquette fabric hides dirt, is fire resistant and cannot be destroyed with a knife.

interestingly, London is the only city worldwide to use fabric on its underground seats; elsewhere seats are either metal or plastic for want of ease and maintenance. it has been commonly remarked that a commuter, wherever they are in the world, will always recognise that they are on a London underground train, simply from the seat designs.

“From leaving college in 1990, we had always had the ambition to design moquettes for public transport,” says Emma. “We had admired the moquette designs by Marion dorn, Marianne straub and Jaqueline Groag and these geometric patterns influenced some of the designing in our own collections.” The pair are the first RCA graduates to get involved with

the project. The original moquette design was commissioned in 1936; designers since then have included Enid Marx (creator of the first class 1953 coronation stamp) and Norbert Dutton (a graphic designer who created original packaging for the Cadbury’s Dairy milk bar).

Today’s moquette design − entitled ‘Barman’ − features an abstract pattern including Big Ben, tower Bridge, st Paul’s Cathedral and the London Eye and is rather an eyeful to look at. For those that are not familiar with the featured landmark shapes, it is not immediately obvious which is which on the design. Due to the tight criteria, each shape is required to fit within a very small space.

“the aim was to create a design that had a small repeat pattern and would look like an abstract design on first viewing, but might suggest familiar shapes after idle gazing whilst travelling,” says Emma.

“Wallacesewell’s design has turned London landmarks into abstract, primary shapes, allowing customers to interpret the pattern as they wish,” says Richard Parry, the strategy and commercial director for London Underground. “innovative design is part of the tube’s identity and history,” he added.

The Central Line is currently the longest line in service, stretching 46miles of track and stopping at 49 stations. As a preferable public link to the Olympic stadium, it is only right this much-loved service gets a makeover, following its tireless service to the general public.

“The moquette is often understated yet always fit for purpose,” says Mike Walton, head of trading at the London transport Museum. “the best designs have become iconic and the museum is proud to use designs of this almost entirely woolen British made fiber. Wallace and Sewell’s latest design represents the continuity of the classic fabric and the tradition of design excellence.”

Whilst only a minor adjustment, each cover brings personality and contemporary design to a necessary but otherwise dull amenity: it is the little things after all that tend to go un-noticed.

“i hope people remember our moquette with fondness, as part of what is identifiable with London,” says Emma. “With it being present in people’s day to day lives, we hope for the pattern to sit in the background yet remain very familiar. It has been our chance to have ‘15 minutes of textile fame.’”

Let the battle for the seat begin…

WALLACE#

s E W E L L[For those who take the Central Line

in the morning]

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t

20

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5 X METAL PAPERCLIPSA SINGLE NICKLE COIN

1 X A BREAKFAST WEETABIX

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5G= 0.17637 OUNCESIllustration by Catherine Pape

AQUAsCUtUM AdvERtisEs hERE [£24,400]

it goes without saying that opening a pristine, new notebook is a joyous thing to do.

Pinpointing why is another matter.

holding the book in your hands, the soft leather warms with your body heat. the pages are still blissfully intact and even pulling back the front cover seems a painful and wrong

thing to do. But then where’s the purpose in owning a

clean, unopened notebook?[it’s addictive: all good people have ‘em]

We buy the books for personal reasons: to make endless lists and directional notes to

help us succeed in life.

MANYthiNG has collated and photographed a small selection of the best: we hope the idea of empty, lined pages tempts you as much as

it tempts us.

20

note· book

smythson Carrier Pouch, available with notebooks.

Aspinal of London , Safari Croc Large Leather Journal, from £60.00

Moleskine, Ruled Softcover Black Notebookfrom £9.99

Liberty London Collection, Grey Logo Paperback Notebook from £7.95

STILL LIFE NOTE-BOOK

smythson, Classic Floppy Manuscript Book, £135.00

Dane Whitehurst is the Creative Director of Burgopak: a packaging design agency that works innovatively alongside commercial brands, helping to provide an exciting and new experience for the consumer. His team has worked on package design projects for Fortnum & Mason, Vodafone and Sony amongst many others. “It is most important to understand the message that must be conveyed about each brand or product,” says Dane. “Appropriateness and honesty are fundamental to successful packaging design.”

As consumers, we have a substantial relationship with packaging everyday. For some, the process of handling and unwrapping food and beverage goods bodes a love/hate, thwarted relationship and for others those designs are of high collectability. Equally the fashion industry relies heavily on attractive, packaged goods.

An online report recently showed that packaging within the cosmetics industry, however wasteful a bag or gift box may seem, accounts for almost 40% of total product cost. A similar online report showed that electronic market leader: Apple spent $8.3bn on packaging and marketing in 2011.

“Everything from the graphic design to the choice of print finishes and material choices must talk the same language, in order to build an iconic piece of packaging,” says Dane. “For any brand trying to edge ahead of its competitors, packaging is a very important touch-point and for some it may form the first welcome.”

Presentation and consumer response has become vital for success within the luxury goods industry: purchasing an attentively wrapped product offers companies a sense of identity, exclusivity and worth.

Elizabeth Featherby, press and marketing assistant for Smythson leather goods, New Bond Street commented: “Smythson’s packaging is key. Not only has the nile blue colour and navy gross grain ribbon become synonymous with the company, it also reinforces our position as a luxury gifting brand.”

“Our packing has been the same for years, minor a few adjustments to logos and sizing. Smythson products are always expertly and impeccably packaged,” Elizabeth added.

But why the bother? How is an offering of scrunched tissue paper, a soft, suede pouch and a solid cardboard box (wrapped handsomely around a Smythson notebook) able to trigger an emotional response for the consumer?

“Of course it depends on personal taste and level of response,” says Phillip Hodson, a psychotherapist from the British Association of

counselling and psychotherapy.

Some people tear through packaging in an excitable euphoria whilst others pick the corners apart carefully

“ “

26

“The ownership and handling of luxury packaging sparks an: ‘I am better’ and: ‘I am more exclusive’ response,” Phillip adds. “When we come into contact with something we value and think has worth, the excitement prompts a chemical reaction in the brain: a rush of endorphins, encephalon and adrenalin is released. This is at the heart of the addictive process and often stems the desire to collect.”

This response is most evident when smokers open a fresh pack of cigarettes: “Unwrapping a newly purchased packet of fags is something I usually do in a slightly frenzied way,” says James Anderson, a men’s fashion and lifestyle journalist. “There is something darkly enjoyable about getting one’s mitts on a new packet of fags. I tend to bite into the cellophane wrapper, and wrench it off with my teeth, before opening the box and wrenching away the foil wrapper with feverish fingers,” he adds.

“Noticeably, some people tear through packaging in an excitable euphoria whilst others pick the corners apart carefully,” says Phillip. “Consumers play games with themselves to help build desirability,” he comments.

BrandOpus is a packaging and branding design agency, based in London. The agency has recently worked with Pizza Express, Belvedere Vodka and Twinings black teas. “We collaborate and commission,” says Charlotte Ellis, marketing manager of BrandOpus. “We aim to be much more adventurous, working hard to develop the appeal and customer relationship withthe product.”

The recent Twinings tea project involved working with fashion illustrator Jerry Seguin: BrandOpus developed an entirely new and fresh design, mimicking the release of flavour from a Twinings teabag via the feminine, watercolour illustrations.

“We wanted to develop customer intrigue, targeting specifically a female audience “ says Charlotte. Following the success of the design, sales of the teabag have risen by 158%.

Whether or not such success is down to shelf placement, colour and design or the feel of the sachet in a consumer’s hands is uncertain, however by forging a relationship or personal connection with the customer, sales will be made.

“Emotional triggers are dependant on the product and the brand,” says Dane. “Each will aim to evoke a slightly different feeling: delight, excitement, lust, comfort and trust are 5 positive emotional responses that are often coveted.”

Phillip Hodson agrees: “We decorate our lives,” he commented. “Similarly as we invest in great art, we indulge in great product, whether that be through attractive packaging or product

Today instead of buying for use, we buy for ‘want’ of some-thing. The concern has shifted from what is needed, to what is celebrated and amiable

“ “

P A C K A G I N G[For those who enjoy a gift box, tissue paper

and ribbon]

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itself,” he says. “The things we own helps reassure us of our life and success; we want to show that we amount to something. A simple design can become iconic over the years and the competitive hierarchy of always wanting to be better than everyone else drives the desire to own something different and unique.”

BrandOpus worked with Pizza Express in November 2011, which resulted in the pizza chain stylising a new image. Although not packaging per se, the Italian favourite reestablished its aesthetic roots to widen audience appeal. “The black and white stripe design harks back to the 1960s, when Pizza Express began,” Charlotte says. “The brand has always favoured Bridget Riley and the opart of the sixties and so the graphic, masculine lines featured now on all uniforms, menus and window displays, forms a direct link with this.”

“By keeping the theme simple customers can easily engage with the design and build a relationship with the brand,” Charlotte continues. “We gave them [Pizza Express] an authoritative response, always partnering the black and white with a hit of pink or blue colouring.” Following the rapid pop-up of Italian restaurants on the high street, Pizza Express set out to create something that would position themselves above the rest: an up market facade and impression if you will.

According to an online report via tnsglobal.com, packing demands six key considerations: protection and visibility of product; potential added value; the expense of packaging production; a long-term quality agreement forged with the customer and environmental factors. DirectGov recently reported that since 1998, commercial companies across all industries have spent over £800m on

increasing the recycling of their used packaging.

“I deliver bespoke, environmentally friendly packaging only,” says Carmen Haid, owner of luxury vintage e-boutique Atelier-Mayer. “Packing and presentation for me is very important as I ship internationally and it needs to reflect my quality of service. I hope to create a surprise experience,” she adds. “Many of the purchases are online purchases and I hope to bestow that wow factor as they open my box.”

“Ideally I wouldn’t use packaging at all,” Carmen continues. “That is unfortunately the only way to deliver. Having worked in PR for big fashion companies such as YSL and Tommy Hilfiger I can say they spend tonnes on presentation with foiled print packages and whatnot. But really it’s such a waste.”

In 2004, luxury retailer Louis Vuitton introduced eco-labeled paper for all of its international packaging. The notorious megabrand has since combined innovation and presentation by supplying 50 top Vuitton devotees with a seasonal front-row show gift, designed in a manner that best reflects the latest catwalk show; a positively brilliant way to stimulate customer interaction and package appreciation. For autumn winter 2011, Vuitton cleverly vacuum packed each bag, smothering and suffocating the leather under tightly applied plastic: a shrewd indication of the fetish show that followed.

“The un-boxing/ un-packing process is hugely important as it’s the first experience of a relationship with a new product,” says Dane. “If the process feels clunky and ill considered those perceptions will transfer in part to the product or worse still to the brand.”

A swish bag or box falsifies worth; a mental association is made between that person, the thing and the deluxe brand that that individual has just bought from

On some occasions, the connection between consumer, object and packaging can escalate, causing increased desire and ‘fetishisation’ of product: a perpetual yearning for an item due to wrapped presentation, touch, size or smell.“In the 20thcentury, people mainly responded to great advertising,” says Phillip. “Today instead of buying for use, we buy for show and ‘want’ of something. The concern has shifted from what is needed, to what is celebrated and amiable.”

We can assess public and personal behaviour in order to understand the attraction and inclination towards product presentation, however fundamentally, wrapping an item in tissue paper and securing it with stickers often just prolongs service and enjoyment of product; deluxe packaging can, mentally, increase an object’s worth when on many an occasion, the object cost only a few pounds.

“A swish bag or box falsifies worth; a mental association is made between that person, the thing and the deluxe brand that that individual has just bought from,” says Phillip. “Each layer of packaging encourages the consumer closer to the brand.”

This simple yet affective method is a clever marketing ploy, used to entice customers back for more products, across all industries. “Our boxes are tissue lined with white tissue paper whilst boxes and bags are tied with navy grosgrain ribbon,” says Elizabeth of Smythson.

“From the soft tissue lining to our signature navy ribbon, the iconic Nile Blue box is recognised the world over as a hallmark of exceptional quality and style.”

“ “

28

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1 X WHALE BRAINA BOTTLE OF RED & WHITE WINE1 X THE QUEEN’S CORGI [DOG]

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[Twelve issues of MANYTHING, piled]

Illustration by Catherine Pape

CELINE ADVERTISES HERE [£24,400]

TODD MCLELLAN:AN INTERVIEW WITH

t is debatable as to whether Canadian photographer Todd McLel-lan’s work is indeed just photography or whether his extraordinary still life imagery can be deemed art. Todd himself is still pondering this exact question. It is only thanks to the camera, lens and lighting Todd uses, that he finds reason to reckon his work photography.

Studying the precision of Todd’s latest still-life photography project: ‘Disas-sembly’, it is clear to see how this dubiousness has arisen; the intricate parts of disassembled, everyday objects are arranged in such a person-able manner, it is easily forgotten that these singular pieces once made up something very ordinary.

Todd graduated from Alberta College of Art and Design, Canada in 2002 and has been a commercial photographer for almost six years. He has an illustrious reputation for photographing negative space and capturing simplistic beauty; previous works include a series of stills featuring clas-sic, vintage motorbikes and the explosion of filament from a light bulb. “I think with the individual image, one can pinpoint a single thought, but what is the right thought behind it?” says Todd. “I feel a series of images really helps with a thoughtful response.”

The Disassembly process poses no exception to McLellan’s response rule. Todd’s work is a beautiful and artful representation of the everyday that often goes un-noticed: “I don’t think people live with an object long enough to create a memorable relationship with it anymore,” says Todd. “I think the creation of today’s technology is fantastic, but what is cool about the old-fashioned objects is that you can see the function. All the gears, knobs, cables, they all make sense.” Technology today is not only getting smaller, it is also getting more reti-cent. “I did take my iphone 3G apart to repair it and it hardly has any parts,” comments Todd. “It is electronic with some extremely complicated programming. The beauty of those objects is only what it does on the interface.”

Initially, Todd hoped to take apart and photograph his meticulously cho-sen objects suspended in mid air : an attempt to create an intermittent instruction manual for the parts. “I wanted to explain the mechanical nature of the objects, however the digital process for this idea became too heavy,” says Todd. “That’s when I just laid it all out across the floor and decided to coherently organise it.”

It is this simplicity that adds to the aesthetic of Todd’s final image(s). Each ornate part appears to squirm off the page: an ingenious illusion that presents object-to-audience in an innovative, fresh light. “When the light hits an object it can do wonderful things,” says Todd.

The series consists of 7 disassembled objects: a Pentax camera; a North-ern Electric phone; a Smith typewriter ; an Ingraham wind up clock; a Suffolk Clipper lawn mower; a Sanyo flip clock and a General Electric recorder. Rather a random selection when it is considered how many ob-jects surround us everyday. “The subjects are all brands that played an im-portant part in my childhood. The objects chose me,” says Todd. “I would find them years on in thrift shops or dumped on the curb, however the objects really spoke for themselves. They are so beautiful in design and even more unique on the inside.”

The dismantling process takes up to five days, with 2-3 days set aside for disassembly and two days to arrange and photograph. “I only work with objects recognised and used by many,” Todd says, referring to the branded items within his series. “The typewriter surprised me as it had so many pieces to it, it was amazing. I couldn’t believe how someone had designed such a beautiful thing and made it work as well as it did”.

This discovery process is one that has inspired much of Todd’s work; he has found hidden beauty in almost everything. “I’ve always been inter-ested in how things work and would often take apart anything I could get my hands on,” Todd says. “We don’t understand how many things today make life so easy on a day-to-day basis until something breaks or goes missing.”

In a modern society of technological advancements and computer reli-ability, dare we stray and revert back to our manual, unconventional items, scattered around the home and office: items that don’t take much techni-cal know-how at all? “The main point of this project was to diagnose the beauty of everyday objects often taken for granted. Whoever knew a wind-up clock could be so ornate?” Todd says. “I’m fascinated by how well things were made years ago, and how they were built to last and avoid repair. There is a great relationship between function and design.”

“Previously I always kept a sketchbook full of inspirational, disassembly ideas as I tend to forget thoughts seconds after having them,” Todd jokes. “A year later I would have additional thoughts on those original thoughts and they would make the original ideas complete. Unfortunately, in the last year, I decided to go entirely digital with my collective ideas and lost them all recently in an app mishap.”

With so many items surrounding and partaking in our lives each day, it is easy to neglect their mechanism and their beauty; but then again, who-ever knew this would be a consideration in the first place?

“I am yet to figure out if this project has inspired me or my future work,” says Todd. “The series is growing however, and the objects are getting larger. I hope to work with a grand piano at some point- can you imagine the complexity of that?”

32

I

Image Courtesy of Todd McLellan

Image Courtesy of Todd McLellan

Image Courtesy of Todd McLellan

is a seasonal or public fashion transition that ultimately determines how we dress.

It is arguable however, whether this transition is as influential for consumers today as it has been in years gone by: the fashion industry (at all levels) continues to spin on a trend axis, picking up new styles, cuts and colours as it gyrates through each season. However as street style continues to govern and influence both the catwalk and the everyday, can it be argued that seasonal trends are becoming more and more unfavourable? Has the prevailing idea of trend(s) between seasons waded into tremulous territory of idolised, integrating fads? Threatening an ever-prevailing and authoritative fashion industry?

Neil Boorman is an anti-brands campaigner, journalist and music promoter based in London. He believes branding and trends are swallowing our culture and that in the long run, buying into a seasonal craze will not make us any happier.

“Fashion fulfils lots of needs – we need to be accepted, we need to be enviable. Fashion helps us to tick all those boxes,” says Neil. “A lot of fashion boils down to the promise of transformation – if you buy a new dress or trend, you will be transformed into somebody more attractive than you already are. Saying that, fashion is so bankrupt out of new ideas that army style is never out of style.”

Online records show that £21bn is spent on clothes in the UK annually and that those figures are rising: confirmation that with or without a recession, today’s fashion and trend adoration remains a much-valued aspect of our society.

“Clothes have always been more than garments – it’s all non-verbal communication for who we are, or more often these days, who we want to be,” says Neil. “Girls from council estates wear Chanel, fat

desk jockeys wear North Face and middle aged mums wear Topshop – people wear brands and trends to help them become something they’re not.”Sarah Owen is trend-forecasting agency WGSN’s East Coast Assistant Editor : she monitors youth, street and graphic trends. Owen has found that whilst analysing youth, teenagers are sparing pocket change for items of clothing, rather than trends.

“I think it’s easier to identify commercial catwalk trends, but key items are definitely what sells; there is always room for development in certain product categories,” Sarah says. “It’s hard to quantify the amount of time it takes for youthful tastemakers to filter into mainstream/commercial trends as many now make or design their own clothes on their own trend basis.” Sarah added.

Seasonal trends quintessentially propel fashion. For A/W 2012/13, London Fashion Week exhibited 59 womenswear and seven menswear shows, each advocating primary trends. According to the latest British Fashion Council report, over 5,000 visitors attend LFW each season, with media coverage exceeding £100m and buyer’s receipts generating over £100m of orders.

“It’s hard to extract the value of trend: today, trend is continuous, like air,” says Geoff Watts, co-founder of fashion data website Editd. “People reinforce trend amongst themselves, yet things have to be a certain way don’t they? Trends cause investors to lose a lot of money – for example, the wide leg jeans that were supposed to champion the last few seasons? A lot of investors bought into that and it never really happened. At the end of the day the industry is essentially driven by the consumer.”

“There is no current fashion worth,” says Carmen Haid of vintage luxury e-boutique Atelier-Mayer. “Style is worth. Trends are changing too often today and there is no time for appreciation. Everybody

FENDI WOMENSWEAR AW12/13CALVIN KLEIN MENSWEAR AW12/13

36

‘TREND’

TH

E VALU

E OF T

REN

D

is marching around in Isabel Marant wedge trainers at the moment, almost in uniform, and yes they may be fabulous for a year but what about after that? There is a great quality, heritage and style associated with vintage: that is the worth.”Nik Thakkar is a publicity/brand strategist who has developed campaigns for Karl Lagerfeld, Wonderbra and Xbox 360. He recently published a list of trends for A/W 2012/13 – alongside trend forecasting agency Stylesight – based on recent catwalk shows: tonal shades; red and burgundy hues; oversized shapes; fur ; craft and handmade design and transparent materials detail a few of these trends.

Chloé, Fendi and Comme des GarÇon previewed the latter for womenswear, whilst corresponding claret and neutral tones proved prevalent for menswear, with the shades manifesting at Salvatore Ferragamo, Emporio Armani and Calvin Klein.

Although only suggested materials and colours – devised from trend forecasters and street style enthusiasts – such will gradually filter from the catwalk down to the high street and will essentially ascertain what the customer will buy for winter 2012.

“Influencers within trend, now live outside of the catwalk; we are surrounded by them every day,” says Nik. “Street style has become a huge inspiration and testament to how trend has gone full circle. The longevity of a trend comes down to how well it is enabled, endorsed and amplified.”

Fashion is of course fun yet practical, versatile yet necessary, and trends epitomise much the same. The colour-blocking trend that has dominated the last few seasons for both menswear and womenswear has allowed gaiety within fashion and an extravagant display of personality and dynamism. Equally, the silk pajama fancy for S/S12 has encouraged comfortable, slouched dress as office-wear: a mutinous proposition (arguably a temporary and unrealistic proposition) only

feasible via trend.

Melanie Burdon is a personal stylist and runs her own fashion consultancy business. Melanie believes trend is vital for fashion advancement: “We are all part of fashion’s process,” says Melanie. “Trend is a constant cycle of design and inspiration: every new season, trend feeds the creativity that moves fashion forward in different ways. It is an amazing art form that is often put down to being silly and fickle,” she added.

Arguably, trend has become fickle as so many new cuts, lengths and colours now permeate each season, with monthly fashion magazines brimming with advisable content.

“The nature of trend is something that is becoming progressively more-and-more transient,” says Nik. “In the past, trends were something that lived within fixed cycles based around the traditional fashion seasons, however due to fast fashion, a focus on digital and e-commerce, trend has quickly become something that is a lot more tenuous.”

As the fashion industry continues to excel and drive economic growth, one is left to make their own judgement on which fleeting trend is worth buying into, if any at all; as a universal rule, skirts will traditionally always connote femininity and trousers masculinity.

“The majority of trends don’t happen overnight; they are influenced by culture, art, people, politics, nature, movements - it is more organic and that is what differentiates a trend from a fad,” says Nik.

“The longevity of a trend comes down to how well it is enabled, endorsed and amplified. Trend is evolution.”

Girls from council estates wear Chanel, fat desk jockeys wear North Face and middle aged mums wear Topshop – people wear brands and trends to help them become something they’re not

“ “Trend is a constant cycle of design and inspiration: every new season, trends feed the creativity that moves fashion forward in different ways

“ “

FERRAGAMO MENSWEAR AW12/13

[For Those who Function by Season]

37

ISABEL MARANT ADVERTISES HERE [£47,800]

ANDREW DARGUE

(CHEF VANILLA BLACK)

I LIKE THE WAY TYPEWRITERS ARE UNASSUMING BUT CONTRIBUTE SO MUCH; THEY ARE SO INTRICATE ON THE INSIDE WITH LOTS OF PULLIES AND WHEELS. THEY RULE OVER ALL OTHER STATIONERY AND

EQUIPMENT.

CARMEN HAID

(ATELIER MAYER VINTAGE)

A TREE IS ALWAYS GROWING; IT’S ALWAYS BRANCHING OUT. THERE IS A WONDERFUL ASPECT OF RENEWAL AND CONTINUATION IN A TREE. : IT BRINGS SOMETHING

DIFFERENT TO EVERY SEASON.

PHILLIP HODSON

(PSYCHOTHERAPIST & JOURNALIST)

NOTHING IS AS BEAUTIFULLY CRAFTED AS A HANDBUILT GLIDER. IT IS GRACEFUL, UNPOLLUTING AND HAS ELEGANT STYLE. IT SOARS AND SEES THINGS I CAN’T SEE. A GLIDER IS A WONDERFUL BLEND OF FORM

AND FUNCTION.

BE AN OBJECT, ANY OBJECT?

40

MELANIE CRETE

(DIGITAL MARKETING MANAGER DAZED GROUP)

I HAVE A CRYSTAL THAT I KEEP IN MY ROOM: IT IS A RELFECTION OF MY IMAGINATION. CRYSTALS ARE BRIGHT, OPTIMISTIC AND PEACEFUL.. THERE IS A GREAT SENSE OF PURITY IN A CRYSTAL; IT CAN SEE WHATEVER

YOU SEE.

JULIAN OKINES

(VELOUR MAGAZINE ONLINE EDITOR)

A CONE IS ESSENTIALLY A CIRCLE THAT FOCUSES INTO A POINT AND THAT’S HOW I FEEL I AM: OPEN TO EVERYTHING BUT ONCE I HAVE A DIRECTION I GO WITH IT FOR A

SINGULAR DETERMINATION.

NIK THAKKAR

(KARLISMYUNCLE.COM, JOURNALIST)

I AM AN IPAD: BEAUTY COUPLED WITH INTELLIGENCE. AN IPAD FOR ME IS A BLANK SLATE OF CREATIVITY AND LOOKS AMAZING

IN HIGH DEFINITION.

We asked a selection of industry professionals to detail which object

they would must like to be and why. The results are insightful.

Welcome inside the minds of creatives, recognised by MANYTHING as the

best in their field.

[MY INITIAL INSTICT WAS TO SAY TAYLOR LAUTNERS UNDERPANTS?]

Illustrations by Catherine Pape [CatherineNoel@hotmail.co.uk]

41

he Italian art movement of the 1960’s − dubbed ‘Arte Povera’ by Italian art critic and curator Ger-mano Celant in 1967 − has since been recognised worldwide as the most significant and influential

avant-garde movement to emerge from Europe in the 1960’s. Consisting of around 17 key artists, each sought to challenge the modernist, Ameri-can minimalist themes instigated by Donald Judd, Carl Andre and Robert Morris amongst others from the decade, by exploiting everyday, com-monplace materials.

The ripple of cultural, urban activity throughout Turin and neighboring Italian cities after the sec-ond world war provided the Povera artists with a platform of experimentation: ‘art made with-out restraints’ as is quoted by an online refer-ence source.

Dr. Rosemary O’Neill is Professor of art history and theory at Parsons New School for Design in New York: “The essay by Germano Celant pub-lished in Flash Art magazine in November 1967 (Arte Povera, notes for a ‘Guerilla War’) situated Arte Povera as a social practice within the radi-cal upheavals of the period,” says Rosemary.

“The works by Boetti, Merz, Kounellis, Penone and others aimed to take possession of the ‘real’ and raised questions about the meanings of hu-man life and one’s relationship with nature, or-ganic and technological.”

Studying the work of the Povera artists is in-tensely ambiguous: the messages contained within each artist’s work, becomes particularly apparent as each individual’s motive is explained. Aspects of travel, disorder and time are crucial facets of the work.

Today, collective works can be viewed across the world: London’s Tate Modern and New York’s MoMa gallery both feature permanent works. The Tate Modern is currently displaying the work of Alighiero Boetti – a pivotal innovator from the

movement – in an exhibition entitled ‘Game Plan’.

Mark Godfrey is the Tate’s exhibition curator: “Boetti explored new ideas concerning time wastage and efficiency, using geopolitics and crafts as inspiration,” says Mark for the Tate Online.

Wandering the exhibition, such elements are clear. In the centre of the room stands a small desk lamp in a box: first devised in 1967, the lamp switches on for only 11 seconds a year. Those that see it are the lucky few, as it cannot be predicted when the lamp will illuminate.

“Alighiero Boetti’s yearly lamp is really exciting,” says Professor Simon Faithfull, a lecturer at Lon-don’s Slade art school. “It’s something viewed from a different time frame that relies on a cer-tain amount of trust between the viewer and the maker.”

Boetti’s experimentation with stamps and the postal system (1969) and biro pens on canvas (1974) provides additional validation of the eve-ryday materials and processes used throughout, and subsequent, to the movement.

As a collective, the Povera artist’s work is intrigu-ing and interpretable; Mario Merz provides fur-ther construed work with his igloo structures.“I have always found Mario Merz’s igloos and assemblages with clothing and neon fascinating because they address human needs for shelter and clothing in the context of social messages,” says Dr. O’Neill. “The advertising medium of neon with its humming sound provides a sense of living existence.”

Merz was born in Milan in 1925 and began ex-ploring the relationship between art and nature via objects in 1966, creating sculptures with fruits, aluminum, beeswax and umbrellas. Merz juxtaposed organic with the artificial, opaque with the transparent and heavy with the light: a lucid comparison of the basic everyday.

It is his igloo sculptures and prominent installations that have earned Merz recognition: an artful acknowledgement of the fundamental needs for existence via metaphorical shapes and structures. The purity of pre-industrial societies and the evolving nomadic man were two con-cerns questioned and raised by the igloos.

“Mario Merz is a prime influence of the Povera time,” says Professor Faithfull. “Even as a boy I was amazed and unnerved by his igloo sculp-tures - the use of an abstract conceptual lan-guage like the Fibonacci sequence combined with the sharp physicality of them as sculptures was really exciting.”

The interesting feature of the Povera works is their significance today; each piece is still relevant and interpretable. Joseph Kosurth is testament to this. His work explores how ‘language pos-sesses meaning only in relationship to itself ’. Al-though sounding complex, Kosurth details the language and meaning within art by analysing an object (the visual), a definition (a verbal) and a photographed image of the object (a code in the language of objects).

His ‘One of Three’ series (1965) interrogates a wooden chair, a saw and a shovel to name a few, by mounting image and text on the wall to juxta-pose the real. Kosurth’s work is an indepth analy-sis of the everyday by questioning the purpose and feeling towards items in our lives, whilst his thinking is applicable to the study and analysis of almost anything.

“The group emphasized the tensions between social systems and human relationship with the environment,” says Dr. O’Neill. “They addressed ways in which humans, technology, and nature intersect.”

The Povera movement is a pensive one, enjoying discrete greatness: a solid collection of intuitive work, exploring items, forms and materials from the everyday. It is from exhibitions such as Boetti at the Tate Modern that we begin to realise the relevance and substance of the movement.

Kosurth details thelanguage and meaning

within art by analysing an object, a definition, and

a photographed image of the object

“ “ Arte Povera is recognised worldwide as the most significant and influen-tial avant-garde movement to emerge from Europe in the

1960’s

“ “

42

T

ARTE POVERAThe Italian Art Movement,Made Without Restraints

Joseph Kosuth ; One and Three Chairs (1965) Image Courtesy of Joseph Kosuth

44

It is a human’s prerogative to forge opinion on something based on first impressions: the ‘don’t judge a book by its cover’ response. In the case of Kiosk – an odds and ends exhibitionist store, based in New York’s SoHo district – first impressions are indifferent. Unless a customer knows the store by concept or location, it is easily bypassed thanks to the door set back from the curb and the lack of glass shop front.

Entering the door in the wall is like entering a brothel: a steep set of stairs awaits you with seedy red lighting and graffiti running up the walls. For those who do not know what Kiosk is about, it’s concept here is easily misinterpreted.

“Kiosk is about the everyday, basic objects that serve a purpose and are frank about their role and meaning,” says Alisa Grifo, a former set and graphics designer, now Kiosk’s owner and innovator. First es-tablished by Grifo and her husband Marco Ter-Haar Romery in 2005, Kiosk has snowballed success, holding six-month exhibitions of select objects, ac-cumulated from the pair’s travels.

Housed in what can only be described as a small warehouse, the shop is situated at the top of the stairs to the right, and is compact in size. Objects are displayed on shelves, on the floor and in glass cabinets and are seemingly incoherent, each bearing no resemblance to each other whatsoever. There is a Japanese sesame grinder, a Swedish mushroom knife made of reindeer horn and multicoloured, wire brushes to name three of the articles in store.

“Luxury is boring,” says Grifo. “Luxury is for people who have too much money. It lacks sincerity, it’s nonsense.”

Objects are sourced from DIY shops, similar kiosks and markets worldwide, helping to enable a ‘quiet

simplicity’ within store. Prices can be steep for what often seems like a basic amenity, however the ran-dom hoarding and KIOSK recommendation brings an endearing and fresh perspective to each item. Customers are able to take their time, stop and look at objects they would normally bypass on a day-to-day basis.

Each item is partnered with a small descriptive label, detailing either the objects source or explain-ing what that item does. Product can be very odd and so justification is useful. Funnily enough, Grifo actually prefers the more ordinary things in life: “Everybody should own a good pen in my opinion,” she says. “Have you ever heard that expression, the pen is mightier than the sword?”

Sourced from one country at a time, Kiosk ‘gives attention to anonymous objects’, as an encourage-ment to appreciate the items around us and get people talking. “The objects we exhibit and sell in store are ones we find and feel have value, things we believe in,” Grifo adds.

At present, the store is showing their 18th exhibi-tion, ‘America 4’: a vast collection of mainly hand-made goods sourced from Vermont. Items include small, knitted, children’s boots and a leather log car-rier, designed in collaboration with Steele Canvas Basket Cooperation. The bag is very practical, but for the price, one may prefer to individually carry their logs from forest to fire.

“We are not certain where our next stop will be worldwide,” Grifo says. Such is part of Kiosk’s al-lure, as customers are never sure what will come into store and for how long each item will be available.“Be curious! Talk to people!” Grifo remarks.

“Go out, do things and look! It’s the only way to find extraordinary objects.”

A STUDY OF MATERIAL CULTURE

Luxury is boring. Luxury is for people who have too much money. It

lacks sincerity, it’s nonsense.

“ “

A KIOSK’S TRAVEL STORY, AS DEPICTED THROUGH OBJECTS.

Image Courtesy of Kiosk

Original image courtesy of Alexander Wang

WANG’s 8

OBJECTs

lexander Wang is very much the king of wearable, Manhattan chic. Popular with young, sexy women and street style enthusiasts alike, it comes as a surprise that he has extended the brand and

announced production of an ‘8 objects’ collection.

Making steps from fashion to utilitarian product is a brave and confident move, especially for Wang: a young designer who has only dabbled in fashion, accessories and shoes until now. Having finally clambered up the womenswear stakes at New York Fashion Week, the objects collection could potentially jeopardise this triumph.

The range is an earnest display of personal items curated to fit into our everyday lives; for a designer that typically targets a young, fashionable, female market, it poses question as to who this collection is targeted at and why it has been released now. sold online and via Wang’s New York flagship store only, there is an element of exclusivity, and yet each object is seemingly designed to be representative of the everyday.

The Objects collection itself includes: an ashtray; a bike lock; drink coasters and a lighter case amongst others, made from cast-smoke glass; blackened steel and embossed leather in a crocodile finish. The featured items appear random, yet have been diligently chosen by Wang and as a complete range, are indicative of a plush, lifestyle ideal: an opposing ideal to Wang’s typically ‘slouched’ aesthetic.

Although the collection initially appeals due to the refined marketing and quality materials used, it is a harsh collection, designed all in black and only really suitable for male custom; such is not typically in-keeping with the brand’s feminine-luxe appeal. The objects themselves are bland and conventional: the range shows little innovation (if indeed there can be any) and it is questionable why Wang’s customers would want to replace their affordable everyday, with slightly pretentious product.

Having said that, the last six months have been nothing but a prevalent success story for Wang. Following the triumph of his casual line: T by Alexander Wang, the designer branched out with a menswear collection for autumn winter 2011

and 2012/13, under the same ‘T’ umbrella. sport-induced, ready-to-wear capsule collections for spring 2012 and winter 2012 followed and by February of this year, Wang had been awarded Best New Menswear Designer of the Year by GQ magazine.

Perhaps this has prompted Wang’s desire to delve headfirst into up market, male-orientated accessories?

“For me, when it comes to menswear, it comes down to uniform,” Wang recently commented to Matthew schneier at style.com, on his ss12 RTW collection. “I really wanted to revisit the classics; it wasn’t about reinventing the wheel and testing them. You’re attracted to it because it’s something that you recognise.”

This archetypal intent can be seen throughout the Objects collection: no piece is out of the norm. Each is a charming adaption of its standard original and fully functional yet one almost doesn’t want to use them, incase the leather is marked or scratched. This is a major drawback of the collection, as what was intended for the everyday, instantly becomes not so everyday.

Wang’s movements mimic that of Tom Ford: a fashion designer who has developed a sought-after career and persona through experimentation of film, beauty, perfume and accessories. When studying Wang’s Objects collection – the sharp conformist shapes and the strict presentation – one is indeed reminded of Tom Ford’s film rendition of ‘A Single Man’ (2009) and the character’s finicky temperament. Each of Wang’s singular items would fit comfortably within the film’s stylish aesthetic.

Nevertheless, it would seem Wang is trying to create a luxury bubble within and around his brand: customers are able to buy into a lifestyle that doesn’t just include fashion anymore. His design success has suddenly galloped ahead – what with the recent menswear awards and objects collection – however perhaps Wang is trying to get ahead too soon?

It takes time to develop a diverse, superior brand (Tom Ford exemplifies this) and although an objects collection is a fetching idea, it bodes nothing for Wang’s original and loyal, female customer.

Varsity Jackets to Utilitarian Design in the Blink of a Season

47

A

Much research has gone into the psychology of colour and image perception and numerous theories have been produced.

Colour analysis has more generic associations, especially in business branding or interior design, for creating the appropriate chosen environment.

In early psychology, the infamous inkblot test, also called the ‘Rorschach’ test was used in analysis to determine personality characteristics and emotional functionality, or indeed, disfunctionality. It was thought that analysing what the patient thought they saw in the shapes presented gave a more accurate account of any psychotic thinking in the patient than they would admit to or express conversationally.

In the case of image one, blue evokes a feeling of distance and is symbolic of the Virgin Mary. It summons the idea of relationship with its oppos-ing shapes: darker shades of blue are symbolic of truth and friendship. The shapes within this im-age almost fit together like puzzle pieces: a sign of connectivity.

Those who are interested in alternative thera-pies or crystallography may instantly see a like-ness in image two to a cross section of a crystal which may cause a positive response of interest whereas those who have not had any exposure to crystals may not see this at all.

In direct contrast, a person who has a health scare, due to the colour association, may perceive the analysis of blood cells which, in thi example could cause a negative response.

Yellow represents energy, joy and youth,

with white considered to represent purity and virtue

1 2

A substantial element of MANYTHINGexamines human behavioural patterns.

Michelle Seymour is a psychologist and therapist based in London. She analyses the following five images for MANYTHING, detailing what can be read from the colours, shapes and patterns.

Each image shows the stained remains of different herbal tea bags, dipped in water, and layed on a paper surface.

Not bad for tea leaves and a mug of hot water.

“ “Dr. Stuart’s Valarian Tea [£1.95] Sainsburys Infusion Blackcurrant Tea [£1.49]

HERBAL TALK

Photography and Composition: Rebecca Emily stevensText Contribution: Michelle seymour.

48

3 4 5

Clipper Green Tea with Lemon [£2.38] Twinings Fresh and Fruity Strawberry and Mango Tea [£1.19] Clipper Zen Again Tea [£1.99]

Image three may evoke a more joyful, purer re-sponse if one were to regard the more widely accepted colour analysis, as yellow is considered to represent energy, joy and youth. White is considered to represent purity and virtue. The delicacy of the image may also evoke a calmer response. It is worth considering that, especially for the post-war, older generation, yellow and white also symbolise cowardice.

Widely recognised associations to the colour red are: passion, love, anger, vigour, strengthand confidence. With these associations, images four and five could be expected to be perceived as the stronger, more powerful and emotive im-ages. An individual who considers themselves to be a strong, successful person may have a highly positive response to images one and two, whereas someone who considers themselves to be oppressed by authoritarians who they feel inferior to may well have the adverse response. The ‘stimulus response’ studies and theories initi-ated by William Twitmeyer in 1902 and acceler-ated by Ivan Pavlov (Pavlov’s Dogs), have proved popular in psychology, demonstrating a power of association that we have intrinsically linked at a neurological level.

Colour analysis in particular shows that superior interpretation comes from exploring a specific response to a stimulus, which in this example is the above images. Much can be taken from personal response to colour or a shape.

With thanks to Michelle Seymour.

49

For the older generation, post war,

yellow and white symbolises cowardice

“ “

IRIs VAN HERPEN

he haute couture shows each season continue to be immensely detailed and acutely unique. First developed by Charles Frederick Worth in Paris in the 1850’s, haute couture is still fashioned for

the elite and today remains a fairly private and confidential service. Fashion houses and design-ers alike continuously explore unorthodox methods of design and production, working in innovative ways to persistently deliver tailored and personal attire.

Iris Van Herpen is no exception to this rule. Her method of design is highly unusual and she strives to work with atypical materials and textures. some of her recent collections feature 3D print design and the reenactment of splashing water.

Having graduated from the ArtEZ Institute of the Arts in Arnhem, Netherlands in 2006, Iris learnt from the best early on, assisting Alex-ander McQueen amongst others until 2007. When observing her collection, the McQueen innovation is clear : pieces are not entirely practical and seek the imagination. For this reason Van Herpen’s clothes are best suited to eveningwear or grand events.

“People who work for major designers tell me they don’t have time to develop new tech-niques,” Iris recently commented to Dutch Pro-files online. ”I don’t like creating a new image based on an old one.”

For spring summer 2012, Iris’s collection is mind-bogglingly complex. The collection is inspired by nature: the examination of micro-scopic organisms through communicative prints and structures, revealing an undisclosed world

only visible through a microscope. Originally inspired by Steve Gschmeissner −a photog-rapher that works to explore micro-diversity − Iris seeks to interpret new forms of bacteria and organisms associated with the real world.

“For me fashion is an expression of art that is very closely related to myself and to my body. I see it as my expression of identity combined with desire, mood and cultural setting,” Iris recently reported to NowFashion online.

The collection is not only a thorough ex-perimentation of print and 3D design, but also material. Radical components of synthetic boat rigging, whale bone from children’s umbrel-las and plexiglass help aid self-expression and assist with the revolutionary narrative: a further indication of the collections impracticality. “I really tried through this collection to let the handiwork and technical work come together via hand sewing and machine work,” Iris said to L’Official Paris after her spring summer 2012 show.

The collection is an avid display of structural dresses, skirts, trousers and capes; each a state-ment piece in their own right yet each not overly wearable. Whilst the collection mainly features pearl and neutral shades, there is a random injection of metallic throughout; navy metallic dresses and trousers reflect the light

in a way that’s reminiscent of fierce lightening bolts in the night sky. The sashay movement of the models’ walk flickers the light reflection on the garments, triggering a spasmed, movement effect.

“I really tried with this collection to have it a bit crawling… a bit animal,” Iris commented to L’Official Paris.

sold in sien Boutique in Antwerp and with shoe collaborations available across all fashion capitals, Iris is slowly building the accolade she deserves, targeting an affluent, self-assured female customer. As wearability becomes evermore evident within couture, Iris rejects the ‘pretty’ and practical aesthetic shown at other presentations, choosing to design for a younger, slender clientele, with want for avant-garde fashion. Her design process drives fashion boundaries and is thronged with imagination, skill and workmanship.

“I work hard to translate everyday things into my collections,” Iris remarked to Dutch Profiles online. In this example it is the inspiration that references the everyday, rather than the feasibility of the clothes.

“When you see a model walk, the clothes should just come alive.”

I really tried with this collection to have it a bit

crawling… a bit animal“ “

Haute Couture Inspired by...Bacteria

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We are more passionate about going back to the real meaning of luxury and offer fine living objects

aris continues to uphold it’s prevalent reputation as a luxury fashion capital. Follow-ing the success, extravagance and splendour of Paris Fashion Week for AW12/13, the

popular Louis Vuitton/Marc Jacobs exhibition − held at the Musée Les Arts Décoratifs until September 16th − and the Helmut Newton display at the Grande Palais until June 17th, the city epitomizes fashion prosperity.

Over the last 165 years, Paris has maintained a thriving leather goods industry. Aside from the global French powerhouses that typically dominate the international market, traditional fine leather and trunk specialist: Moynat prevails.

Founded in 1849 by female entrepreneur Pauline Moynat and professional trunk mak-ers Octavie and Francois Coulembier, the customary brand was established before market-leader Louis Vuitton (1854) and was the first luggage company to consider the ‘new traveller’ of the late 19th century.

Today the brand acquires a singular shop on illustrious street, Rue Saint-Honoré: a stones-throw from the Louvre.

Moynat was bought and re-launched by LVMH chairman Bernard Arnault in De-cember 2011, following the company’s clo-sure in 1976, after 35 years of competitive overshadow from rival brands. Rekindling the company has encouraged new custom: prices are steep yet the uncharted business offers smart arm-candy for male and female professionals of all ages.

French interior designer, Gwenaël Nicolas de-signed the contemporary new store: “The bou-tique is designed to be an écrin to present the products,” said Nicolas in a recent online inter-view. “To design a boutique, you have to place yourself outside the brand and create a process of discovery and consider how you can create a new identity that will be relevant for modern consumers.”

The store is grand and conjures an art-deco am-bience, created in part by the all glass ceiling and trademark ‘havane’ colour palette used through-out. The warm brown and mustard shades fea-ture on Moynat’s packaging, shop front and inte-riors. A selection of the original, bespoke trunks stand on display in a central glass column that reaches to the ceiling: a fond reminder of the company’s history from the past 163 years.

“My work is usually very modern and concep-tual so it was a real challenge to start with some-thing that already existed,” says Nicolas. “It was very important to perceive it as a modern brand rooted in the past,” he added.

Moynat boasts an elite creative team: Ramesh Nair −previous Hermès senior designer − is now the brand’s creative director. “The seeds of all my ideas for products exist already within the Moynat DNA,” Nair explains. “I use my un-derstanding of design and workmanship to coax these seeds to life and the objects into reality.”

The men’s and women’s handbags ooze opu-lence, designed in calfskin, crocodile and taurillon clemence leather. Every bag is a refined state-ment for the arm, each not too heavy yet each an economical commitment: an important con-sideration for customers.

When people tell us they love a bag and it took 10 hours for an artisan to craft it, it’s very satisfying“ “

“We are more passionate about going back to the real meaning of luxury and offer fine living objects which will get known for their quality, endurance, discreet elegance and their innovative design more than bowing to the trends of the day,” says Guillaume Davin at Moynat. “When people tell us they love a bag and it took us one year to develop and 10 hours for an artisan to craft it, it’s very satisfying,” he added.

Our favourite is the Paradis 24H men’s structured travel bag (€5,500) measuring a sizeable 50cm and made from satin calfskin leather with initial jacquard lining. The de-sign is effortlessly cool, structured in a boxy 1950’s shape and is best carried by the han-dle in one hand and not on the arm, due to the size and weight of the bag.

Although designed as part of the menswear collection, the bag is a timeless, unisex piece: a sophisticated accessory for any smart, work wear ensemble. “We have created an emotion!” says Guillaume. “We simply enjoy creating contemporary objects, made with exceptionally fine craftsmanship.”

The Paradis 24H opens flat like a suitcase and is available in 3 sizes (evening, city and travel). First impressions of the trio prompts want for the largest bag, however thanks to the dapper design, size does not equal supe-riority in this case. Moynat’s timeless, Paradis piece summons suavity and professionalism whatever the size, even with only a pack of cigarettes rattling away in the bottom.

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M OY N ATLeather Lust

Original image courtesy of Moynat

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635 GRAMs

1 X A sINGLE METAL BULLETA BOX OF 24 FREE RANGE EGGs

1 X BELLs WHIsKY BOTTLEA PAIR OF HIGH-TOP CONVERsE

[Oxford Music Dictionary]

635g = 22.398966 ouncesIllustration by Catherine Pape

BURBERRY ADVERTIsEs HERE [£20,000]

he button has long been a favoured, decorative feature in fashion for both men and women, with the pearl button adding exclusivity and desirability to garments for both.

John F. Boepple originally founded the first freshwater pearl button factory in Iowa, United states in 1891 following a craftsman upbringing with horn and shell button products. Both products were popular imports of the United states of America throughout the 19th century. Originally sourced from the Mississippi river and similar freshwater rivers, Boepple’s pearl button business popularised, enhancing the allure of local, natural product.

It was in 1900 that the first pearl was culturally grown: Kokichi Mikimoto was a Japanese noodle boy who began raising oysters in 1888 from his father’s restaurant. Using a technique issued from England and grown in saltwater, Mikimoto nurtured a batch of akoya pearls, later founding the modern cultured pearl industry.

Paradoxically today, the Japanese and Chinese are renowned for their freshwater pearl lakes and rivers; the process of ‘pearling’ is still considered a much delicate art form for those who appreciate its history.

Today the global trade has returned to the sea with companies and bespoke tailors alike relying on pearl farming from the southern Hemisphere as production for embellished clothing.

At present, the pearl industry is valued at a staggering $120m with farms dotted across China and Japan and over 185 square nautical miles distributed across Western Australia: the largest pearl producer in the world. The pearl culture here is recognised as among the most environmentally friendly, however with an increased demand for pearls (and a 24-48 month farming time) concerns have been raised for the resources and sustainability.

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Saville Row tailors today source the finest mother of pearl buttons for their bespoke shirts and suits, working with the same care and precision as always: each singular pearl button is a discrete, luxury offering that reflects the workmanship of each brand.

“All of our shirts are finished with pearl buttons. They’re important as they finish off the quality of our shirts,” says Peter smith of Huntsman tailors. “Pearl buttons look elegant. Customers look for this key detail as it is synonymous with Huntsman, the service we provide and our luxury appeal.”

“We love to use the pearl button simply for its unique character,” commented Dominic sebag-Montefiore, head tailor at Edward Sexton. “The pearl offers a quality that synthetic buttons cannot. We source our pearls from Australia, however over the last year we have had great concern for pearl farming and its supplies.”

Produced by a multitude of mollusk species, the pearl has incredible durability: it is 3,000 times more fracture resistant than the mineral from (aragonite) from which it is made. A silky organic substance is released by the mollusk during production, ensuring the pearl stays strong and flexible. Each nacre is unique however (similar to snowflakes) and so the final material is brittle; the natural quality has a tendency to break once made into a button.

“There is a wonderful tactile engagement when you wear a bespoke shirt finished with pearl buttons,” says Dominic. “The downfall is that they snap very easily if forced through the button hole.”

Oysters clean their surrounding waters 24/7 and the final quality of a pearl very much depends on

the quality of the environment it is produced in.Farmed miles from populated or tourist areas and highly reliant on active tides, the holding tanks float on the surface for up to two years as the pearls develop.

“The advantage of using a real pearl button is its unique, iridescent quality; there is a great softness and luxury associated with the colour and shine,” says Dominic. “A white button is too harsh and a blue button just looks cheap. Pearl is a perfect compliment to our blue and pink striped shirts.”

social and charitable group the Pearly Kings and Queens of East London have no worry about pearl button supply: for them, dressing head to toe in the ornament is daily routine. “I am so proud of my buttons,” says Pearly Queen Margaret Hemsley. “Old pearl buttons are thicker and stronger; most are gifted to me from the public. I use the pearl buttons on my suits and often get people coming up to me in the street.”

Inspired by the market traders and ‘Costermongers’ of somers Town, London in 1875, road sweeper Henry Croft began the tradition of donning himself in pearls in aid of charity and the less fortunate. Recognised today as the 30 ‘pearly families’, members dress in smother suits: each suit features thousands of hand-sewn pearl buttons, weighing up to 30kg. The tradition is still that the gentleman or husband of the family designs his own patterns and hand sews on each button.

“I source most of my pearl buttons from Ebay which get sourced from all over the world,” says Clive Bennett, the pearly King of Woolwich. “I have buttons from America, France, China and of course from all over the UK. The mother-of-pearl mostly comes from China: each button is a symbol of romanticism, tradition, art and personal fun,” Clive added.

Luxury fashion house Chanel also celebrated the pearl button for its spring summer 2012 collection. Karl Lagerfeld’s underwater theme featured chunky pearl buttons on jackets and skirts, whilst whole pearls made up belts, hair accessories, heels and facial piercings.

“Look at the shapes of the sea: they are very beautiful and modern and everything is inspired

by that,” Lagerfeld recently commented to Prêt-a-Porter. “The ground of the sea is so much cleaner than the ground of the land. I bought the pearls back as I wanted to change the typical Chanel thing of the braid and the logo,” Karl added. Australia sees that the pearls are tentatively produced; without this setup, many pearl producing oysters would be extinct. As the pearl buttons’ fragility and profitability increases, the sustainability of its supplies becomes ever more prominent. Harvested only twice a year - in June and september - the pearl remains a pivotal component for any luxury brand.

“The beauty is that a pearl button will reflect the colour of any shirt at all given moments,” says Dominic.

Whoever knew this unsung detail would enlist such protection, consideration and merit?

There is a wonderful tactile engagement when

you wear a bespoke shirt finished with

pearl buttons

?WHAT Is TO BECOME OF THE PEARL BUTTON

“ “

The beauty is that a pearl button will reflect the colour

of any shirt at all given moments

“ “Sustainability Concerns are Raised for Fashion’s Purest Accessory

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A TRUMPER COMB

here aren’t many items − in fashion, interiors or lifestyle − that have surpassed generations and still inhabit the same ripe old design. Be it the simplistic and traditional composition the combs basic

practicality has stayed much the same, however it remains a sought-after, classic implement, changing only through material, finish and size.

The comb remains as prominent and useful now as it did 1000 years ago; perhaps the only change being its popularity with both men and women in the last century and the material progression of bone or metal into plastic.

Having surpassed reputation for being the empirical object found on grandparents’ and parents’ dressing tables alike, the comb is now an essential beauty tool, found backstage at countless high-fashion shows. As seen in the Gieves and Hawkes AW12 menswear presentation, hair was slicked and combed tightly to the side: a classic depiction of the upper-class gentleman. Elsewhere at Vanessa Bruno, model’s hair was backcombed and tied in an incomprehensible frizz: a messy yet seemingly effortless style, only achievable with skill and a comb.

On a day-to-day basis, one may choose to permanently store the comb in their bag, ready for immediate use and bouffant touch-ups, and for others it is merely a showpiece: the solid body collects dust on the side as an object that should be visually enjoyed and not touched.

It is uncertain where this significance comes from: on occasions, the comb has been handed down through generations as an object of personal worth and is reluctantly used in fear of breaking. In similar cases, its lightweight, dainty quality is too likable to be used.

Although typically made of plastic, the comb possesses a fragility that other beauty items do not: the larger gradients of teeth are easily snapped, ruining the symmetrical, balanced design. It has a great sense of character : the alignment and space between teeth is always scrupulously exact and yet the comb’s slightly odd composition is playful, humorous and carefree. Moreover it is satisfying to run one’s fingers along the jagged teeth and feel the smooth plastic in your hands.

Geo. F. Trumper has tendered combs, shaving brushes, soaps and talcum powder for 137 years and is identified as the finest, traditional gentlemen’s barber in London. Their long-established shop is recognised for its quality grooming products and esteemed colognes and is located on Curzon street: a minute’s walk from the Ritz hotel, London. Here your custom is pivotal: customers are seated in an original mahogany and glass cubicle and given an attentive cut or wet shave and hot towel treatment. For a small establishment, Trumper ensures impeccable service, much like the quality and strength of their product.

We recommend Trumper’s 5” real horn comb with fine and coarse grade teeth due to its convenient palm size and unisex appeal. Why the comb is solely affiliated with men it is not clear ; it is just a standard, coed beauty item after all. However, through traditional and elegant design, the comb continues to be an item of worth and possession.

Trumper’s horn comb is not only perfectly practical (the 5” sizing is small enough to slide into any jacket pocket or handbag compartment) but the discrete style is also sublimely debonair for any modern man’s dressing table.

The comb remains as prominent in

personal styling now as it did 1000 years ago

“ “The Gentleman/Woman Product

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5” Horn Comb - £10.00 Available from Trumper

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Hair was slicked and combed tightly to the side: a classic depiction of the upper-class gentleman

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MIU MIU ADVERTIsEs HERE [£47,800]

YVEs sAINT LAURENT ADVERTIsEs HERE [£47,800]

MANYTHING MAGAZINE[An Object about Objects]

With Special Thanks to: Robert De Niet,

Sara Hassan &

Catherine Pape.