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FASHION

Fashion prize turns Rookies into players

Swedish designers who fight for brand-name recognition in the notoriously hard-to-crack fashion business tell The Local's Victoria Hussey about the importance of the Swedish Rookies Award.

Fashion prize turns Rookies into players

“It made the Swedish fashion industry aware of me and my brand, what I believe in as a designer and the stories I want to tell through my shoes and bags,” says last year’s winner Louise Bramstedt.

Designer of luxury accessories brand Lobra, Bramstedt was recognized in the year-long Rookies competition for her fearlessness and “ray of sunshine” persona.

The Rookies jury, keen to promote Swedish fashion as much more than just dark, minimalist cool, expressed their delight at Bramstedt’s use of punchy colours and her festival spirit. Their prayers had been answered, they declared.

Having lived and worked in New York, Hong Kong, Italy and of course her home country Sweden, Bramstedt’s designs are influenced by an eclectic array of cultures.

The designer credits “The Italian Dolce Vita epoch” as her key inspiration and is currently working in Italy, her second home, on her next collection. She’s also pioneering a new design concept by creating bespoke shoes in Lobra’s unique mix of metropolitan glamour with Swedish craftsmanship and Italian romance.

Bramsted’s competitors last year to bring home the Rookies, awarded by the state-funded Swedish Fashion Council, included the label Stutterheim, which was much less party, more “melancholy”. What the two designers had in common was a strong brand identity that caught the jury’s eye.

“He has found a niche,” says Helena Mellström of the Swedish Fashion Council.

Designer Alexander Stutterheim took inspiration from his late grandfather’s fishing jacket and worked to transform the humble raincoat into a covetable, high-fashion item.

His creations are slick, understated – “for anyone who doesn’t want to look like a sad golfer lost in town”. The coats (and now capes, boots, and socks) are far too refined for that.

“He didn’t want to sell in sport retail channels, he wanted to be in the fashion shops,” says Mellström.

And in the fashion pages. Stutterheim is on the radar of Style.com, coveted by The New York Times and on Draper’s models – perhaps for his ingenuity, perhaps for his design or maybe because he seems like a really nice bloke.

Stutterheim welcomes new ideas from the public, has a healthy Facebook following and has recently acquired celebrity endorsement (none other than Kanye West has recently been spotted in one of his creations).

Even without the blessing of a high-status award, several up-and-coming Swedish designers are turning heads right now. Altewai Saome (Rookies 2011) and Alice Fine (Rookies 2012) will once again be showing their collections at Mercedez Benz Fashion Week this August alongside established fashion houses such Tiger of Sweden, Cheap Monday, Fillipa K, and, another Rookies success story, Dagmar.

Winner of multiple industry awards, House of Dagmar won the very first Rookies in 2005. The label now sells in nine countries as well as on slick online retailers Net-a-Porter, and can boast of the likes of British Vogue and Style.com amongst its supporters.

The distinctly elegant label is run by three sisters who credit their grandmother as the reason for the brand’s conception. Dagmar has a sense of provenance common to many of the Rookies alumni. Stutterheim, Lobra, Dagmar, they have an abundance of self-knowledge, a sense of history. Ultimately, the brands have an identity. Something the Rookies jury is eager to explore. And explore they do, because it’s an elaborate selection process.

“All of them have been called for an interview. In this way the jury see more personality behind the brand,” says Mellström. A process this year’s crop of candidate designers have just gone through, with only five going on to the next competition stage.

Among them are womenswear designers Anna Ekre and Mes Dames, men’s accessories designer c. dellstrand, Krista Kretzschmar Jewellery, and menswear designer Nor Autonom, who are all now that bit closer to being crowned Rookies winner 2013.

With 10,000 kronor ($1,500) worth of look-book printing and dedicated retail space in Stockholm’s super stylish store The Casbah up for grabs, many emerging designers feel it’s a prize worth fighting for.

The designer’s collections this season are a mix of stark, minimalist masculinity and soft, enchanting femininity – very cool, very wearable. Pieces from each designer could easily be worn with the work of the other.

The five nominees will take to the catwalk this August – the final catwalk in a year of numerous shows and exhibitions – with the ever-watchful eye of the fashion press, with trend reporters studiously taking note.

What will be as equally interesting to discover, after the winner has been announced, is how this year’s designers fare in the seasons to come.

The winner of Rookies 2013 will be awarded during Stockholm Fashion Week which runs from August 12th to 18th.

Victoria Hussey

Follow Victoria on Twitter here

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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