For March, we give you the über cool Norwegian influencer; Celine Aagaard. To celebrate post-minimalism and that spring is right around the corner, Celine is dressed in Stella McCartney’s Spring/Summer18-collection.
Kim Grenaa, the co-editor-in-chief of DANSK Magazine and has more than 20 years of experience in fashion industry. With his creative skills, he has worked with many top models, celebs and influencers such as Julianne Moore, Giorgia Jagger, Giselle Bünchen, and many more.
Through his career he has met many unique personalities which each inspire him in his work and on a daily basis. Every month Kim collaborates with one of his muses to express his point of fashion right now, and creates this editorial for social media.
Celine is a real power woman with a strong attitude, which is one of her remarkable trademarks. Behind the big dark glasses hides a beautiful Scandinavian. After 15 years in the fashion industry, Celine has found her true and consequent style. This shines through on her Instagram where she takes you in to a monochrome and neo-minimalistic world. No matter if she takes a picture of her outfit, a chair or an airport monitor – it’s always done the Celine-way. As editor, her aesthetics and journalistic views is also transferred to her online universe www.envelope.no.
There are countless ways to wear your art – repurpose a sculpture, painting-as-t-shirt; there’s nothing we haven’t seen, really, in the line outside Holy Mountain on a Saturday night. But Calvin Klein Underwear recently released a capsule collection that allows for the same auratic vestiary experience in a much more down-to-earth manner: the American heritage brand, led by stoic Belgian Raf Simons for the last couple of seasons, has partnered with the Andy Warhol Foundation to license small stills from his epic 50-minute silent film Kiss (1963) and print them on their timeless underwear. Kiss was one of Warhol’s first ventures into cinema, shooting it in 1963 after having set up the early Factory in Downtown Manhattan; it features a series of rather nerve-wrecking 3-minute make-out sessions between the likes of Gerard Malanga, Naomi Levine, and Johnny Dodd, all Factory regulars. The collection ties in seamlessly with Simons’ larger neo-America project since arriving at the CK doorsteps a few seasons back, releasing his 2017 campaign that featured a youthful clique of models facing great modern American masterpieces. We imagine Warhol underwear as a great conversation starter for any potential bedroom visitors, but even if that feels improbable in the near future, CK’s still take the prize of best underwear out there.
Without a doubt, Carcel is one of the most interesting concepts to have been launched in the Scandinavian fashion scene in recent years: with a strong social conscious and a goal to empower incarcerated women around the world, the Danish brand offers minimalist styles from a range of sustainably sourced materials manufactured in women’s prisons for a fair wage. Founded by Veronica D’Souza and Louise Van Hauen, the brand experienced a rapid Crowdfunding campaign before initiating collaboration with a governmental prison in Peru; and after successfully launching their brand in Europe, the small team has been looking for new production partnerships around the world. Working gives female prisoners a chance to support their families and prepare for a life after incarceration – and working with top-tier textile production gives them training that would otherwise be inaccessible. And finally, last week, after much bureaucratic negotiation, could Carcel announce their new partnership with Thailand’s Ministry of Justice and the NGO Kamlangjai Project that lobby for rights for incarcerated women. This new partnership will see the production of the highest quality silk merchandise in the prison, while ensuring a 100% transparent wage system and proper technical training for workers. An incredible achievement, the first for any fashion brand in Thailand, we got on the phone with the founders to get the full story.
Ghetto fabulous at the Freemasons Hall. CSM alum Essie Buckman’s Fortie Label is evidently a sought-after fashion week rendez-vous. Guests kept on arriving. The PRs weren’t erratic at all and looked spectacular — we’re talking hair done, nails done, outfit on point. One of them said the show would start a little late. But it took 45 minutes for the lights to finally dim and for the conversations to turn into whispers and giggles. The show had started. What a start! It was worth the wait. Opening the show, a PIMP with pink hair and a gigantic fur coat walked towards the cluster of photographers flashing their lights incessantly at the end of the runway, throwing hundred dollar bills at the audience. The tone was set, it was going to look like a Sean Diddy Combs party, a Lil Waynemusic video or a night at ALive Atlanta (that’s the famous strip club where Drake once frittered away 2 million dollars).
In the world of interior decorating, few things are as enduring as Danish design. Our retro-futurist plastic chaiselongs have come and gone, our mid-century Americana bought and sold, and now, even our neat 2014 Japanese tea sets are starting to hurt our eyes. We can’t – and why should we? – escape our Nordic upbringing, our almost genetic affiliation for quality, simplicity, and timelessness. One of the biggest household names within this canon is Lyngby Porcelain, the porcelain manufacturer established as the Danish Porcelain Manufactory in 1936 in the city of Lyngby just North of Copenhagen. The manufacturer was skilled in responding to the current zeitgeist of its time, and spearheaded functionalist design with an ode to Bauhaus and industrial design – and in its time, produced many a hit within interior decorating and diningwear. 80 years later, their Lyngby Vase in particular has become a design classic, foundational in every Danish home, and increasingly, a cherished signifier of taste globally. While preserving history, Lyngby Porcelain has been keen to continuously invite for creative re-interpretations of its timeless stables, and most recently released a sensuous mini-collection of Lyngby Vases with an added running glaze along its rim, clashing its industrial demeanor with a playful, crafty finish. Needless to say, each glaze is unique and one-of-a-kind – and comes in three subdued color stories ideal for your seasonal pallet, be it fresh-cut meadow flowers or a pale winter bouquet. Best part is: we promise you’ll love these longer than any interior fad you’ve picked up on in your recent Pinterest search. Just trust us.
Burberry didn’t reach its 4% growth predicted by Bloomberg News at the end of 2017. The company saw its revenue slip by 2% instead, over the holiday period. Christopher Bailey, president and chief creative officer of the storied British brand stepped down, having failed to bring back Burberry’s appeal. Of course, looking at the bigger picture, Bailey has provided the company with growth and creative success during his 17-year tenure. The collections he created for the then-Prorsum line were at the utmost of luxury and creativity. Unfortunately, the designer hasn’t been able to restructure the label in the past few years to subsequently drive strong sales.
“Scandi Minimalism” has been a trope in fashion for well over a decade, a label that has garnered previously unmatched attention to Scandinavian fashion, boosting the industry if not at times oppressing its aesthetic potentiality. It seems that while most designers across the world works to distill their artistic vision into one of sartorial simplicity, Nordic designers are faced with the opposite challenge: to differentiate from simplicity. For both loud and quiet fashion, pure style moves beyond questions of adornment. No one knows this more than Filippa Knutsson, the Swedish powerhouse designer who established the RTW label Filippa K almost 25 years ago.
Something exciting happens the moment fashion leaves its usual system of retail system, in which a designer’s vision is produced in far-away factories and sold in mass in stores around the world. The garment has a different life and status than a work of art – at least in the past two hundred years of industrial capitalism, which very much was born through fashion consumption. But when these economic parameters are lifted from the practice of dress, it unfolds as something much more abstract, ethereal, and complex. This is clear with Women’s History Museum, the New York-bsed fashion duo who since their founding in the mid 2010s have consciously steered away from fashion’s intolerable production system. For WHM, clothing constitutes instead a realm of experience, where questions of identity, feminitity, collectivity, and adornment come together in fantastical and mysterious ways. Their work, which until now has spanned sculpture, performance, workshops, and lots of couture-level garments, invites viewers and wearers to dream and to consider fashion as a social and aesthetic experience in its own right. A recent exhibition at NY gallery Gavin Brown gathers the diverse projects of the duo for the first time, and will function as a functional pop-up store throughout the duration of the exhibition with garments available for purchase. Entitled Otma’s Body, it refers to the self-given acronym of the Grand Duchesses Olga, Tatiana, Maria and Anastasia Nikolieva, the last princesses of the Russian Empire that were executed in 1918 at the onset of the revolution. Expect a vestiary universe as eclectic and dreamy as Russian Monarchy – and bring cash.