DIALOGUE
w/ FREDERIK FIALIN
JOHANNES NAGEL
A CAREFULLY CURATED SELECTION OF FURNITURE, OBJECTS, TEXTILES AND BOOKS, AVAILABLE FOR PURCHASE AND HIRE. CURATED BY CREATIVE DUO NADINE GÖPFERT AND TILL WIEDECK, VARIOUS OBJECTS IS THE MANIFESTATION OF THEIR SHARED PASSION FOR COLLECTING OBJECTS WITH A DISTINCT CHARACTER., HANDMADE IN GERMAN.
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BERLIN
YOUR WORK OFTEN JUXTAPOSES IMMACULATE TAILORING WITH LINGERIE-LIKE GARMENTS. WHAT IS IT THAT EXCITES YOU ABOUT THIS KIND OF VISUAL AND STRUCTURAL CONFLICT?
THE JUXTAPOSITION STEMS FROM MY PERSONAL CHOICE TO NEVER STEER TOWARDS GARMENTS THAT ARE EXTREME VERSIONS OF FEMININE OR MASCULINE. I LIKE TO SPEND A LOT OF TIME IN MY DESIGN AND STYLING WORK TO CREATE BALANCE; SIMPLE VERSUS COMPLICATED DETAILS ON A CERTAIN PIECE, OR HARD AND SOFT FABRICS. I LIKE THAT OFFSET.
ABOUT TAILORING AND BESPOKE FIT—WHAT OR WHO WAS IT THAT MADE YOU INTERESTED IN PURSUING THAT IN YOUR OWN DESIGNS?
THE OBVIOUS—ALEXANDER MCQUEEN. AND HUSSEIN CHALAYAN; ALL THROUGH STUDYING FASHION, I THOUGHT HE WAS A GENIUS. HE HAS A REALLY AMAZING WAY OF MAKING A GARMENT FIT, BUT HE’S ALSO SO CONCEPTUAL. WE HAVE THIS NORTH AMERICAN CULTURE OF WANTING MORE ALL THE TIME, WE WANT NEW TRENDS, WE’RE SO OBSESSED WITH SHOPPING. AND THAT WASN’T REALLY THE CULTURE WHEN I WAS [STUDYING] IN LONDON. THERE WAS SAVILE ROW, YOU KNOW? PEOPLE WERE STILL GETTING SUITS TAILORED. THEY HAVE THIS HISTORY OF VIVIENNE WESTWOOD EXISTING IN THAT WORLD, WITH AN EXTREME PUNK ROCK STYLE. SHE WANTED TO GO AGAINST THE GRAIN, BUT WAS STILL SO OBSESSED WITH THE STRUCTURE AND THE TAILORING.
WHAT DID YOU LEARN FROM WORKING WITH YANG LI?
THE FIT OF CLOTHES WAS SO IMPORTANT TO HIM. WE SPENT SO LONG IN FITTINGS, TRYING TO MAKE EVERYTHING PERFECT. THAT WAS REALLY EXCITING, BECAUSE I GOT TO SEE HOW TO ACHIEVE A REALLY NICE COLLECTION USING TRADITIONAL METHODS OF TAILORING. I WENT ABOVE AND BEYOND TO TRY TO FIND THE PEOPLE WHO COULD HELP ME, INCLUDING A 70-YEAR-OLD WOMAN JUST OUTSIDE TORONTO NAMED ULLA. SHE SPENT YEARS WORKING ON COUTURE DESIGNS FOR VERY RICH WOMEN WHO ONLY WANTED THEIR GARMENTS TO BE HAND-SEWN. SHE TAUGHT ME HOW TO TWEAK EVERYTHING TO, LIKE, A SIXTEENTH OF AN INCH—THE SMALL, MINOR DETAILS THAT MAKE SOMETHING SO MUCH MUCH BETTER. IT FITS BETTER, IT LOOKS BETTER, IT HANGS BETTER.
YOUR WORK OFTEN JUXTAPOSES IMMACULATE TAILORING WITH LINGERIE-LIKE GARMENTS. WHAT IS IT THAT EXCITES YOU ABOUT THIS KIND OF VISUAL AND STRUCTURAL CONFLICT?
THE JUXTAPOSITION STEMS FROM MY PERSONAL CHOICE TO NEVER STEER TOWARDS GARMENTS THAT ARE EXTREME VERSIONS OF FEMININE OR MASCULINE. I LIKE TO SPEND A LOT OF TIME IN MY DESIGN AND STYLING WORK TO CREATE BALANCE; SIMPLE VERSUS COMPLICATED DETAILS ON A CERTAIN PIECE, OR HARD AND SOFT FABRICS. I LIKE THAT OFFSET.
ABOUT TAILORING AND BESPOKE FIT—WHAT OR WHO WAS IT THAT MADE YOU INTERESTED IN PURSUING THAT IN YOUR OWN DESIGNS?
THE OBVIOUS—ALEXANDER MCQUEEN. AND HUSSEIN CHALAYAN; ALL THROUGH STUDYING FASHION, I THOUGHT HE WAS A GENIUS. HE HAS A REALLY AMAZING WAY OF MAKING A GARMENT FIT, BUT HE’S ALSO SO CONCEPTUAL. WE HAVE THIS NORTH AMERICAN CULTURE OF WANTING MORE ALL THE TIME, WE WANT NEW TRENDS, WE’RE SO OBSESSED WITH SHOPPING. AND THAT WASN’T REALLY THE CULTURE WHEN I WAS [STUDYING] IN LONDON. THERE WAS SAVILE ROW, YOU KNOW? PEOPLE WERE STILL GETTING SUITS TAILORED. THEY HAVE THIS HISTORY OF VIVIENNE WESTWOOD EXISTING IN THAT WORLD, WITH AN EXTREME PUNK ROCK STYLE. SHE WANTED TO GO AGAINST THE GRAIN, BUT WAS STILL SO OBSESSED WITH THE STRUCTURE AND THE TAILORING.
WHAT DID YOU LEARN FROM WORKING WITH YANG LI?
THE FIT OF CLOTHES WAS SO IMPORTANT TO HIM. WE SPENT SO LONG IN FITTINGS, TRYING TO MAKE EVERYTHING PERFECT. THAT WAS REALLY EXCITING, BECAUSE I GOT TO SEE HOW TO ACHIEVE A REALLY NICE COLLECTION USING TRADITIONAL METHODS OF TAILORING. I WENT ABOVE AND BEYOND TO TRY TO FIND THE PEOPLE WHO COULD HELP ME, INCLUDING A 70-YEAR-OLD WOMAN JUST OUTSIDE TORONTO NAMED ULLA. SHE SPENT YEARS WORKING ON COUTURE DESIGNS FOR VERY RICH WOMEN WHO ONLY WANTED THEIR GARMENTS TO BE HAND-SEWN. SHE TAUGHT ME HOW TO TWEAK EVERYTHING TO, LIKE, A SIXTEENTH OF AN INCH—THE SMALL, MINOR DETAILS THAT MAKE SOMETHING SO MUCH MUCH BETTER. IT FITS BETTER, IT LOOKS BETTER, IT HANGS BETTER.
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