By Sean John 45&7&-&6/( *OTJEFMPPLBUGVSEndps /&8 #-6& & 9 $ -64 *7& ("6-5*&3
4&"40/ 13&7*&8 0''63 ALL MALE by Sean John 45&7&-&6/( *OTJEFMPPLBUGVSEnDPS /&8 #-6& & 9 $ -64 *7& ("6-5*&3
4%$803,4)01 '0356503F!nc4 " #$% fu&
4"("."(";*/&Á/0Á'"--8*/5&3H6<6B6<6O>C:& The Designer's Choice ANNONCE
' H6<6B6<6O>C: The Designer's Choice
H6<6B6<6O>C: ( 6 cifXYUil :]bY
The world’s first and only champagne magazine now available!
FINE CHAMPAGNE MAGAZINE This unique magazine is filled with intriguing and American Fine Wine Magazines. The stories about the finest champagnes and the world’s most prestigious collection of wine distinctive people behind them. This new magazines speak only about the finest wine champagne magazine is brought to you by and lifestyle in an entertaining yet profes- the publishers of the European, Scandinavian sional and visually stunning way. 1
Subscribe at: www.fine-magazines.com
) H6<6B6<6O>C: $0/5&/54
'"4)*0/#3*&'4
6 cifXYUil 53&/%4 :]bY 3&410/4*#-&'63
)"65&$06563& 6c^ch^YZadd`Vii]ZXgbZYZaV XgbZ^c[Vh]^dcVWaZ[jg#
'63'03.&/±#:4&"/+0)/
*."(&0'4"("'634
4&/46"-4*/(&3
565034(&5 803,4)018*4%0.
45&7&-&6/(µ4 %";;&-*/(*/5&3*034
%*7"*/'63 The world’s first and only champagne magazine now available! /&8#-6&
FINE CHAMPAGNE MAGAZINE This unique magazine is filled with intriguing and American Fine Wine Magazines. The stories about the finest champagnes and the world’s most prestigious collection of wine distinctive people behind them. This new magazines speak only about the finest wine +&"/1"6-("6-5*&3 champagne magazine is brought to you by and lifestyle in an entertaining yet profes- 6c ZmXajh^kZ ^ciZgk^Zl l^i] V igjZ the publishers of the European, Scandinavian sional and visually stunning way. 1 bVhiZgd[i]ZÒcZhi[Vh]^dc# Subscribe at: www.fine-magazines.com
H6<6B6<6O>C: * watches + Sports instruments
Barcelona Copenhagen Courchevel Dubai Geneva London Lucerne Madrid Megeve Messina Miami Milan Moscow Novara Reggio Emilia Reus Venice Verbier Vicenza St Moritz Udine Zaragoza
+ H6<6B6<6O>C: :Y^idg"^c"8]^Z[ ?Vc:g^`8Vgahdc 4645"*/"#-& :Y^idg^Va9^gZXidg 8]VgaZh;Zggd -6963: :Y^idg GZWZXXVGZ^c`^aYZ
E]did\gVe]Zgh AZZ7gddbÒZaY AVgh In the future, it will become the responsibility of the brand owners to make 8dcig^Wjidgh sure their products meet the high demands of the new smart green consum- 8Vb^aaV6a[i]Vc ers. In their turn, the consumers will hold the brand owners responsible. HjhVccZ7Zaa Any mistakes will be punished promptly at the cash register. Social, envi- ?d]c;jZgn ronmental and ethical issues are now key business components and not only 7ZgcVYZiiZHj`aZn clever headlines in slick press releases. Through the years, Saga Furs has represented one of the true and eternal 8dkZg 8dVi^caZVi]ZgVcYHV\V;jgh Jan Erik Carlson, CEO B^c`Wn H6<6B6<6O>C: , /&84 ;GDB>8:A6C9 6h>XZaVcYÉhaZVY^c\aVYn^c[Vh]^dcVcY`c^ilZVg!HiZ^cjccH^\jgYÉh iVaZci]VhiV`Zc]ZgVgdjcYi]ZldgaYh^cXZ]ZgWZ\^cc^c\h^c &.-.#;dgh^mnZVghh]ZlVh`c^ilZVgY^gZXidgVi8Vak^c@aZ^c^c BIM. CZlNdg`VcYV[iZgi]Vih]Zldg`ZY[dgÒkZnZVghl^i]Idb;dgY ^c]^hZVgan ndjc\iVaZciZYYZh^\chijYZcih# I]ZVcc^kZghVgnXdaaZXi^dcXdciV^ch &'djiÒih[gVbZY^ci]gZZi]ZbZh/ Ajmjgn!JgWVcVcY=^e#6aai]Z e^ZXZhVgZbVYZd[igVXZVWaZHV\V #*3** -3."#*3 * (+* "#$%# &2.1%* &*- *23*$. %"( $.,&*- 24%4&+*5&++*.+31&%4&$&-324%4&+*5&++*.+31&%12. "13 "" %%*5*2* 5"1*"8*.-*"8*.-* ,.231"24%%*5*2* "3. +& ;jgh ;dm!;^ccgVXXddc!VcYB^c`! 1*&1"-,.231"24%%*5*2*24%4&+*5&++*.+31&%4&$&-3." Peruzy Stefano Ph. 4341*&1 $)&$)& 1" 1"$$.-3"-. +" 23.1*" $.-3*-4",&-3& & *+ /&1$.12./&1$. %&+"13*23*$. 1*--.5 $. *$. %"(+* &2.1% * 23*+& 1*5&+"* & 24.* '*-."*(*.1-*-.231*+/1*,./*"-.,&33&*-&5*%&-8"$.,'*-."*(*.1-*-.231*+/1*,./*"-.,&33&*-&5*%&-8 ,&-3& 24.* "-.*- +42*5" ,.-*. 4- &2&1$*8*. %*% 23*+& $.-3*-4",&-3&-"3**-4-"/"+&33&% 1*--.5"3. +& 5"1* $+42*5" *,.-*. .-%./* 23" .%&$+* +2&$ '.1,& XdbW^cZYWdaYanl^i]iZmi^aZh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l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iR -*#.-3 $"//.33*$"//.33*-*#.-3.-%"++"2*+).4&33&231&33"& star attraction on Milanese gano, calze Gallo. he skin, short,ted, body-hugging, discreet details jackets, to be ! agano, hosiery, Gallo. 2008-2009 autumn/winter 20128As soft as a powder puff, Milano fur continues to be a - Via Teocrito, 47 - Ph +39 02 252071 - fax +39 02 27000692 - [email protected] - www.bema.it us on sensuality: slightly bared catwalks. Wraps that barely touch t ed by elegant dresses coats that highlight contours and sophistica w legs caressed by mink flaunted on all occasions. Creations for the e delicacy is dressed by a Cappotto di lince. Foulard vintage Lanvin by Miss Ghinting, bijoux Sharra Pa season defy the rigours of winter and foc de all the various shades of Lynk coat. Vintage scarf, Lanvin by Miss Ghinting, costume jewellery, Sharra P shoulders embraced by delicate fur, backs fram featuring voluminous fox sleeves, slits thatto anthracite sho and more delicately corn yellow and luminous white. hems. For the new season, sophisticated femal sual chic and charm blend For more informationtailored mannish minimalism. Key colours inclu ationswww-pelliccemoda.com for a true declaration - SUBSCRIBE Now! brown, grey which shades off decisively in in a contemporary key, hoods, into dove grey or pearl, midnight blue, References are made to the Seventies,details. ca Volumes and shapes are by ed fur coat is worn with a - H6<6B6<6O>C: harmonioharmoniously to The give pa lifeenriched to unusual combinge, shea ilhouet endence. d. A lar ress.ess. Palazzongatedgated ppants silhouettes.s are worn ars are heath dr of indepindependence.and coll The parkamagnifie is reinterpreted row, elo sleevesslee and collarstedte and are enricheddamask by luxe s ring nar xaggeragera therthher oror ts featufeatuf exaggexaggeratedstedsted leaandlea magnified.oa A large, shear bon-ton-to coa high-waihigh-waistedh wai with leather bonbon-ton or damaskcoats featuring sheath d narrow, elon pagina.indd 1 3-07-2008 11:11:29 BIM. # % ! ! 10,00 ITALY ONLY ITALY 10,00 " $% " $% * -3."#*3 "#$%# (+* &2.1%*- *23*$. %"( $.,&*- 24%4&+*5&++*.+31&%4&$&-324%4&+*5&++*.+31&%12. "13 " %%*5*2* 5"1*"8*.-* ,.231"24%%*5*2* "3. +& 1*&1"-,.231"24%%*5*2*24%4&+*5&++*.+31&%4&$&-3."#*3*""+ Peruzy Stefano Ph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l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iR -*#.-3 $"//.33*$"//.33*-*#.-3.-%"++"2*+).4&33&231&33"& e a star attraction on Milanese lze Gallo. t, body-hugging, jackets, ! gano, hosiery, Gallo. ted, discreet details to be e 2008-2009 autumn/winter 20128As soft as a powder puff, Milano fur continues to b - Via Teocrito, 47 - Ph +39 02 252071 - fax +39 02 27000692 - [email protected] - www.bema.it us on sensuality: slightly bared catwalks. Wraps that barely touch the skin, shor med by elegant dresses coats that highlight contours and sophistica w legs caressed by mink flaunted on all occasions. Creations for th male delicacy is dressed by a Cappotto di lince. Foulard vintage Lanvin by Miss Ghinting, bijoux Sharra Pagano, ca season defy the rigours of winter and foc Lynk coat. Vintage scarf, Lanvin by Miss Ghinting, costume jewellery, Sharra Pa shoulders embraced by delicate fur, backslude fra all the various shades of anthracite and more delicately featuring voluminous fox sleeves, slits that sho low and luminous white. hems. For the new season, sophisticated fe asual chic and charm blend For more informationtailored mannish minimalism. Key colours inc ationswww-pelliccemoda.com for a true declaration - SUBSCRIBE Now! brown, grey which shades off decisively into into dove grey or pearl, midnight blue, cornd in yel a contemporary key, hoods, References are made to the Seventies, details. c Volumes and shapes are by d fur coat is worn with a harmonioharmoniously to The give pa lifeenriched to unusual combinge, shea ilhouet H6<6B6<6O>C: . endence. d. A lar ress.ess. Palazzongated ppants ssilhouettes. are worn ars are heath dr of indepindependence.and coll The parkamagnifie is reinterprete row, elo sleevesslee and collarstedte and are enricheddamask by luxe s ring nar xaggeragera therthher oror ts featufeatuf exaggexaggeratedstedsted leaandlea magnified.oa A large, sheare bon-ton-to coa high-waihigh-waistedh wai with leather bonbon-ton or damaskcoats featuring sheath d narrow, elo pagina.indd 1 3-07-2008 11:11:29 53&/%4‘‘ "4&"40/ 13&7*&8 uterwear will be a strong trend on the catwalk and we will be seeing a Ohuge variety of coats, capes, vests, short-sleeve jackets and ponchos in the sea- son to come. Thinking outside the box is a must as the fashion-conscious consumer de- mands pieces that are special and unique to a personal wardrobe. We live in a time when the choices an indi- vidual makes become an essential element in personalized surroundings, and life itself. What we put on our bodies is of vital impor- tance--clothes should reflect our way of think- ing and living, and underline the uniqueness of each personality. Here are a few trends to consider for the coming season. Dorte Lenau Klint, creative director at Saga Furs <^VbWVii^hiVKVaa^ &% H6<6B6<6O>C: 70-6 . & 6hegZn BVii]ZlL^aa^Vbhdc K^XidgGda[ ;ZcY^ OVc\Id^ Hdc^VGn`^Za EaVn^c\l^i]kdajbZ!XdXddc^c\VcYegdedgi^dchl^aaWZYdb^cVi" ^c\i]ZbZh^ci]ZXdb^c\hZVhdc#I]Zhd[icZhhVcYi]Z[jaacZhhd[ HVakViVgZ;ZggV\Vbd bViZg^Vahl^aaWZ[dXVaed^cih# :b^a^dEjXX^ Adj^hZ H6<6B6<6O>C: && /"563"- 7aj\^ga 6hegZn DhXVg9ZAVGZciV 8Za^cZ ?#BZcYZa 9Zh^\cZghVgZ\d^c\[dgi]ZgZVai]^c\!i]Z^cig^ch^XkVajZh#L^i]Vaa i]ZXdadjghhl^ga^c\lZl^aahZZbVcnYVh]Zhd[cVijgVa[dm!b^c` VcYÒccgVXXddc#8dch^YZg^iVbjhi# 8]g^hi^Vc9^dg 9g^ZhKVcCdiZc HVakVidgZ;ZggV\Vbd B^X]VZa@dgh 9ZgZ`AVb 7ajbVg^cZ 8]g^hi^Vc9^dg &' H6<6B6<6O>C: +'+, 7^aa7aVhh 7ajbVg^cZ HVakVidgZ;ZggV\Vbd ?ZVcEVja LViX][dgil^hihd[XdadjghWaZcYZY^cidV]jZndjgZVaanY^YcÉi ZmeZXi#9Zh^\cZgheaVnl^i]i]Zb^m^cVcZlVcYgZ[gZh]^c\lVn# I]Zb^m^hi]ZbZhhV\Z# 8ÉCÉ88dhijbZCVi^dcVa $ 0-063 ?ja^VcBVX9dcVaY 9g^ZhKVcCdiZc 4 Edaa^c^ :b^a^dEjXX^ <^VbWVii^hiVKVaa^ OVc\Id^ H6<6B6<6O>C: &( ( 3&: 7jgWZggn 8Za^cZ 8]g^hi^Vc9^dg >\dg8]Vejg^c Adj^hKj^iidc I]ZbV_Zhi^X\gZnadd`^hVbjhi[dgi]Z6$LÉ%-ÄÉ%.eVaZiiZ# CjVcXZh^cidcZhXgZViZi]ZeZg[ZXibViX]idd[[hZii]Zg^X]Wg^\]i Xdadjghd[i]ZhZVhdc#;Zb^c^cZajmjgn# @VgaAV\Zg[ZaY 8Vi]Zg^cZBVaVcYg^cd B^hhdc^ @g^hi^Vc6VYcZk^` >hVVXB^ogV]^ :b^a^dEjXX^ ?VhdcLj KZghVXZ JcYZgXdkZg &) H6<6B6<6O>C: 7VgWVgV7j^ 7ajbVg^cZ ?ZVcEVja ?d]c 9g^ZhKVcCdiZc @g^hi^Vc6VYcZk^` ) Edaa^c^ K^XidgGda[ H6<6B6<6O>C: &* +'+, ;Vi^bVAdeZo 6aWZgiV;ZggZii^ ;Vi^bVAdeZo 6aWZgiV;ZggZii^ BVgi^c :b^a^dEjXX^ 6c\ZaHVcX]Zo 44 *-)06&55& <^VbWVii^hiVKVaa^ <^VbWVii^hiVKVaa^ 4 EZiZgHdb <^VbWVii^hiVKVaa^ &+ H6<6B6<6O>C: &, H6<6B6<6O>C: 7VgWVgV7j^ 7^aa7aVhh 7adcY^Z 8Za^cZ 9"HfjVgZY' 7A68@9G6B6 9^[[ZgZcibViZg^Vah!iZX]c^fjZhVcY]V^gaZc\i]hWgdVYZci]ZheZX" igjbd[WaVX`id\^kZ^iYgVbV!XdadjgVcYZiZgcVaedhh^W^a^i^Zh# AVck^c 8]g^hi^Vc9^dg 8Za^cZ <^VbWVii^hiVKVaa^ JcXdcY^i^dcVa @g^hi^Vc6VYcZk^` &- H6<6B6<6O>C: 3&410/4*#-&'63 *4%&4*3"#-&'63 8dchjbZghlVciid aga Furs has always been a trailblazer. When the Saga Furs corporate social responsibility (CSR) pro- company was founded almost 55 years ago, the gramme contains the guidelines the company will follow `cdl!gZiV^aZghlVci Scentral idea was to create and promote a luxury to take extra steps toward environmental concerns, eth- brand that people could trust. Nowadays, in a digi- ics and activities for giving something back to society. id`cdl!YZh^\cZgh talized world where information (and disinformation) “We have a vision for our product, and the tools to is just a click away, the Saga Furs label has become the realize this. Our product is truly a luxury product, but lVciid`cdl½Vaa hallmark of responsible fur. we can say we promote responsible fur. This adds value, Consumers of top-end products need to know about for the buyer, designer, retailer and ultimately the con- Ydlci]Za^cZ!eZdeaZ the quality of the luxury they are buying, but they also sumer,” says Saga Furs CEO Jan Erik Carlson. “This is want to rest assured that social, environmental and ethi- a key element in building up our unequalled position lVciid`cdll]ZgZ cal considerations are represented in a label. as an attractive luxury product—attractive in more than Furrier Hilde Lillegård, a Norwegian furrier from just the aesthetic sense. And of course, we have always V[jgXdbZh[gdb# Atelier Henry Phillip and a lecturer at the design school been the innovators designers turn to.” Esmod tells how important peace of mind is to her. “Customers ask, and many know about the Saga Furs >ccdkVi^dcVcYgZVhhjgVcXZ label, and I make a point of telling them about it. They To be sure, Saga Design Centre is most noted for being like to hear it, and this is important,” she says. “Custom- the first to invite designers, furriers, teachers and the ers want the Saga Furs label as it has earned a reputa- press to the Workshop, where Saga Furs develops new tion as a trusted traditional brand. And when I show uses for fur through advanced techniques. Designers them garments in which the furs come from abroad, marvel at what they see and learn there, but a visit to and compare them to Saga Furs, they immediately see Saga Design Centre includes much more than creativ- the difference”. ity. “I hear it time and time again, that the consumer I]ZZmigVhiZe wants to know about the source of the fur used in a The Saga Furs label stands for many things, but trace- garment or accessory,” says Carlson. “A very important ability is one of the most important. A consumer who segment of each seminar involves background. Let’s buys a fur piece can trace the materials back to the farm take a designer. He or she gets an opportunity to work of origin. All Saga Furs originate from farms in the EU with the most beautiful fur in the world, but the person or Norway and this fact alone reassures consumers. also wants to know about the ethical values contained But it’s the extra step that makes the difference. Finn- in that skin. We provide that reassurance and can docu- ish Fur Sales, where all Saga Furs pelts are sold, has ment it all through our traceability programme and all introduced a farm certification programme that raises other elements contained in the Saga Furs label. It’s not national standards for animal welfare and ethics above unusual to see a sigh of relief coming from a designer.” those recommended by the EU. H6<6B6<6O>C: &. 3&"$)*/( 5)&45"34 ;jg^hi]Ze^ccVXaZd[ ennis Basso pays personal attention to custom- Basso himself is a master furrier with years of expertise ers in his Madison Avenue flagship store, con- gained from working in every phase of fur production. [Vh]^dcajmjgnVcY Dversing with them as they shop for some of the The garments and accessories bearing the Dennis most exclusive fur garments in the world. For a quarter Basso label are designed by him and his selected team 9Zcc^h7Vhhd]Vh century he has been serving customers who are also of “young people with fresh ideas, as creativity is such a exclusive. “I have been privileged to be able to design vital link in the process.” Basso smiles, however, when WZZcegdk^Y^c\i]Z fur for some of the most important people in the world, he admits to having veto rights to designs. “Inspiration women from show biz, the social set, top profession- is a mood or a trend that is a reflection of the past 25 bdhiY^hXZgc^c\d[ als,” says Basso. “These women are tastemakers for the years. Retro doesn’t work – it’s all about interpreta- world. It’s the highest form of compliment for me.” tion,” he says. XdchjbZghl^i]dcan Though he is reluctant to drop names, the opening of Basso’s flagship store on Madison drew an impres- ;jg]VhX]Vc\ZY!X]Vc\ZY!X]Vc\ZY i]ZkZgnWZhi[dg'* sive list of celebs: Donald Trump, Patti Labelle, Joan Dennis Basso has witnessed a lot of changes in the fur Collins, Liza Minnelli, Naomi Campbell, Dan Ayk- universe during the past 25 years, “Fur types generally nZVgh# royd. The gathering was a virtual Who’s Who. go in cycles, but we are at a point now where many dif- ferent furs are in fashion. Fur is part of a fashion state- '*nZVghd[^ccdkVi^dcVcYZmeVch^dc ment,” he says. Basso started his first shop 1983 and his activities have The fur garment was generally a once-in-a-lifetime grown ever since. He now has fur boutiques in Aspen, purchase, but now women incorporate fur into their Chicago, and Atlantic City as well as the main store seasonal wardrobes. “Fur was specific for an occasion, in his hometown. The shops are, obviously, situated it was a lifetime purchase,” says Basso. “Now it is a fash- where there is a well-heeled clientele who consider fur ion purchase.” to be a must. Fur has retained its intrinsic appeal as the most luxu- In 2007 he launched his first ready-to-wear line. “I rious of materials, but ways to use fur have undergone was putting clothing under the furs for the runways and drastic change in the past few decades When he started photo shoots, so I figured, why not design the garments out in the business, Basso catered mainly to a “mature” that I use.” Another successful venture that began a customer, but now women in their 20s are wearing fur. few years ago is Basso’s sales of faux furs, clothing and “It’s the interpretation in an unorthodox manner, and accessories on the QVC TV channel. The Dennis Bas- that attracts young people,” he says. “Lightness is one so label has very great attraction. of the greatest innovations in fur. A coat used to weigh The design and manufacture of the Basso lines is ten pounds, now you get a coat that is as light as a feath- handled at a 30,000-square-foot facility outside Man- er, stylish, and supple – this is very important.” hattan. He has eight people working at the site, but H]dee^c\dcLdgaY6kZcjZ New thinking attracts a new customer and develop- ments in fur have spurred the popularity of fur as a raw material. “Saga Furs has always been taking steps for- ward. The company is a leader in creativity and com- ing up with interesting new things, processes, colour, textures. It has helped fur to become part of the mod- ern sophisticated wardrobe.” Not only have applications for fur undergone a vir- tual metamorphosis, the availability of fur has expand- ed dramatically. Fur is certainly a mainstay of haute couture collections, but RTW and mainstream retailers have been showing more and more fur, mainly as trim. “The accessibility of fur has changed, the Mom & Pop fur shop is slowly disappearing,” Basso says. “You see the expansion of fur in an atypical setting.” The luxe end of the fashion landscape has also seen shifts. Years ago, top-end consumers had to travel to Italy or France to find the latest trends, but top fashion is now found in major cities around the world. As Basso puts it: “Now the whole world is a shopping avenue,” and women from around the world come to shop in his luxurious boutiques. '% H6<6B6<6O>C: ;gdb]^hÓV\h]^eh]dedc BVY^hdc6kZcjZ^cCZl Ndg`ÄVcYi]gZZdi]Zg hedih^ci]ZJHÄ9Zc" c^h7VhhdhZaahZmfj^h^iZ [jgha^`Zi]ZhZidhZaZXi XjhidbZgh# H6<6B6<6O>C: '& #0-%"/% #&"65*'6- ?ZgZbnHXdii]VhVheZX^VagZaVi^dch]^el^i][jg#Æ>adkZ^i!Ç ]Z\jh]Zh!Æ^iÉh\aVbdgdjhVcYX]^XVcYZmX^i^c\#Ç ut he takes a practical approach to it Mink provides the perfect example. “The dol- Scott approaches fur as any other material. as well: “I never let it become so pre- lar signs were inlaid. It blew my mind that it He loves its resiliency. It can be abused and Bcious that it would prevent me from could be done that way and not have to print still responds. He humbly credits his fur en- experimenting. I move towards it as another it.” thusiasm to Saga Furs. “I’m blessed and proud element, otherwise I’d prevent creativity. I Scott doesn’t need to look to other design- to have the support of Saga Furs in my career can use it as a canvas for my designs. I like ers, for him the story is in the fur. “The inspi- and so fortunate to be able to make iconic to use imagery. I like to make a boom, some- ration for me is in the medium, it’s not as if works. Fur has an innate beauty. It’s classic, thing shocking. Nothing is subtle; I don’t drop one person or persons inspire me,” he notes. it can maintain its integrity. Therefore, it’s a hints. I want people to get what I’m doing.” “Personally I’m more inspired by the story staple in our lives, in our wardrobes.” Scott’s dollar sign ensemble in Saga Furs® I’m trying to tell.” '' H6<6B6<6O>C: H6<6B6<6O>C: '( 17648_A1.indd 1 28/2/06 8:31:40 AM Process Cyan Process Magenta Process Yellow Process Black =VjiZXdjijgZ^h[Vh]^dcYgZVbaVcY#Jc[ZiiZgZYWnXdbbZgX^VaXdchigV^cih! i]Zh]dlhgZegZhZciYZh^\cZghÉbdhiZmfj^h^iZ[VciVh^Zh![dgldbZcl]d XVcV[[dgY]VcYbVYZXadi]Zh[gdb[Vh]^dcÉhbdhiXgZVi^kZb^cYh# ?ZVcEVja his winter restrained opulence is the key, with structure and tailoring the win- ners. Delicately colourful fur collars and trims on the embossed leather and Tspangled lace of Christian Lacroix’s virtuoso performance, richly coloured cuffs and hems in Jean Paul Gaultier’s corsetry-inspired collection, Givenchy’s sav- Hauteage Andean hoods and gilets, coy mink hems on Chanel’s full-skirted coats. And the drama of Armani’s finely-worked grey mink coat or the purity of satin-trimmed black shaved mink in Alessandra Facchinetti’s acclaimed first couture for Valentino prove fur’s position as an essential fabric in the couture armoury. ') H6<6B6<6O>C: Coutu! HauteCoutu ! 8]g^hi^VcAVXgd^m <^kZcX]n HauteCoutu !H6<6B6<6O>C: '* ?ZVcEVja '+ H6<6B6<6O>C: ?ZVcEVja 8]g^hi^VcAVXgd^m Haute 6gbVc^ KVaZci^cd Coutu!H6<6B6<6O>C: ', '63 */ &/ . '- H6<6B6<6O>C: IKhiVgVcYhjeZgbdYZa Inhdc7ZX`[dgY aZ[i lVhV h]dl"hideeZg^c]^bhZa[# HZVc?d]c\^kZhd[[VigjanbVhXja^cZk^WZ^cVc VjijbcXdaaZXi^dc[ZVijg^c\adihd[HV\V;jgh# ean “P Diddy” Combs may have a hip-hop background, but he certainly dresses with the sense of class that is re- Sflected in his clothing line, Sean John. In the autumn-win- ter ‘08-’09 Sean John collection, real men will get the chance to wrap themselves in the luxury of fur, while the garments virtu- ally shout “testosterone.” At New York Fashion Week, in a runway show with the theme ”The Story of a King,” Combs celebrated the 10th anniversary of the Sean John line with a lot of splash. It was a truly royal show in a mix of classic elegance and upmarket casual wear for the urbane male. The extravaganza at the posh Cipriani Club marked the introduction of Sean John’s cooperation with Saga Furs and it was the first time in five years the label had shown in New York. The presentation was a kind of kick-off for Sean John’s ventures abroad. Saga Furs was on hand backstage to observe how “Puffy” handled preparations and put his fingerprint on final touches. He played a hands-on role in developing the asymmetrical jack- H6<6B6<6O>C: '. ?VX`Zil^i]HV\V;jghB^c`XdaaVg aZ[i HXVg[l^i]HV\V;jgh;dmig^b g^\]i HV\V;jghlVhWVX`hiV\Z[dgÒcVaidjX]Zh idi]Zh]dl WZadl # ets, classic fur-trimmed jackets, fur coats, suits, knits and tapered pants that hit the runway. The show gained a lot of play in fashion and mainstream media, and MTV was there to document an event that attracted quite a few famous faces. A first for any fashion house, Combs used only African-American models in what was a clear tribute to African-American designers who came before him. ;jgi]ZXZcigZe^ZXZ Sean John featured a showstopper black sheared mink coat, a grey mink sweater, a slew of mink and fox trims and a stunning knitted black mink sweater. Saga Furs was an obvious choice for the house, as the superb qual- nership. The design and retail house was concerned ity the label represents perfectly matches the Sean John with much more than simply getting fur garments on image. Sean John designers drew upon 20 years of ex- the runway. Saga Furs provided support from early de- pertise and fur development at Saga Design Centre to sign stages, through the phase of production and all the realize their visions for the furs in the collection. An way to the show, but an important element was also important reason for choosing Saga Furs was the com- assisting with media relations. pany’s 50-year reputation for top-standard ethics and The match between Saga Furs and Sean John began commitment to supporting its partners. at Fur Vision, Saga Furs annual event for revealing to ”We have been very excited about working with Sean designers and furriers the latest developments in fur. John and look forward to doing more in the future,” ”Designers are clearly inspired at Fur Vision and feel says Saga Furs CEO Jan Erik Carlson. ”As we’ve done the flow of creativity, but we do much more,” says Saga in the past, we supported the designer, before, during Furs’ director of international activities Charles Ross. and after the show.” ”We help designers resource their production, introduce them to top retailers that only use Saga Furs labels. And HZVc?d]cgZXd\c^oZYi]Z^bedgiVcXZd[i]ZHV\V what is very important, we support the designer after (% H6<6B6<6O>C: @c^iiZYWaVX`HV\V;jgh B^c`hlZViZg Adc\XdVil^i]h]ZVgZY HV\V;jghB^c`XdaaVg H]ZVgZYWaVX`HV\V;jgh B^c`adc\XdVi ?VX`Zil^i]HV\V;jgh H^akZg;dmXdaaVg H6<6B6<6O>C: (& 6cZlhZVhdcjh]Zgh^cVcZladd`[dgHV\V;jgh#I]ZkZghVi^a^ind[[jgVcYi]Z aViZhiiZX]c^fjZh[gdbHV\V9Zh^\c8ZcigZ\^kZYZh^\cZghZcYaZhhXgZVi^kZ edhh^W^a^i^Zh#=VkZVadd`VcYndjl^aagZVa^oZi]Vi[jg^hZiZgcVa# /&7&3 &/%*/( 4"(" (' H6<6B6<6O>C: 8daaVg^cHV\V;jgh ;^ccgVXXddc H6<6B6<6O>C: (( 8Za^cZ8dVi^c HV\V;jgh;dm () H6<6B6<6O>C: Hdc^VGn`^Zah]dgi _VX`Zil^i]b^mZY HV\V;jgh;dm H6<6B6<6O>C: (* GdWZgid8VkVaa^XdVi ig^bbZYl^i]HV\V ;jgh;VlcA^\]i;dm (+ H6<6B6<6O>C: BVmBVgVXdVil^i] HV\V;jghH^akZg;dm H6<6B6<6O>C: (, ?ZVcEVja (- H6<6B6<6O>C: B^hhdc^XdVil^i] HV\V;jghB^c` H6<6B6<6O>C: (. AVck^cXdVil^i] WaVX`"YnZYHV\V ;jghH^akZg[dm )% H6<6B6<6O>C: GJ_brand_splash_SP 23/06/08 11:24 Side 1 WWW.GEORGJENSEN.COM H6<6B6<6O>C: )& FOR LOCATIONS CALL: +45 3814 9898 an P!ul Gaultier Je'"/$: ’s '03'63 ;jg^h^cY^heZchVWaZidi]ZXZaZWgViZY;gZcX]Xdjijg^Zg?ZVcEVja iVcieVgid[]^hXgZVi^kZ]Zg^iV\ZÄVhlZaaVhi]ZWZ\^cc^c\d[[Vh]^dc^ihZa[#HV\V;jgh]VYVX]Vi l^i]i]ZYZh^\cZgl]d]VhWZZcV[V^i][jaeVgicZg^cVgZaVi^dch]^ei]Vi]VhZciZgZY^ih&&i]nZVg# “The creative side of this job is what I love. For me it is the furs to people such as the Shah of Iran. I worked not work, so I’m always designing at home or on vaca- for Paul Rottenberg Vison, who specialized in mink in tion. Here, at the office I don’t have the time for such all different sorts of aspects. So my learning was very things - I do interviews, fittings and manage different diverse,” tells Gaultier. affairs,” says Jean Paul Gaultier. He beams a treacher- The French master began his collaboration with Saga ous smile as he sits on the sofa of his stunning head- Furs with a visit to the Saga Design Centre 11 years quarters with white Christo-style wrapped furniture and ago. The relationship between the two grew through dress dolls in exquisite couture robes inspired by Hans the years and Gaultier has trotted scores of pieces in Christian Andersen’s fairytale, The Little Mermaid. Saga Furs onto runways through the years. In the connecting room there are rows of fall pieces Today, fur panels interlaced with chiffon are a part of with multiple themes in fur. When Mother Nature was his signature style, shown as a pleated skirt, sleeves or the prevailing theme during the Parisian fall collec- a jacket. The design theme is always integrated in the tions, the case was literal at Gaultier. Masses of Saga fur – in his latest couture show Scottish tartan. Furs mink and fox adorned the catwalk in both his women’s and men’s shows. The designer played with BVijg^c\^cidVbVhiZg volumes and contrasts by mixing long and short fur, Widely known as the enfant terrible of the fashion with a preference for natural skins and colours. Even world for his constant ability to challenge stereotypes, the fox of Jean de la Fontaine’s fables was the cause of Gaultier is also one of the last couturiers who learned envy as a lush bag with its head, tail and claws intact. the craft from the great masters. “I have always used fur, even before I did my first On his 18th birthday in 1970, Gaultier started as an own collection, since I started in couture where they assistant at Pierre Cardin’s studio after having sent him used it all the time. At that time there were endless rows some sketches. Later, he worked at Jacques Esterel, of furriers in Paris and I bathed myself in it. I made a where he learned most of what would become his sig- collection for Chambert, who was an important furrier nature style. He also assisted the couturier, Jean Patou in the Sixties and Seventies and we travelled to show before starting his own label in 1976. )' H6<6B6<6O>C: P!ul Gaul Jean tier’s ?VX`Zi^cHV\V;jgh;dm H6<6B6<6O>C: )( KZhiXdVi^cHV\V;jgh Obsessed with haute couture, Gaultier, opened his tional. You multiply the size of a small piece of fur and own couture atelier in 1996, at a time when other fash- I did the same thing with the fabric. It cost a fortune, ion houses turned their back to what had become an like embroidery, but it was interesting because it gave increasingly unprofitable craft. The venture was risky, me a new material. but nevertheless became a great success, which gave “I was never afraid of abusing the fur. I dyed it like him renewed respect. No one can make a shoulder like jeans and turned it inside out and showed what you Jean Paul Gaultier, and while his stupendous couture were not supposed to show. Once I even dyed the re- dresses are ordered by clients from all over the world, verse to make it look like black varnish; like a patch- the suits are the real bestsellers. work print on plastic cloth. Today I’m quite proud of “I’ve always enjoyed the research, but the goal is all contributing to the development and refinement of the time to make clothes which will be worn and ap- these techniques. Of course, I wasn’t the only one to preciated - what the people want. Fashion is not for a do new things with fur - Fendi made some incredible museum or for the research itself. That is the base. And research and (the French furrier) Beaulieu put fur on a provocation is not a provocation if it is just. It is only Greek tissue and turned it inside out to show all the a remise au point. Like when you adjust the hour hands detailed work. I was a part of this movement. There of a clock,” he says. was a constant demand for new things and shapes and the idea was to not treat fur in the traditional way,” he I]ZWZVjind[VWjhZ tells. Almost four decades after his start, Gaultier considers fur to be an integral part of his DNA. There’s always 8]Vc\^c\add`hVcYk^Zlh fur in his collections and his formative years influenced The cultural changes of society had also changed the him so much that he even adapted the fur techniques perception of fur. to his textiles. “The women’s lib movement meant that fur sudden- “When I started, the savoir faire was just incredible ly represented a kept woman – a poule de luxe in a white and one hundred percent haute couture. Gathering fox and lots of makeup. I did the contrary and put fur skins together and stretching them was very inspira- with jeans as if it wasn’t precious at all. )) H6<6B6<6O>C: BZcÉhb^c`hlZViZg B^c`VcY[VWg^X [gdbÈ.,"É.-XdaaZXi^dc XdbW^cVi^dc Gaultier tells how the 1970s also saw a dramatic up- 7ZVjinÅV\ZaZhhVcYcVijgVa heaval in the French fur industry. Changing attitudes, “The first thing man wore was a fur skin. In the begin- economic factors and other influences reduced the ning it was about protecting oneself and so, an animal number of furriers in France. was killed. And animals are also predators; it is the law A fur aficionado, Gaultier is an ardent defender of of Nature that you cannot change. Obviously, we don’t this noble material and a key player in maintaining the want to live like prehistoric men and we don’t kill the status of Paris as an unequalled dynamo in fur creativ- animals in the same way. But natural fur is an ecologi- ity. While the landscape of the French fur industry has cal material and the basis of mankind,” says Gaultier, changed, it is the violence and the fanaticism of the who always includes fur in his men’s collections in dif- anti-fur activists which disturbs him the most – when ferent shapes and forms. It adds a virile effect when he they harass the staff at the shops or demonstrate during shows a man with a fox stole casually slung over his the shows. shoulders. “ I have always been very honest about my position. “I have always said that there are no restaurants for At one time when I knew that they would arrive at my only men, women or specific religions. You mix, and show, I was prepared. I had asked the security people, in fashion it is the same. In my women’s collections I as soon as the antis would walk in, to wrap them up in have always shown an androgynous side, which can be a fur and get them out. At least, when they are violent, very sexy. The man I have made more sensitive. That we are humorous. The sad thing is that their cause has is my style, if I have one – the mix between femininity become a business and a raison de vivre and so, you can- and masculinity.” not reason with them,” he says. At one point, I wanted to use fur all the time, since To the designer, it is utter hypocrisy. the material is so beautiful and impossible to imitate. “First of all, we use farmed animals, which means The touch and the warmth are extraordinary. The lon- that they are killed humanely. Furthermore, several of ger and the lighter the fur the better. Fur is sensual. them, like rabbit, we eat. People are for animals’ rights And perhaps also erotic. But most importantly it is in- but nevertheless eat animals. They don’t eat people yet dispensable.” – we prefer to kill them in wars!” H6<6B6<6O>C: )* 4*/(&3µ4 4.06-%&3*/( 4&/46"-*5: ubin Singer’s 2008 fall collection was inspired by Fritz Lang’s He notes that every culture has a certain sensibility. “My roots very 1927 silent movie Metropolis. The film was about the creation much influence my design.” Everything about Russian culture: the Rof a Frankenstein-type robot, built to generate the electricity language, the food, the music, literature—the entirety of it, makes an that fuels the city–the heart machine. It moved Singer to create pieces impression that is carried over into his work. “Russia has had its highs with metallic futuristic designs, in contrast to the deep greys, greens and lows. It is a culture caught between east and west,” he says. “But and solemn blacks. One piece included a gloriously copper fur collar there is a Russian consciousness, a sensibility of fur and what it is.” using fox. “I wanted the collection to have the art deco feel of the Every culture has a sensibility that is intrinsic to it. Same of Russia: 1920s,” he says. Sombre, heavy under current. “You can capture the traditional Rus- “My designs are an evolution,” he says. “My first collection was sia in couture; the raised collars, full sleeves, structured pieces, the about grammar because I was making my first sentence, my first state- silhouettes.” ment as a designer. So it was all about punctuation. My second col- lection was inspired by construction; how I was building my brand. AdkZi]Z[Zb^c^cZ This collection was inspired by the film and that failure of humans “I enjoy the opportunity to create something that begins as not so to contain love, it cannot be contained.” Singer produced a sombre, feminine, and then have it result in being so sensual. Something that is sophisticated and yet so wistfully feminine line. very sexy, so purely feminine. Something that builds and crescendos Singer is enthusiastic about the versatility of fur. “Fur is one of my throughout.” favourite materials,” he says. He’s also impressed by the many differ- He credits his family for his innate sense of design. “What I am ent ways it can be layered, cut, inlaid and dyed. Fur’s versatility gives and what I know is from my parents,” he says. “My tragedy is that Singer many textures to play with. “But I don’t think you can abuse my mother died when I was 18 years old. But she still guides me in fur--you should never abuse anything,” he adds. “I mean, you can’t an indirect way.” expect chiffon to behave as taffeta. You cannot make it do something Singer feels that because he has kept her in his heart he is able to that another fabric does. You will end up ruining the very essence of do what he does. Russian sons honour their mothers in many differ- what the fabric is.” In the case of fur: “You must respect it, understand ent ways. “The memory of my mother, always guiding me, influences it and then you can manipulate in a variety of ways.” me,” he says. “I love the idea of working with fur for women, it’s a He appreciates all types of fur: “from mink; broad tail, long hair, pleasure just to be able to work with something strong and powerful fox, you name it.” that is for women who are strong and powerful. “I love the opportunity to innovate, to learn.” When asked if there’s Gjhh^VcGddih something he hasn’t done with fur that he’d like to do, Singer reveals a Russian blood is thicker than water. “It’s in me,” he says. “I’m the sly smile: “Absolutely, yes! But I don’t know what it is yet.” third generation--my grandfather, my father, now me.” His grandfa- He admits he wouldn’t disclose it even if he did know. “Truthfully, I ther, whom he is named after, was one of the most celebrated cou- probably wouldn’t be able to tell, there’s such a myriad of opportuni- turiers of the Soviet Union and even dressed Stalin. His father, Alik, ties with fur—like knitting, you just have to wait and see.” created costumes for The Bolshoi Ballet. “For those who aren’t Russian or are American,” he says to illus- trate the influence of Russian culture on his design, “it’s the Anna Karenina and Dr. Zhivago--that type of archetypal imagery.” HV\V;jghlVheVgid[H^c\ZgÉhÈ%-"É%.VjijbcXdaaZXi^dc# )+ H6<6B6<6O>C: 9nZYHV\V;jgh H]VYdl;dm H6<6B6<6O>C: ), Egdk^Y^c\[jg`cdlaZY\ZidiZVX]Zghd[[Vh]^dcVcYYZh^\c]VhWZZcVc^ciZ\gVaZaZbZcid[HV\V;jgh higViZ\nh^cXZHV\V9Zh^\c8ZcigZdeZcZY'%nZVghV\d#I]ZLdg`h]deViHV\V9Zh^\c8ZcigZ^hi]Z eaVXZl]ZgZ^YZVhVgZh]VgZYVcYijidghgZVaanaZVgcVWdji[jg#Bdci]h!nZVghdgbVnWZZkZcVYZXVYZ aViZg!gjclVnhVgdjcYi]ZldgaY]dhiXgZVi^dchi]Vi]VkZVa^c`WVX`idi]ZLdg`h]de# 565034 $0.&50 -&"3/ “Tutor seminars are obviously extremely valuable opportunities for even newer techniques.” says Per Reinkilde (second from left above), sharing fur techniques, old and new, with people who will be passing manager of product development at Saga Design Centre. “There is on what they learn at Saga Design Centre to students at their respec- another element of these seminars that is equally important in light tive schools. It’s vital for a teacher to feel the fur and understand the of the status of fur. The sessions give us an opportunity to inform the nature of the material in order to visualize and realize its creative teachers about Saga Furs’ dedication to corporate social responsibil- potential. But it’s not just the teachers who learn; it’s a give-and-take ity (CSR). The teachers, their students and the public in general want situation that allows me and my staff at Saga Design Centre to absorb peace of mind when it comes to fur. Our extensive CSR programme their ideas, learn what their students want, and this inspires us towards gives them this assurance.” )- H6<6B6<6O>C: DcVYV^anWVh^h!>YdcÉi\ZibVcnX]VcXZhidWZ]VcYh"dc l^i][jg#=ZgZViHV\V9Zh^\c8ZcigZ>]VkZi]Zdeedgijc^inid idjX]ZkZgni]^c\#>XVchZZl]VidjgiZVX]Zg EZgGZ^c`^aYZ YdZh!VcY>aZVgcVadiVWdjiVb^md[iZX]c^fjZhVcY^iÉh k^iVa[dgbZidaZVgciZX]c^fjZh#L]Zc>VbXdcXZcigViZYdc hdbZi]^c\!>cZZYidiV`ZVaabn`cdlaZY\ZVcYeji^i^cid i]Ze^ZXZ# I]ZhZb^cVg\^kZhbZi]Z^bV\^cVi^dcid\d[jgi]Zg#>i\^kZh bZi]Z]VcYh"dcdeedgijc^inVcYndjcZZYididjX][jg#>c bn]ZVY>XVchZZ>XVc\dhdbZl]ZgZcdWdYn]VhWZZc WZ[dgZ# HZg`Vc8jgV!Vhh^hiVciYZh^\cZg^c[jgVcYaZVi]ZgVi >Vb[jgi]Zg^c\bn`cdlaZY\ZVWdji]dlid^ciZ\gViZ[jg ^cid[VWg^XdgaZVi]ZgVcYa^c^c\[dg\VgbZcih!Òc^h]^c\e^ZXZh VcYb^m^c\[jgl^i]di]ZgbViZg^Vah#>iÉhkVajVWaZid\ZiVX" fjV^ciZYl^i]cZliZX]c^fjZhVcYidY^hXdkZgi]ZbVcnde" i^dchd[[jg#I]ZÒghii^bZ>hVliZX]c^fjZh[dgb^m^c\adc\ VcYh]dgi]V^gh>lVciZYidigVch[Zgi]Z^YZVidbnhijYZcih# I]^hhZb^cVg^hkZgnldgi]l]^aZ#;jg^hVigVY^i^dc^c8VcVYV! VW^\bVg`Zi!VcY>VbaZVgc^c\hdbZiZX]c^fjZhhdi]^h^h V\gZVideedgijc^in# 9Vc^ZaaZKVa^fjZiiZ![Vh]^dciZVX]ZgVi8\ZeBVg^Z"K^Xidg^c ^cBdcigZVa H6<6B6<6O>C: ). ;jg^hhXjaeijgVa!cdigZVaanV[VWg^X#NdjXVcbV`Zl]VindjlVci l^i]^i!^iÉhVbViZg^Va[dgVgi#DjghX]dda^hdcZd[ildidiZVX] [jg#I]^h^hbnhZXdcYk^h^iidHV\V9Zh^\c8ZcigZ0i]ZÒghilVh &(nZVghV\dl]Zci]ZhX]ddalVh[djcYZY#>aZVgcZYVadii]Z Òghii^bZ!VcYVbcdlaZVgc^c\cZliZX]c^fjZhid[VX^a^iViZbn ldg`![dg^chiVcXZigVch[Zgg^c\eViiZgch#BnV^b^hidZmeVcYbn dlcVcYi]ZhijYZcihÉXgZVi^k^in# CVi]Va^ZGdn!iZVX]ZgVi8\ZeBVg^Z"K^Xidg^c^cBdcigZVa!VcY [Vh]^dcYZh^\cZg I]ZbV^ci]^c\^hcdiidWZV[gV^Y d[ [jg! VcY l]Zc ndj \Zi bdgZ `cdlaZY\Z VWdji ^i WZXdbZh ZVh^Zgidldg`l^i]#>i^hVW^i^c" i^b^YVi^c\!i]dj\]![jgVcYVaa^ih edhh^W^a^i^Zh# HdbZi]^c\VWdjii]ZdaY\ZcZgV" i^dcd[[jgi]Vi`Zei^ihbnhi^fjZhd ^iWZXdbZhbdgZYZh^gVWaZ#I]ZcV ndjc\Zg \ZcZgVi^dc XVbZ Vadc\ VcY lVh V\V^chi [jg# 7ji > hZZ V X]Vc\Z ^c Vii^ijYZh VcY bVcn hijYZcih VgZ ^ciZgZhiZY ^c [jg# >i YdZhcÉi]VkZidWZ]ZVkn!dgWZV XdViÅ^iXVcWZhdhdbjX]bdgZ# GVo@ZgZc![VXjainViEVghdchVcY YZh^\cZgd[]^hdlcbZchlZVgXda" aZXi^dc *% H6<6B6<6O>C: >ÉkZX]dhZcidldg`l^i]cZl KD>8:HD;I=: bViZg^Vah0 ^i ZmiZcYh edhh^W^a^" i^Zh[dgbZ#>XVchZZ]dl[jg LDG@H=DE XVcWZ^ciZ\gViZY^cidYZh^\c! jhZY ^c V cZl XdciZmi! cdi I]ZhiV[[d[i]ZLdg`h]deVgZi]Z]VcYh!b^cYhVcY]ZVgih dcanVhVajmZ^iZbl]Zcndj i]Vi XdckZn `cdlaZY\Z VcY hi^bjaViZ XgZVi^k^in Vbdc\ add`Vi^iVhVbViZg^Va#L]Vi> Vaak^h^idghidHV\V9Zh^\c8ZcigZ#L]Zi]Zg^iÉhVh^c\aZ Yd^hhdbZi]^c\a^`ZVgiVhVc hi^iX] dg ]Zae^c\ XdcXZeijVa^oZ Vc Zci^gZ XdaaZXi^dc! i]Z ZmiZch^dcd[YZh^\c#>XVchZZ Ldg`h]dehiV[[bV`Zjei]ZkZ]^XaZ[dg[jgi]Zg^c\i]ZVgi bnhZa[jh^c\[jg^ci]Z[jijgZ! VcYXgV[id[[jg# WjiViVcngViZ!>lVhXZgiV^can ^che^gZY# 6iHV\V9Zh^\c8ZcigZ!YZh^\cZghYdcÉicZZYidXdbegd" 6ccZ 9Vb\VVgY! aZXijgZg$ij" b^hZ#6cni]^c\^hedhh^WaZ^[i]ZnjcYZghiVcY]dlidiVe idgVii]Z9Vc^h]9Zh^\cHX]dda ^cidi]ZkVhib^cZd[`cdlaZY\Zi]Vi]VhVXXjbjaViZYVi VcY YZh^\cZg d[ ]Zg dlc Xda" i]ZLdg`h]dei]gdj\]i]ZnZVgh# aZXi^dc# 8]g^hi^Vc=ZabZg!Vhh^hiVciiZX]c^XVa$YZh^\cXddgY^cVidg >ÉkZhZZcYZh^\cZghVXia^`Z`^Yh^cVXVcYnh]de#LZWg^c\ djii]Z[jgVcYiZaai]Zb/È9^\^c#ÉNdjh]djaYhZZi]Z add`h^ci]Z^gZnZh!i]ZnXVccdiWZa^ZkZi]ZnXVcYdl]Vi" ZkZgi]ZnlVcil^i]i]Z[jg# HdÒZDY\VVgY8]g^hiZchZc![jgg^Zg"iZX]c^X^Vc :kZgn YVn Vi i]Z Ldg`h]de edhZh V X]VaaZc\Z! Wji i]Z eVnd[[ValVnhXdbZh!Z^i]ZgWnVh^beaZÈI]Vc`ndj!Çdg l]ZclZhZZi]ZgZhjaih^cVXdaaZXi^dc# A^cZ7j]aHiZ^c^X]Z!iV^adgÉhVeegZci^XZ I]ZVibdhe]ZgZ^hZaZXig^Xl^i]XgZVi^k^in#LZ^chigjXiVcY lZaZVgc[gdbdjg\jZhih#>iÉhVeZg[ZXihnbW^dh^hVcYi]Z Ldg`h]de^hh^beanV]diWZYd[cZl^YZVh# =VccZ@Vi]g^cZ6cYZghZc![jgg^Zg^cegdYjXiYZkZadebZci 7Zadl/ A"G GZ^c`^aYZ!=ZabZg!8]g^hiZchZc!?ZchZc! 6cYZghZcVcY@a^ci# >ci]ZZVganYVnhd[HV\V9Z" h^\c 8ZcigZ lZ dcan ldg`ZY l^i] ndjc\ YZh^\cZgh VcY hijYZcihd[YZh^\c#7jil]Vi d[iZc ]VeeZcZY lVh! i]Zn ldjaY \Zi WVX` id hX]dda VcY i]Z iZVX]Zgh lZgZ cdi Zfj^eeZY id ^chigjXi i]Zb ^c ldg`^c\ l^i] [jg# Hd lZ hiVgiZY i]Z ijidg hZb^cVgh VcY^i]VhWZXdbZVk^iVaeVgi d[djggdaZ^cYZkZade^c\[jg# ?jhia^`Zi]Zi]djhVcYhd[YZ" h^\cZghl]d]VkZk^h^iZYjh! ijidgh]VkZWZXdbZ[VciVhi^X VbWVhhVYdgh[dg[jg# 9dgiZAZcVj@a^ci!XgZVi^kZY^" gZXidg g^\]i H6<6B6<6O>C: *& " 6[iZgZhiVWa^h]^c\]^h=dc\@dc\"WVhZYXdbeVcn^c&..,!HiZkZAZjc\fj^X` anZhiVWa^h]ZY]^bhZa[VhdcZd[6h^VÉh]diiZhindjc\VgX]^iZXihVcYYZh^\cZgh# DkZgi]ZnZVgh!HiZkZ]Vhldci]ZYZh^\c^cYjhignÉhZfj^kVaZcid[i]ZDhXVg Äi]ZXdkZiZY7Zhi>ciZg^dg9Zh^\cZgi^iaZÄVii]ZegZhi^\^djh6cYgZlBVgi^c >ciZgcVi^dcVa6lVgYh!cd[ZlZgi]VchZkZci^bZh#>c'%%,!HiZkZ_d^cZY[dgXZh l^i]HV\V;jghidXgZViZV\gdjcY"WgZV`^c\XdaaZXi^dcd[[jg"i]ZbZY^ciZg^dg [jgc^h]^c\h!ig^jbe]VcianZm]^W^i^c\]^hXdcXZeiXdaaZXi^dc^cH]Vc\]V^^caViZ ;ZWgjVgni]^hnZVg#9ZiZgb^cZYid\^kZhdbZi]^c\WVX`idi]Z^cYjhigni]Vi ]VhhjhiV^cZY]^b!HiZkZ]Vhcdl[jcYZYildhX]daVgh]^ehi]ViZcXdjgV\Z ndjc\YZh^\cZghidigVkZaVcYZmeZg^ZcXZi]ZldgaY#LZgZXZcianbVcV\ZYid XViX]HiZkZVi]^hWjhn=dc\@dc\YZh^\chijY^dWZilZZcVejc^h]^c\gdjcY d[dkZghZVhÓ^\]ihVcYXa^ZcibZZi^c\h# ( -&6/ 45&7& ( 45)&'63*/4)*/ 165 - '63/*most recent collection, I said ‘Yes!’ almost immediately. y only possible reason for refusing would have been - M cruelty to animals. Happily, Saga Furs’ breeder sourc es are so stringently regulated, there is absolutely no chance of this ever happening. To be the only designer ith business interests spanningLeung’s Hong schedule Kong, is as - in the world asked to create a collection for Saga Furs Beijing, Guangzhou, Shanghai and Shen was not just a great honour for me as a designer but also zhen, time in Steve W My real inspiration for en as a Chinese national,” said Steve. precious as the furs he recently began incorporating Even H98gZVaandeZcZYbnZnZh with such élan in his work. “ It was after a visit to Saga Design Centre that the thoughts tering the field was an uncle who was an architect,” he behind Steve’s new collection began to take concrete says. “I was so determined to follow in his footsteps, I form. “Denmark was a real eye opener for me,” says applied for an architectural course at college without Steve. “I never realized just how many extraordinarily even bothering to put down a second choice. creative design possibilities fur opened up.” now, I love to relax by playing around with wood and Steve’s debut collection in Shanghai largely featured making things.” Saga Furs Blue Fox, a highly versatile material that - - >che^gVi^dc^hVaaVgdjcY adapts well to furnishing but now that he has gained first-hand experience in what can and cannot be done This February in Shanghai, Steve Mandovies, his teamlifestyle unveiled trends, with fur, he expects to be using other types of fur and a pioneering collection of furnishings featuring fur as a mentions Silver Fox as a possibility. - key element. “As a designer, I’ve always kept my eyes When asked about working with fur, Steve com open to the world around me. - ments: “Aside from the sheer luxuriance of the mate fashion, furniture, if we look hard enough, inspirationMilan Furni is rial, the thing I most love about fur is, that as design there just waiting to be discovered,” he says, about his - materials go, it’s pretty much a blank sheet of paper decision to use fur. uropean design Warming to his theme, Steve added: E“Over the past just waiting to be filled. The only real minus is the ex 20 years, I’ve been a regular visitor to the ture Fair. While there, I’ve always been greatly admiring of - and very curious about - the way ers use fur in their work. When Saga Furs approached *' H6<6B6<6O>C: me about incorporating fur as the cornerstone of my HiZkZAZjc\]VhZVgcZY\gZViVXXaV^b[dgldg`hhjX]Vhi]Z ?VeVcZhZgZhiVjgVci>cV\^id VWdkZ Vii]Z;djgHZVhdch=diZa - ^c=dc\@dc\VcYi]Z:^\]i WZadl !VcZmXajh^kZZViZgn^c BVXVj# Ultimately, you have to use fur carefully, logi pense. cally, wisely and reasonably so you don’t mess up. I think ‘reasonable’ is the key word here. After all, a little fur wisely used goes a long, long way to making a big impression.” - ;jgZcg^X]Zha^kZh^ccZlVcYjc^fjZlVnh Steve believes that theU endltimately, of the theday, materials there’s no a designpoint in using an expensive material for the sake of using an expensive material. er chooses and uses must enrich the lives of end users by giving them something new and unique. Fur easily achieves each of these important goals. Steve and his team’s debut fur furnishings show in Shanghai was an aesthetic and critical triumph. “It was incredible,” notes Steve. “People were asking me about buyingUnfortunately, some of the piecesas the collectionon display is right still therein the and then. concept stage, I was unable to oblige them. That said, we’re currently investigating day-to-day practicalities like manufacturing, distribution and pricing, so watch this space. When my fur furnishing collection finally becomes commercially available, I’m sure people will love it,” Steve concludes, before heading off to the next meeting in his hectic schedule. H6<6B6<6O>C: *( (3&"5'634'03"(3"/% %*7" *) H6<6B6<6O>C: arita Mattila gave a series of jazz concerts at Tampere Hall in Finland back in the summer of K2007. The most memorable scene was when the world-famous Finnish opera singer ascended a staircase clad in a glittering black gown and a lavish, extra-long white coat made of Saga Furs® Blue Shadow fox. Finnish designer Markku Piri was in charge of costume and set design of the concerts that featured the great classics of jazz from the ‘30s and ‘40s, including names such as Cole Porter and George Gershwin. The entire scene was inspired by black- and-white movies; the whole set and costumes were accordingly black, white or silver. 8dcXZgiZYZ[[dgiidgZVa^oZVYgZVb Stage costumes are often a clever illusion, offer- ing the appearance of luxury as seen from an audience perspective. A closer look reveals how more economical materials are used. Piri did not want to follow this practice. “The coat is made of real furs, everything is real. A singer of Karita Mattila’s calibre is such a char- ismatic star that I could not imagine her in faux fur,” he says. “It was this feel of 1930s Hollywood and the great jazz clubs of New York that I wanted to convey--something reminiscent of Marlene Dietrich, an icon famous for her concert act in sumptuous furs and incredible jewelry. So, nothing less than the finest furs and genuine jewelry for Ms. Mattila either.” The designer had no intention of discarding the fur coat after the four concerts. “I designed the coat with a train that comes off. It’s fastened to the coat with buttons. If Ms. Mattila wears high heels, she can wear the coat offstage, too. I designed a horizontal line of black on the junction so it does not show. Even when the train comes off, a hint of black lingers on the coat.” Mattila was very pleased with the coat, and thanked Piri for “mak- ing her so beautiful.” The garment and the personality of the diva were truly a perfect match. ?Voo^c\jeHV\V;jgh7ajZH]VYdl;dm In the ‘80s, Piri worked for Gemmi Furs (formerly known as Grünstein) where he coordinated the colours for dyed furs. Piri reunited with Gemmi a year before the concerts. “I chose Gemmi as I had collaborated with them earlier and knew they were the best there is.” Piri met with Gemmi designers Kisu Aho and Reijo Ojala four times in the process of crafting the costume. Piri created the look, and Gemmi fur designers found a way to realize his artistic vision using an ingenious technique: perpendicular strips of white Saga Furs® Blue Shadow Fox were fastened onto cream- colored organza and decorated with horizontal stripes of Blue Shadow Fox dyed black. Piri notes how, “the material falls nicely or spreads wide, depending on what is needed.” H6<6B6<6O>C: ** 4"("'634501-05 130(3"..& innish Fur Sales has reintroduced the Saga Furs Maria Grazia, general manager of the Italian fur Top Lot programme to highlight the very best company Mazzi Overwear, says they like to buy the skins sold through the auction house. The pro- best possible skins. “With our recent Saga Top Lot pur- F ® gramme puts the Saga Furs label into an even brighter chase of Saga Furs Royal Silver Fox we have created spotlight. two exciting garments that will be promoted by Tati- “Top lots have been sold before, but previous con- ana Navka who has won Olympic gold twice in figure cept meant top-price paid and the buyer received a cer- skating. She will be the star of our collection, “ says tificate. Now the whole thing has been turned upside Grazia. down so the sale of skins is not the end point, but rather Mazzi Overwear was founded in 1956 and is now the starting point of a relationship,” says Finnish Fur led in second generation by Maria Grazia and her sister Sales marketing director Pertti Fallenius. Barbara Mazzi who designs their collections. Accord- ing to Grazia, their sportswear collection is based on a high quality and hi-tech fabric mix featuring prestigious 7jni]ZkZgnWZhid[ fur trims. i]ZWZhiVcYndjÉkZ IdeadihbV`Zjc^fjZ\VgbZcih The Moscow fashion house Exclusive-M bought a Saga VXfj^gZYVideadi# Furs® Golden Island Fox top lot in the March-April 2008 auction. Mr. Artem Kheachazturov, the owner of the fashion house, reveals that the skins will be used for a custom-made jacket. The distinguished customer wanted to have the best foxes for her garment. Exclusive-M wants to lead the way in creating fur fashion in Russia. To this end the company has its own fur salon and production facilities in Moscow. Its prod- ucts are also sold in Moscow’s exclusive fur boutiques. “Two of our designers have visited the Saga Design Centre in Denmark and they have already used their newly-learned techniques in the 2008-09 collection,” says Kheachazturov. The buyer of Saga Furs® Royal White Mink Top Lot, Jerry Sorbara Furs Inc. of New York, is going to use the skins to create something unique. Sorbara does whole- sale, exclusively to Nieman Marcus, and has its own showroom for retail. “We have never before purchased a top bundle from an overseas auction, so I suppose it will open eyes in other markets, like Europe. Europeans are generally the ones to buy top lots, so you could say we are show- ing a presence by buying it,” says company president Sal Sorbara. B^c`VcY[dmideadihViZkZgnVjXi^dc FFS has packaged the Saga Furs Top Lot programme so attractively that fashion houses all over the world *+ H6<6B6<6O>C: 8dVi^cHV\V;jghGdnVa H^akZg;dm[gdbBVoo^# have shown interest in the concept. Now the compa- Saga Design Centre near Copenhagen. The buyers can nies involved with top lots get a chance to cooperate also use Saga Furs Top Lot labels in fur garments that with Saga Furs in research and development. have been made of top lots. “Before this, the top lots used to comprise only one Sergey Kussenkov, owner of Kussenkovv Fashion or two mink lots in a year. Now we have both mink and House in St. Petersburg says that the company actively fox tops lots at every at auction,” says Fallenius. uses Saga Furs techniques in their collections. Kussen- kovv is one of the big names in fur hats in Russia, but HV\V9Zh^\c8ZcigZdeZch^ihYddgh the also manufacture fur accessories, trims, scarves and According to Fallenius, international fur and textile in- bags. dustries have given a good reception to the Saga Furs “By purchasing the Saga Furs® Blue Fox top lot we Top Lot programme. The buyers of the best skins also want to show our customers that we are using the ut- get the opportunity to join the Saga Furs design team at most in top quality goods,” says Mr. Kussenkov. H6<6B6<6O>C: *, ' ( & , 0650' 5)&#-6& I]ZcZlYVga^c\d[i]ZldgaYd[YZh^\c^hHV\V;jgh7ajZ;dm# Ndjc\ZgYZh^\cZghadkZi]ZbViZg^Va[dg^ih[ZZa!kZghVi^a^inVcYWZVjin# *- H6<6B6<6O>C: ) * + &% . && &( - &' &) &* oung designers have found their own ex- pression, they are not tethered to rules of the past dictating what fur design should Y ® be. In Saga Furs Blue Fox, designers have found a material that lets their imaginations run wild-- and to stunning effect. A shorthaired fur, Blue Fox lets the designer play with proportions, volume, colours and much more. When combined with longhaired fur like Saga Furs® Silver Fox, the results are magic. Blue Fox provides designers a delightful me- dium for innovation when they choose to break away from the norms and head in totally new creative directions. The rising stars of today have already recognized the sheer power of Blue Fox and you will be seeing lots more of it on runways &+ of the future. The popularity of Saga Furs® Blue Fox is a re- sult of Saga Furs’ cooporation with designers and design schools around the world. C^Xda^cZA^k6cYgZhZc&!)!*!+!&%!&+#IdW^Vh 8dcgVi]'#GdbV^c7gVj,!.!&(!&*#8dZc8VghiZch-# 8aVZh>kZghZc&&!&)#@Vi^Z:Vgn(!&'# H6<6B6<6O>C: *. C R A F T E D F O R I N D I V I D U A L S Spyker C8 Spyder: A fashion accessory which may require a larger wardrobe... For a dealer near you, please visit our website www.spykerworld.com +% H6<6B6<6O>C: SpykerSagaMagazine.indd 1 08-07-2008 16:22:10