VAVA Eyewear

Eyewear is one of the most telling items a person can wear. What you choose to put on your face says a lot about you. There are some brands that represent pure functionality, some that represent pure luxury and others that represent something much more. VAVA Eyewear falls in to the last category. The brand's conceptual approach not only represents fashion, but materials, culture and perhaps even an ideal of the future. When we came across these striking designs, they immediately resonated with us. The unisex frames were bold and like nothing we have seen before. We also noticed the company referenced architectural forms and associated the line with Detroit, Berlin and their techno legacies. An email was sent to the brand so we could find out more. Their founder and creative director, Pedro da Silva, graciously responded and here's what we discussed:

The Brvtalist: Let's start from the beginning. What was the inspiration for creating VAVA Eyewear? With so many eyewear brands in the field, what did you feel you had to say or show that maybe others don't?

Pedro da Silva : I always had a keen interest in Minimalism, the interface of art and fashion, and Bauhaus. I’ve always liked basic shapes, and admired a lot artists like Sol Lewitt, Malevich or Josef Albers. My keen interest for the Bauhaus movement and minimalism goes a long way back. I wanted to develop an eyewear collection that follows the same minimalist and architectural standards. Ultimately, the aim of the brand is to achieve a contemporaneous functional look, whilst being simultaneously conceptual and timeless.

On the other hand I have been long fascinated and inspired by the Detroit techno scene and the city's post-industrial evolution. VAVA’s mission is to represent the man in control of the technological world whilst looking ahead of himself also. Everybody at VAVA lives by this philosophy, reinforcing their belief in this vision.

Finally, at a time when fashion is omnipresent and somehow random, we at VAVA believe it is necessary to re-orientate and to reacquaint what fashion should truly represent: A return to the essential requirements of design and quality.

TB: Who designs the VAVA line(s)? Talk about the creative process and what you try to do with each collection.

PS: I’m the creative director of VAVA and I collaborate with 2 eyewear Designers: Giordano Cazzola and Beate Leinz. Giordano Cazzola, a multidisciplinary designer working in the eyewear industry, is based in Milan. Beate Leinz is currently based in Berlin and she worked previously as eyewear designer for Prada in Italy over 15 years.

I do not usually follow trends and fashion. I believe in style, and style never changes, just evolves. I see it more as a continuous evolution. Actually, I like to think more about evolution, questioning / reflecting and digging / deepening. I like consistency and particularly enjoy works that are representative of something bigger. Another interesting aspect of our project is that our mood is visceral, granting veracity to the project and therefore to our collections.

TB: I love the links to Detroit and Berlin. How did you decide to associate the brand with these two cities and what do you think they contribute to the aesthetic or ethos of VAVA?

PS: As previously said, I have been long fascinated and inspired by the Detroit techno scene and the city's post-industrial landscape. Detroit, once a symbol of industrial prosperity, dramatically collapsed and was forced to re-invent itself to ensure its survival. The techno movement emerged as a significant step in this process of rebirth, and was part of a movement towards the creation of a Techno City, the city of the future. I wanted to create a label that would both embrace the highly conceptual language of machinery (including mechanic sound) and the arts. When I decided to create my own eyewear label I moved back to Germany. Berlin being, like Detroit, a post-industrial city with strong links to Techno was the perfect spot.

TB: Another thing I noticed is the relationship to techno. Juan Atkins is one face of the brand. How did that collaboration come about? Do you find that there's a connection between techno music and VAVA, or even fashion in general?

PS: I love music and the label has a great connection to music. We’ work with Juan because he is a high profile artist and a founder of a genre that has deeply influenced the story of electronic music. His music is a form of experimentation that emphasizes the balance of man and machine, the same artistic basis at the core of VAVA philosophy. Fashion and Music industries have many things in common and often go hand in hand.

They equally separate and group people which can be immensely revealing. People dress distinctively to express affinity with a group or way of life. On the other hand music also has a big impact on what people wear. They share the same type of language. A language which tells a story about the person who wears/hears it "Clothes and Music is an effortless expression of communication that we all understand".

TB: Talk a little bit about the idea behind the Black and White collections. Also, I've noticed the future is an ongoing theme of the line. Do the lines represent two different ideas of the future or are they meant to coexist in the same world?

PS: VAVA imagines a future between two contrasting extremes, black and white. White future is simplicity, cleanness and purity. Black future is darkness, decay and underground. To represent these 2 extremes VAVA created the WHITE and BLACK labels.

TB: Let's talk about the latest collection. What was the idea behind it and talk about some of the details you are most excited about.

PS: Our very new optical line of eyewear will be launched in June along with new SUN styles, some of which have a very powerful techno look. I like to think that, whilst ensuring consistency with the brand’s DNA, these new models are also about evolution, questioning /reflecting and digging/deepening. At VAVA we take particular pride and fulfilment from work that we feel will take the brand and our ethos to the next level. On a different note, the experience gained with the first collection allowed us to fine tune “invisible” details too, turning VAVA into an even more “techno/technological” brand.

TB: What's next for VAVA?

PS: 2015 is the thirtieth anniversary of Juan Atkins record label, the Metroplex. The bond is upholded by the launch of a special eyewear model realized in limited edition in only 300 enumerated pieces. Specially in this case the essencialities of the model are in sync with the sperimental and space age sounds of the music of Detroit’s artist.

Thank you to Pedro da Silva for contributing these incredibly insightful responses. The Brvtalist is always fascinated by brands that represent so much more than just fashion, but have a focused ethos and mission to go along with it. VAVA is a unique line that infuses the worlds of fashion, music, culture and design and we applaud them for this. For more information, please visit the official website.

-JRS

Pictured: Opitcal and Sun line from VAVA Summer 2015

Katie Gallagher

New York City-based fashion house Katie Gallagher is perhaps our ideal label. Between her dark, romantic designs, coupled with haunting runway shows and conceptual elements, Ms. Gallagher hits all the right points. Her aesthetic undeniably explores the realms of all things black and as it turns out, she's got incredible taste in music. We recently spoke to Katie about her vision, her runway shows, the new webstore and her favorite mixes. (Interview below)

The Brvtalist: When you first started designing your own collection, what was your initial vision for the clothes and brand? Has that changed at all over time?

Katie Gallagher: I launched Katie Gallagher 3 months after graduating (June 2009) from Rhode Island School of Design. I showed the first collection during NYFW SS10 (Sept. 2009). Unconventional pattern making and monochromatic looks have remained the most consistent parts of the brand since the beginning. You'll rarely find a side seam or unnecessary embellishments on my garments. The brand identity has been defined since with this quote of mine: "I don't believe that fashion is the end goal; stories, personalities, moods, ideals and attitudes are. Fashion, when executed successfully, communicates these attributes quickly and eloquently."

TB: Talk about some of your influences. We love your use of black and your dark, romantic aesthetic. Where do you pull inspiration from?

KG: For every season/collection, I develop a theme. I usually like to help myself develop the color story by painting. In the past, collections have been inspired by music, nature, color and the lack of color, for example. Examples of this includes SS14's "Bloom" (pictured below), which was inspired by Einsturzende Neubauten's song called "Blume". And Last season, FW15 ("Navy Eyes") was inspired by the neurological condition, color synetheasia.

TB: I love that not only was Einsturzende Neubauten just mentioned, but that it inspired an entire line. How else have you incorporated music?

KG: The Fall/Winter 2010 collection is called, "The Heart of the Wood and What I Found There", named after the Current 93 song. For show sound tracks, I've played Coil, Current 93, Strawberry Switchblade, Neubauten (I sang the intro to the track for Spring/Summer 2011!), Nick Cave, Rowland S. Howard, etc etc! I had an amazing black metal mix created for Fall/Winter 2013 featuring Akitsa, Burzum and more. The mix is probably still my favorite!

TB: One thing I really wanted to ask you about is your runway shows. They have easily been a favorite season after season. For example, I loved the Fall '14 show with the burning fireplace and the amazing ornate setting (pictured below). Talk about how you approach each show.

KG: Thank you! The setting really just becomes part of it, naturally. When I'm creating a collection, it's never just about clothes. I like to create a little world around the inspiration and concept and place the characters inside to match.

TB: Lets move on to your creative process. I know that each line is very conceptual. So how do you get from the concept in the abstract, to creating an entire line?

KG: This is the hardest part. My process---I begin every season by painting and drawing...gathering swatches of fabrics I like and go from there. After that, I sketch croquis and garments. Then, I simply try to recreate whatever I've drawn two-dimensionally, in a three-dimensional form. I love this part. There are sometimes a million trials to get something the way I imagine it. And I love the accidents that turn into a whole new garment!

TB: Fall '15 is out now and it's called "Navy Eyes". I love the use of red and some of the finishing pieces like the capes. What was the concept or idea behind it?

KG: "Navy Eyes" is based on the neurological condition of synetheasia - that causes one to feel, taste, see, smell or hear in colors.

*Photos of "Navy Eyes" below by June Canedo.

TB: You just launched a new e-store! How did that come about and what is available in the shop?

KG: Yes! I launched an e-store via Tictail. They contacted me early in the week a few weeks ago, and we had the store set up within the week! I selected personal favorite separates from the FW15 collection to launch with and now they are up for sale. You can check out the store here: www.katiegallagher.tictail.com.

TB: What's next for Katie Gallagher?

KG: Spring/Summer 2016......Chinatown!

Thank you to Ms. Gallagher for taking the time out to speak with us. It's always amazing to connect with people on so many different levels. Her collections are some of the most unique and well executed in fashion today and her conceptual approach and artistry will no doubt keep her well ahead of the curve for years to come.

Check our her new store on Tictail and also get more information on Facebook.

-JRS

Top row: S/S 2015, Bottom row: F/W 2013. All runway photos courtesy of Style.com

Object Occult S/S 15

Berlin and Shanghai-based fashion label Object Occult brings a deviously fresh take on minimal and monochromatic pieces that maintain an attitude of sophistication and darkness. The line is meant to be gender neutral and the offerings of the new Spring/Summer 2015 collection utilize impressive silhouettes, proportions and fabrics.

With a white and black color palate, these items find inspiration from Middle Eastern fashion and architecture. Beautiful cotton shirts and linen-lined jackets will find their way home in even the warmest climates and luxury details such as pig suede are placed in the most considered locations. I love the "Hood" which comes in white, lined in black, uses d-ring closures and has hand-treated leather details. The white "Jacket 1" is another favorite piece which features a leather zipper pull, asymmetrical zips and collarless for more comfort during the sweltering summer months.

Object Occult ships worldwide and all of the items are handmade and shipped from Shanghai. This is a label that offers quality over quantity and places intellectualism, form and style above all. I've been a big fan for the past few collections and the latest one does not disappoint. For more information and purchasing please visit Object Occult.

-JRS

Don't Shoot The Messengers

Over the past few years, Berlin-based fashion line Don't Shoot The Messengers (DSTM) has cast a very powerful spell. The clothes and brand aesthetic exemplify so much of what The Brvtalist is about, that when we discovered the line, there was a feeling of pure elation. Canadian-born designer Jen Gilpin is the couturier behind the dark, provocative and luxurious collections. Together with her husband, photographer Maxime Ballesteros, DSTM has also contributed some of the most compelling and captivating imagery we have seen in the fashion world and beyond. Drawing from a wide variety of influences and utilizing some of the most cutting edge designs and fabrics, Ms. Gilpin has created an incredibly unique body of work. Further, one of the central design elements is the color black, so it was pretty obvious we wanted to talk. Below please find the Q&A where we discuss Ms. Gilpin's creative process, the brand's new store and the latest collection.

*All photographs © Maxime Ballesteros

The Brvtalist: I would like to talk a little about your creative process. For starters, we love that black is the core element of your designs, and they always carry a dark edge while staying very luxurious at the same time. What inspired you to create this kind of combination?

Jen Gilpin: Yohji Yamamoto says it best, "Black is modest and arrogant at the same time. Black is lazy and easy - but mysterious. But above all black says this: ‘I don’t bother you - don’t bother me." I love the combination of a tough, seductive and elegant woman. My influences come from many places but a short list at the moment would be Art Deco and Art Nouveau, traditional Japanese design, Film Noir, Sci-Fi, Islamic art, architecture, geometry, fetish, nature, and the unconscious.

TB: How do you approach each season? When dealing with monochrome palates, details are everything. What sort of things go through your mind when starting a new collection?

JG: I see the process as a sort of spiral or labyrinth - starting on the outside and working my way toward the center. The big picture starts first with a feeling of the collection, then working in to find the details, lines, and shapes and finally at the end, standing in the middle of it refining the edges. I have always loved craft and try to incorporate a new crafting technique into each collection. Some element of handwork is always present. Also, the beginning of a collection is always exciting - it starts with a feeling, and the process of discovering what that looks like is always interesting. I love the dialogue between the body and the clothing that covers it. There is so much inspiration from the shapes and forms of the body. It is a play of expression of the body origin, describing what is underneath from what is on top.

TB: We were lucky enough to visit the original store when we were in Berlin this past fall. Can you talk a little bit about the new space? What did you want to do with it and how do you think it compliments your designs?

JG: We are now on Torstr. 161 in Mitte. I love this street. It is full of all sorts of different businesses, and the shop front reminds me of a NY boutique. We painted the original pillars in front a shinny black and are starting a collection of vintage Rootstein mannequins to display the clothing. Our studio is connected out the back and we have an amazing workspace with room to grow. It feels sometimes more like home than home. In the boutique, we also have a changing display of Maxime Ballesteros prints that are for sale as well.

TB: Is the city of Berlin a big inspiration for you? Being from Los Angeles, we happen to love the contrast of sleek black design elements with the bright sunny landscape of our city. Do you think about the wearer's environment when designing?

JG: The thing I love most about Berlin is the amount of space. The city is like a choose your own adventure book. It will not get in your way, and you can choose how you want to live here. I try to design collections that can flow through one's life from day to day and night to night - from the foundation layer of body wear to the outer. Pieces that travel well and can work in any environment. I only wear DSTM now except for shoes, which one-day will be part of the collection. When I try to wear other clothing now it doesn’t fit with my skin.

TB: Let's talk about the latest collection, S/S 15 - I noticed some white in there, which I love. What was the idea behind this collection and talk about your favorite pieces.

JG: The S/S15 collection started with looking at the shapes and rope tying of Shibari. My favorite pieces are the rope harnesses; they are at once delicate and strong. I like a few lighter tones in Spring, although I still wear mostly black.

TB: Maxime Ballesteros helps to provide the incredible images and environments you create. I am interested in your working relationship and the dynamic between you two.

JG: When I met Maxime I was starting the first DSTM collection. We collaborated on the first shoot and have continued ever since. Him, his photos and way of being are a huge inspiration for the collection and I. We work together very often. I assist him on shoots and creative projects, and he assists me and shoots every collection.

Thank you to Jen Gilpin for contributing these wonderful, insightful responses. I believe we have found even more reasons to love the brand. If you are fortunate enough to be in Berlin, please visit the new shop, located at Tor Strasse 161 Berlin DE-10115. For more information, collections and e-shop, go to www.dstm.co. You can also find them on Instagram and Facebook. We look forward to covering many more collections from one of our favorite fashion houses.

-JRS

The Films of Jésus Franco (1930-2013)

[Every so often it's important to look to the past for inspiration. Today seemed like a very fitting time to re-publish a post from two years ago. April 2nd marks the two year anniversary of the death of filmmaker Jésus Franco. He is a big inspiration for The Brvtalist and Severin Films is releasing two of his most legendary films on Blu Ray, which is also accompanied by a release party by Rendezvous LA! (see more on the Events page).]

Originally published on April 9th, 2013

On April 2nd, legendary writer/director Jesús Franco passed away at the age of 82. Known primarily for his horror, erotic and exploitation films, Franco was a true visionary whose worked spanned over five decades and included over 150 film… — On April 2nd, legendary writer/director Jesús Franco passed away at the age of 82. Known primarily for his horror, erotic and exploitation films, Franco was a true visionary whose worked spanned over five decades and included over 150 films.
Franco first came to prominence with the release of **The Awful Dr. Orloff** (1962), which stars Howard Vernon as a twisted surgeon who attempts to repair his wife’s disfigured face using the skin of others. He would later go on to release such classics such as **Necronomicon** **(aka Succubus)** (1966), **Venus in Furs** (1968), **Vampyros Lesbos** (1970) and **The Bare-Breasted Countess** (1973).

Franco’s films often dealt with lesbian vampires, the occult, sadomasochism and surgical horrors among others. Fritz Lang once said Franco’s Necronomicon was the first erotic film he ever sat through, ”because it’s a beautiful piece o… — Franco’s films often dealt with lesbian vampires, the occult, sadomasochism and surgical horrors among others. Fritz Lang once said Franco’s **Necronomicon** was the first erotic film he ever sat through, ”because it’s a beautiful piece of cinema”.
My introduction to Franco was through **Vampyros Lesbos**, which is about a beautiful American woman whose dreams are haunted by a sultry vampiress who feeds on her blood. When she arrives on a remote island to deal with an inheritance, she quickly finds that the woman from her dreams is real and she is out to lure her in to eternity. Franco’s use of exotic location, occultist glamour and raw eroticism make the film a real thing of beauty.

While he was often dismissed in later years as simply being an “adult movie” director, this could not be further from the truth. His films were conceptual and highly artistic. While he dealt mostly in the horror and exploitation genres, he always le… — While he was often dismissed in later years as simply being an “adult movie” director, this could not be further from the truth. His films were conceptual and highly artistic. While he dealt mostly in the horror and exploitation genres, he always left a mark of style and sophistication. As time goes on I suspect Franco’s films will continue to inspire and there is no question that fans of horror and art house films alike will remember his vast and prolific body of work. R.I.P.

The Brvtalist Premieres: Human Traffic - "Morgue Witch"

The Brvtalist is proud to premier the latest single by Kansas City based trio Human Traffic. Available soon on their upcoming full length release, "Morgue Witch" is an amazing track that combines elements of post-industrial, suicide pop and drone into something melodic and very Brvtal. Their take on multiple genres is equally harmonious as it is destructive. I had the privilege of speaking to rehab, one of the group's members (along with vicki sixxx and lola rat), and found that he had the perfect explanation for the track:

the title of the track is "morgue witch" and it depicts the romanticized horror of being continuously haunted by yourself as an apparition in the eyes of someone else. as if your existence on this planet as a human wasn't good enough, you continue to remain invalid in an afterlife that you never wanted. forever doomed and desperate for some form of interpersonal recognition. there is a void but it cannot be filled. you are tenuous and transparent. a fragile abnormality constantly in search of something that no longer exists. if you were to have found what you were looking for, would you even know what to do with it?

This upcoming album will be the group's first output since their previous and initial effort, "digital ecstasy", which was self-released last year. The trio will be heading out on tour this summer to support the record and many had the privilege of seeing them their last time around in Los Angeles and had excellent things to say. For now, you can catch Human Traffic curating some incredible shows at their night "Detox" in Kansas City which is held at Negative Space. The photos below are from their latest show there. (*Live photos by Joseph Brunk. Group Photo by Erica Petersen.)

For more information, music and purchasing check out:

-JRS

Baghdad Fashion Week

On Saturday, March 14, 2015, the Iraqi city of Baghdad hosted its first fashion show in over 25 years. The festivities took place at the beautiful Royal Tulip Hotel, known to Iraqis as "Rasheed". Over 500 people gathered to watch 16 young Iragi female models showcase designs by six homegrown designers.

The collections were largely plays on traditional Middle Eastern themes and dress but many displayed a glamorous edge with nods to luxury fashion and other Western details that are not typically accepted in modern Iraqi society.

The last fashion show in Baghdad was held at the Palestine Hotel in 1988. While just a couple decades old, this seems like worlds away. Iraq in the 1980s was a very different place. Despite an 8 year war with Iran, Baghdad during this time was a vibrant, cultural hub. It was much less socially and religiously conservative and artistic freedom, especially for women, was much more accepted. Unfortunately that has changed over the years and extremism now dominates much of Iraq's society.

However, on this day, it felt like the old times. Five out of the six designers were women and the beautiful young models were able to walk down the runway for the first time in their lives. Meanwhile, just 100 miles north, Iraqi troops were engaged along the Tigris river with Islamic State militants who seek to overtake and control the region.

This event is notable for so many reasons. Those of us in the West cannot even begin to comprehend the defiance of many of these designers, models and patrons. Fashion is not something that is a traditionally "accepted" career field in today's society and for many involved this was a radical move of defiance. With all of the other fashion weeks taking place around the world, in many ways this might be the most significant. These individuals are using fashion and creativity as war of their own, against oppressive ideals and religious extremism. Nothing is more Brvtal than that.

-JRS

*all fashion week photographs by Ahmad Al-Rubay/AFP

Rigards Eyewear

In the over saturated market of luxury eyewear, it takes a lot to differentiate yourself from the rest of the crowd. That's why I've been so impressed with the incredible frames made by Rigards. Each pair goes through an incredible journey that went even deeper than I thought.

Rigards, from the French word "look" or "glance", craft their beautiful eyewear made out of natural horn. This material is biocompatible, lightweight and unique. Each pair has its own graining and color variations that are already embedded in to the material. Further, the horns used are byproducts of water buffalo that are responsibly reared on small farms in Africa. Each horn is handpicked for its quality and distinction. From there, each individual frame is hand made and polished by a skilled craftsman. This is a difficult process as the desired finish of the frames is matte and not a high shine (which just requires polish and a wheel). This adds yet another layer of variation to the already one of a kind frames.

The designs are influenced by the past but very modern with a bold and avant garde look. They are intended for fashion forward individuals who appreciate individuality and craftsmanship. These frames are no joke and this is an investment you will have for a lifetime as the natural horn will undergo its own aging process over time. They are also extremely comfortable with lower chance of irritation and come in European and Asian fits. If you're looking for truly unique and cutting edge eyewear, this is the brand for you. For more information and stockists please visit Regards.

-JRS

The Work of Anny Wang

We recently became aware of the work of Copenhagen based designer and visual artist Anny Wang on Instagram and have fallen in love with her 3D illustrations and furniture. Wang notes her influences as her childhood in the 90's and Art Deco. With the revived interest in Memphis Design, it seems like the perfect time for Anny's kitschy pastel dreamscapes to enter the commercial design world.

You can purchase digital prints of "Bell Jar" and "Golden" online at Arrivals.

For more information, check out her website: annywang.se
All images copyright Anny Wang.

-TB

Paris Fashion Week - A/W 2015

As far as the major fashion weeks go, there is no better event than Paris. The prestige, the designers and the setting, make it feel like the biggest and most glamorous of them all. In recent years, Paris has lived up to the hype and this season we've got some more great shows that are worthy of the Brvtal fashion paradigm. Ann Demeulemeester has not skipped a beat since the namesake designer stepped down from her own house. The clothes continue to channel the dark, romantic ethos and the leather gloves were perfect. Also included are the beautiful fur-trimmed pieces from Chalayan, which look so chic yet so comfortable too. Rounding out our picks are all time favorite Mugler, who continues to channel his special brand of forward thinking contemporary edge and unmistakable glamour. I was also pleasantly surprised with the punk meets pop art looks of Maison Martin Margiela. Finally the master, Yohji Yamamoto, presented a show with exaggerated gothic looks, perfect draping and conceptual art. With the weather already heating up in Southern California, these shows are getting us excited for fall fashion.

-JRS