fashion designer, Paris
interview by ANNABEL FERNANDES
photography by ARNAUD LAJEUNIE
style by URSINA GYSI
ANNABEL FERNANDES — Your studio is in République, in the center of Paris, away from the intimidating Avenue Montaigne. With street culture filtering into the catwalks, does your location impact your designs at Y/Project?
GLENN MARTENS — The brand is about daily life. Living and working in hot spots, like where we are on Rue du Faubourg-du-Temple, gives you an eclectic view on life. We are situated in a melting pot. It’s very intercultural, which in my view reflects what the society of 2016 should be and what the brand actually also wants to reflect. Just being on the street and people-watching is so refreshing. It’s all the inspiration I need, so in the end I don’t need a mood board.
ANNABEL FERNANDES — It’s true that in your studio, you don’t have any mood boards.
GLENN MARTENS — We make fabric mood boards, rather than visual mood boards. For the womenswear collection, we were influenced by Queen Elizabeth I, so we used a beautiful hand- woven British tweed from Harris Tweed — the supplier for the Queen of England — which is an old-fashioned house that I love. In contrast, we also used nylons and snakeskin. It wasn’t at all a translation of her style, but about the heaviness of the image and her personality.
ANNABEL FERNANDES — Tell me about growing up in Bruges. It seems to inspire your work.
GLENN MARTENS — It was a metropolis in Europe back in the 14th and 15th centuries, much bigger than Paris, but it stopped developing and growing. So nothing has really changed since the Middle Ages. There’s not much happening there, but with its impressive Gothic architecture, it became a tourist attraction, making the city centered on consumption. You have Christmas stores that are open all year long! It’s this big clash that’s super- interesting to me. I guess that’s something that’s translated into my personal work and even my personal tastes.
ANNABEL FERNANDES — If we speak of influences, I see romanticism that has historical references, as well as a ’90s alternative radicalism. How do you connect these influences?
GLENN MARTENS — There’s no rule. It just happens. We do what we want and try to find some balance in be- tween the...
[December 8 2016] : ArtView the gallery
On view until February 11th, 2017 at Galerie Nicola Von Senger, Limmatstrasse 275, Zürich.
Photo Sonja Berta
[December 8 2016] : News
On the occasion of the survey “Pipilotti Rist: Pixel Forest”, The New Museum presents a special conversation between Swiss artist Pipilotti Rist and curator Massimiliano Gioni, to discuss the trajectory of the artist’s practice over the past thirty years, and a focus on the artist’s latest exhibition.
“Pixel Forest” spans the artist’s entire career, from her early single-channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores. See our coverage of the exhibition here.
The conversation will takes place on January 17th, 2017 at the New Museum Theater. Get your ticket... Read More
Photo Pola Esther
[December 8 2016] : ArtView the gallery
On view until December 18th at Gavin Brown Enterprise 291 Grand St, New York.
Photo Elise Gallant
[December 7 2016] : News
Do not miss the “Post-War, Counterculture and Pop” online auction presented by Boo-Hooray, running until December 16th, 2016 on www.sothebys.com. See the full catalogue here.
The auction features different sorts of items from the mess celebrated yet influential movements and subcultures. With products from “the revolutionary May ’68 protests, New York’s early hip hop pioneers, concrete poets and even the collected fanzines surrounding the bizarre career of pop singer Scott Walker.”
[December 7 2016] : @marjanjonkman starring in 'Conceptual Streetwear' by @caspersejersenstudio and styled by @naomi_itkes #purplediary #caspersejersen #naomiitkes #marjanjonkman