Stories

Between the 11th and 13th of May, in The Academy Rooms on Brook Street in Mayfair the exhibition will showcase the material innovations across three main exhibits.


Thames Glass: Lulu Harrison x Thames Water x Bureau de Change

Quagga mussels are an invasive non-native species in the UK that cause blockages in Thames Water's transfer tunnels and are costly to remove, usually ending up in landfill. Supported by Thames Water, student Lulu Harrison has created a sustainable eco-glass unique to London and formed from the shells of this natural but nuisance by-product from the Thames.

Colour Cultures: Jesse Adler x Rejina Pyo

Colour remains one of the most under-innovated areas in fashion sustainability. According to student Jesse Adler, colour cultivated from fungi like mushrooms, lichen and mould can be a safer and healthier alternative to synthetic colourants, and more scalable and economically viable than natural dyes. In collaboration with Adler and Here, London based fashion designer Rejina Pyo will demonstrate with a visual and immersive experience how these colours could make it onto the runways of the future.

Lab Grown Scent for a Sustainable Future: Tetsuo Lin x Haeckels

Student Tetsuo Lin will be joining forces with skincare and fragrance brand Haeckels. Lin and Haeckels are developing the idea of lab grown scent by synthetically producing it from DNA. By engineering scents in this way, the unnecessary waste and damaging of ecosystems through usage of natural materials in the beauty industry can be addressed.

Luxury brands have reflected this ultimate desire and grounded themselves in the essence of things, in the definition and discovery of truth itself.

They focus on ultimate materiality and material forms. They use the most authentic and heritage materials, as well as the most revolutionary and innovative ones. Take Burberry — a company founded on the principle that clothing should be designed to protect people from the British weather. In 1879, they invented gabardine, a breathable, waterproof, and hardwearing fabric that revolutionized outdoor wear. This April, they launched a curated ReBurberry Edit crafted in an innovative nylon yarn made from regenerated fishing nets and fabric scraps. In the past, Burberry has looked to the sculptures of Henry Moore to find the most vital, arresting, and human forms.

Artisan makers work closely with the essence of a material, they know it better than anyone else, they are closest to its truth. Their making is a real investment of time and skill captured in an object. Luxury brands foreground work done by hand — an activity that feels fundamental to what it means to be human.

Hermès is an exemplary storyteller of this kind and holds tightly onto the reins of its Parisian equestrian origins. Its film series ‘Footsteps Across the World’ shares portraits of saddler-leather workers in Paris and silk-marbling artisans in Kyoto. Luxury brands root themselves in time and place. This series reflects the brand’s commitment to the very best materials and its dedication to traditional and rare crafts, to keeping knowledge transmitted from generation to generation alive and relevant for a modern audience.

Alessandro Michele’s infinite creativity has made Gucci one of the most sought-after brands. But we mustn’t forget that this vision is built atop Gucci’s long-standing reputation for Italian craftsmanship, a pinnacle of quality and attention to detail. This is visible in their ornate bag closures and horse-bit loafer details that Michele has eclectically redesigned in forms such as tiger heads and shearling linings.

Luxury brands continue to search for the ultimate material forms, the tactile and tangible. Things that we can know and literally hold onto.

Alongside materiality, truth needs words — powerful, authoritative, and original definitions of what is. Luxury gets to define quality, luxury names it. It gets to point at something and call it luxury. Words cut to the essence of the thing and give it a name.

This is why naming is such an art in luxury brands: naming that bag, that perfume, that material, that color. Luxury brands are obsessed with this act of definition, of finding words that ring true to the essence of the object.

When Gabrielle Chanel created Chanel No.5, it was revolutionary, the first of its kind in scent, bottle, and name. It was named after the fifth sample given to her by the Tsar’s perfumer. An innovation for the time, it involved the use of aldehydes and offered complexity when most perfumes were single-note floral scents. The radical difference in christening the perfume No.5 helped name the difference and, of course, became iconic.

Byredo redefines ‘Pulp’ as a luxury name, speaking to the intensely evocative nature of the scent. Gucci promises decadence in a mascara that builds and builds. It selects charm and mystery as the thing this mascara should be about and names it ‘L’Obscur’. Authenticity matters and an original, skilled wordsmith is integral to creating luxury brands.

We might think it easy to pledge allegiance to ‘the truth, the whole truth, and nothing but the truth’. But not many can. Truth is the domain of luxury because only in luxury is the focus on the truth, in and of itself. In the mass-market, brands have to elevate a functional or material truth by association with an emotional one — the brand is created to enshrine this association. Luxury is different in that it is anchored in the definition, invention, or discovery of truth itself.

What differentiates luxury is the audacity of their commitment to a vision. They don’t compromise.

Although we tend to think of the truth as setting things in stone, in luxury the truth animates. ‘The truth will set us free’. An absolute commitment to the essentials, to establishing material truth and defining the essence of what matters, earns us the freedom to dream, and, if we desire, to be outrageous.

So, when Gucci is hyper-referential and surreal — releasing a Spring Summer 2020 campaign starring horses in absurd scenarios in Los Angeles — we believe in the fantasy because its luxury is rooted in so much truth.

This article originally appeared in Branding Mag

At Here, we have always been advocates for the importance of tangible physical experiences as a counterpoint to our our digital existence - time spent looking at screens - and in the last few weeks this dynamic has gone into hyperdrive. Assuming we will continue to use remote-working technologies, the studio should more assertively become a creative stimulant - or more than that, a space designed for digital decompression. An experience that Thomas Heatherwick calls "Hyper Physical" in an article about the future of office design.

So, more than ever, the studio needs to be a space that uplifts us with its design and beauty—that justifies its existence by enriching our lives. A space that celebrates spontaneous conversation untainted by digital glitches and encourages more nuanced human communication like "the subtle affirmations of our humanity" that Cal Newport talks about in his New Yorker article "Why Remote Work Is So Hard—and How It Can Be Fixed." It needs to be a generous and safe space that encourages disruptive and spontaneous creative work with the analogue tools that will differentiate and rebalance us from our time spent in pixels: books, pens, paints, inks, paper and jokes. In many ways this new model relates back to a very old model - something much more like the idealistic art college experience.

And why not open this experience up to the clients we work with? With fewer people in the studio at any given time, as restrictions are relaxed it could become possible to dedicate more space to productive collaborative work with our clients in our studio.

One clear observation from this experience is that it has suited some people more than others - the introverts among us are seemingly flourishing in isolation - and in many ways this is a moment where ideas of self-realisation begin to translate to our choices about how to work. We are being taught to understand when we get the most out of focused work at home and when we will get more out of communal work at the studio.

It strikes us that this is a lesson that will be hard to unlearn and step back from, and as a consequence, we can safely assume that the role of the studio will never quite be the same again. Stripped of the more methodical aspects of work, it could actually become much more exciting.

This article originally appeared in Muse By Clio

He’s not alone. For countless independent Luxury brands with environmental consciousness built-in, smaller and more sustainably produced collections have long been the reality. Due to the extended pause on production for much of 2020, this autumn, some brands are selling a very limited number of items including archival pieces. Irish-based 31 Chapel Lane announced their discrete collection that “continues to build upon our established values of integrity, quality and sustainability”.

This notion that less is more goes hand-in-hand with the thought that creativity comes from constraint. Or, as Orson Welles put it, “the enemy of art is the absence of limitations”. This has been critical in powering thinking, particularly when it comes to inventing sustainable materials. Circular design is vital in preventing further environmental damage so a key focus has been on what can be produced purely from waste. Meet the new materials.

From well-known bioplastics to the wonderfully niche, new products are being fashioned from the most improbable materials. The ReBurberry Edit uses lightweight ECONYL® made from regenerated fishing nets, discarded fabric and industrial plastic, seamlessly fitting the urbane modern look of the brand. The Shellworks transforms the discarded shells of lobsters into a paper-like compostable material. Meanwhile, eco-packaging is finally popping up in Champagne - something to celebrate.

Haeckels, a beauty brand out of Margate, has been one of the recent success stories. Their environmentally friendly products and off-white mycelium packaging – a kind of living, breathing mushroom pulp, that can be grown, recycled and readily decomposes – have gained much attention, and are stocked today across many of London’s most iconic and curated stores. They’ve innovated not only products, but trialled a new way to shop, selecting a couple of days where no form of money was accepted in their Margate store: trialling the circular economy, watching how the day unfolded and the incredible interactions with their customers. Haeckles is one of the many small giants continuously innovating in this space, spurring on the conversation, and making sustainability eminently chic.

One of the crucial shifts we are seeing is a psychological one: making the old ultra-desirable. As a society we’ve long been sold the unblemished newness things. But this is changing, upcycling has come to New York, London and Paris. When Vogue Ukraine fashion director Julie Pelipas walked to a haute couture show in Paris in an extremely oversized men’s suit pinned with big bunches flapping at her sides, everyone around took note. It was a statement look promoting her new brand Better that sells vintage men’s suits altered to fit women’s bodies. Artist Rua Carlota’s unique patchwork knits made with deadstock fabrics have similarly been a social media hit and lionised in the press. Numerous brands have joined this wave of making things entirely from excess fabrics and materials, Acne Studio being one of the latest to announce its repurposed collection. Visually clothes are cut and spliced together, giving a heightened sense of visual resourcefulness, of difference. It’s a challenging aesthetic but challenger behaviour is exactly what we need. We have to be shocked, arrested and allured in.

Of course these innovations aren’t exclusively limited to Luxury, Adidas and Nike trainers are a spectacular playground for new biomaterial and tech innovations. But Luxury brands’ behaviour in this space is all important. It sets an aspirational agenda that is influential. Up to a point, Luxury gets to name and define what is valuable. Additionally, if eminent brands can afford to get behind new materials they can give them the economies of scale they need to get off the ground. As Alessandro Michele points out "now, more than ever, [it] is necessary to build new and more powerful narrations.” Today’s powerful story: old has to be the new new.