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HENRIK VIBSKOV SS14 METEOR PRINT


STINE GOYA X H20 - NOW ONLINE!

SAVE THE DATE: HENRIK VIBSKOV (SOLO EXHIBITION) AT RUTTKOWSKI;68, COLOGNE, GERMANY

AFTERPARTY: HENRIK VIBSKOV 3 YEAR ANNIVERSARY NYC, TRIBECA GRAND

CHALAYAN SS14 BREEZE CORRIDOR - NOW ONLINE!

FOLLOW HENRIK VIBSKOV AROUND THE WORLD: HENRIK VIBSKOV, ‘VIBSKOVSKI;72.II’ AT RUTTKOWSKI68

INTRODUCING: KINK MAGAZINE #20 + CUADERNO


This time Kink does not come alone, but is accompanied by that from now on, will be our new project: Cuaderno. Kink and Cuaderno are presented in an indivisible pack.
In the first issue of “Cuaderno” Kink include works of:
Benjamin Fredrickson, Brandon Herman, Bruce LaBruce, Daniel Trese, Dean Sameshima, Itai Doron, Josh McNey, Paco y Manolo, Richard Sawdon-Smith, Ryan Pfluger, Slava Mogutin, Sito Mújica and Thomas Dozol.

KINK 20 a magazine by Paco y Manolo

132 pages - Color & B/W- Spanish-English bilingual - Volume I - 2014

The guys: Arthur, David, David C, Fran, Francesc, Jan, Jose, Mauro, Michael, Mike, Pablo, Patrick, Pedro, Quim, Rodolfo, Rubén and Rubén N.

Specials: "4 days in Sevilla", "A day with the boys (La Guardia Pilosa)" and "Miscelanea".

Guest Álbum: Itai Doron.

+ CUADERNO 01 (a booklet from the "Guest List" exhibition).
16 pages - B/N - Spanish-English bilingual - 2014


KINK IS NOW AVAILABLE IN COPENHAGEN


NEWSLETTER: ALL WHITE


INTRODUCING: MIKKELLER SPIRITS


It’s about beer, it’s about spirits and it’s about bringing the two worlds together with great respect for both.

It’s no secret that Mikkeller (the brewery) is inspired by the beers and breweries from the US. They do a lot of beers with powerful American hops. They do a lot of other stuff as well, They do all styles of beer because we like to explore genres and they like to take genres somewhere else. Mikkeller Spirits is not just taking genres somewhere else, this is beer meeting spirits. The concept is known as micro distilling. Mikkeller did not invent this; it has been going on for some time. Micro distilling is really blooming in the US, as mentioned, they are aware of stuff happening over there.

Mikkeller are curious by nature; distilling is not the only issue here.
The real issue for Mikkeller and Mikkeller Spirits is the coherence between the two things. That’s what we found to be key for releasing spirits, coherence!

NOW AVAILABLE IN COPENHAGEN


Based on the finest tall blonde wheat, then distilled five times and blended with Simcoe hops. 

This Vodka is the new true super premium vodka with an unparalleled smooth feeling and a lovely fresh taste of hops. 44% alc. (88 proof) – yet exceptionally smooth & delicious!

Superb for a straight up shot – with or without ice – or for any vodka based drink or cocktail.



Based on the finest tall blonde wheat, then distilled five times and blended with Citra hops. 

This Vodka is the new true super premium vodka with an unparalleled smooth feeling and a lovely fresh taste of hops. 44% alc. (88 proof) – yet exceptionally smooth & delicious!

Superb for a straight up shot – with or without ice – or for any vodka based drink or cocktail.



The new-make spirit is as very fruity clean spirit, where the hoppiness and the chrisp taste of dark malts are what meets your mouth, but it is still a rough spirit – therefore we decided to barrel age it!

European oak has always been the finest casks for maturing whisky, especially sherry cask – and this for a good reason – TASTE!

There casks gives the black spirit another level where taste of dark chocolate and taste of dark fruits and nuts come in play – A JOY for the whisky drinker.



Distilled of the finest botanicals. Carefully balanced with a full scent of Juniper berries making way for lemon grass and soft tones of angelica root. A little touch of cardamom, ending off with slightly bittersweet tones of oranges. Note the hoppy feeling you get, the US Simcoe hops add a lemon zesty touch.

Drink it straight if you are man enough – don’t worry, it´s smooth as silk – or make the perfect G & T with crushed ice, the best Tonic water you can find, Mikkeller Gin and a slice of orange.

PRINT OF THE DAY: HENRIK VIBSKOV AFRICA PRINT SS14

HAPPY FRIDAY!

HENRIK VIBSKOV BOUTIQUE NYC IS CLOSED FOR RENOVATION MONDAY AND TUESDAY 6/16 & 6/17

PRESS: DIAGLOGUE WITH RUNE PARK, BUYER AT HENRIK VIBSKOV BOUTIQUE BY WOKROOM #3, MILANO

NEW ARRIVALS: A.J.L. MADHOUSE AW14

SALE STARTS TOMORROW 11:00 AM, COPENHAGEN, NEW YORK CITY AND ONLINE


THE HENRIK VIBSKOV BOUTIQUE SPRING SUMMER 2014 SALE NOW ON - CPH, NYC AND ONLINE

HENRIK VIBSKOV: GOING THE "WRONG" WAY




Henrik Vibskov is no ordinary fashion designer; he's the creator of twisted and tantalising universes that accompany each of his collections. The Danish designer is known for integrating music, exhibitions and artistic performances into his runway shows, making them extraordinary and uniquely captivating. In this exclusive interview he tells us about the necessity of mistakes for designers and the creative process as a whole.

Mistakes and faults are really important for the human mind to be creative, Vibskov says. In fact, mistakes that arise during a designer’s process are often the very thing that make the project a success.

"If you are just going from A to B, you will become a bit too computerised," he adds.
Creative genius actually comes from wrong thoughts and going the wrong way when designing, Vibskov explains.

Case in point: For a fashion collection referencing mother nature, sexuality and culture, Vibskov's initial vision included unveiling the clothing using models lying on a mountain of breast-like inflated balloons. However, 24 hours before the models were due to take to the runway he had not been able to manufacture enough balloons. Instead, he placed each "breast" on a stick and had models lying underneath them to create a Garden of Eden-like installation. "It turned out to be one of my strongest projects," he says.

Furthermore, the fashion designer speaks about why he chose fashion as a career path. For Vibskov clothing is one of the fastest communicators allowing people to express their individual thinking without actually talking.

It’s a tricky business in general being creative. You have to trust in yourself and use the things you have learnt in other ways. 

Designindaba.com hosts hundreds of videos of speaker presentations and interviews and world design news. Updated daily, its content features the most cutting-edge design thinking and the work and ideas of the world's industry leaders in all the creative fields.

Design Indaba is a multi-tiered platform committed to a better world through creativity. Established in 1995 with its flagship conference, it has evolved into a multidisciplinary experience that now consists of the globally acclaimed annual Design Indaba Conference, Simulcast, Expo and FilmFest, as well as a host of parties, performances, training workshops, design projects, community initiatives and publications.

NEW ARRIVALS: STINE GOYA PRE AUTUMN 14

PRESS: HENRIK VIBSKOV BY THE LAB MAGAZINE


INTERVIEWED BY POLINA BACHLAKOVA
Photography by Polina Vinogradova

Henrik Vibskov eludes categorization, but perhaps he’s best described as a creative hybrid. Part fashion designer, part musician, and part entrepreneur, no area seems to be out of bounds for Henrik’s visionary mind to venture into. Although especially known for the surreal designs and fashion shows stemming from his Copenhagen-based fashion label, the list of other projects he’s involved in is impressive, to say the least. Henrik drums for Trentemøller, dabbles in costume design, and recently opened a café – and those are just a few of the highlights. Polina Bachlakova recently caught up with Henrik Visbkov to chat about his creative process, the fashion business, and Denmark.

POLINA BACHLAKOVA—You seem to be working on multiple creative projects at once, all the time. How does working on all these projects simultaneously influence each result? 

HENRIK VIBSKOV—I try not to think too much about it. In general, I start by presenting what kind of project it is but I keep it flowing. That gives me things I can bring into other projects or small ideas. [Sometimes] it’s more about creating a space, or it’s more like an object, or it’s more like clothing… I just try to use my brain and my eyes and try to make them reflect on what I’m looking at, and not so much stressing on what it is. I’m always doing a lot, and that’s just how I work.   


PB—What makes you pursue a creative project? Is there an “a-ha!” moment and you just do it, or do you carefully choose the projects you pursue?

HV—When you’re doing a lot of things, you get into a workflow and things just happen… but I’m not a working maniac, my work is really fun. People think I’m working 24/7 but we’re based in Denmark, where we have easy working conditions: I’m in at ten and out at five or six o’clock. Maybe a few nights we’re working on a super heavy project, but I’ve been doing it for many years. It’s very different in the first few years.

PB—So you have much more of a balance now?

HV—Yeah. And then I’m doing a lot of projects and trying to [organize them] in my brain; I’m clarifying colors or structures or techniques that could be used and the output. Hopefully it’s really strong, but you never really know. After a while, you suddenly realize, “Whoah! That was pretty strong.” Or, “OK, maybe that wasn’t the best one.” Some of the projects stick less than others after you’ve slept for a few nights. I have pretty high expectations of myself so it’s not like I’m taking it very easy; I am in some ways, but I expect a lot for myself.

PB—Speaking of being satisfied with a creative project… do you know what makes you satisfied? Do you have standards that you have to meet to make you happy or is it more of a natural thing?


HV—When I go through it, there’s probably something that makes me happy in the process. I think it’s the story, or a tiny bit of humor, or the technically advanced aspect. Those are the few things: a good story, a strong subject, technical advancement… a good picture overall. Then I’m happy.

In general, I’m educated more conceptually so I kind of need to clarify for myself what the reason for the story is and why. For all of the projects, I also need to somehow create that story. We research a lot and find problems that could be solved, problems that could be thought about. Normally I like a surreal, twisted world.

PB—What’s a story running through your mind right now?


HV—We are working on different things. The main thing is a new collection; we’re not really there yet but we’re getting into it slowly. We start researching. Normally we research in four different directions because the time is so short; we need something to trigger us. We make four different subtexts that can be researched. This time, we are researching about weird things that could happen in water. I’m also looking a bit into concrete machines, and concrete…

PB—So it’s always a variety of different influences for you?

HV—Yeah, and that’s just right now. Our interns and assistants start researching in those four directions. If someone comes back with something that could trigger a concept… we have to deliver fourteen, twenty artworks. We need something to inspire us. Sometimes out of those four or five directions something comes out of it and sometimes not. Hopefully in the end, everything melts together in a weird, strange way and creates a universe and hopefully a full story with different layers. 

Our last show was called “Spaghetti Hand Job.” There have been a few where I’ve tried to look at different perspectives of cultures or political perspectives, and have been searching at all kinds of angles, like political or religious. It’s even looking to dance performance and ceremonies from other regions in the world; maybe something about the way you were dancing could create a pattern.

PB—You just described looking to other places in the world for inspiration and researching different cultures. How does your identity and perspective as a Scandinavian designer influence how you take on some of those topics?


HV—Good question. I’m based in Copenhagen. It’s not because of fear; I was educated in London in an international school. Fashion-wise, I’m not sure I’m part of Danish or ‘Scandi’ style. I’m maybe a bit too colorful. I don’t do tight jeans… there’s a lot of ways where I’m not really fitting in to the Scandinavian perspective. But for sure, my whole background, my whole way of thinking would be largely Danish. I’m showing in Paris and I think I’m probably the only one who is coming down from a farm! All the others, on the official calendar, are from mansion houses mostly in Paris. I’m part of this roundtable of twelve which includes pretty big names in fashion and I’m sitting there as the only one not speaking French and I have to fly in like some countryside dude. 

PB—I’m actually moving to Copenhagen in July and have heard that’s why it’s great—you can have your strong creative scene but because it’s much smaller, it’s a bit easier to navigate that scene than in other cities. 


HV—In bigger cities, it takes four hours to pick up stuff. Here you can manage pretty easy on your bike and you’re nearly everywhere within five minutes. It takes you fifteen minutes to go to the airport and bingo. But the Scandi/Nordic countries are very small and so we don’t have a fashion history. We are all farmers or fishermen… it’s necessary that because we are so small we need to look abroad. [For example], it’s a bit weird to meet some young dudes in Copenhagen who know about some indie band in Brooklyn before the band knows it themselves! I think maybe that’s one of our strongest sides: we are very aware of what’s going on elsewhere because we don’t have much. 

PB—It forces you to be a bit more global, which is always a good thing, I think.

HV—We are the countryside. Copenhagen is one of the biggest of the Nordic cities but there are a lot of young people sitting out in the mountains or on farms trying to figure themselves out… It’s not that big. We don’t have any production left. The only thing we have left is our brains. And a few potatoes and some fish.

PB—Speaking of having to use your mind to make something new… What’s more important for you in your creative process – inspiration, or diligence and hard work?


HV—That’s a good question. I’m also teaching as a professor in different schools, and sometimes I see someone come up with a really strong concept or story and you think that’s going to be the end product.  And then when you see the end product, somehow, the vision has collapsed. I think the difficult part is to have some kind of equal transparency through the whole story so the story is strong but you also end up with a product that’s strong. And then sometimes, you see someone have a really shitty concept and have amazing execution, but the story lacks. For me, being a teacher, I think it’s really important you have some kind of balance between the inspiration and the concept but also the final result.

PB—Speaking of your creative vision… I assume there are a lot of rules and regulations in fashion about what’s right to do and what’s taboo or not OK. How do you maintain your creative vision but also function as somebody in the fashion business following those rules?

HV—The most difficult part is navigating that. We are not particularly focused on trends and all that, but intuitively we are still aware of how the world is changing. We do a lot of stuff because we think it’s interesting but the rest of the world doesn’t always think it is. At our branch in Copenhagen, some of our stuff we don’t sell much of and then sometimes we create something that is more commercially strong. It’s a coincidence and it just happens to be the right spot. I wish it could be much easier. If you just knew. But for the whole industry, I don’t need much. If it’s kind of running, the company, then I’m alright. It’s not my passion – I like to create. I’ve been doing that for many years.


PB—You mention how some pieces end up doing really well and some don’t. Is there a vast difference to how people react to those designs in New York, Copenhagen, and your different boutiques? 

HV—For sure. In our own store in Copenhagen we are selling much more womenswear than we are in New York. And in New York we are selling much more colorful menswear than we are in Copenhagen. It’s a little bit opposite. Many keep saying we should do more sexy stuff for the New York girls. Maybe we should, but we don’t really. I think that’s the difference. One of our strong markets is Asia, where we’re selling a lot of stuff. You cannot make everybody happy in the end. I just have to do what I think is right and hope we can manage for the company. Maybe we don’t earn millions, but if it goes on sale and we have a good time, then I’m alright.


HENRIK VIBSKOV "THE STICKY BRICK FINGERS" SS15 MENS FASHION WEEK PARIS

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