Sensual, charismatic yet poised, these are the three words that popped in my head when I first saw Doori Choi’s design. Hailing from South Korea, Doori chose an unconventional way unlike her fellow South Korean compatriots: intimate apparel designer. Her design is sexy, but not vulgar and not at all cheap. She appreciates traditional culture and incorporates it into her design, but always tries to give a modern twist. She refines her aesthetics and lingerie design technique in London, but has always embraced her provenance. She combs trough her Korean root, infusing traditional Korean artisanship and costume details into her avant-garde lingerie design. As a young and aspiring female designer, Doori wants to open up the conservative mindset towards intimate apparel and women’s body liberation from the Korean, and to a greater extend in East Asian, society with her lingerie design. We are lucky to invite Doori Choi for an intimate talk, focusing on her studies in London, her creation and her design philosophy.

Hi Doori, how are you today?

I am great, thanks.

What makes you decide to focus on women’s intimate apparel?

I received my bachelor degree in fashion design in South Korea, majoring in womenswear design. During my studies, I began to develop an interest in women’s intimate apparel, especially the ones made of lace. I got a job in beauty market right after my graduation to learn about marketing, but the idea and the eager to study fashion more, especially abroad, was always there. I want to deepen my knowledge in women’s intimate apparel, but this kind of subject doesn’t exist in South Korea. After some research, I had my eyes on two schools in the United Kingdom and ultimately chose to study another bachelor degree in London College of Fashion, where I was enrolled in a four-year course in Fashion Contour, consisting of three years of study and one year of work experience.

You basically did another bachelor in London just for the studies related to intimate apparel right? And, what is your major “Fashion Contour” mainly about?

Yes! The reason why I want to study abroad is to learn more about women’s intimate apparel design, so I sign up for another bachelor degree without hesitation. “Fashion Contour” is a study on how garments work on different body shapes. The clothes we designed in “Fashion Contour” encompasses sportswear, swimwear and intimate, all these close-fitting garments. I really enjoy my time in London Colleague of Fashion, where I learnt the most basic yet fundamental knowledge as well as more profound know-how and more advanced techniques on how to design clothes for people with different kind of body shapes.

According to you, what are the hardest part in intimate design?

I think the sizing and grading are the most difficult part when it comes to intimate design. For ready-to-wear clothing, the measurement of sizes is simpler and more direct so does the grading. But for intimate apparels, sizing could be very complex. You might encounter clients with skinny waist but big breasts, or another way around. How to satisfy different kinds of body shape and to grade my products is always a challenge to overcome.

Thanks for the insights. Now let’s talk about your most important collections, and their source of inspiration?

Sure! During my studies I got the opportunity to do a showcase and catwalk show my collection in Cannes, France. It was my first collection in lingerie, and I specially used good quality silk and tulle as main materials because I want to make my collection very luxury and expensive. I got a lot of inspiration from the Europeans costumes when I was living in London since they looked really different compare to Asian costumes. I was really drawn to the unique necklines and sleeves in these garments. They stood out to me, and I see their potential to add a fresh twist to my designs. I went to many museums to observe and think about how could I potentially incorporate them into my design. Embroidery is something that interests me as well. As I mentioned before, I developed an interest in lace lingerie while I was studying in South Korea. So, I reached out to some companies specializes in lace and received a lot of their samples which I used in my collection. As a result, I was able to present my collection on the runway in Cannes, which included all the elements I was interested in.

Another collection I would like to mention is my last collection before graduation. I was chosen as a finalist by an Italian company to present my collection in Milan in a runway show dedicated to intimate, sportswear and swimwear designers, but unfortunately, COVID came and the show was cancelled. Luckily, the company made a video about our design and uploaded it on YouTube, so our collection could be seen by people all over the world.

This collection is an extension of the collection I shown in Cannes. I used the same fabric, but to explore more in the material, shape and detail. The reason I chose this as an important collection is because it was created through a lot of experimentation to break down the boundaries between outerwear and innerwear. For example, I used necklaces and jewelries as strap, adjustment and bust center points. Metal is not a common material you can see in intimate apparel, but my vision is to challenge the conventions. By using materials that are use often in outerwear, I transformed the lingerie into outerwear conceptually, and can be worn on its own as an outerwear.

Interesting ideas! What if I ask you to encapsulate your design in three words, what will they be?

Elegant, glamour and magnificent.

As I said in the introduction, my first impression to your design is sensual, appealing yet poised! And because of that, I would like to talk to you more about your past experience studying and living in London. What kind of city do you think London is? And what are the biggest motivations that drive you back to London?

I think it’s the freedom of creativity that I have experienced there both in my study and my daily life. When I was in South Korea, I always felt like I was not designing for myself. If my professors didn’t like my ideas, I could no longer realize them. Here in London College of Fashion, professors always encourage us to try, and they always render timely support and advice when we hit a bottleneck. Outside school, people here are also quite acceptive to what I do. They respect my work, and they keep an open-minded attitude to my design. They give me praises, but never spare to offer me critical and understandable feedbacks to help me improve. I love this tolerant, liberal and respectful vibe of London.

Compare to Seoul, where I used to work after my first bachelor graduation, London is bigger and more diverse in terms of fashion industry. My experience working in a fashion company during my “Fashion Contour” study also helped me to better understand how the lingerie industry work. I think London’s proximity to the fashion industry epicenter, its diverse culture, its inclusive and open-minded atmosphere are the biggest motivations encouraging me to come back to London. Here, I have the freedom to let my creativity runs amuck.

There’s a question that I am always curious about: Since Korean entertainment industry is getting more and more international spotlight, have you ever thought of any sort of collaboration with K-pop idols, K-dramas or K-entertainment in general?

Yes, I did. Nowadays, K-pop idols have massive influence on social media and also off-line. For example, if Jennie from Blackpink wears some fashion outfit and post them on social media, the products would surely be trending and generate a lot of sales. K-pop idols are trying to present Korean culture to foreigner in a more understandable, fun, friendly and relatable way. Since the Korean entertainment is getting more and more inclusive, diverse and open-minded, I am definitely open to collaboration with K-pop idols or K-dramas just to give my design, and eventually my future lingerie brand, the visibility to push it further. I’ve had the opportunity to collaborate with Korean dramas on platforms like Netflix’s A Virtuous Business and Disney Plus’s Kiss Sixth Sense. I’m confident that by actively leveraging this experience, we can create a positive impact and reach a broader audience.

Overall, it was an inspiring experience to meet and speak with Doori Choi, a gifted young designer who reimagines intimate apparels as more than just innerwear, pushing the boundaries of fashion. With her conviction and passion, she did not stop at studying women’s wear, but also finished studying “Fashion Contour” in London, and now she is trying to make her own path that takes advantage of her Korean roots. While I was initially captivated by the sensuality and elegance in her designs, our conversation has left me deeply curious about her work’s infusion of traditional and outerwear-inspired elements. While she acknowledges the challenges posed by East Asian cultural expectations, her varied experiences and experimental approach suggest these barriers will gradually diminish. Additionally, her connection to K-culture may well serve as a powerful platform to elevate her work. Based on her unique perspective, I am looking forward to seeing the distinctive path she will carve out in the fashion world.

The second edition of the St. Moritz Art Film Festival (SMAFF), directed by Stefano Rabolli Pansera, has rung down its curtain on Sunday 3 September. Took place in the Swiss town of the same name, which has much in common with the theme of the competition: “Becoming Landscape”.

With the given title, competing artists and directors were therefore asked to reflect on the relevance and meaning of the landscape today. 57 films competing between digital experiments, historical perspectives, philosophical and anthropological reflections which revealed, as declared by the creative director himself, not only technical complexity but also depth and poetic sensitivity, often told in first person by the directors present in the room, mediated or interviewed by colleagues and critics.

Among these is Lydia Ourhamane’s work Tassili, which the director brought, a non-local crew to the desert between Algeria and Libya for the first time. They went on a physical and spiritual journey, which lasted two weeks, in a normally and voluntarily inhospitable nature, preserved from tourism and the risk of deterioration.

Moving camera on a long walk in a pristine valley with no human interaction and no conversation, the spectators observe and reflect, gets lost and finds themselves. They probably relive the same intense experience as those who worked on the production of this film, who declared, upon returning, of not knowing how to describe the emotions and the passage of time on that massive and mountainous plateau in the Sahara Desert.

Kanaval by Leah Gordon reflects on Haiti’s discovery attributed to Christopher Columbus, on the condition of slaves before and after the French colonization and on carnival as an integral part of the Haitian identity. The identity was once deprived from the Haitian before returning to their possession at a later time, retaining some elements of European culture, in search of a new post-revolution identity.

Matteo Parisini tells us about the universe of Luigi Ghirri with his work Infinito, the Italy of the 70s, consumerism, historical quotes and artistic contaminations. He starts from the architecture of his territories and ends at metaphysical and suspended landscapes. The sky as the great and final protagonist of his works: becoming landscape par excellence.

Last but not least is the experimentation in the digital field, together with the support of artificial intelligence and the use of elements borrowed from the gaming world. The visualization of subjects through the eyes of a soldier in “Call of Duty” mode, human simulation through the characters of “The Sims” and the possibility of witnessing the same scene from three different points of view thanks to a sophisticated control of cutting-edge technology as illustrated in Theta directed by Lawrence Lek and winner of the Best Film Award: an accident, a car went off the road and got stuck in the woods at night.

Three different active elements on the scene: the car, the object, still turned on and still in a nature that incorporates it. The human, having got out of the vehicle, an emotional and psychological subject, lives and waits helplessly for aid. A fox, a natural and external subject arrives, observes and moves around the car and the person, and then returns to the woods, to its nature habitat.

Among the winners is also Warp by Raffaella Naldi Rossano, who snatched the Special Prize for Emerging Artist. According to the jury, “the film transports the viewer through various narratives and temporal planes, producing a surprising effect and an unconventional audiovisual panorama” and “offers a frame of reference for reflecting on contemporary issues linked to the Mediterranean, to the relationships with the preservation of the territory marine and ecosystems, as well as the consequences of climate change”

“Love at First Sight” is the name of the prize from the exclusive partner, Kulm Hotel St. Moritz, awarded to Laguna Negra by the Peruvian director Felipe Esparza Pérez. “Sophisticated blend of documentary and fiction. Its meditative rhythm produces a sense of sacredness, in line with the indigenous traditions explored in the film.”

The St. Moritz Art Film Festival, in its second edition, promises to become a regular event and we can only continue to support it.

Simple, structural and somewhat sophisticated. London-based designer Syuan Jhen Lin showcased her latest project “The Statue of Ambiguity” on August 3^rd, 2023 at London’s Finsbury Park during the gig of hip-hop singer Refound and DJ Joy.

Born in Taiwan, Syuan Jhen Lin relocated to London to pursue her fashion studies at London College of Fashion after winning a design competition of wedding gowns. Hailing from Asia and living in Europe, her design is an eclectic fusion of the oriental and occidental culture. She specializes in pattern-making and garment construction, and is proficient at converting her avant-garde vision into enchanting storytelling.

Titled “The Statue of Ambiguity”, Syuan Jhen’s latest collection is a reflection on how society shapes our predetermined images of behaviors, or the so-called stereotypes, on others. These stereotypes tell us how to perceive a person by the way they look, the way they dress or the way they carry themselves; and oftentimes, lead to categorizing others in a somewhat polarizing opposite.

However, things are not always how they seem to be from the surface. We tend to forget that we are all independent units that have multiple façades. Our characteristics can be viewed differently by different people from different angles. The world is non-binary, there is actually a large area in between called the ambiguity. That state of ambiguity is the element which makes our stories more lively and multi-dimensional.

Inspired by the ambiguity in our personality, Syuan Jhen wants to manifest her theory by playing with the texture and pattern in her design. Considering clothing a soft sculpture attached to the human body, she blends the elements from both menswear and womenswear to create the unique silhouettes that best express her vision. Throughout this experimentation, she wants to challenge the duality of traditional garment and create something neutral for everyone.

The experiment seems pretty successful. The juxtaposition of different elements makes her design extremely interesting. Just like our multi-faceted personalities, the shape and form of her design are not one-dimensional. It seems to be a normal top from the side; however, it becomes an undulating structure while seeing it from the front. The same concept applies to the trousers and the hat, looking plain from the front while being a sculptural form from different angles.

Currently, Syuan Jhen is preparing for the launch of her own brand. With her past experience in bridal wear, evening gown and ready-to-wear design, she wants to use her garment to challenge the societal norms and promote a more inclusive gender perspective. “Fashion wields the power to influence ideas and disrupt established paradigms.” She said, believing this concept to be innovative and impactful enough to inspire transformation in our society. The future of our society is unknown, so is hers. But we believe that with these proactive visions, we could create a more inclusive, diverse and welcoming community for those who are in their state of ambiguity.

Hailing from Beijing, Paris-based fashion designer Dawei Sun founded the eponymous fashion house DAWEI in 2016. Graduated from L’Ecole de la Chambre Syndicale de la Couture Parisienne in 2005, Dawei Sun has interned, worked and creative directed in brands like John Galliano, Balenciaga and Cacharel before deciding launching his own label.

In occasion of the launch of his Resort 2024 Collection, CAP 74024 shared a lovely talk with Dawei Sun on his journey in the fashion world in the past 15 years, the story behind the foundation of his own label, and his philosophy of life and design.

Hi Dawei, how are you today?

I am good, thanks. Enjoying Paris before my regular travel to Beijing.

Are you currently based in Paris or in Beijing? 

Our studio is in Paris and we have an atelier in Beijing. Normally, I split my time between the two cities. But the pandemic has restricted my freedom of travel. Hence, I spent most of the past two years in Paris, and then after each fashion show I traveled back to China, where my family lives.

So how does the division of labor and the workflow of the brand go?

Most of the research, design and fabric collection take place in our studio in Paris; while sampling and final product inspection are done by our atelier in Beijing. We also have professional exterior teams handling our marketing, sales and public relations. We are a small but well-structured team.

Would you like to share with us a bit of your background and what is the story behind the foundation of the brand?

I first moved to Paris in 2001 to study in L’Ecole de la Chambre Syndicale de la Couture Parisienne (which has merged with Institut Français de la Mode in 2019). After my graduation in 2005, I started to intern and work in different brands until 2010, when I co-founded the brand Belle Ninon with my then business partner. A few seasons after the launch of our first collection, we were recruited by Cacharel as their creative directors. We stayed in Cacharel for a couple of years; during that time, we still designed a couple of mini collections for Bell Ninon in order to keep the brand alive.

However, designing for two brands and four seasonal collections were really exhausting. So, after our departure from Cacharel, my business partner decided to take a break from the fashion world. I realized that I couldn’t manage Belle Ninon’s more feminine design alone, so we shut down the brand. I also took a break for around two years, but my interest in fashion never faded. Considering that I still want to design in the style I like and to grow together with the team I’ve been working with for many years, I founded DAWEI in 2016, and this is where we are now.

It must take a certain amount of courage to restart everything from the scratch again.

Indeed. In fact, it was around the time when my first child was born. The birth of new life somehow rekindled my passion to fashion and encouraged me to start doing something that I’ve always wanted to do, so I decided to “give birth” to my own brand DAWEI.

What’s the biggest difference in between of designing for other brands and designing for your own brand? 

When we designed for other brands, we were trying our best to respect the style and requirements of the brand and design accordingly. By the time I started DAWEI, I was hoping to combine my preferences with my aesthetics, and to design from my own perspective. I think the biggest difference between them is the change of roles and the state of mind.

You have interned and worked in major fashion houses like Balenciaga and John Galliano before being appointed as the creative director of Cacharel. What have you learnt the most from these experiences that helped you to develop your own brand?

The most influential designers to the young designers of my generation are definitely John Galliano and Alexander McQueen. I was lucky to have the chance to learn alongside John Galliano. Learning from him has broadened my horizon because he was someone who has been exposed to many different cultures and has a wide range of interests in many things. Through the experience, I understood the essence of teamwork and acquired the skills to be a good designer. Whenever someone’s tenure at John Galliano ended, the team will tell that person: You are now a qualified fashion worker.

Also, top designers like John Galliano and Nicolas Ghesquière have their own ways and techniques when dealing with different problems in design. These might not be my usual methods, but they can serve as my reference when I encounter some specific or unexplored problems.

After creating your own label, the design is to stick more to your preference, aesthetics and originality. Where do you usually get your inspiration from?

A lot of my inspiration during the pandemic actually came from the movies I watched in lockdown. When we are allowed to leave our house, I get expired by the exhibitions I visited, or some contemporary architecture I stumbled upon. I like to explore what is happening at the moment, so some current events and trends could be my source of inspiration as well. Also, I love to go to nature. The colors I see in nature inspired me a lot on my use of color.

I sometimes enjoy seeking inspiration from the books I read. Even if it’s simply a sentence or a paragraph that has nothing to do with fashion, I could find a correlation between them and base my design on that.

How many seasons do you have every year?

We have four collections every year. Spring/Summer and Fall/Winter main lines, resort collection and pre-fall collection.

In the realm of fashion, where creativity knows no bounds, the Resort Collection 24 by Nervi emerges as a bold testament to the brand’s indomitable spirit. Set against the vibrant backdrop of the pulsating city, the collection seamlessly merges urban street style with an unwavering commitment to uncompromising elegance.

Out in May 2024, the fifteen looks of the resort collection unravels its myriad facets with an undercurrent of rock-inspired energy that reverberates through every thread. Valentina Nervi, a visionary designer with an independent soul, orchestrates a collection that transforms women into nocturnal landscapes. She gives each look a distinctive feminine name, accentuating the curves and silhouette with a masterful touch honed by her expertise in intimate apparel, evening wear, and couture. Just as a melodic symphony, the resort collection praises the charm and mystery of the night.

Designed for the confident, self-assured woman, the evening gowns in this collection serve as a vibrant expression of resolute individuality. Each piece is imbued with a commanding personality, poised to make an indelible mark wherever it graces. Meticulously crafted and adorned with exquisite details, these garments exude an air of sophistication and are enveloped in the finest fabrics, a testament to Nervi’s unwavering commitment to quality.

As Nervi navigates a transformative phase, the brand’s new image pays tribute to its history while elevating its collections to new heights. The distinct DNA remains intact – a fusion of fashion, a profound love for music, and an unyielding appreciation for the allure of the night. It is a period of metamorphosis where authenticity shines through, defining Nervi’s resolute path forward. With every stitch, every carefully curated detail, and every electrifying moment, the brand exudes an aura of authenticity that resonates long after the curtains fall. As day turns to night and fashion meets passion, Nervi’s legacy remains etched in the hearts of those who dare to embrace the allure of the extraordinary.

After a fickle weather in May with drastic temperature drop and heavier rainfall than usual, summer is finally back in Italy. Before the dog days and holiday season’s arrival, Mytheresa teamed up with the established fashion house Maison Valentino for a brilliant summer wardrobe proposal.

As one of the best-selling brands on Mytheresa, Maison Valentino is back for another collaboration with online luxury retailing tycoon and their longstanding partner Mytheresa. Switching from last year’s colorful summer escape mood, the latest capsule collection is a monochromic ode to the fashion house’s signature Pink PP color shade. Comprising maxi dress, kaftan, shorts and long skirts, the seven exclusive looks stay true to the house’s feminine and sophisticated aesthetic. Comfortable and fashionable, the feather and rose print adorn render a playful yet romantic vibe, perfect the definition of urban riviera.

To celebrate the launch of the collection, Maison Valentino and Mytheresa invited a group of talents, press and top clients to Rome for an exclusive summer experience. The guests were invited to a tour in the newly-opened private museum Spazio Musja for an in-depth exploration of the founder and entrepreneur Ovidio Jacorossi’s contemporary art collection, and a private visit to the Maison Valentino Archive discovering the timeless aesthetic of the prestigious designer Valentino Garavani and his eponymous fashion house. Guests in vibrant summer capsule collection wandered through Roma’s historic streets and corners, enjoying the eternal beauty of the mesmerizing Urbs Aeterna. The tour was consummated with a convivial aperitivo at Camponeschi, an intimate dinner at Pierluigi and a relaxing lunch at Dal Bolognese. Revel in fine dining, wine, art, luxury experience and high fashion, the guests enjoyed a pleasant and immersive sojourn under the Roman sun.

Launched globally on Mytheresa.com from May 5th from June 21^st, 2023, the exclusive Valentino x Mytheresa summer capsule collection is ready to color your summer with vivacity, vibrancy, casualness and chic.

Meticulously crafted ensembles flawlessly blended with the venue, as delicate silhouettes seamlessly created strong looks. Saint Laurent’s Spring/Summer 2024 menswear show was an exceptional showcase of timeless yet cutting-edge ensembles. Presented at the architectural masterpiece, the Neue Nationalgalerie in Berlin, and under the creative direction of Anthony Vaccarello, the collection, titled “Each Man Kills the Things He Loves,” embraced an androgynous aesthetic while exuding sensuality.

Sophisticated, progressist, sexy and not afraid to show some shoulders is the Saint Laurent Man. While showing off his figure he struts confidently the runway and blurs the lines between masculinity and femininity. Showcasing figure-hugging silhouettes, the garments embody the essence of Saint Laurent, while recreating some of the mythic characters in Rainer Werner Fassbinder films, Querelle and Le Droit du Plus Fort.

The show is a harmonious balance of opposite elements. Feminine one-shoulder tops merge with masculine high-waisted pants, creating a captivating contrast. The ethereal delicacy of sheer chiffon fabric juxtaposes with the structured volume of tuxedo jackets, evoking a striking balance. Furthermore, the romantic charm of polka dot tops diverges from the audacious boldness of chunky-heeled boots. Altogether, the show was and opulent display of progressive values and subverted traditions.

Designed as an extension of the womenswear collection, the pieces draw clear inspiration from women’s silhouettes. The inclusion of high-collared shirts, tank tops with plunging décolletés, and sarongs elegantly tied around the neck add a captivating touch of sensuality. while meticulous, sharp tailoring and fluid volumes create a romantic and fresh feeling.

Exquisite textiles accentuated the opulent atmosphere of the collection. Featuring a diverse range from satin to patent leather, jersey, and mousseline, the different textures provided a visually captivating and sensory experience. Playfully adding to the allure, leopard spots adorned some of the patterns, while the iconic Saint Laurent black prevailed throughout the collection in a variety of shades.

The tailoring of the collection, characterized by broad shoulders and tapered legs, showcased Saint Laurent’s expertise, mastery of shapes, and bold fashion sensibility. Classic bow ties, traditionally associated with formalwear, received a fresh twist as they were presented in pristine white, adding a contemporary edge to this timeless accessory.

The choice of venue for the show added an extra layer of significance to the collection. designed by Ludwig Mies van der Rohe in 1968, the Neue Nationalgalerie boasts a steel roof that complements the collection’s sleek and contemporary aesthetic. Temporary insertions enhanced the space with a powerful light flooding the venue, turning it into a temple of light.

Vaccarello’s approach is known to be strong and radical. The result, a collection that exuded freshness, elegance, and intrepidness—a true ode to sensuality and androgynous chic.

Located between the southern end of Lago d’Iseo and Brescia, Franciacorta is a hilly region famous for its eponymous sparkling wine. The high-quality sparkling wine shares the same production method as champaign, and has a very strict regulations on the definition of this world class sparking wine.

Born in the Franciacorta region, Ca’del Bosco is one of the most recognizable wineries producing Franciacorta sparkling wine. Listening to the reality and complexity of Nature, Ca’del Bosco believes in the protection of organic viticulture and invests in innovation, research and technology, integrating their knowledge in wine production with the potential of the earth. Their products include the finest Franciacorta sparkling wine, white wine and red wine. The pursuit of quality is in Ca’del Bosco’s identity, and the enhancement of art and culture is their belief.

Sharing a similar pursue of preserving the excellence, Ca’del Bosco teamed up with Venetian Heritage — international non-profit organization that safeguards and preserves the legacy the Republic of Venice’s artistic beauties — for the organization of the first edition of “Ca’del Bosco Sculpture Award”. It’s the first competition in Italy reserved for large outdoor sculptures made by artists under 40 years old. With the motto of “Restoring the past, building the future”, Ca’del Bosco wished to strengthen the bond that exists between the art and the company’s philosophy, and to sponsor infinite capability and imagination of the new artistic generation.

The competition is divided into several stages: between 21 May 2023 and 15 June 2023, the competition jury will select the artist to be invited to the competition; in May 2024 (estimated), the first three classified will be awarded; and finally in October 2024 (estimated), the winning work will be inaugurated. The winning works will be placed in the Art and Wine Gallery in Ca’del Bosco’s vineyards in Erbusco, and will become the property of Ca’ del Bosco.

In celebration of the opening and the introduction of the competition, Ca’del Bosco and Venetian Heritage invited a parterre of selected guests to Venice for a series of events full of art and culture. The guests indulged themselves in an anthem concert performed by a catholic choir inside the Basilica di San Marco. Thanks to the fund that Venetian Heritage raised, the historic monument Ambone dell’Epistola of the Basilica di San Marco was newly restored. The celebration ensued with a convivial dinner hosting under the moonlight of Venice, in the city’s first official casino Antico Ridotto della Serenissima. Ca’del Bosco unveiled the Sculpture Award in this gorgeously ornate banquet room, toasting for their achievements in art and culture with the finest wine.

Connecting Fashion Between the East and the West

The Silk Road Paris (hereinafter referred to as TSR Paris) is the first online marketplace in Europe dedicated to highlight South Asian and sustainable fashion designer. It was founded by two native Indians, Yamini and Soumil, who live and work in Paris. They gathered 5 brands (Bhavya Ramesh, Bodice, Jatin Malik, Kissa-goi, Papa Don’t Preach) from India on the platform, using their experience and knowledge in the European fashion industry to help them establishing a business in Europe. Today, CAP 74024 has the chance to speak to them on their journey to the creation of the platform, their perspective on sustainability and ethical design, as well as their ambition on bridging the Eastern fashion to the Western market.

So, what are the ideas behind the foundation of TSR Paris? Why do you guys want to integrate the resources and make this platform exclusive for the Southern Asian designers?

Soumil: Well, we started the plan around a year ago, we wanted to bring all the South Asian designers to mainland Europe because right now the fashion scene is not very diverse in South Asia, we don’t have a platform that that can emphasize the versatility of the designers that we have in South Asia. Hence, we wanted to promote them here in Europe since the cultural diversity is already existed in European society. Also, we wanted to change the outlook of how world sees South Asia. Right now, they see us more as manufacturers than designers. But in fact, South Asia has the ability and the intellect to create something that can be mixed of culture and be considered as design. So, we wanted to bring all the designers that we have in South Asia and promote the sustainable practices they do. At this point, it’s very important that the West is looking towards the East as a market perspective and also, it’s important for the Eastern designers to look towards the West to approach the designs and business opportunity. We wanted to create a platform that can give them this kind of boost and we can have a dialogue between East and West.

Normally, when people talk about the Silk Road, India and South Asian continent rarely come in their mind in the first place. Are you afraid that the naming of the platform might be a bit confusing?

Soumil: We are aware of that, but we want to focus more the ideology of Silk Road, which is the trade of goods between the East and the West in the past and use it as a reference of cultural exchange. Together, we create a modern Silk Road that bridge the fashion, design, are and culture between the two continents.

Brands with strong cultural references could attract a specific group of clients, and might also be a hit when ethnic vibe is on trend. But as trends are often seasonal, the fever for them might die out soon. Do you think it will be a potential hamper hindering the growth of the platform?

Soumil: If you look at our platform, you can see that we are going towards the European audiences. We have a perspective of promoting diversity, but also, we want to relate to the people we are selling to. No matter what kind of viral trends are going on now, there’s always a general trend in the fashion industry. If those seasonal trends can mold themselves into the generalized trend, it can definitely last longer. To have those trends that actually become the core identity that people can relate is very important. The brands we represent have their core values and identities that can transcend culture. So, I don’t think the die out of a trend could be a hamper for the growth of our platform.

Yamini: Here in Europe, you have clear distinctions between the four seasons. Off-season excess inventory is an issue for major fashion brands, and it’s actually not very sustainable. In India, you don’t have seasons. Designers are creating garments that can last longer. They don’t want to carry extra inventory, and only create made-to-order or custom order. This is something so great and so major that we would like to promote. I believe that we have to learn from each other, and that’s why TSR Paris is going to be that bridge to convey this information.

Do you think the aesthetics, the strong visual and the distinctive cultural identities of these emerging Southern Asian brands on TSR Paris will be well-received by the mainstream fashion world in Europe?

Yamini: Yes, I we definitely feel that. I think that this is a very long-needed platform. The South Asian fashion platforms are very well-conveyed in the US, in Australia even in the UK, and I think it’s about time for Europe to have one too. Also, unlike any other South Asian fashion platforms, we are not selling saris or traditional garments but designer’s clothes. We really think that this platform is high-needed. The website is performing well and the feedback we received are positive. We started here in Paris, but the whole goal of TSR Paris is to take our culture to every part of Europe and then later to the UK, the Us, and so on. The goal of this global platform is like the Silk Road, connecting East and West. For now, we are taking South Asian designers to Europe, but our ultimate goal is to bring back nice European brands which are not well known in South Asia and introduce them to the market there.

How do you choose the brands on the TSR Paris?

Yamini: I started my career in Paris, so I literally have 0 connection back in India. I went to India last August and we got to meet some designers by contacting them on their Instagram. We proposed them our ideas and they were interested in entering the European market. That was how we get Papa Don’t Preach and Bodice, and the rest was just by the word of mouth.

Soumil: Our core values lie in the sustainability. I know it’s hard to define sustainability in fashion nowadays, but we are going towards to those ethical brands that believe in gender equality and pay fair wage. It’s community-driven, and that’s how we select our brands.

Yamini: Just as a supplementary note, the brands we have a lot of sustainable practices. Our brand Bodice use their old fabrics to create new garments; Kissa-goi has everything made by hand and use recycled cottons. Bhavya Ramesh is using only recycled silver to create her jewelry. Her jewelry is a bit imperfect, but this imperfection is environmental-friendly. In TSR Paris, you can buy from designers who are practicing such good ethics and help supporting local communities back in South Asia.

It seems like all of the five brands that you are representing currently are all from India. Do you plan to expand the roster to designers from other neighboring South Asian countries?

Soumil: Yeah, we are in contact with brands in different parts of South Asia like Sri Lanka, Bangladesh and Pakistan. India was an easy start for us since both Yamini and I are from India. Even in India, we struggled a bit in the beginning. Now we have the trust from the Indian designers, it would be much easier to scout brands in other parts of South Asia. It is also important to understand that for us, the platform is more than a fashion exchange. We don’t want to focus only on fashion designers, we want TSR Paris to represent the culture itself. We are seeking collaboration with different restaurants or artists from different South Asian countries in order to create a community value.

Yamini: We will have a pop-up event from June 7th to 11th of June, where we will be collaborating with a Sri Lankan restaurant for catering and also with artists. I work in fashion, and Soumil is an artist. We have lovely books, amazing artists, fascinating culture and excellent designers there. We want to bring them to Paris and introduce them as a creative community.

How would you describe the Indian and South Asian design? What are the keywords that come into your mind when you describe them to your European clients?

Yamini: For me, Indian and South Asian design are very detailed-oriented and time-consuming. Designers are exchanging time for the perfect piece. Every embroidery is stitch by hands, and every pleat takes hours to create. Also, the ancient weaving techniques is an essence in the Indian and South Asian design, and that can all be found in our designer’s fashion pieces.

Soumil: If you want to encapsulate it in 3 to 4 words, that would be color, culture, detail and intricacy.

Since both of you have worked in the fashion industry in Europe, how do you use your past experiences to help the brands on TSR Paris to raise their visibility in Europe?

Soumil: By living and working here in Paris for 8 years (and Yamini 7 years), we’ve been enrolled in fashion industry from the ground up. We know the people here and we can definitely help these brands to gain visibility. These brands might have some visibilities already in some English-speaking countries, but they are still unknown to the mainland European countries. It is due to the language and cultural barriers, and we are the bridge that cross through these barriers.

Yamini: I worked with some brands we represent on their pricing, consulting, communication and so on. Their look can also be worn by European influencers and celebrities, this will definitely help them gain more visibility.

Visit tsrparis.com for more information on the sustainable fashion brands TSR Paris represents.