VIU x LE MILE Studios Copenhagen


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VIU x LE MILE Studios Copenhagen


 

 

VIU x LE MILE Studios
Special Project
*exhibition*


june 2017
 

Exclusively for the first opening of VIU in Denmark, we present a group exhibition of five inspiring Copenhagen-based artists: Freya Dalsjø, Albert Grøndahl, Lea Guldditte Hestelund, Amalie Adrian,  and Gro Sarauw . With this exhibition VIU combines the highest standards of design and quality with fascinating contemporary art from different artistic disciplines.

 

 
VIU x LE MILE Studios Copenhagen
 

 

Gro Sarauw´s work and research reflect both, contemporary art and the culture around it. Her sculptural art works, especially her ‚animated paintings‘, deal with the use of simultaneous image processing technologies. Technologies that could be seen as issuing more advanced, but deliberate uses for the artist. This is evident in the development of her animated paintings that fold material abstraction with light, some of which have changed in title and as part of an ongoing process-based construction. The daily practice is also important to Albert Grøndahl. For him each day brings something unique to his working process. With his work he applies a fictous anthropological approach and investigates human creation and nature through photographic motives. The exhibited piece ofGrøndahl assembles various and disparate exotic motifs in the course of a fictitious journey where the anthropological stance gives way to existential sensitivity. The mechanical receptiveness of traditional photography thus gives way to a notion of the image – and of the creative mind – as a phenomenological rendezvous of exchanges, cultural and emotional alike. Albert Grøndahl likes to see himself as a ”collector of experiences”, bearing in mind that collecting is in itself a part of the adventure.

 
 

CREDIT INFORMATION

Photos of the Press Dinner Event: Lukas Stadelmann

Freya Dalsjø is a renowned fashion designer with a fresh and avant-garde approach to the design process. After studying fashion at the Royal Academy of Arts in Antwerpen Dalsjø established her label in 2012. Her garments are characterized by contemporary culture. In Dalsjø‘s oeuvre, her avant-gardist ambition is never compromised, but an integral element of envisioning fashion of today. For her, design is about „exploring and challenging the boundaries of material; the body and aesthetic.” Via monitor we also present the talent of ballet dancer Amalie Adrian who has performed in numerous performances at the Royal Danish Ballet. We also have one of her extravagant costumes hanging from the ceiling and combine the fact of the importance in between the connection of performance, design, scene, and craft. Lea Guldditte Hestelund places her white marble sculpture on top of green dyed leather which seems to fall down from its platform and gives the viewer a moment of still life. In her practice Lea Gulditte Hestelund examines the quality, strength, and history of a given material, using both sculptural, installational, and performative methods to thematize subjects including the body, gender, objects, and meaning. In the VIU exhibition Hestelund is showing a white marble sculpture on top of green dyed leather, which is falling from its platform, and gives the viewer both an impression of something living, another existence, and of a classic still life.

CREDIT INFORMATION

Photos of the Opening Event: Victor Jones

Go and see the exhibition and new collection of VIU:
VIU Store: PILESTRÆDE 35, 1112 KØBENHAVN, Denmark  

www.shopviu.com

 

3.PARADIS - SPRING/SUMMER 2018 - On Ira Tous Au Paradis


3.PARADIS - SPRING/SUMMER 2018 - On Ira Tous Au Paradis


 

 

3.PARADIS
Spring+Summer 2018
*On Ira Tous Au Paradis*


june 2017
 

3.Paradis launch their Spring/Summer 2018 collection *ON IRA TOUS AU PARADIS* meaning We’ll all go to heaven in the brand’s native French, as the logical sequel to their AW17 collection Paradis Perdu. It explores the idea of reconstructing a safe haven and takes inspiration from the brand’s own unconventional path to paradise. This season 3.Paradis' Creative Director Emeric Rico Tchatchoua asks the questions “What does paradise mean to us as young people?” using garments as a platform to make people think about a question as old as time. In responding to this, 3.Paradis have travelled back through the ages to a more primitive time, the origins of clothing, and the role it was created to fulfil as protection from the elements – a barrier between the skin and the environment. Blending fabrics and textures, purpose and intent, each piece traces its own altered pathway to heaven because On Ira Tous Au Paradis…

 

 
LE MILE Magazine 3 Paradis spring summer 2018 on ira tous au paradis published by Alban E. Smajli - LE MILE Studios
 

 

3.Paradis continue to develop their seasonal collections launching a number of new product categories for Spring/Summer 2018. New waterproof pieces featuring a rain drop graphic either printed or over-embroideried with the word “Waterproof”. In place of reversible jackets, this season pioneers the fully transformable item with the “Mogus” bomber cleverly concealing an oversized parka between the lining and back piece sealed with a zipper. In another innovative development they have created the “one sleeve pouch” turning a shoulder bag or pouch into a new item worn over the sleeve and across the body with multiple pockets. 

Established in 2013, 3.Paradis is an innovative ready-to-wear brand co-founded by Emeric Tchatchoua with the vision of promoting a common voice amongst today’s global generation by deconstructing traditional ideas and reinventing menswear with no rules and no conventions. Living between Paris and Montreal the designer believes that we are on the brink of a cultural revolution, which will bring about a major change in society and mark a turning point in the evolution of menswear summarised by the three words “Disruptive, Chic and Poetic”.

 
 

CREDIT INFORMATION
Campaign Photos: 3 Paradis

 

Phantom Limb-Lukas Hofmann


Phantom Limb-Lukas Hofmann


 

 

PHANTOM LIMB
performance


june 2017
 

As part of a mostly performative one day event curated by Institut For Succes at the Danish National Gallery, artist Lukas Hofmann / Saliva transformed the vast gallery's foyer into a contemplative therapeutic space where he performed together with four young individuals. The group clothed in Louise Lyngh Bjerregaard’s garments migrated among many actions, exuding a melancholic aura and occasionally flattening their existence into a 2D distorted reflection of their identities by pressing their faces and bodies against a large pane of glass.

 

 
Phantom Limb performance Lukas Hofmann
 

 

The performance spanned over three hours and marked a certain initiation into the situation to the whole gallery. From time to time, sugary popping candy was offered to the visitors walking by. Upon acceptance, their ears and eyes were closed shut by the performers and their facial expressions got gently rearranged into a childish smirk. Sometimes, as a triggering sensual stimuli, performers would alternately blow cold and breathe hot air into the guest’s ears. Etherical
balms were applied to their faces - sage massaged into the temples opened up neural pathways, and prospate dabbed right beneath the eyes lead to a flow of tears all throughout the room. The formation then moved on to the fountain in front of gallery. Half of the performers lied down in the water, while the others tried to pick up their limp and soaked bodies. The graveness of this act inspired by the equally poetic and scientific question of whether another person would be able to carry one's body in the case of one's death was enhanced by the tremble that the shivering cold water sent through the performers' bodies.

 
 

CREDIT INFORMATION
Photography: Emma Matell
Performing: Oliver Haase - Lukas Hofmann / Saliva - Haddy Jammeh - Maya Leroux
-Louie Zingenberg Clothing: Louise Lyngh Bjerregaard
Styling: Louise Lyngh Bjerregaard - Lukas Hofmann / Saliva
Casting: Matellscouting.com
Text: Donna Schoens

 

ASTRID ANDERSEN Spring Summer 2018


ASTRID ANDERSEN Spring Summer 2018


 

 

ASTRID ANDERSEN
Spring+Summer 2018


june 2017
 

Astrid Andersen continues her exploration of finding new common ground for tradition and heritage with the contemporary sports-luxury sphere. This remains a common thread throughout Astrid Andersen’s collections - translating the familiar into something new and interpreting unexpected references as fresh and relevant to a generation championing a new way of dressing. This season takes the archetypical Safari theme as referenced throughout the history of fashion in various guises and turns its natural curiosity into a personal quest to discover unfamiliar territory for the brand’s aesthetics.

 

 
Astrid Andersen Spring Summer 2018 Le Mile Magazine published by Alban E. Smajli
 

 

This This season’s colour palette and fabrication are a strong focus as is typical in Astrid Andersen’s collections. A dusty high-tech hybrid of muted green ripstops, metallic lace and loose natural cottons mixed with seam sealed finishes on fine wovens and printed floral silk. This contrast of a contemporary product category interlaced with unexpected elements of tradition and luxury usually associated with other times and places has always been a theme in Astrid Andersen’s work but continues to sing through as a signature pillar of the brand’s handwriting. A quiet sense of peace and calm flows through the collection telling an age-old story of the past in a new voice.

Astrid Andersen has collaborated with Monies jewellery, a Danish company with 40 years experience in crafting natural materials into elegant and avant-garde pieces, producing and designing unique collections for some of the world’s biggest fashion houses. The capsule features unique Brazilian mountain crystals combined with Acacia wood discs from the Philippines – handcrafted and designed at the Monies Copenhagen harbour front workshop specially for Astrid Andersen. The common ground and mutual understanding of a dedication to craftsmanship and honouring a commitment to creating personal interpretations of luxury across genders and generations makes Monies for Astrid Andersen the perfect partner to this season’s collection.

 
 

CREDIT INFORMATION
Styling and Casting Director: Elgar Johnson
Music mixed by James Mæssiah
Hair: Mari Ohashi
Makeup: Henny Coombs

 

SS18 Liam Hodges Catwalk


SS18 Liam Hodges Catwalk


 

 

LIAM HODGES - spring/summer 2018
"UNVEILED TOMORROWS"

 

june 2017

Make some noise. We live in the city and online in search of noise. If silence is death, life must be noise. Consuming all the audio, media, political and visual noise maketh the 21st-centry human. Fuck that noise. The noise in my head won't stop. I need a filter. I need to do me, not you, you and you. Who am I, what's my name?

Much of LIam's SS18 collection carries the legend NOISE or a screaming bear motif through-out. The bear is Munch's Scream for a generation that just wants to be cute but the shit they have to deal with while moving onwards and upwards is breaking them down. The struggle is learning from this noise - from everything on our feed, how to originate not imitate? Don't, how-ever, confuse the cuddly nature with weakness because these teddy bears have teeth!
Liam's taking in of numerous references from grime, two step, pirate radio, ultimate car modding, through to spoken word artists, zine culture, anarchist scouting and folklore - Liam's collections have always taken the same hyper-hybrid approach that incorporates sportswear and workwear silhouettes, with DIY culture, standing out amongst the spectrum of visual noise. 
Lima's love of taking on disparate influences to create something new is evident in Gaika's soundtrack 'God Save The Roadmen' alongside finale track 'Unveiled Tomorrow' by hardcore punk heroes Integrity. 

SS18 sees Liam move in a new direction, designing for "the guy that needs a work flex, not just a tracksuit". While working with the proviso that "I'm trying to make the clothes that I wanna wear when I'm older rather than what the people who are older wear now". 

Liam refines his patch work track suiting while also unveiling the brand's first foray into denim, with a selection of washes and styles. Ultimately acting as a new focus for the designer. This season also sees him build new celebrations, with his customised carry accessories being made by Côte&Ciel. Other parts of the collection feature legendary Italian sports brand - FILA. Liam utilises FILA's distinctive colour blocking aesthetic, including a take on his very own trademark jerseys. Also featured in the collection are FILA's 'Original Fitness' sneaker, a style that has been with the brand since 1987 that has been reimagined with a "mad texture" and Liam Hodges and FILA dual branding. 
Liam has also taken inspiration directly from FILA's first creative director Pierluigi Rolano, and his interest in American iconography. Liam also plays to his stitching techniques with a feature pinstripe detail synonymous with the FILA brand. Other traces of FILA's legacy can be found in Liam's flat lock stitching detail which references the classic FILA Settanta Mark 3 jacket which was worn by the tennis legend Bjorn Borg in the 70's. 
Liam's SS18 collection keeps the integrity and important of being open to new ways of "mashing it up!". Refining the designer as a staple in the LFWM schedule. 

 
 

CREDIT INFORMATION
Styling: Harry Lambert @ Bryant Artists
Casting: TM Casting
Hair: Tina Outen @ Streeters using Bumble and bumble.
Makeup: Jenny Coombs @ LQD skin care.
Bags: Cote&Ciel
Watches: G-Shock
Music: Gaika

 

Acne Studios Resort 2018


Acne Studios Resort 2018


 

 

 ACNE STUDIOS
Resort 2018
 


june 2017
 

“This is a collection of Acne Studios archetypes, iconic and real, so I wanted to work with an icon for the shoot. We asked Veruschka to choose her favourites from the collection, and it was amazing to have this supersonic woman work with such spontaneity.”

 – Jonny Johansson, Creative Director

 

 
Acne Studios Resort 2018
 

 

Trousers; blazer; shirt; denim; leather: a wardrobe of heightened normality, emphasising the inclusivity of fashion. A single-breasted slate blue flannel coat is like an oversized zoot suit, its sleeves sculpted to emphasise the effect.
Cuban embroideries embellish a shirt dress with flat-pressed collar, while a white Cuban shirt has wide sleeves that stop just above the elbow.
Plaid tailoring has been playfully cut, with an asymmetric front buttoning on the blazer, and a cropped leg on the trouser.
Denim has raw edges and different stonewash treatments. A denim jacket is boxy and cropped with exaggerated sleeves. Trousers are utilitarian, like a high waisted chino. The trousers are in suede or aged leather.
Bodies and leggings come in a wood print. Oversized hoodies add to the silhouette, with inside out stitching and raw edges.
Cuban heels have decorative stitching. Slippers have a pointed toe, and the denim slippers echo the stonewash treatments in the collection. Elbow length gloves in suede have a workwear feel. Belt buckles are in lacquered wood. Seashell jewellery is like a holiday memory.

 

William Eggleston - Los Alamos


William Eggleston - Los Alamos


WILLIAM EGGLESTON
Los Alamos

 

The American photographer William Eggleston (1939, Memphis Tennessee, US) is widely considered one of the leading photographers of the past decades. He has been a pioneer of colour photography from the mid-1960s onwards, and transformed everyday America into a photogenic subject. In William Eggleston – Los Alamos, Foam displays his portfolio of photographs that were taken on various road trips through the southern states of America between 1966 and 1974. The exhibition includes a number of iconic images, amongst which Eggleston’s first colour photograph.

Los Alamos starts in Eggleston’s home town of Memphis and the Mississippi Delta and continues to follow his wanderings through New Orleans, Las Vegas and south California, ending at Santa Monica Pier. During a road trip with writer and curator Walter Hopps, Eggleston also passed through Los Alamos, the place in New Mexico where the nuclear bomb was developed in secret and to which the series owes its name.

WILLIAM EGGLESTON En Route to New Orleans, 1971–1974 from the series Los Alamos, 1965-1974 ©Eggleston Artistic Trust / Courtesy David Zwirner, New York/London

WILLIAM EGGLESTON
En Route to New Orleans, 1971–1974
from the series Los Alamos, 1965-1974
©Eggleston Artistic Trust / Courtesy David Zwirner, New York/London

The over 2200 images made for Los Alamos were originally intended to be published in parts, but were forgotten over the years. The photographs were rediscovered almost 40 years after the project started. They were published and exhibited for the first time in 2003. The vibrant photographs of traffic signs, run-down buildings and diner interiors distinctly betray the hand of the wayward autodidact. His early work evidences his penchant for the seemingly trivial: before the lens of Eggleston’s ‘democratic camera’, everything becomes equally important.

Eggleston began Los Alamos ten years before his contested solo exhibition at MoMA in 1976, which placed colour photography on the map as a serious art form. At the time, colour photography in the fine arts was regarded as frivolous, or even vulgar. It earned Eggleston the scorn of many. However, this did not stop him from experimenting with the no longer used dye-transfer process, a labour-intensive and expensive technique that was mainly used in advertising photography. The process allowed the photographer to control the colour saturation and achieve an unparalleled nuance in tonality; a quality that also characterizes the 75 dye-transfer prints exhibited at Foam.

WILLIAM EGGLESTON Memphis, 1965-1968 from the series Los Alamos, 1965-1974 ©Eggleston Artistic Trust / Courtesy David Zwirner, New York/London

WILLIAM EGGLESTON
Memphis, 1965-1968
from the series Los Alamos, 1965-1974
©Eggleston Artistic Trust / Courtesy David Zwirner, New York/London

Modigliani Ragazza


Modigliani Ragazza


 

 

MODIGLIANI RAGAZZA
Woman in a Sailor Shirt


june 2017

Venice, June 2017- The Solomon R. Guggenheim Foundation’s collections have been enhanced by the acquisition of a rare oil on canvas by Amedeo Modigliani: Woman in a Sailor Shirt (La femme en blouse marine), of 1916. This was a testamentary bequest of the Venetian collector Luisa Toso. 

The canvas will first be exhibited at the Peggy Guggenheim Collection on June after examination and conservation by the conservator at the Peggy Guggenheim Collection, Luciano Pensabene Buemi, who in recent years has also carried out the cleaning of paintings at the Peggy Guggenheim Collection by Jackson Pollock and Pablo Picasso. EFG enthusiastically adopted and funded the project, given the painting’s historic and artistic importance to Italian culture. A thick layer of non-original varnish, both oxidized and yellowed, was removed. It had been applied during a prior restoration intervention which however altered the color tones, obscuring the cold, blue and gray tones as well as the peach-colored face which had deteriorated to beige. The colors have returned to the original, subtle diversity, the oxidation and whitening visible on several parts of the canvas have been removed.

Woman in a Sailor Shirt will augment the artistic patrimony of Venice with a small masterpiece, in line with the wishes of the donor. It joins three other, later paintings (1917-18) by Modigliani, nicknamed “Modì” (a pun on the French maudit or “cursed”), in the Solomon R. Guggenheim Foundation collection.

 
 

The young woman who is the sitter, with bobbed black hair accentuating her oval face, is unknown. Both the background and her clothing are in dark tones, projecting her warm pink face forwards. The same sitter appears in another portrait by Modigliani of the same year, La servetta seduta (The seated servant girl). The shade of the dress suggests winter, especially since the ‘marinière,’ or “French Riviera Style,” which was adopted by the children of upper-class Parisians and Londoners who visited the Côte d’Azur, was characterized by its light colors. The mild androgyny and abstraction of the figure exemplify Modigliani’s constant need to transfer the unconscious, and the mystery of human instinct onto canvas. The anatomical elongation which, beginning in the second half of the 1910s, characterizes his work, is indicative of his previous experience as a sculptor, and of the influence then of African and Oriental art. The canvas, with the title La femme en blouse marine, was exhibited in the artist’s solo show, organized in December 1917 by his dealer Léopold Zborowski at the Parisian gallery of Berthe Weill. Paintings of female nudes in the window caused a scandal, and the show closed prematurely. In 1917, the painting was bought by Paul Guillaume and shown only rarely after this, at the Palais des Beaux-Arts in Bruxelles in 1933 and at Kunsthalle Basel in 1934, before entering the Toso collection in Venice in 1952. Since that time, it has been exhibited in Milan, Rome, Padua, Verona, Venice, Ancona, Caserta, and Turin, and the Italian State has listed the Toso Modigliani in recognition of its high artistic and historic value.

In 2016 EFG supported the conservation of Pablo Picasso’s masterpiece The Studio (L’Atelier) in the Peggy Guggenheim Collection, and continues its support with this important conservation intervention.

With this project EFG reaffirms its support of the Peggy Guggenheim Collection of Venice. The collaboration began in 2001 with the bank BSI, now acquired by and incorporated into EFG, the international banking group specialized in private banking and asset management. With this conservation project, EFG consolidates the collaboration, signaling that its support of art is not only through its collection of contemporary art but also through its participation in specific projects that cultivate and advance the growth of a community’s cultural patrimony.

 

1916 painting by Amedeo Modigliani, Woman in a Sailor Shirt
© Solomon R. Guggenheim Foundation
www.guggenheim-venice.it

 

 

The Student Hotel Amsterdam City


The Student Hotel Amsterdam City


 

 

THE STUDENT HOTEL
Amsterdam City heralds a new concept in travel,
co-living and co-working


june 2017

 
The Student Hotel Amsterdam City x LE MILE Studios
 

The Student Hotel business model provides an unique hybrid destination for a fast-growing international community that plans beside Amsterdam 40 other properties in European cities by 2021.
They continue to look for opportunities across the continent, seeking and developing dormant and unloved buildings to bring positive economic and social benefits to their neighbourhoods.Situated in the heart of one of Europe’s most iconic cities, The Student Hotel Amsterdam City building offers state-of-the-art hotel accommodation, collaborative work areas, stylish communal lounges and a restaurant and bar branded ‘The Pool’. In 2017 it launches TSH Collab - dedicated co-working space for local businesses, start ups and entrepreneurs.

Amsterdam City is the flagship in The Student Hotel group, pioneers of the hybrid model of high-quality co-living, co-working hospitality, marking a new chapter for hotels, where travellers, entrepreneurs and students share spaces, connect and inspire each other by sharing the same complex. The 574-room property is five minutes from the city centre in the former office and printing
facilities of Trouw and Parool newspapers. The building was gutted and renovated to combine contemporary style and high-end facilities with quality student, short and long-stay accommodation. The hotel bedrooms are modern, stylish and very spacious, with great touches including big and comfy beds and stylist and well designed banners and unique light installations; everything you would expect from an upmarket boutique hotel.
The rooms feature postcards, posters, flyers and notices about upcoming events organized by The Student Hotel, specifically designed to bring guests, students, workers and local community together and makes possible to share and inspire each and everyones experiences, thoughts, life goals, and commitments.

“I stay in a lot of hotels, but one of my favourite and most refreshing experiences was actually in a hostel in Florence”, recalls Charlie MacGregor, founder and CEO of The Student Hotel. “The beauty of a hostel is that everything is much less formal. People talk to each other, everyone talks to everyone and it’s very refreshing. You don’t have the opportunity to make great friends and great connections in five star hotels.”

The Student Hotel stands for open-minded and forward thinking individuals who not only follow their goals in life and career but also commit themselves in helping to make the world a little bit better. The concept of the Hotel supports people of different environments, cultures and traditions to understand and appreciate peace and respect heterodox and differently thinking and loving people. Charlie MacGregor, The Student Hotel’s founder and CEO, explains: “We have redefined accommodation for travellers and students. Amsterdam City, like all of our properties, is a beautiful environment that feels relaxed and unlike any other hotel. [...] People want an alternative to the traditional hotel, guests who want to feel enlivened by their environment, inspired by who they see and meet. Amsterdam City is our concept for travelling, living, working, studying and connecting socially.
In addition to the extensive co-working spaces there are common areas with TED Talk booths, games rooms, library, and an underground bicycle park housing 600 Van Moof designer bikes available to guests.

Charlie and his team have created an innovative proposition designed to offer high quality accommodation, vibrant co-living and co-working spaces in the heart of European cities, with rooms available to students, entrepreneurs and travellers who can check in for a night, a week, a month or a year.

We’re glad we were there and... The Student Hotel, thanks for sleeping with us too. 

 

all photographs: ©The Student Hotel (slide:1,2,3) +
© LE MILE Studios (slide: 4,5,6)
www.thestudenthotel.com

 

 

Mary Ellen Mark - Retrospective


Mary Ellen Mark - Retrospective


Mary Ellen Mark
Eternal iconic photography that speaks the voice of truth in frame

 

written Mikal Shkreli
photographed Alban E. Smajli

 

April 21, 2014: On a sunny day in SoHo, I met up with Alban E. Smajli outside the studio of well-known photographer, Mary Ellen Mark. Waiting for the buzzer to let us upstairs, I had reviewed my notes on some background research on the artist. Mary Ellen was born in Philadelphia and after receiving her Masters Degree in photojournalism, she traveled to Europe under a Fulbright Scholarship. Making her way to New York a few years later, Mary Ellen has created a notable name for herself in photography, art, and the world of social culture, her work featured in exhibits worldwide. The door buzzed and we entered the elevator. The door slided open directly to the studio, and we stepped out, looking around the high ceilings and at the endless items across bookshelves, desks, countertops. We walked past copy and printing machines of various kinds and found one of Mary Ellen’s assistants behind a computer, informing us that Mary Ellen would be with us in just a few moments. Escorted to a few chairs around a humble table, Alban E. and I prepared our questions and Mary Ellen emerged from a region unknown, deeper within the studio. 

With two braids parted down the center of her head and extending down her back, Mary Ellen has approached us with a smile and wide eyes that peered through her small framed gla