Still Yawning


Left: Jacket GENEVIEVE Shirt KIKO KOSTADINOV Trousers KIKO KOSTADINOV Shoes KIKO KOSTADINOV Right: Jumper LOEWE Trousers PRONOUNCE Shoes BOTTEGA VENETA

CANALI Sunglasses Stylist’s own

Top ACNE STUDIO Skirt ACNE STUDIO Corset IZABELLA BILINSKA Sunglasses MICHAEL KORS AT LUXOTTICA Shoes KIKO KOSTADINOV

Jacket LOEWE T-shirt MARTINE ROSE Trousers PER GÖTESSON Shoes MARTINE ROSE

Jumper BOTTEGA VENETA Trousers BOTTEGA VENETA Scarf ACNE STUDIO Shoes BOTTEGA VENETA

Left: Cardigan NANUSHKA Trousers IZABELLA BILINSKA Shoes LOEWE Right: Knit PRONOUNCE Shorts LOEWE Shoes JIL SANDER

Leather jacket DIESEL Jeans VALENTINO Shoes Model’s own

Top CLAN Skirt Stylist’s own Tights Stylist’s own Shoes DIOR Skirt on rail BOSS Bag on floor TOD’S

DIOR HOMME

HERMÈS

Shirt ARMANI Top ARMANI Trousers ARMANI Shoes UGO PAULON

PRADA

Photography Moritz Tibes

Styling Julie Velut

Set design Anna Barnett

Hairstyling Moe Mukai

Make up Grace Ellington

Models Shu at XDIRECTN, Teddy at XDIRECTN, Maude at The Hive Management, Alec at IMM

Casting FOUND Casting

This article is taken from Port issue 30. To continue reading, buy the issue or subscribe here

The Persistence of Memory


BORSALINO X AMI

LOUIS VUITTON

BURBERRY

GIORGIO ARMANI

CELINE

NANUSHKA

BERLUTI

DIOR

HERMÈS

PRADA

STEFAN COOKE

SAINT LAURENT BY ANTHONY VACCARELLO

MARGARET HOWELL

HUGO BOSS

Photography Joe Lai 

Set design Jade Boyeldieu d’Auvigny 

Styling Lune Kuipers

This article is taken from Port issue 30. To continue reading, buy the issue or subscribe here

Embossed

BOSS refreshes its brand identity alongside global SS22 talent launch

HUGO BOSS has undergone many rebirths. Established in 1924 in Metzingen, Germany, back then the tailoring behemoth was simply named after its founder. Following a post-war rebuild, the business branched out from work-wear to fashion-conscious suits and sharp sportswear under the BOSS brand, later extending to everything from fragrance to footwear, as well as a dedicated HUGO line. Today it offers collections across 127 countries, and a couple years out from its centenary, the company has announced a historic refresh for its core offering.

Unchanged for close to 50 years, the BOSS logo has received a bold contemporary update. Design direction, retail buys and store concepts will all be centred on a more casual and playful aesthetic, and the new, graphically impactful identity offers some clues as to its focus in the coming years, tallying with CEO Daniel Grieder’s ambitious plans to double sales by 2025 by tapping into a younger and more global audience.

Celebrating the refresh, a host of talent across athletics, music and media have been tapped for the 2022 #BeYourOwnBoss campaign. Shot by acclaimed Swedish fashion photographer Mikael Jansson, models Hailey Bieber, Joan Smalls, Kendall Jenner, American rapper Future, Korean singer and actor Lee Min-Ho, heavyweight boxing champion Anthony Joshua, Italian tennis champ Matteo Berrettini, and German runner Alicia Schmidt all don the anticipated Spring/Summer wardrobe.

Running parallel, BOSS has also announced a multi-year partnership with Senegalese born influencer Khaby Lame. After losing his job in a northern Italian industrial factory in Turin, Lame has taken the world by storm through his TikTok videos that capture the absurdity of modern life, amassing over 124 million followers since the beginning of the pandemic. After record-breaking Milan Fashion Week engagement, which saw the brand cast him for his runway debut, Lame’s ambassadorship has been extended to include a co-designed capsule collection.

“We are absolutely thrilled by this amazing cast for BOSS,” notes Grieder. “The talents and personalities of the campaign perfectly embody what a boss stands for today. Delving into the more personal, emotive, and thoughtful aspects of being a boss in today’s world helps us connect in a more concrete and tangible way to millennials.”

hugoboss.com

Levels of the Game

BOSS teams up with Russell Athletic to release new capsule collection

Who remembers sports? We’re not talking tepid football with the ghostly sound of non-existent fans layered over, but real, full-throated call and response to live action. With the Tokyo Olympics cancelled and all manner of courts worldwide still locked up, the past year has been terrible for sports on a local, national and international level. But, in anticipation of when we can kick, throw, catch, bat and freely stretch our limbs, BOSS have partnered with Russell Athletic to create a capsule of casualwear that marries careful tailoring with relaxed, sport silhouettes.

Russell Athletic’s commitment to the second half of its moniker stretches back to 1902, when founder and then 26-year-old Benjamin Russell helped rebuild his home of Alexander City, Alabama, after a devastating fire. Establishing a hospital, grocery store and bakery, much of the local community in turn joined his modest factory, first creating a women and children’s knit shirt, before making team uniforms and apparel for professional athletes and leagues throughout North America. After a brief halt to its team uniform offering a couple of years ago, these days, it can be found principally turning out sleek casual and performance wear.

BOSS meanwhile, has frequently flirted with sportswear (most notably golf and F1) despite its storied suit and uniform heritage. Recent – and successful – high profile partnerships with the likes of heavyweight boxing champion Anthony Joshua illustrate that the luxury house is more than committed to casual items with a refined sports aesthetic, which seems like a sensible and considered direction of travel given the amount of people still working from home and eager to play.

Both drawing on their extensive archives, colours, prints and construction techniques are combined to produce a fluid, unisex collection. Knitwear, tracksuits, jerseys, hats, shorts and trousers are all finished in complimentary schemes of pink, white, powder blue and chocolate. Traditionally formal elements such as blazers and shirts have a loose, 90s inspired cut, while clean lines – wide diagonal stripes run throughout tops and outerwear, and classic side stripes can be found on trousers, shorts and tracksuits – call back to racing tracks. Encouraging active experimentation pieces can be mixed and matched, or easily coalesced with wardrobe essentials. Altogether, the range deftly and joyfully balances both brand’s strengths of structured tailoring and practicality.

Port caught up with BOSS chief brand officer, Ingo Wilts, to discuss the collection, as well as heritage, creative wear and the pandemic’s irreversible effect on our wardrobe. 

Although a similar age, BOSS and Russell Athletic are two very different brands. Why the collaboration, and how did you compliment each other’s differences? 

It’s funny, it seems like such a great fit now in part because of the pandemic – everything is expected to be a little bit more sportswear, more relaxed. But I actually approached the team at Russell Athletic back at the beginning of 2020, when neither of us could have expected what would unfold. I was looking for a heritage brand which is totally different from what we are. We will always stand for the suit, so it was refreshing to work with their history, their materials, matching our respective heritage. I believe we got a beautiful collaboration out of this.

How do you refresh archive designs, make them relevant for the modern world?

What is the younger generation wearing and how do you attract them? You need a good eye to comb an archive and bring it into being, bring it forward to today. We took cues from the world of sports – basketball in particular – and paid close attention to fit, colour, details like embroidery and packaging, to make it relevant for today.

How do the items support creative wear? 

At the moment, I am often moving from one extreme to another – suits in the weekday and sweat pants and hoodies at the weekend. But, I’ve also found myself mixing things in like coats, turtlenecks and wool draw string trousers because of my new daily rhythms. The collection is very positive and wants you to experiment like this, swap things in and out, showing that you can have a sportswear approach and still remain very nicely dressed.

Was the overall palette of the collection inspired by anything in particular?

We wanted the palette to compliment what we have in store already and drew on Russell Athletic’s extensive archive, focusing most on the 70s. We found some lovely faded, muted tones, but also a vibrant sporty mix of bright orange, rich navy.

BOSS has had recent collaborations with the likes of Anthony Joshua, is athletics and more casual-wear an area the house wants to explore more deeply and regularly?  

With partnerships like Anthony and also the NBA, we want to show a different side of BOSS. All these collaborations with a sports attitude allow us to talk to different markets, different customers, with authority.

Are there any sports that you are really missing?

To be honest – it’s going to the gym!

To what extent do you think the pandemic has encouraged, looser, more casual, relaxed silhouettes? Will it have a lasting effect?

In the future, we will see everything on a much more casual level and dress with a wholly different approach. I believe sportswear will inevitably influence our regular wardrobe, shapes and items like bomber jackets and tracksuits will become more commonplace. That’s not to say businesswear or suits are going anywhere – but they will change alongside this influence.

hugoboss.com

russellathletic.com

 

Photography is taken from Port Magazine issue 28

Photographer Lee Whittaker

Stylist Warren Leech

Grooming Mark Francome Painter

Set design Josh Stovell

Casting Monika Domarke

Photography assistance Kier Laird

Styling assistance Tiziano Viticchie

Set design assistance Luke Price

Models Emmanuel Adjaye at Next and Tosan Pierau at Elite

Special thanks to Waddington Studios

Innovation & Wool

Establishing a new standard for traceable luxury clothing, Hugo Boss is moving at pace towards a future where garments have full supply chain and production transparency

Hugo Boss is moving forward with an eye towards a greener future. Mark Langer, CEO, says: “Sustainability is not a state, but a roadmap for us.” In practical terms, this means dedicating the German house’s considerable resources to innovation: participating in industry-wide projects such as the Open Apparel Registry, a comprehensive database of textile and apparel facilities worldwide designed to create greater transparency in the industry; and working internally to re-evaluate decisions in methods of making, the fabrics it uses and the way in which these are sourced. On the latter topic, it is doubling down on its preference for natural, renewable materials, all the while advocating for appropriate animal husbandry, following internationally recognised welfare and biodiversity standards and working with externally audited suppliers.

For its Traceable Wool collection, Hugo Boss put under the microscope its entire sourcing and production chain, carefully tracing each garment’s journey from raw material to finished article to ensure the highest standards of welfare and sustainable manufacture.

SHEEP IN NEW ZEALAND

Each garment begins life in New Zealand, where ZQ-accredited farmers rear flocks of Merino with a hands-off approach. Sheep graze on vast open pastures: Typically farms will have at least one acre of land per animal, though their natural instinct is to roam as flocks. Although the animals are largely left to their own devices, the ZQ programme mandates that farmers take steps to protect them from thirst, discomfort, distress and disease.

SHEARING

About once a year, usually between August and November, the sheep are shorn of their fine, supple wool. The exact timing is an individual matter: Farmers will take into account the season and the needs of their flocks, relieving sheep of their heavy fleeces during summer while ensuring they have adequate coats for winter. Mechanical clippers are the most popular tool used by professional shearers: Fast and efficient, they cause minimal stress and discomfort.

PREPARATION & DYEING

Once harvested, the raw materials travel to Valle Mosso in the historic Biella region of Italy. Here the fleece is combed and sorted by the capable hands of Reda, a family-owned mill renowned for its astute craftsmanship, which has been producing fabrics since 1865. Once gathered, the longer fibres (known as tops) are taken to be dyed. Throughout, Reda ensures that each step of the production process is comprehensively traceable and meets Hugo Boss’s exacting standards.

SPINNING & WEAVING

At Reda the dyed tops are spun into yarns, which are then woven to create a lightweight, fluid cloth with all the natural properties of merino: insulating yet breathable; water-resistant but able to wick moisture away from the body, keeping the wearer cool in warmer weather. The fabric is inherently softer than that made from other sheep’s wools due to the fineness of its fibres, a quality which has kept merino in demand for centuries.

TAILORING

The final garments are tailored at the Hugo Boss production facility in Izmir on the Aegean coast of Turkey, where high workmanship standards are paramount. For men, the capsule comprises contemporary suits and separates, outerwear, shirts and ties. The counterpart women’s pieces are made using merino blended with stretch, to help accommodate the narrower cut. The fine finish of the material combined with meticulous design and attention to detail creates a timeless end product, manufactured with the highest level of animal welfare and sustainable production practices.

To discover the boss Traceable Wool collection visit: hugoboss.com

Illustrations Ping Zhu

Alex Thomson: 74 days, 19 hours and 35 minutes

In 2017, Alex Thomson became the fastest British sailor to complete the Vendée Globe. Here, Thomson and designer Konstantin Grcic reflect on their unique nautical partnership

On 20th January 2017, after 74 days, 19 hours and 35 minutes alone at sea, Alex Thomson reached the finish line of the Vendée Globe – the gruelling, round-the-world solo yacht race. Although he arrived in the harbour of Les Sables d’Olonne, on the west coast of France, in second place, 16 hours after Frenchman Armel Le Cléac’h, Thomson became the fastest British sailor to complete the course, despite having lost one of his foils – the wings that lift the boat out of the water to minimise drag – on day 13.

Established in 1989, and running every four years since 1992, the Vendée Globe is the most demanding boat race on the planet – on average only half of the entrants will reach the finish line. An extreme test of endurance as well as of seamanship, Thomson – for whom this was his fourth attempt, having retired from the race in 2004 and 2008, and coming third in 2012 – had to snatch between 20 and 40 minutes sleep every three to five hours. Despite consuming up to 7000 calories a day, he would lose nearly eight kilograms over the course of the race.

For the most recent edition, Thomson and his sponsors, Hugo Boss, took the unusual step of partnering with the London-based German designer Konstantin Grcic. In addition to being responsible for the boat’s distinctive aesthetics, Grcic, who has produced work for some of the world’s leading design companies, was also instrumental in remodelling the cockpit area, an innovation which became essential for Thomson’s comfort and maintaining his morale. Here, for the first time since the race, Thomson and Grcic reflect on their unique collaboration.

Konstantin Grcic: I loved following the race via the videos you made on board explaining everything. You were very unlucky to have lost the foil, and that one in particular – I know most of the racing is done on that side for the Globe. You would have had a great chance of winning with two foils rather than one!

Alex Thomson: The videos were a great thing to do. When you communicate in that way you get feedback. Every time I put a video on Facebook, I would get thousands of comments from the team about how I had inspired other people, who in turn inspired me.

It feels like such a long time since we first met in New York. I remember back then I didn’t really know whom I would be meeting. I thought it would be an ‘artist’, someone who would come up with a completely impractical idea, not someone down-to-and humble. We connected immediately.

KG: The conversation was there straight away – but then not many people can speak so clearly, and in a way that creates a great enthusiasm about what they do. That conversation, in the restaurant, gave me the first clues for this project.

AT: I remember being so happy with you and your ideas. People often say to me that the way the boat looks is not important, but I think it’s critical. Our boat was voted the most beautiful in France, which is a big deal when it’s an English boat with German sponsors and a German designer. It created this impression that we were peerless and I can’t tell you what that means to the team. Obviously they are involved in the physical side with the build, but the look of the boat and how other people see it creates an emotional bond that you wouldn’t have with most boats.

KG: I take that as a huge compliment. The colour, the logos and the style aren’t just decoration. They have to hit the right tone, to capture something in this design that the team really identifies with. And it has to have this psychological element that when you’re on the starting grid, you’ll feel powerful with your boat. Of course, this is something I’m familiar with as a designer – the psychology of form, of design. It’s fascinating what a difference it makes. It was such a challenge to follow your last boat, the completely silver one. But then we found a way to make the new boat all black. Technically it was challenging [the boat is glued together with a resin which is cooked at 80°C; if the boat reaches this temperature, which is possible in the tropics, it could begin to fail structurally]. We worked with a company to develop paint that could reflect light in the same way white paint would. It was nice how an initially purely aesthetic decision actually became a project that we developed together, creating something special and unique.

AT: And then there was the cockpit too. We spent so much time and energy in the previous Vendée Globe trying to make the boat go fast that the last thing we thought about was the comfort of the skipper. Yet the more comfortable you make the skipper the harder they will work. So we brainstormed how to make it more comfortable, how to make the internals work in an effective way. It took six months or so of refining, but what we have now is not so far from what we originally discussed. It was so beneficial to work with someone from a different background who can bring different considerations to the table. It’s definitely something we will do more of next time.

KG: Likewise! It was such a rich experience for me. I’m not an athlete but I love sport and to be able to see behind the scenes, to see the whole process from cladding and building the boat, raising the funds, the discussions you had and the dark hours of failure where you have to pick yourself up, as well as the successes, was something I’ll keep with me for a long, long time. It was unique.

 

Photography Benjamin McMahon
Styling Dan May
All clothing AW 2017 collection BOSS
Grooming Lee Makin

This is an extract from issue 21 of Port, out now. To buy or subscribe, click here.