SLOW #7

Styling og foto Rigetta Klint

Keramik fra Oh Oak og Liv i Listed
Glas fra Iittala
Kniv fra Fiscars
Marmorbræt fra Broste Copenhagen
Bestik fra Merci

Jeg brugte ordet SLOW første gang om det, jeg beskæftigede mig med i 2000.

Jeg havde ledt længe efter en beskrivelse, som var dækkende. Jovel jeg arbejde med mode og indretning. Jeg var vild med at skabe. Sandheden om, hvad der er smukkest, skifter fra sæson til sæson for mig lige som for andre, der beskæftiger sig professionelt med design. Men min interesse var ligesom et andet sted, end der, hvor jeg fornemmede, at mine designerkollegers interesse var. Jeg var hverken hjemme i det fodformede kunsthåndværker miljø eller i det hæsblæsende modemiljø. Indretningsbranchen passede derimod lidt bedre. Jeg hørte mine kunder melde tilbage, at mit design på en eller anden måde blev ved med at føles moderne, selv om de havde haft det i årevis.

Når folk spurgte mig, hvad er det for noget tøj, du laver, havde jeg ikke ord for det. Jeg ledte lidt i arkitekturen og forsøgte mig med, at jeg laver tøj på samme måde og med samme grundighed, som en arkitekt laver møbler. Det lød gumpetungt og ærlig talt hverken moderne eller særlig sexet. Så var det, at jeg i forbindelse med en messe sad på et hotelværelse i Milano sammen med en designerkollega fra London. En kvinde som laver sko. Jeg ved ikke hvem af os, som sagde det først, for vi talte ligesom med én tunge, da vi forstod, at begrebet SLOW fashion kunne rumme alt det, vi stod for.

Værdibaseret design, gennemarbejdet design og ansvarlig produktion.

Vi kendte til SLOW food bevægelsen med sneglen som symbol. En bevægelse, der var en protest mod den omsiggribende industrialisering af fødevarebrancen, var gået til kamp for lokalproduceret, varieret og ærlig mad. Ingen havde på det tidspunkt talt om SLOW fashion og SLOW living – men det lå helt tydeligt i tiden. Det piplede snart i alle afkroge - nogle initiativer mere professionelle end andre. Min London kollega og jeg var nok blandt de mest etablerede på den scene. Hun fortsatte med at designe produkter, mens jeg som bekendt blev mere optaget af kommunikationen rundt omkring produktet. Jeg tog begrebet videre og begyndte at formulere på, hvad et SLOW varemærke eller brand er.

Fortsættelse følger om et par dage!

I used the word SLOW for the first time to describe what I was working with in 2000. I had been looking for a long time after a description that was comprehensive. Well, I worked with fashion and decor. I liked to create. To me, the truth about what is most beautiful is something that changes from season to season – exactly like others who work professionally with design. But I felt that my interest was somewhere else than where I felt the interest of my design colleagues was. I didn’t feel at home in the sensible arts and crafts environment nor in the breathtaking fashion environment. The decor industry, on the other hand, felt a bit better. I heard my customers say that my design, in one way or another, continued to feel modern even though they had it for years. –

When people asked me what kind of clothes I make, I could not describe it in words, I was looking for something through architecture and trying to make clothes in the same way and with the same thoroughness as what an architect goes through when making furniture, but it sounded grubbed and honestly it didn’t sound modern nor particularly sexy. Then I was sitting in a hotel room in Milan in conjunction with an exhibition, with a designer colleague from London, a woman who makes shoes. I do not know who of us who said it first, but at this point we realized that the concept of SLOW fashion could delineate everything we stood for. Value-based design, thorough design and responsible production.

We knew the SLOW food movement - using a snail as their symbol - who protest against the pervasive industrialization of the food industry. They were and are fighting for local production. Varied and honest food. No one had talked about SLOW fashion and SLOW living at the time - but it clearly suited the time. It did not take long before it was seen more and more places - some initiatives more professional than others. My London colleague and I were probably among the most established in that scene. She continued designing products, and over time I became more occupied by the communication concerning the product, and I took on the concept and began to formulate what a SLOW brand or brand is.

Continuation will follow in a few days!

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