Among the noble metals, gold is especially coveted, its natural attributes allowing it to withstand the passage of time without tarnishing. The craft of goldsmithing involves multiple ways of working precious metals, including the fusion of gold or silver with other materials to create more resilient alloys. Embodying the ethos of their practice, classically trained goldsmiths Gerda and Nikolai Monies founded their now decade-spanning jewelry label, Monies, on another kind of union: marriage. Establishing their women’s jewelry line on the Copenhagen waterfront in 1973, the husband-and-wife duo broaden the scope of workable elements and indulge in their love of unconventional materials, from gold foil and silver leaf to acacia, horn, coconut, and ebony.
Structure and volume are skilfully considered in the making of bracelets, earrings, and necklaces that range from subtle elegance to artful statement. A history of binding disparate entities together lead Monies to collaborations with prestigious brands such as Chanel, Christian Lacroix, and Donna Karan. The Danish jewelry label proves that bringing things together opens the door for something greater because even the most precious gold is stronger in marriage.
Established in 2005, fine lingerie purveyor Kiki de Montparnasse has since grown into a global luxury fashion brand complete with exquisite underpinnings, loungewear, and accessories. Utilizing meticulous time-honored artisanship and carefully sourced materials, the label advances an aesthetic that marries timeless sensuality and modern sophistication, with a touch of innuendo. Boasting perfected cuts and alluring décolletés, the line’s selection of delectable demi-bras, bralettes, and briefs embraces an ultra-feminine vitality in embroidered tulle, romantic floral lace, and scalloped edges.
Craig Green, London-born designer and graduate of the illustrious Central Saint Martins fashion program, designs menswear with an evolving, ethereal, and emotive vision that has established him as one of the UK’s most innovative menswear designers. Challenging the status quo with gender-negating statements, Green’s ready-to-wear investigates concepts of uniform, utility and showmanship, offering textural and minimal iterations of structured jackets, diaphanous tunics, and trousers tailored with the fluidity of flowing drapery.
This year, Green debuted the first flourishes of a collaborative relationship with adidas, his largest market incursion to date. The initial styles, Green’s Kontuur I and Kontuur II, take familiar adidas silhouettes and further evolve them, as though pushing the shoe’s photonegative through the visual plane. The successive set, called the Polta Akh II, expands on this dimensional-breaching quality, splicing adidas’ classic shapes into vaporous overlays that conjure a more romantic ideal than is typically found in sneakers, what Green describes as communing with “these ghosts of the past.”
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