BLESS -"the meek" -"this house" -"national geographic"

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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby prawnzee » Mon Oct 20, 2014 5:32 pm

hey how come no one has posted this yet?!

N°51 Blissmess is up! again, featuring our very own @germinal & @sknss, lovely stuff! more pictures of the photoshoot behind the link. ps. great job guys :woop:

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here's a .pdf of the looks, higher resolution than above
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ice cream, flowers and pussy
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby ramdomthought » Mon Oct 20, 2014 5:43 pm

I imagine there is someone that iwll know... In John 1 are the glasses and the brim together?
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby yoyobeat » Mon Oct 20, 2014 6:59 pm

@germinal @sknss is there somewhere explaining how this came about, being in the photos!? Looked through the thread earlier and didn't see anything. Would love to hear about that.

There was a cool Bless + Sandra Backlund + Boudicca exhibit in Chicago a few years ago. The Bless part was interactive so you could touch it to a degree (though I remember security getting mad at me for some reason- maybe taking a photo).

Also if anyone is interested and hasn't seen it there is a hoodcoat up on grailed. Actual grail... http://www.grailed.com/listings/28497-b ... l-hoodcoat

edit: fixed: "Sandra Boudicca" is not a person
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Mon Oct 20, 2014 8:24 pm

[Something about BLESS finding beauty in the ugly and the everyday]

some pics

new bedsheets
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the tag reads
Spoiler:
The PinUpBabyBoom

Babyjumper 'Omran'.
Inspired by and in collaboration with CargoCult

Omran is an Arab name which means "to experience".
Omran Chouly is the third of six children.
He was conceived by cousins, quite typical in Palestine.
Omran lives in Berlin and hears voices.
His psychic challenges due to a genetic disease enable him to foresee extraordinary things.
'I do not understand it, but I know it', says CargoCult, who looks at the values in a different light in order to experience the world in a new way.

sknssblanket
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby prawnzee » Mon Oct 20, 2014 8:47 pm

damn those sheets look amazing
damn those boots look fun
damn are you getting that small jumper for your future baby?
DAMN that sknss blanket is crazy cool and the hammock thing looks tempting
what are those fruit things?
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby ramdomthought » Mon Oct 20, 2014 9:56 pm

holy shit sknss is on a product
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby JonjoShelvey » Mon Oct 20, 2014 11:21 pm

well germ now that every single person on the forum has seen u it's time to start posting fits
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby sknss » Sat Nov 01, 2014 5:13 pm

yoyobeat wrote:@germinal @sknss is there somewhere explaining how this came about, being in the photos!?


When I visited the shop in Paris I mentioned this thread to the shop assistant, who later showed it to the designers, who said they liked it! Then they invited us for their presentation in March and again this September. It is pretty crazy honestly! :woop:
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Wed Nov 05, 2014 11:27 am

interview with centre for style

BLESS has always existed somewhere beyond explanation. They make clothes but feel it’s not hip to dress up, they produce pieces that are basic but also totally confusing, and declare they’re uninterested in fashion while being the darling of the avant-garde scene. Over the years they’ve never been swayed by trends or economic pressures, but despite their indifference to the fashion world they continue to be two of the most exciting artists working today.

Matthew Linde from Melbourne’s Centre for Style caught up with Ines Kaag and Desiree Heiss in Berlin, and spoke to Ines about their past and their feelings towards being reluctant cult figures.


You, of course, started by taking out an advert in i-D for your Bless N°00 hats which caught Margiela’s attention and they were used in the Autumn/Winter 1997/98 collection. How closely you were involved with the Margiela team?
We had an extra room without any windows and manufactured there the 30 wigs that they commissioned. We met Lutz, who was back then Martin’s first assistant and with whom we are still good friends. Also it was very interesting to work with Margiela himself. Already knowing how he looked felt privileged, but also hearing his points on many things and seeing his way of working was very interesting.

You're doing something quite different in producing your next body of work. Can you explain your next strategy in relation to selling and dealing with personal clients and stockist orders?
Wholesale and private clients are welcome to submit wishes and we are trying to fulfil them. At the same time we are keeping up with producing our egoistically driven clothing line, mainly containing basic styles for a basic life for ourselves, our clients, family, friends, and all who do not try to avoid getting older with us.

I personally often find myself discussing your N° 32 Frustverderber work and its football presentation. Can you talk a little about this particular collection?
We have nothing to say of the collection in particular, apart from the fact that we still very much like the title. The intention of the football game was to make all our model friends somehow move, each one according to their own sportive or unsportiveness. Therefore we had comfortable seats in one goal for those who would like to take a rest and would then occupy with joint forces of the goalkeeper. That goal was also filled with things that could break easily like a vase with flower. While in the other goal was a very sportive goalkeeper by herself. Also some players were high heeled.

Can you reflect on the narrative between BLESS and Purple and how your relationship began?
In fact there was never a close relationship as compared to the makers of Self-Service magazine. Suzanne Koller and Ezra Petronio were Desiree’s first friends and mentors here in Paris. Over time both the magazine and BLESS developed in different directions and nowadays we feel quite close to the idea of Elein Fleiss to quit the system and looking for another way to stay connected at the same time.

Early this year I met up with Susan Cianciolo in her studio in New York and we talked about her history as a designer and the experimental scenes she was involved with. Do you see this vein of experimentation with fashion existing prominently today or is it still marginalised within the industry?
It´s difficult for us to say as we are not so much interested any more in fashion as such or lets put it in other words: we find it currently rather out-dated and unhip to dress up as hell and show off clothes. Instead we prefer a very masculine, comfortable, rather formal style that is characterized mainly through a high standard of quality and a sporty comfortableness at the same time. And this kind of basic all day life wardrobe mixed-up with the surprising accessories that are still able to cheer up the all day routine and the “seen before” factor.

In Melbourne (and now grown to Australia at large) there is currently a wave of Facebook groups where peers resell, recycle, and request designer clothes from each other. It has created frenzy for particular designers like Jacquemus who are otherwise difficult to get. Bless are also frequently featured. How do you feel about your work functioning in this extremely desired territory?
We feel flattered and touched that our own taste seems to be valuable also for other people. But in general sharing clothes makes only sense for people who desire a large wardrobe and change a lot their clothes. We and the usual BLESS customer that grows up with us is rather the type of having only few, but very valuable items that meet precisely their personal needs and that are worn until they unfortunately fall apart. Our very dear friend and collector of BLESS items, the artist Mark Brandenburg, once replied in an interview on the question how his ideal look would be like: my perfect look would be if I had to run to escape a fire in my house that I could just throw over myself whatever piece, knowing that any piece would look "top".

You have always expressed gender fluidity with your garments and presentations. How do you feel about gendered labels in fashion?
We don't care actually, as long as we simply can do what we want with our own clothes.

http://i-d.vice.com/en_au/read/intervie ... up-as-hell

- Lutz is presumably Lutz Huelle.
- Elein Fleiss started Purple mag with Olivier Zahm before he went weird, she now lives in the countryside and ran Les Chroniques Purple (http://leschroniquespurple.com/ ; sadly inactive, but well worth reading).
- Susan Cianciolo is a cool artist clothesmaker, ladies of new york go to her workshops and buy her clothes http://susancianciolostudio.net/shop/
- Xpost the penultimate answer to curatorial/no cop/another bela b thread coming to a forum near you.
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby sknss » Sat Nov 15, 2014 9:13 am

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omg
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby trasparenti » Sun Nov 16, 2014 9:31 pm

yo I can't find where I saved the pictures, but I had a few images of one of Bless' dope Adidas collabs.
this is one of the unique pairs but not the one i liked the most
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Dude on sufu:
"not one pair is the same.
BLESS send the cut pieces of fabric to the factory and Adidas would assemble them.
They hand cut everysingle piece and then made them into packages wich should go together.
However, some pieces went missing in this massive piececutting mayhem and as a result the ladies doing the assembly of these shoes in Germany had pieces short.
They (the assembly) ladies brought in different kinds of fabrics from their homes and filled in the missing pieces with fabric of their own that fitted best with it."
pretty dope.
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby sknss » Fri Dec 19, 2014 2:14 pm


N°41 Workoutcomputer
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby CheerUpBrokeBoy » Fri Jan 23, 2015 12:18 am

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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby aeieie » Fri Feb 06, 2015 10:00 pm

picked up a copy of this recently, thought itd b nice to share
http://mono-kultur.com/issues/28

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Spoiler:
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby odradek » Mon Feb 16, 2015 4:10 pm

international famous models and muses walk amongst us

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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby smiles » Wed Feb 18, 2015 2:41 am

sknss do i have to go through you to have a vacation at the Bless house?
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby sknss » Mon Feb 23, 2015 12:10 pm

it's here :woop:
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Spoiler:
my name on a care tag!
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby parastexis » Wed Mar 11, 2015 4:52 pm

BLESS N°52 Present Perfect Continuous

http://cargocollective.com/BlessBlog/BL ... Continuous

I see some familiar faces. keep talking amongst yourselves
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby vgtbls » Wed Mar 11, 2015 5:07 pm

priorities

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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby sknss » Wed Mar 25, 2015 7:45 am

sheep blanket featured in M Magazine (with Fendi bracelets :sweg: )Image
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Tue Apr 14, 2015 3:21 am

new skns blanket
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raw food buffet
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cocktails
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there was a signed photo of patti smith on the piano
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Wed Apr 15, 2015 4:26 am

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bought the beach bedsheets and a blanket :woop:

Spoiler:
I need to buy some bigger pillows
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Thu Apr 16, 2015 2:00 am

For the next three days, we will publish a series of photographs taken by Kristin Loschert during Steinfeld carnival and featuring some Bless garments and accessories worn along with carnival outfits.
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(Photo 1, Bless n°36, silk scarf wrapped around the wrist / Photo 2, Bless n°47 shirt / Photo 3, Bless n°37 red/green glasses / Photo 4, Bless n°37 beige lamb fur top / Style consulting Vesna Barisic. All items can be found at Bless Home Berlin.)

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(Photo 2, Bless n°48 wool hat / Photo 3, Bless n°31 fur hood / Photo 4, Bless n°39 neon yellow knotbelt / Style consulting Vesna Barisic. All items can be found at Bless Home Berlin.)

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(Photo 1, Bless n°48 down vest / Photo 4, on the left, Bless n°00 fur wig / Style consulting Vesna Barisic. All items can be found at Bless Home Berlin.)

from les chroniques purples
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby powwow » Tue Apr 21, 2015 3:14 am

Hey guys, anyone here got any advice for sizing rules with Bless? Recent lookbook stuff has caught my attention and I've heard the sizing is different due to the clothes being unisex. I'm a EU 50 in most uppers I have.
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby yoyobeat » Sun May 10, 2015 4:57 pm

Midnight tonight deadline - black hoodcoat preorders

http://suspensionpoint.ca/suspension-po ... loden-wool
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby parastexis » Sun May 10, 2015 5:35 pm

I was at Bless home last week and Ines was there cooking dinner :razz:
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Tue May 12, 2015 2:36 pm

BLESS
N°53 Contenttenders

Exhibitions from May 22 to August 1, 2015
Opening on Thursday May 21, 2015 from 6 to 9 pm, in presence of BLESS
Press Release


Spoiler:
Made to measure by the creator BLESS for the publisher mfc-michèle didier.
Halfway between fashion, design, architecture and art, BLESS is a collaborative evolving project founded in 1997 by the stylists and designers Desiree Heiss and Ines Kaag, who define, in their frame of work a new, personalized profession, of the spontaneous creator, always reacting to his personal life. Generating singular products of fashion, design or art — from a fur wig to a disposable T-shirt, — BLESS plays with the fashion world’s mechanisms of seduction, while developing formal, esthetic, economical, and press strategies, which radically put this world into question.
BLESS is a conceptual brand, thinking of new solutions for the everyday life. Here, for mfc-michèle didier, the duo thinks of the daily use of the artist’s book and the multiple, by creating quite surprising objects, the new BLESS N°53 Contenttenders. Playing with the double meaning of “tender content”, — in the sense of a “fragile content”, but also based on the sense of the verb “to tender, to offer”, they have imagined a sort of welcoming place, offered to a selection of artworks from mfc-michèle didier catalog. What’s softer than a pillow, in order to protect the publisher’s productions? BLESS proposes pillows that are not supposed to lie under one’s head, but under an artwork which is therefore included in the intimate sphere.

The same way BLESS re-thinks all its objects, the pillow doesn’t remain this familiar tool, consisting of a form and a matter that everyone knows. BLESS accessorizes it, redirects its use, transforms it, so that it can host the book or the multiple the best possible way. BLESS takes over Mes dessins secrets by Annette Messager and Underground (Fragments of Future Histories) by Liam Gillick, in order to place them into secret holes: the pillow becomes hollow, or gets pockets where the work can settle in. A black pillow, marked with a blood red line will receive the dreams of the Dream Object Book by Jim Shaw. BLESS thinks of a pillow-blanket to envelop Braco Dimitrijevic’s box, but here it’s not a question of softness and smoothness, as the blanket is really sculpted in wood. Parc Event / P.P. Rubens – Gerda Bollen is here securely hidden. The pillow becomes also a bed tray, where you can discover Muntadas’ triptych Close Up. Or it becomes a bank revealing this time Hannah Collins’ work, Hair Shawl. Or it can even be a couple of sound pillows, male and female, in order to listen to the formulation of time in On Kawara’s One Million Years, or a page marker for Double Bind by Leigh Ledare.
For the exhibition, N°45 Soundperfume Melodized Pillow Hammock, a giant hammock, will also be installed in the gallery. As it name suggests, it contains melodized pillows, and will serve as a comfortable seat for the sound pillows of the work Ephemera by Christian Marclay, to listen to the concert given by Irene Schweizer. This concert, held on June 12, 2009 by mfc-michèle didier at the Bahnhof für Neue Musik in Basel was the very first interpretation of the music score of Ephemera by Christian Marclay BLESS fits every style!
BLESS imagines an ideal and unique solution for each and every artwork.


http://www.micheledidier.com/index.php/ ... m_store=fr
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Thu Jun 04, 2015 8:32 am

MEET THE FACES BEHIND INTERDISCIPLINARY LUXURY BRAND BLESS

Bless is an almost indefinable institution. An elastic, interdisciplinary luxury brand. Stretching and investigating the constructs of design and floating somewhere around boundaries of high fashion, art and lifestyle. Bless exists on the fringe. And that’s exactly how they like it.

Desiree Heiss and Ines Kaag are the delphic design duo responsible for the enigma that is Bless.

HUSK: Bless took an unorthodox approach to entering the fashion world. You placed adverts for your ‘N° 00 Fur Wig‘ along with your telephone number in magazines like i-D and Purple Fashion.
BLESS: When we did the first project together, we would photograph them posing on the kitchen table with a passport-photo camera, where you could slide-in a little card with typed information that was photographed at the same time and included in the picture. Instead of using this typewriter mode we slid in some cut-out female faces that were photographed together with our bodies. We blew them up in a copy shop and generated 3D formatted posters that contained our phone numbers. Quite naively, we thought people would eventually call us to order some of the tops, but aside from investigative calls asking if it was an upcoming exhibition or a sex hotline— we didn’t succeed. Therefore we thought, if we manage to advertise in our most favourite magazines, we would reach better, likeminded people.

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Spoiler:
One of the callers was Patrick Scallon from Margiela, who ordered 50 fur wigs for every model in Margiela’s Fall/Winter 97/98 runway collection.
Since Bless was never planned, there was never a moment when we sat down and said ‘let’s make a company’, the Margiela commission decided it for us.

Bless is not limited to just clothing. From Perpetual Motion Machines and hair brushes to fat knitted hammocks and even car-covers; you glorify mundane objects. We saw this emergence first in No 07, with impractical objects preserving function. Like your Chairwear seat which “does not invite a person to sit down or even suggest the possibility of sitting.” Tell me how this preferred direction came about.
We wouldn’t classify our pieces as art at all, just implements of all kind. To stick with your example of the Chairwear: we love to create things that throw us back into the wide angle of possible experiences back when you were a child. We love the moment to stand and get lost in front of these items and get excited when they finally reveal a new way of perception. The passion of our profession is the questioning and its consequence; thus offering solutions, which we prefer to shape in products.

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I’m not going ask you whether you’re artists or designers, but I am going to ask what you believe the differences between the two are?
We don’t even dare to define the differences, but can say clearly that since we are not interested in “exposing” our work, we feel much closer to a designer, or let’s call it ‘re-definer’ — where the purpose of work is clearly based in an everyday life context, not in an ideal or hermetic space to visit that is cut-off from reality.

Most designers and artisans celebrate and relish in the light of exposure and fame. Though Bless doesn’t subscribe to fashion folly and hype. Why have you chosen to take a quieter approach to promotion, in an industry which relies so much on networking and self promoting?
We are definitely more introverted types and don’t like to get too much attention. It is quite difficult to define why we don’t care; since we don’t care. It is not our nature to expose for exposing purposes only. We are interested in creating products for ourselves and all the other people that can relate to and find them interesting. In that sense we are happy if there are people who like them, buy them, wear them, use them. Also we love the fact that there is no typical Bless customer, as even our faithful customers vary a lot in age and interest. So we don’t mind if a celebrity also gets into our world of products, but the fact that a person is notorious doesn’t give us a kick – we are just happy to have another person as a fan or client.

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There’s a reluctance to “sell-out” with a focus on integrity as opposed to sales. How do you find that balance of commercialism in a field that’s essentially creative? Don’t they generally cancel each other out?
The mentioned contradiction is for us the challenge we face all the time. By now we have found a good balance since our personal clothing taste has become more and more classical, more focused on high quality materials, but very simple, classic shapes. To sell these clothes is almost as difficult as to sell the most creative, crazy stuff since fashion followers don’t see the point to buy “designs” that look totally stereotyped and classic. As a Bless user you often get noticed somehow, people are intrigued by what we wear. That’s the biggest compliment one can do to the clothes: wearing them non-stop and enjoying their supportive function of making you feel good on an ordinary day.

Through your Team-ups platform, we’ve seen you collaborate with huge industry brands like Adidas, Wrangler, New York Industries etc. How important are these teamups, and who would you like to work with in the future?
We still dreaming of designing a car and see it go into production. The N° 34 Carcanapé project was born after Intersection Magazine asked six fashion designers to work on a car cover. It turned into a very dear project for us and was exhibited at Somerset House in London. The project also led to another collaboration with textile manufacturers, Kvadrat, where we repeated the design, replacing the interior leather with a classic Kvadrat fabric, the Hallingdal 65.

You recently presented Bless N°45 at the ‘Sound Fabric’ exhibition for Vienna’s new exhibition series MAK FASHION Lab. We were introduced to your Orchestra scarf, the Melodised hammock pillow and the Recording shoes; all experiments in sonic technology. What can we expect to ‘hear’ from Bless in the future?
With this project we attacked a new field for our creations. The chapter of curating sound within the context of every day products, opened-up a new field of possibilities of “decoration” and sensation for the user. The resulting dream is now of course to develop these products further in order to make them accessible to the larger population.

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‘Soundperfume‘ was initially designed to help identify hearing-impaired people. What inspired this evolution?
Our initial approach was triggered through an invitation from Eileen Sommerman, who initiated a collaboration with us and the Kadist Foundation in Paris for a project about art and its potential to activate change. The idea at that time was about creating a product which would be useful for the deaf community, which soon led us to the conclusion that products resulting from such socially driven projects have to serve both, deaf and hearing people. We were inspired by the aspect of what a sonic sensation could cause, as awareness: attention and irritation, which could both lead to further communication. We always feel open to discover practical, political or social “problems” we might like to work with, which could result in designed objects.

Regarding the production and manufacturing of your pieces. From the inception of ideas, to the manufacturing and production of the pieces, how hands-on are you in the process?
We are ‘around’ for our products from first to the last minute. The modest set-up of our structure and the niche-nature of our “Dasein” (thereness) does not leave our ideas alone after framing them. Some artisanal products get produced in-house with the kind help of assistants and interns, while for sampling or prototyping the smaller series of semi-artisanal projects, we work with our longterm collaborators in France and Germany, or in the EU.

What do your workspaces and studios like? Are they clean and cohesive or more mental and chaotic?
Both of our workspaces in Paris and Berlin are quite different, since the Berlin studio is much bigger in square meters than the parisian place, we even accommodate the shop in the same building. Depending on the moment in the season, our spaces can look clean and neat, but can turn into a showroom, fitting room or photo studio.

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What are you working at the moment?
Bless N°49 is in preparation and under our full concentration right now, with the title ‘Alternative’. Our titles are more an invitation to talk about what interests us, and can be described as the flavour we have in our mouth while we are working. We are also working on a display system for our Japanese distributor Diptrics, who commissioned an interior concept for his showroom in Tokyo. This goes hand-in-hand with our research and development of a new piece for Art tower Mito, where we will participate in a group show called “Expanding fashion” in February 2014. There are quite a few side-projects where we operate collaborative workshops for product design students. We’re planning to enhance the sonic products series and will also furnish a community corner in a new hotel based in Berlin.

Bless is virtually a long-distance relationship, with the team being split between Paris and Berlin. Logistically, how do make the design partnership work when you’re not physically together?
Since we’ve never ever experienced another way of working with Bless, the question even feels weird. You can imagine the Bless way of working in its ideal moments as a nice pingpong evening among friends who are talking about what really matters to them. Thanks to electronic communication, we use Skype to show things or to approve prototypes from one city to the other, we don’t really feel disabled through distance, because we meet very often for teaching, exhibitions, or simply to see each other. All our members have to be quite flexible in dealing with different responsibilities and the communication part occupies a lot of capacity in the daily schedule, which makes us and our team sometimes feel inefficient. For instance right now we are facing a very common problem, which is nevertheless pretty new to us, and might derive from the above mentioned nature of distance. Since one city team can’t really see what the other city team is doing, there is a tendency to project personal discontent towards the other end, we have to find a solution for this discomfort.

Bless sounds very loose and chilled out. Was it a conscious decision to remove the bullshit and stress early on?
Bless is a visionary substitute to make the near future worth living for. What sounds like a prayer became true and is one.

Interview by Brent Randall
Images and Video by Ekaterina Bazhenova
Model India Grove @Profile
Wardrobe by BLESS: Dirndl Dress from N°32 Frustverderber
Video Soundtrack from Wong Kar-Wai “Days of being wild” (1990)

http://huskmagazine.com/bless-interdisc ... ury-brand/
click through for the video
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Mon Jun 15, 2015 1:32 pm

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from Purple Fashion number 4, winter 1998
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Re: BLESS -"the meek" -"this house" -"national geographic"

Postby germinal » Mon Jun 15, 2015 1:34 pm

BLESS
Fashion Designers. Paris/Berlin
19/03/2010


Ines: Hallo? Desiree?
Desiree: Can you hear us guys? I know there is a way the three of uscan talk at the same time over Skype...

-- Yes we can hear you perfectly. We didn't know this was possible... Are you ready?

Ines: Well... we need 10 minutes to get everything ready. Ok, I'll call you back in a few minutes...

...

Desiree: Ok, we are back.

-- Great.We would like to ask you about the message behind BLESS.

Desiree: Ok... When we started Bless we wrote a text that I would like to read again. It goes like this: "BLESS is a visionary substitute to make the near future worth living for. She is an outspoken female - more woman than girl. She's not a chosen beauty, but doesn't go unnoticed. Without a definite age she could be more between her mid twenties and forties. B. hangs around with a special style of man. She has no nationality and thinks that sport is quite nice. She's always attracted by temptations and loves change. She lives right now and her surroundings are charged by her presence. She tends to be future orientated. BLESS is a project that presents ideal and artistic values by products to the public."

-- Bearing this in mind, what pushes you to start working on something?

Ines: Well, actually for us it is all about problem scouting and problem solving in our daily life. For example if we miss a knife to cut our food with, then we would think about it and about how we use it. So it's all really about super basic problems. Therefore we are not only fashion designers, we are not product designers either. Actually we don't care at all about how do people call us... [laughs] For us it's all about everyday life. I mean, Our work implies offering new options, new ideeas to help in our daily routine. Our ideal would be to even question or make a surprising statement about how you spend your day, how you work, how you live. Well, design is also a responsibility, we try not to pollute the world with anything we design, not to pollute the world with our products.

-- Could you think about an iconic fashion product from the 20th century (logo, object, garment, accessory...) and make a BLESS reinterpretation of it, in order to make it contemporary?

Ines: No, I can't.
Desiree: In fact, this is also related to the precious question. We try to design the products we are really lacking of, so if we see something that we like already made by somebody else, we prefer simply to buy it. But when we start designing something it's so often because wmissing that product and we cannot find it elsewhere, so that's the reason behind designing something. For us it's just perfect if we manage to produce this situation in which you get your BLESS product and you're irritated for an instant because you're not exactly sure how it works and you're not exactly sure what is that product for, but what is essential at the end is that the function is totally there even though you've got this moment of astonishment. You just need a bit of time to realise that it's totally useful and easy to use.



-- "Never become fashion designers." Is that still your premise?

Ines: Is that a question or a statement? [laughs]

-- Both.

Desiree: In a way Ines has answered this beofre... we are not really fashion designers. We are designing clothes, yes, but you cannot really put them in the same level as the ones in fashion shows, because they have a different purpose. Mainly are clothes are not specifically meant to make you more beautiful or more attractive sexually. They don't realate to a fashion movement or a trend. It's extremely personal, we arejust looking in our wardrobes and cupboards and trying to thik what we still need, what we cannot find and then we try to produce that. So in that sense, it is really disconnected from fashion.
Ines: Even if the appearance of what we do is a piece of clothing, it is more a product for us. It is not a luxury fashoin article either. Even the most spectacular accessories we do consider them to be products, not fashion items. And that's why we still totally stick to that sentence.

-- So you are not fashion designers but you must have some thoughts on today's fashion industry...

Desiree: We really don't care so much about fashion in general or design in general. We cannot really answer this, honestly we never think about it, it's absolutely irrelevant for us.
Ines: It doesn't matter at all for our work. We just don't care!
Desiree: Actually, I don't think there's anything new emerging from fashion at the moment. Fashion is, among all artistic disciplines, be it music, visual arts or cinema, the most conservative one right now. I don't see anything new coming.

-- So, that's how you see its future, plain and conservative?

Ines: [laughs] Good question! That's the tricky thing with fashion, you never know how it is going to be in the future. I would tendto say that probably fashion won't exist anymore and won't be relevant anymore. But I think there's something wrong in this, since fashion is so much related to communication and to the distribution from the inside to the outside, I would say it will probably stay the same.

-- Then, do you see yourselves as "idea makers"?

Ines: We feel like a bit more than just "idea makers". It doesn't mean we feel much more fantastic than that, we do not only have ideas...
Desiree: We actually really fight for them, we invest all our concentration, money and blood to make these ideas happen. So we have no idea about how you can call us, but we are definitely more than "idea makers".

-- Our next question was supposed to be about the decision to become designers and about choosing fashjion as your path, but I guess we could skip this one...

Desiree: Well, there was never a moment when we decided fashion awas the way. We studied fashion and after finishing we found out it wasn't our way and then we decided to do it "our way".

-- We think your work is somehow linked to streetwear, is this absolute nonsense?

Ines: No, for us what we do is streetwear.
Desiree: Yes, in the sense that you can wear what we do wherever you want. And what we do is style free. And style free works for streetwear.

-- That sounds like a laid-back approach... However, I'm sure you follow some strict rules to do things well...

Yes... It's not thinking about them at all. [laughs]

-- Yeah, you're right... I guess what we were trying to ask was if there is a fundamental condition or a necessary factor that allows you to develop your products.

Ines: Hmm.. I think the key is the structure we've got now after all these years. I mean, in the very beginning we were really free because BLESS did not exist and we started BLESS as a friendship project and there was maximum freedom because there was no image we could destroy and no audience we could disappoint. But now freedom is related to the structure we have established. We are so independent... there are no people funding us, so we can really decide from day to day what we want to do. SO this is a really enjoyable thing about BLESS and about our lives.
Desiree: Regarding our work, it is important to focus on what we feel is relevant for us each moment, but without thinking: "this might be relevant for other people". We don't have the need or the desire to work like that. We really just try to focus on what is relevant for us and then, just by chance, it might be relevant also for other people. But that's just a coincidence, not something we look for. It's the opposite of the perspective a trend hunter has, or someone who is looking for the new colour coming next season. This is not interesting at all, and I have the feeling that there are also many people out there who are not interested in that either. It's mainly some magazines that insist on the fact that you should pay attention to this new thing emerging, what the next thing is going to be, and so on... Oh, sorry... I think that was a bit too long... [laughs]

-- We met you thanks to those wigs made out of fur Martin Margiela's models wore in that show in 1997. Fourteen years have gone by and we're sure you've lived many unforgettable moments...

Desiree: I think the best moment we've lived thanks to our work is all these places we've visited.

-- If you look at the way your project is structured, do you think there is a difference between your life and your work?

Ines: No, there's no difference. There's no line you could draw between working hours and leisure time or life in general. It's all the same.

-- And what would you say is the most rewarding thing about working this way?

Desiree: It's definitely freedom.

-- With regard to your influences, you've mentioned "basic problems" as the factors that inspire you to start working on something, but what about influential people? Is there any icon or figure you look up to?

Desiree: Hmm... We don't really have icons. Maybe in that sense the only person we could name is the man who founded Aikido becasue his work means a lot to us. But then we don't even remember his name, so that explains everything about the irrelevance of the so-called "icons", so we don't really have one.

-- You've been producing indelible images nonstop for over a decade now, could you choose a new one that captures the spirit of our time?

Ines: Well, what we could say is that a phenomenon of our time, a zeitgeist phenomenon is definitely Facebook. But for us the networking opportunity Facebook gvies ou is completely irrelevant, anyway. We are actually no part of it...

-- We would love to finish with some wishes for the future...

Desiree: More time. [laughs]


from Masterpiece
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