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Barbara I Gongini
Universe Travel through our avantgarde realm

  • Barbara Interview

    AN INTERVIEW WITH BARBARA I GONGINI

    You often search for inspiration back in your roots, the Faroese Islands. How is it projected in your collections and how does it influence your perception of sustainability? I think that sustainability is a way of living and of course a way of being. Whilst living in one of the cleanest environments on earth, I have always been very close to all the elements that somehow influence one´s core being. There is therefore no other alternative way, than thinking in these terms. The approach of creating a sustainable company definitely comes from the tradition, the closeness to the forces of nature and the responsibility for our surrounding, which is deeply rooted in myself.    Though your collections may seem to be downright Avant - Garde, they are full of stunning yet highly wearable pieces. How would you describe your aesthetics? Being the designer of a fashion brand it is not only about creative expression but also about being relevant to the end consumer. We are therefore always trying to find a balance, holding a very clean canvas against the more expressive pieces that we contain in the collections. For the upcoming season we want to emphasize this even more. We will have toned-down, more simplistic pieces in the new Diffusion Line, which will eventually give us more space for more playful and expressive pieces in our main line.   Denmark is pretty strict when it comes to aesthetics, though you are moving away from such aesthetical rules and trends. How do you see design evolving here in Denmark? Do you think that people are more open to find their own expression of style nowadays? Danish Fashion is very nice when it comes to minialistic design and toned down colors. But I sadly think, that there is very little individualism seen on the Danish fashion scene. It’s in a way, an army of doppelganger.    For the Spring Summer 2017 season, you implemented an in-house-produced limited edition line to the classical collection. What stands behind this decision? This idea initiated as a CSR strategy, where we found new takes on archive styles, which we embraced and breathed a new life into them. It’s a common care and a very nice exercise for our creativity.    AW17 is the first season you are not taking part in the official schedule of Copenhagen Fashion Week. What led you to this decision? We have been very active every season, mostly doing the conventional shows, which led us to the decision to make a pause, to collect new strength to make space for a more conceptual event during Paris Fashion Week. We therefore gathered strong forces within the Fashion industry of the Nordic Hemisphere, to create a local collaboration, which sharpened our senses. We have been doing similar projects for many years, but this season there was a specific need to do something exciting.    You are working interdisciplinary in close collaboration with various artists. Are you still considering yourself as a fashion designer? Absolutely. I think, now more than ever. There is a need and an urge to have a voice in the fashion segment. The key is to create a room for playfulness and to point some new directions or at least to make an effort to do so. Fashion, in my opinion, is very static at the moment. I absolutely see myself as a fashion designer. Fashion can be pure art. Fashion can also be the complete opposite. We consider ourselves to have a little bit of both, having a clean canvas and then designs which are a little bit upscale in aspect of form within the collection.   What is one of your career highlights and favorite things you’ve done? This is always hard to say. As a designer you always think critical about the past. But I believe, that the exhibition connected to the Nordic Fashion Biennale in Frankfurt was a big success. Some showpieces from the Modular Human Project are now travelling the world. It has been already showcased in Beijing, Seattle, Reykjavik and is currently displayed in Minneapolis.   What has been your biggest creative influences and inspiration over the years? I was very fascinated by Yoko Ono’s piece ‘YES’, which I saw prior to when I entered the Danish Design School in Copenhagen. For me this was some kind of introduction to the Avant-Garde art scene for me. I have always been fascinated by a conceptual approach to design and in my search of finding that particular platform this was a big eye-opener. When the group of Japanese Designers like Yohji Yamamoto, Rei Kawakubo and Issey Miyake in the beginning of the 80ies, were set into the limelight during the Paris Fashion Week, I immediately felt a strong bond with them.    Recently, you moved to a new studio in the industrial area of northern Copenhagen. Does the environment influence your work? What was the most important thing in choosing this space? I think it’s a beautiful environment and one of the few underground places left in Copenhagen, that has still a raw feel and a lot of history behind. It’s a place where big corporations haven’t claimed the land yet and it feels like our mini Berlin. The former shipyard gives it a very industrial feel and works in some sort of breeding ground for initiatives, small businesses, music, food, drinks and dance. There is everything from high culture to low culture. One can find Michelin star restaurants or just little cafes by the bay. All of it together is spicing up the daily life here and it somehow also function as the source of inspiration.   Rooting back to your relationship with nature. What is your opinion about todays fashion industry, trend based youth cultures and their aesthetics used to convey? For me youth is fast and furious and I like that they are spontaneous. Unfortunately, there is a strong strive for perfection, exemplified by Social Media idols. Teens are very concerned about looks, weight and failure is not seen as a source of creativity anymore. This surrounding puts an enormous pressure on them.  Nevertheless, there is something really strong and positive deep down, if you dig below the perfect surface. When you take all the noise away, there is a hard-core nerve, which cares about equality and uniqueness.  There is an element of gender freedom, which gives a lot of prospect and positive anticipation for the future. Throughout the years they developed an incredible consciousness about food, a great awareness of CSR, holistic thinking and spirituality.     You have been advocating sustainability for many years. What do you envision for the future of sustainable fashion design and where do you want to develop your brand in that sense? Of course, we have a lot of work ahead of us that concerns sustainability. An event that is of major importance concerning CSR is the Copenhagen Fashion Summit, it broadens the consciousness about this relevant topic and puts the talk on a international scale.  First and foremost, it is of importance to inform people how difficult it is to turn all the fashion industry around, culturally swap the tradition of ‘To use and throw away’ and inspire the supply chains all around the world producing large quantities for very low prices to follow this new wave of sustainable philosophy and thinking because this is the only way forth. It takes time to do so and we need to support it 100% in order to make it happen. In our case, the goal is to inspire the supply chain to provide every little component 100% sustainable and respectful toward human rights and animal welfare, a careful selection of materials and a thoughtful design process.  

  • Limited Editions

    REVIVING THE WARDROBING CONCEPT _ LIMITED EDITION _ AVAILABLE EXCLUSIVELY IN CPH STORE

    Sustainability is no forgein word for the BARBARA I GONGINI brand. In an early Interview with Dash Magazine Barbara gets nostalgic, thinking about her first steps in the fashion world. "My first collection was actually created out of fabric residue. I studied various abstract, cut out, fabric fragments, their shape and texture, and modulated them later into a new, cohesive design and what became a full collection. This was back in the year 2000, when I was part of the Kønrøg movement. Working towards zero wastage was an important factor to me, a principle I still adhere to today, as I apply this in my collection build-up by embracing a sustainable take on clothing creation."  This concept, deeply inheritated in every aspect of our work, comes to the center of attraction through a Limited Edition Collection, which will be exclusively available in our Store in Copenhagen. The collection consist of carefully selected items from previous seasons, morphed into a striking symbios of shadowy monochromatic tones. The color palette is disrupted by sand and mud colored designs that give it a more dystopian desert fighter touch.    The collection will be available from the 20th of April.  

  • Sample Sale (1)

    SEASONAL STOCK & SAMPLE SALE

    The whole BARBARA I GONGINI team kindly invites you to our seasonal Stock & Sample Sale. Bring some friends to cycle down the beautiful roads to the Refshaleoen Island or take the bus from Christianshavn to eventually end up in this striking industrial area, where you can dig up treasures from past collections, with up to 90% off.  TIME5th of May 14.00 - 19.006th of May 10.00 - 17.00PLACEBARBARA I GONGINI STUDIORefshalevej 163a1432 København KPAYMENTWe accept cash, credit card and mobile pay.Drop by and bring your beloved ones. Rsvp here. Love, BIG - CREWWebsite: http://bit.ly/1XAhhQ9Webshop: http://bit.ly/1ZumupSInstagram: http://bit.ly/1YcAOoP

  • Universe Avantgarde

    Avant-Garde Fashion: A modern definition of its history & influences

    An unorthodox and radical current, Avant-Garde is synonymous with pushing the boundaries of culture for well over a century. Since its first inception, this movement generated major progress in fields like art, music, architecture, literature, theatre and film and most importantly, fashion.In fashion terms, avant-garde spanned generations of notable designers who reshaped the way people perceive and wear clothes. Characterized as progressive and forward thinking, the once eyebrow-raising style is now a worldwide phenomenon. One of these avant garde designers is Barbara í Gongini, an active participant in the Nordic art discourse, in close collaboration with film, music and photography artists, which all added to her creative process. Keep reading and take a journey through her views on what is avant garde fashion today and how it all started! What is Avant-Garde: a modern definition Avant-garde (pronounced a’vant-garde) is an intellectual, artistic and cultural movement characterized by the experimental, the radical and the unorthodox approaches. Derived from french and meaning vanguard or advance guard, the term describes the few who dare to go in front and defy conventions. The current also defines an attitude of freedom from the conventionals of society. This is why avant-garde is not the same as modernism. Modernism, as a term, defines a period that integrates all aspects of society while avant-garde rejects the mainstream in favor of the unique.     Why is Avant-Garde important ? Avant-garde is important because it’s based on constant innovation, taking risks and thinking forward. Real progress can only be made through failure and who wishes to advance must be prepared to fail. Some of the most important artistic and cultural achievements have been made through avant-garde. Rejecting the common mentality and nurturing originality has allowed those who are free in mind to shape the future. Innovation is the key to success.   In what way is Avant-Garde experimental & innovating? To fully grasp the concept and its importance, Barbara Í Gongini, our avant-garde fashion designer explains: “Avant-garde can be viewed as experimental because it has something to do with constantly being on the edge, thinking forward and exploring new possibilities. Mirroring the times in which we are living provides a relevance to the form of expression of the artist.” By relying on social context, the artists explores and creates blindly, in an experimental approach to discovering where the artistic inspiration will take him. With trying different ways of doing something comes innovation and thus, progress. Avant-Garde’s History & Artistic Roots The avant-garde movement primarily consists of artists, designers, musicians, writers and even thinkers who are opposed to cultural values of the mainstream. The vanguard notion means traveling beyond the social norms to think and create beyond established social norms. At a global level, the movement has seen noticeable progress ever since its inception in the late 1850’s. The cultural impact has since been defined, categorized and made iconic by personalities who, for their contribution, have become notable names for avant-garde. Famous Avant-Garde artists Art and Culture Amongst the most prominent avant-garde visual artists, there is Pablo Picasso, Henri Matisse, Constantin Brâncuși, Andy Warhol and Jackson Pollock. Another hugely influential field was the ever changing landscape of architecture. Names such as Le Corbusier, Norman Foster, Frank Lloyd Wright and Louis Kahn are synonymous with architectural boldness.     Image Credit: Le Corbusier Furthering the visual arts are those artists who have made a name for themselves in avant-garde filmmaking. Jonas Mekas is one the utmost authority in American avant-garde cinema - others, such as experimental filmmaker Kenneth Anger, and the famous David Lynch have also brought an amazing contribution to this field. Across the Pacific, Ryūtarō Nakamura and Shūji Terayama distinguished themselves both in film and in other fields.    Image Credit: Constantin Brâncuși Music & Literature A fundamental aspect of musical avant-gardism is the rise of electronic music. The techno scene in particular is often associated with avant-gardism. Artists such as german group Kraftwerk or the iconical Daft Punk duo have contributed to the popularization and widespread acceptance of the phenomenon. The techno and alternative music scenes can still be regarded as authentical avant-garde. DJ and producers around the world are crafting their own unique sound aimed at improving current aesthetic conventions. The writers of the avant-garde movement are known for their experimental literature and their innovation of writing techniques. Notable experimental writers include James Joyce, Ernest Hemingway, Norman Mailer, Tristan Tzara (picture below) and Raymond Queneau.   Image Credit: Tristan Tzara Avant-Garde in Fashion In fashion, avant-garde manifested in a similar way to other fields. It presumed forward thinking, artistry, unconventional designs, new forms, structures and an extraordinary touch that separates the ideas from the mainstream. Avant garde fashions distinguishes itself through the fact that it embodies a way of living. To explain how avant garde influenced fashion, Barbara Í Gongini explains: “Avant-garde fashion emanates deeply in some sort of holistic sense of being. The whole Japanese aesthetic philosophies emanate very much with what I am. What I stand for.“ The continuous experimental approach has defined a fashion style that has a very specific tone of voice. Those who are familiar avant-garde fashion have developed a unique way of understanding it. Thus, a connection is made through very personal way of expressing yourself - “It tells stories which go deep under the skin and perception of the wearer.”        Avant-Garde Contributions to Fashion The movement has impacted the way designers think and create their work. Certain tendencies caught on and are now widespread. Barbara Í Gongini explains: “The lack of color is one of the biggest fashion contributions of the avant-garde movement. Our brand mainly works with monochrome shades. Keeping only a single tone gives the opportunity to work on clothing like on a canvas”. The form, shape, and volume of outfits have also been changed by the avant-garde influence. Details now consist of unexpected cuts and oversized tailoring which offer a different perspective to what the wearer is presenting.    Famous Avant-Garde Fashion Designers Through its long evolution, prominent avant-garde fashion designers have established their own particular style to an iconic level. Avant-garde fashion roots are hard to trace but it was the Japanese designers, in particular, have had a major influence in the field, kickstarting the whole concept and setting off a global revolution. According to Barbara, “the most inspirational figures at the moment are old school Avant-gardist like Yohji Yamamoto, Rei Kawakubo (Comme des Garçons) and Junja Watanabe.”    Image Credit: Yohji Yamamoto Yohji is one of the few avant-garde designers that have managed to successfully entwine a non-conformist approach to fashion with mainstream brands. His collaboration with adidas for the famous Y-3 brand has broken new ground in fashion wear. It’s hard to lay down a top 10 iconic avant-garde designers but other remarkable ones besides those mentioned are Thierry Mugler, Courrèges, Boris Bidjan Saberi, Carol Christian Poell, Julius and Rick Owens.      Image Credit: Julius Other contemporary designers such as Rick Owens are held in high regards amongst top avant-garde fashion designers. His influential style has been translated into runway collections as well as other fields such as design.   Image Credit: Rick Owens   Contemporary Avant-Garde Fashion Today’s contemporary style is very different, quite opposite to what was being made in the old days. While the roots and pioneering designs are still respected, there is “an extreme clash/paradox between the extreme overdrive of colours/styling and mainly basic items.” Barbara Í Gongini explains that the current style can be viewed as “confrontational in a specific manner, not in form but in how the ordinary clothing is perceived and how it is styled.”     Avant-garde fashion started around the 1960’s and it was quite a controversial topic at the time. The style can also be controversial if it needs to - drawing up on contemporary social context as a source of inspiration, it can result in a forward pushing manifestations that define our times. “The garments should have a provocative grip whilst still being sensitive to the times we’re living in. Grasping topics of the current society means understanding the idea of layers - what lies beneath the surface. There is always a layer that hides something to explore and something to surprise us.” This is actually what the BARBARA I GONGINI avant garde clothing brand wants to do: set the bar for contemporary avant-garde fashion while also being relevant in a contemporary context. Its pieces are more than simple items, they are stories that allow you to speak without saying a word. We present a different take on Nordic garments, derived from a conceptual approach towards fashion design.     Experimental & Gender fluid The specific construction process is aimed at crafting garments eloquently suitable for both men and women. Structural forms are challenged and experimental pattern-making shape a solemn backdrop for contemporary tailoring. However, the downside of this contemporary age is that “a large number of young brands flood the market with designs where expressiveness is boiled down into something very sellable and wearable - commercial, so to speak”. Pushing this very independent trend into the mainstream only spells lack of taste and commercialization for all those involved.   Types of Avant-Garde fashion The avant-garde dress code can take many shapes and proportions depending on the designer and also what the wearer wants to communicate. Monochrome black avant garde fashion Black is without a doubt the defining color of avant-garde fashion. Dark fashion, how it is sometimes called, implies wearing heavy toned colors that serve to emphasize the uncovered skin. All black garments or bicolor ones may lack in chromatic but make up in style and simplicity. Especially asymmetric hemlines which are cut to surprising shapes. This esthetic characterizes BARBARA I GONGINI collections.  “It is broken down in monochromatic version to center the attention onto silhouettes. The design has to serve some kind of purpose to eventually cater the intellect of the wearer and to have some kind of value to tell the wearer.” Barbara Í Gongini explains.   Structured and volumized avant garde clothing More colorful garments are another part of avant-garde fashion. Prominent in the works of designers such as Comme des Garçons for example, these alternative fashion outfits feature volume. Daring ruffles, patterns, and colors are also a part of the avant-garde fashion current. Forward thinking designers such as Rei Kawakubo always surprise the runways with their designs.   Image Credit: Comme des Garcons  Street Avant Garde Some types of avant-garde fashion may also include specific avant-garde street style - designers create predominantly for street wear. Avant-garde street style is often regarded as extravagant and head turning, a way of making your presence known.   BARBARA I GONGINI’s Approach to Avant-Garde Fashion   The BARBARA I GONGINI fashion approach is based on what we like most about the avant-garde fashion. It’s about the pure essence of avant-garde, BIB differentiates through the idea of concept and messaging. “As opposed to those who merely imitate the trend, we try to craft pieces with a particular message. In my eyes, the very non-compromised fashion is the most relevant nowadays.” Multifunctional Also kept in high regard is the multifunctional aspect of the garment. There should always be another angle of usage for a particular piece. When you are able to style something in a second or third way it means that the piece is not only stylish but versatile.     What Inspires the Style of BARBARA I GONGINI For Barbara Í Gongini, avant-garde fashion is a way to express yourself, a never ending quest for individuality and an unapologetic approach to your own style. While Japanese designers have their contribution, the brand mainly draws its stimulus from the Faroe Islands from where the founder, Barbara is from. The wide, open spaces of the Faroes are what instill the creative drive behind BARBARA I GONGINI: “Being somehow able to merge these two traditions to a beautiful and whole a composition is like drawing on a canvas. Drawing the essence from my origins from my heritage has enabled me to be original in my creations.” Another incentive that sparks the creative process is based in absorbing the contemporary socio-political landscape. Taking inspiration from and being aware of surroundings is especially important in remaining a relevant brand. Creating designs in a fast, ever-changing society requires experimentalism and the courage to try fresh and ambitious things.     Avant-Garde means Progress & Responsibility The BARBARA I GONGINI approach to the avant-garde concepts is tightly connected with sustainability practices that make the brand almost unique in the industry. Because that avant-garde often presumes leather products, BARBARA I GONGINI only uses leather and fur that are a 100% bi-product of the Food Industry and also textiles approved by Oeko-Tex which are tested for harmful substances both for health and environmental reasons. Also, multi-ways designs is a must of BIG designs, which give the wearer the possibility to wear them for a longer period of time. The brand represents a Wardrobing Concept that entails longevity & a more conscious approach to consumer consumption.   What are the current Avant-Garde fashion trends & where are they heading? Fashion is time sensitive and a society concentrated style such as avant-garde is always morphing into different forms. What will shape the way garments are crafted is based on each designer’s individual approach and also how willing the industry is to push things forward. BARBARA I GONGINI is not a trend based brand so by definition it ignores the mainstream culture. But, as Barbara puts it : “The avant-gardists have their own expression and that comes in their own terms. For us, it’s a question of continuing an exciting collection and developing existing ones. But always bring a contribution, have an “Under Construction” Mentality.” In terms of what contributions will be added soon, Barbara says that: “We need to put the focus on the average consumer, to offer the incentive that a piece will always serve a purpose.” So, the essence of offering multilayered, multifunctional pieces of clothing is still and will be strong at BARBARA I GONGINI. Closing thoughts Avant-garde fashion is here to stay and fashion designers show no signs of slowing down the progress that the current has brought. In other fields, the directions are the same - extraordinary breads extraordinary so exploring boundaries will not stop. Now that you are more familiar with what avant-garde stands, we can’t wait for you to start discovering a world where freedom of expression means progress.    

  • Universe Internship

    INTERNSHIP OPPORTUNITY IN MARKETING & CONTENT CREATION

    Do you want to join an ambitious team of creative minds and daring spirits? BARBARA I GONGINI is offering full-time internship on entry basis for the daring (min. internship period is on 3 months basis with the potential for additional 3 months extension). We offer the possibility to be part of an international business during the sales period AW17/SS18 for both menswear as womenswear.    Areas of responsibilities: - Showroom maintenance - Collection readiness - Customer service  - Administrative and logistic oriented tasks - Client pitching & Market research (B2B) - Compilation of sales and PR material (online and offline) - Development of content ideas - Photo/Video Content Creation for Webshop & Social Media - Research and presentation of new content ideas  - Creative Storytelling  - Assisting during Copenhagen Fashion Week     We are looking for a person that is: - Fluent in English both verbal and written - Full proficiency in Excel and well-founded in Adobe creative suite - Eager to learn the fashion industry and shares a passion for Avant-Garde - Able to multi-task in a high pace environment and work ad hoc - Service-minded and a team-player - Well versed in viral / social media - Taking initiative and not afraid of a challenge   Prior experience within sales, marketing and/or e-commerce is seen as a merit, but not compulsory.   We are looking forward to receive your application written in English. The internship is non-payable. Please send your application to [email protected]   

  • Universe Store

    BARBARA I GONGINI STORE _ COPENHAGEN

    BARBARA I GONGINI & SALOTTO42 created a realm where Avant-Garde meets an endless sphere of spirits, by merging two brands that are following the same vision. Showcasing a melting pot for crossover art forms – from renowned fashion, art, literature, music to divine cocktail compositions. We are delighted to establish a platform for installations and debates, providing room for gatherings and happenings of various outlooks. A place where fashion is the premise – where creativity can be celebrated and one can explore the Avant-Garde concept in a space, where all senses are set in the ultimate spin. The Wardrobing Concept, as the centerpiece of BARBARA I GONGINI`s DNA, will also be exhibited - giving the customer the chance not only to buy styles from the latest collections but also to stroll through previous seasons. BARBARA I GONGINI utilizes again the concept of recycling. By reusing chunks of the former shipyard of Refshaleøen, she balances off the mainstream whilst creating a space where the Avant-Garde meets battered relics. The fragmented work of dyed ironwood and shipwrecks which is used in the interior of the store, is hitting the boundaries of postmodernism – displaying a clear reference to the archipelago of islands where the inspiration is distilled.  We recently added the Paris-based Jewelry brand Parts of Four to our selection. The brand is specialized in handmade furniture, art objects and jewelry. Their forceful appearance fits in a harmonic symbiosis with the BARBARA I GONGINI brand.  // WHERE Møntergade 2, 1116 København // OPENING HOURS
Tuesday to Thursday_12.00_18.00Friday_ 12.00_19.00Saturday_11.00_16.00

  • Universe Kimono

    RAW SILK KIMONO

    Take an imaginative trip to the land of the rising sun with this BARBARA I GONGINI raw silk kimono. Its frontal cross closure and asymmetric cut, mirrors our aesthetical connection to this deeply rooted culture. Click below to see the design in motion and eventually shop this extravagant design exclusively online in our Webshop.

  • Parachute

    ULTRA LIGHT WEIGHT _ PARACHUTE DESIGNS SS17

    Introducing the SS17 light and multifunctional Parachute designs, which come as jumpsuits, dresses, jackets and pants. Available in black and white. Click here to see the design in motion.  Shop Men here: http://bit.ly/25P73A3Shop Women here: http://bit.ly/1U4RqPe  

  • Kaltblut

    NOT YOUR MODERN POETRY _ AS SEEN IN _ KALTBLUT MAGAZINE

    A KALTBLUT exclusive menswear fashion editorial. Photography by Roman Yakubson. Starring Alex Francisco. A Barcelona-based model that works as a freelance fashion stylist. He is one of salient figures in city’s cultural life. Styling and production by Roma Losaberidze. Hair and make-up by Julia Blamey.   

  • Lofficiel (1)

    L´OFFICIEL SINGAPORE

    "Tie me up Tie me down" SS17 White Parachute seen in the 10th anniversary issue of L´Officiel Singapore. The story is inspired by the Rubberband Philosophy, a way of living life that stretches yourself mentally and encourages you to stay persistent and be more flexible in the face of adversity.    Photographer: Timo Kerber Model: Hilda Lee for Next London Styling: David A Evans Make up: Michelle Dacillo Hair: Natalie Shafii

  • Event Paris

    MODULE MODULAR _ FILM LAUNCH

    BARBARA I GONGINI launched the collaborative Film Module Modular on thursday during Paris Fashion Week. Accompanied by an art installation where leather was morphed to human features, felted hair and oversized silhouettes were set in the limelight. The whole Crew, is beyond words about this incredible Film Launch & Reception and want to thank not only all our beloved collaborators, who created a stunning piece of art, but also our guests, which brought an amazing vibe to the event. A massive ありがとうございます goes our to Luigi Clavareau and the in)(between art gallery for hosting us. Image Credit: @alice_bergg   A BIG SALUTE TO... SPONSORS AND CREW/Make-Up: Massimo Mazzotta Møller for Mac Cosmetics / Hair: Joekim Davie Lenny Nielsen & Søren Bach for Naboløs / Choreography: Sara Gaardbo / Music: Human Woman / Photographer/Filmmaker: Mikkel Völcker Studio / Film Editing: Janus á Argjahøvda / Beverage: Absolut Vodka, Charitea, Lemonaid / Pr International: December Agency / Creative Associate: Lea Zaar and Emilie Scheel / Hair & Make-Up design for Lookbook Shoot Collection 9 & 26: Søren Bach & Mac Cosmetics / Special thank you and unique love to all interns of special format. Model: Besa T ( Diva Models) Dancer: Luc Boris Andre / Jens Schyth Brøndum  Big thank you goes to Nordiska kulturfonden - Nordisk Kulturfond​ for making this project possible. 

  • Teaser Module Modular

    MODULE MODULAR _ A COLLABORATIVE FILM SHOWCASED AT PARIS FASHION WEEK_ TEASER

    The film MODULE MODULAR is the outcome of a visual collaboration within esteemed forces of the Nordic Hemisphere. It visualizes the transformation from primitive to futuristic. We refer to the utterly human ability to comprehend – a mindful appreciation of being an animate entity. Culminating in a circular access, which is eventually extended to the maximum. It is an expression of the moment, when the mind is free to let the body express itself. Within the film the collaborators extend the idea of the model using BARBARA I GONGINI AW17 designs as well as handcrafted items to dress up and down. The danish hairstylists Søren Bach and Joekim Davie Lenny Nielsen are creating looks, transforming from the pure and vulnerable skin to outrageous leather shapes and headpieces. It is a circular process of upgrading and downgrading the look in synergy with the style of the clothes. Danish filmmaker MIkkel Völcker captured the scenes on film while Janus á Argjahøvda gave it the final touch. The icelandic musicians HUMAN WOMAN contribute an aural sound scape wandering between glimpses of shattered tribal music to techno tunes, while the danish choreographer Sara Gaardbo enriches the team with her ability to create movements that mirrors the inspirational transformation.  Together they form an interdisciplinary collective, which is based upon a lasting trust between each individual and their nordic origin. A new entity transcending the borders of imagination, levitating with international gravity that transforms through a deeper understanding of their shared dedication towards the arts. Click on the image below to see the Teaser for the collaborative Film_ MODULE MODULAR. Big thank you goes to Nordiska kulturfonden - Nordisk Kulturfond​ for making this project possible.  Model: Besa T ( Diva Models)Dancer: Luc Boris Andre / Jens Schyth Brøndum      

  • Universe Yana (2)

    ETHEREAL CREATURE _ AN EDITORIAL BY THE NY BASED PHOTOGRAPHER YANA BARDADIM

    Yana Bardadim is a portrait and fashion photographer who works with digital and film cameras. In the following editorial Yana captured redhaired beauty Nika Rusakova wearing BARBARA I GONGINI archive designs.    Image Credit: Yana Bardadim @yana_bardadim Model: Nika Rusakova @nikarusakova for @fusionmodelsnyc

  • Universe Parifw (1)

    MODULE MODULAR BARBARA I GONGINI AT PARIS FASHION WEEK

    In visual collaboration with Mikkel Völcker, BARBARA I GONGINI goes back to her roots – the Faroese Islands. Visualizing the transformation from an ancient primitive tribe to the next level of humanity. Within the film the collaborators extend the idea of the model using clothing to dress up and down. The danish hairstylists Søren Bach and Joekim Davie Lenny Nielsen are creating looks, transforming from the pure and vulnerable raw skin to outrageous leather shapes and headpieces. It is a circular process of upgrading and downgrading the look in synergy with the style of the clothes. Jón Atli Helgasson contributes an aural sound scape wandering between glimpses of shattered tribal music to techno tunes, while the danish choreographer Sara Gaardbo enriches the team with her ability to create movements that mirrors the inspirational transformation.  Together they form an interdisciplinary collective, which is based upon a lasting trust between each individual and their nordic origin. A new entity transcending the borders of imagination, levitating with international gravity that transforms through a deeper understanding of their shared dedication towards the arts.   Big thank you goes to Nordiska kulturfonden - Nordisk Kulturfond​ for making this project possible.     A BIG SALUTE TO...SPONSORS AND CREW/Make-Up: Massimo Mazzotta Møller for Mac Cosmetics / Hair: Joekim Davie Lenny Nielsen & Søren Bach for Naboløs / Choreography: Sara Gaardbo / Music: Human Woman / Photographer/Filmmaker: Mikkel Völcker Studio / Film Editing: Janus á Argjahøvda / Beverage: Absolut Vodka, Charitea, Lemonaid / Pr International: December Agency / Creative Associate: Lea Zaar and Emilie Scheel / Hair & Make-Up design for Lookbook Shoot Collection 9 & 26: Søren Bach & Mac Cosmetics / Special thank you and unique love to all interns of special format.Model: Besa T ( Diva Models)Dancer: Luc Boris Andre / Jens Schyth Brøndum   

  • Universe Kaltblut

    AS SEEN IN _ KALTBLUT MAGAZINE _ I WILL MAKE YOU LOVE ME

    A KALTBLUT exclusive fashion editorial. Inspired by Robert Mapplethorpe, “I will make you love me” is a visual exploration
of the relationship between two lovers – moving between tenderness, control, vulnerability & lust. Photography by Carlo Zambon. Models are Scott Temple @Premier London and Lauren English @IMG London. Styling by Becky Seager. Hair and Make Up by Charlotte Kaufman. Art Direction: Jon Revell.  Wearing: BARBARA I GONGINI: HARNESS VEST. Shop it here! BARBARA I GONGINI: LEATHER PANTS. Shop it here! BARBARA I GONGINI: SS17 WHITE NYLON PANTS _ ONLINE SOON

  • Universe Studio

    BARBARA I GONGINI STUDIO _ INSIDE OUR AVANTGARDE REALM

    Peek inside our BARBARA I GONGINI studio which is giving us space to evolve. REFSHALEØEN_ this former industrial site in the harbor of Copenhagen was once home to one of the world's largest shipyards. We are surrounded by industrial concrete walls, where metal bars elongate into the light ceilings. Reusing spaces that had an arcane life in days of yore.         

  • Universe Ss17 (1)

    SPRING SUMMER 2017 DROPPING ONLINE THIS WEEKEND

    A low haze rolls over the dewy landscape. Long blades of grass sway unsteadily in the soft breeze; weak sunlight pierces the rugged sky. Its rays illuminating flickering silhouettes dancing on the rock face. Likeminded spirits transcend the liminal space – finding one another, weaving themselves together in patterns older than memory. A fledging tranquility sets upon the gathering as darkness falls. Black is the end, but the end always implies a new beginning. A nascent legacy – leave more than bones.           _COLLECTION DESCRIPTION COLLECTION 8 & 25 is a clash between traditionally tailored garments and urban street wear, traversing the span with an Avantgarde approach. Asymmetric cuts with visible stitching details sinuate along the wearer’s anatomy. The multifunctional approach of the individual garments as one of BARBARA I GONGINI`S strongest parts of her DNA is emerging through unexpected openings and strings, granting the wearer numerous possibilities to explore the garment. Echoing from the old days are recycled designs, clearly showcasing the circular and sustainable approach of the brand. Versatile closures and zip details are creating a new unity, where the wearer is encouraged to use his imagination to individualize their style. The recently added seamless lingerie line interplays dense and delicate surfaces, revealing vulnerable skin, while embracing the silhouettes of the body. The dark approach to the SS17 collection is coming along with a deconstructed and recomposed hand-drawn print as well as a pure white parachute fabric. Crinkled, washed viscose in grey shades is accompanied by cold died jersey, linen, washed sheep leather and a gazelike cotton. The membrane of belonging.  _SEE FULL COLLECTION Women / here Men  / here

  • Universe Partsof4

    PARTS OF 4 EXCLUSIVELY IN OUR BARBARA I GONGINI STORE

    Parts of Four is a Paris-based Jewelry brand, specialized in handmade furniture, art objects and jewelry. Their forceful appearance fits in a harmonic symbiosis with the BARBARA I GONGINI Brand. Parts of Four will soon be available in our Store in Copenhagen.

  • 935Cd08f 23E2 4787 8634 400726E634dc

    BARBARA I GONGINI AT PARIS FASHION WEEK

    After many years having a show during COPENHAGEN FASHION WEEK, BARBARA I GONGINI skipped this season, with an exciting reason in the back of our minds. We are pleased to tell you that BARBARA I GONGINI will showcase THE AW17 MALE COLLECTION 9 and FEMALE COLLECTION 26 with a presentation during PARIS FASHION WEEK.    Image credit: Mikkel Völcker

  • Universe Andrea Maack

    OBSCURE HABITAT

    The Icelandic perfumer and visual artist Andrea Maack takes us to the endlest vast of the Nordic Island. She is wearing the AW16 Padded Coat. We only have a few items left, thus make sure to get your hands on one of these oversized items.    For Men click here.  For Women click here.   Image Credit: Benjamin Hardman, IG @benjaminhardman, http://www.benjaminhardman.com/ Andrea Maack, IG @andreamaack.com, http://www.andreamaack.com

  • Universe Wiktor

    AESTHETIC EXISTENCE

    BARBARA I GONGINIs' archive designs are once again set into the spotlight by Wiktor Hansson. This time in his striking self portrait series "Aesthetic Existence". With his extravagant posing and the toned down designs which are draped around his torso, he proofs that beauty lies in the monochromatic moment of movement.    @thewiktordiet 

  • Homelandslider

    HOMELAND _ ROOTING BACK TO NATURE

    BARBARA I GONGINI and the photographer Morgan Norman teamed up to create a visual story - an avant-garde approach on the fragility of humanity and the connection to nature.  PHOTOGRAPHER: Morgan Norman / Rockson MODELS: Marcus W. / Mia Illorah - LeManagement, Isabel T - Elite Models STYLIST: Natalie Olenheim / Rockson  MAKE UP: Elva Ahlbin / Adamsky HAIR: Jacob Kajrup / Adamsky

  • Morgan

    MOVEMENT _ A VISUAL STORY BY MORGAN NORMAN

    BARBARA I GONGINI and the photographer Morgan Norman teamed up to create a visual story - an avant-garde approach on body language. Morgan Normans is showing the battle and love between two forces where the one cannot exist without the other.  Shot on the Dancers from the Royal Danish/Swedish Ballet and styled in BARBARA I GONGINI designs for a fragile, yet strong outcome.      PHOTOGRAPHER: Morgan Norman MODELS: Marcin Kupinski, Principle Dancer at the Royal Danish Ballet Luiza Lopes, First Soloist at the Royal Swedish Ballet STYLIST: Robert Nordberg  MAKE UP: Alexandra Aronsson ASSISTANT: Kiia Valavaara  

  • Azekel Barbara I Gongini

    AS SEEN IN _ HUNGER MAGAZINE

    Azekel is a  UK R&B gem waiting to be treasured. Hunger Magazine interviewed and shot an editorial with the London native singer wearing the BARBARA I GONGINI AW16 Tailored Coat. Find the coat here.   

  • Womensalesaw17

    WOMAN : COLLECTION AW17

    BARBARA I GONGINI women collection 25 / AW17 will be presented in Copenhagen, Milan and Paris for the come season. For personal viewing of the BARBARA I GONGINI collection, please find given showcase locations and dates below. For appointment please contact: [email protected]  Copenhagen1rst of February - 3rd of February BARBARA I GONGINI STORE, Møntergade 2, 1116 København Milan22nd of February - 28th of FebruaryViale Monte Grappa 18, 20124 Milan, Italy New York27th of February - 1st of MarchCoterie _ Javits Center, Booth Number 7045 Paris1rst of March - 08th of March Le Ballon Rouge Showroom: 10 Rue des Gravilliers, 75003 Paris, France

  • Salesaw17

    MAN : COLLECTION AW17

    BARBARA I GONGINI man collection 9 / AW17 will be presented in Milan, Paris and Copenhagen for the upcoming season. For personal viewing of the BARBARA I GONGINI collection, please find given showcase locations and dates below. For appointment please contact / [email protected]  Milan14th of January - 17th of JanuaryTom Rebl Showroom, Viale Monte Grappa 18, 20124 Milan, Italy Paris19th of January - 25th of JanuaryLe Ballon Rouge Showroom: 10 Rue des Gravilliers, 75003 Paris, France  Paris20th of January - 22th of JanuaryTranoi: Carreau du Temple, Booth Number: BO6, 75003 Paris, France Copenhagen01st of February - 03rd of FebruaryBARBARA I GONGINI STORE, Møntergade 2, 1116 København, DK

  • Slider Less Magazine

    AS SEEN IN _ LESS MAGAZINE 07

    Coexistence Between Faroese Roots, Japanese avant-garde Design, and the Responsibility Towards Sustainability "Everybody thinks the Faroe Islands are so, so green. Very often it is the contrary, almost like living within a black and grey mist.”   It is Friday morning in Copenhagen. The central part of the city is buzzing and alive. The inner part of Copenhagen has this commercial spirit and mainstream feeling, but when we take the harbor boat from Esplanaden to Refshaleøen in bright sunlight it all looks different. Refshaleøen is more industrial, at least on the surface. We walk along the road from the harbor in the direction of the industrial buildings. In one of these buildings the production of the avant-garde brand Barbara I Gongini takes places and this iswhere we are going to interview Barbara Gongini. Barbara was born in the Faroe Islands in 1966. She explains that she often hears people portraying the Faroe Islands as a green oasis, but she stresses that this is not the whole story to her birthplace. Barbara explains how in winter the window of light can be as short as just a few hours, and that it is dominated by dark and heavy rain clouds. Barbara tells us how she never wore a raincoat in the Faroe Islands despite the constant rain, and because of this she has a memory of always feeling wet. She describes living in the Faroe Islands as sometimes living in a gray and black, misty and rainy fog mass: "You can hear the boats trying to navigate in this mass of black and gray. Wooh Wooh. It is a very particular sound. It is in our bones.” The horns from the ships create an atmosphere of slowness; an everyday life where you go to school and go home, without seeing much daylight during winter. You just go to A to get to B, Barbara explains. There is a certain conformity about it. She describes how the capital, Thorshavn, is almost the shape of a pan and that it sometimes feels like the rain and the fog are contained in the pan of Thorshavn. When you look at Barbara’s designs, it’s easy to see that she is heavily influenced by the Scandinavian darkness, the moody winters, and melancholic undertones that define the Faroe Islands. “You are what you emanate from,” she says. “It’s very deep in my bones.”   A Diverse and Multi-Inspirational Approach to Design Barbara never approached design in a way that it was supposed to be something specific. Her very first collections were made from scraps, and when she designs her current collections, she is more concerned with what inspires her, what fits into her wardrobe concept, and where pieces from each collection can all be worn together, rather than trends. Barbara is inspired by her Faroese roots, Scandinavian women, and the Japanese avant-garde designer, Rai Kawakubo, all of which is visible through her black, sometimes monochrome, expression. It all comes together with the underlying relationship to the Japanese avant-garde fashion that pushes boundaries beyond the point of comfort, and the Scandinavian undertones are supported by the challenging expressions of the avant-garde. She naturally falls into this domain, and with her roots in the Faroese culture it is not surprising; you are a product of your upbringing, surroundings, and inspirational sources. Like her inspirational source Kawakubo's intellectual and feminist pre-punk take on fashion, Barbara’s brand also has a similar political dimension. It represents both a resistance against normative views on fashion and also a political urge to work against the societal rules of women's bodies and social injustice. She advocates free and unconditional love regardless of your sexual orientation. It's in her DNA to resist the normative pressures and societal order towards the body and sex. At the same time, the brand's DNA also has a playful and explorative imagination towards how to style and wear clothing, mixed with a proper nordic respect for craftsmanship. The development of your identity is shown as an expression of your web of interlocution, and for Barbara I Gongini, this goes for the identity of the brand itself, as well as its creator. You are affected by your roots, but there is also a great need to change and mold this expression. In an ever-changing time we need to acknowledge that we need to change and develop not only in relation to our personal development, but also in relation to the changes that our planet and our society are going through. Customers today are demanding more and more from the designer, and sustainability is becoming a bigger and greater issue for many consumers, leading to an increase in the demand for transparency when it comes to the production of the items that they purchase. This has started to affect the approach of many brands and is indeed challenging the foundation of the fashion industry as a whole. For many brands, this means going back to their roots, and re-evaluating how they can interpret sustainability in their domain, to fulfill their responsibilities to the brand, the consumers, and the demand for sustainability. The Scandinavian way of approaching design is very minimalistic; it references nature in its use of textures, colors and cuts, and is in many ways a good starting point for sustainable production, because it favors the natural and the raw. This is also how Barbara approaches design, pushing the limits even further with her avant-garde approach, still rooted deeply in her Scandinavian background. The Faroese culture insisted on playing a crucial role in Barbara’s life, and she is in no way trying to romanticize her roots and upbringing in the Faroe Islands. She talks about it critically, but also warmly and respectfully. She explains that she has this feeling of being so small, and that coming from a little society, deeply interconnected with nature, has made her very aware of the crucial connection to nature, and how we need to guard this connection, not just in design, but in life in general. “This is who I am,” she underlines. Barbara I Gongini’s design has a very distinct look and most of her pieces are black with occasional white, and you can tell that she is sick of defending herself and her brand. She underlines that “there is poetry in black, it’s not Goth.” Black is part of the brand’s DNA and refers to both her roots in the Faroe Islands, and the Japanese avant-garde.   The Creation of Versatile Pieces Barbara explains that she has been working from the idea of the square and the circle for many years. Once again, like her inspiration in Kawakubo, she is finding new ways to twist the conventional form into new possibilities and structures. Barbara explains her ideas, inspirations, and materials are a collective thought. She does not necessarily sketch her collections. Sometimes she uses draping – so the development of the styles are a mixture of the fabric and the possibilities they hold within her principles. Barbara emphasizes that experimenting with fabrics and shapes are a central part of the DNA of the brand. Over the years we have seen her experiment with different materials such as thin and thick cotton, wool and leather but also with more experimental fabrics such as technical silk etc. Barbara does not only experiment with fabrics; she has also tested out different printed statements and even though the black color is a strong part of the DNA, she has also surprised everyone with blue, green and yellow color shades. We remember sitting in the Carlsberg bottling plant during fashion week a couple of years back when Barbara shocked the whole crowd by introducing a neon yellow-green techno inspired color as complimentary to her black DNA. Barbara herself underlines her connection to the artistic. We will argue that this experimental approach towards design and fashion opens up possibilities for a particularly close and special relationship to Barbara’s customers. A relationship where co-designing and co-production might be possible. The consumer and designer should exist in a close relationship, and what Barbara offers with her designs is a way for the consumers to take part in the final part of the design. This is constituted not only through listening to the demands of the consumers in terms of a more sustainable production line, but also in the design itself. Barbara makes pieces that can be personalized and worn in many different ways so the consumer has the freedom to shape it according to their bodies and personal style. We ask her how she comes up with these pieces: “I can’t think of a design; I explore it,” she explains. Furthermore, “the intelligence sits in another place, a non-verbal place”. For Barbara, the design process is linked with intuition rather than intelligence. You can set a direction in terms of shape, fabrics, tendencies, and stitching, but the design process itself happens between her hands, not in her mind. The design of the different pieces gives consumers a greater sense of freedom to interpret them. Because of the combination of a strong brand identity and versatile pieces, the consumer receives something quite special. They are wearing something with a strong and clear DNA, and while taking part in the expression of the brand’s identity, they still have the freedom of creating the expression of the particular item by bringing their own personal spin into the mix. Not just in the aesthetic expression of the item itself, but also in the way the item is worn. The clothes can be worn in different ways, dressed up or down for different occasions, and it is a physical manifestation of Barbara’s ideas about design and fashion as a need for more substance and more versatile solutions.   Interpreting Sustainability Talking to Barbara, it becomes very clear that the concept of design and sustainability stretches far beyond the choice of fabrics, dyes, and production. For her, it is also about the social responsibilities that are hidden in these categories, which include social responsibility towards the factory workers, the rights of women in the industry regardless of whether it is in India or Pakistan, and our responsibility towards the planet. The time we live in is defined by rapid change, and it can sometimes seem like the bigger, slower changes are ignored because of this. Barbara explains that the demand for sustainability has been on her radar for a very long time, but that she has only recently started to feel like this is becoming a trend. Fashion is a great starting point for change when it comes to becoming more sustainable in the way that we consume, and Barbara underlines that she feels a responsibility as a designer to make her production as clean and sustainable as possible. When it comes to sustainability, Barbara acknowledges that the fashion industry is a tricky place to be in. Everything that is used in the production can in some way be harmful to both the environment and the workers. The dying and tanning of fabrics, coating, glue, threads, and buttons are all problematic in one way or another. Even though one might have the ambition to be sustainable, Barbara explains that it is in many ways impossible. “The market is just not ready yet”, she says, which means that the demand for sustainable fabrics and production is not putting enough pressure on the industry to change. There are not enough options for the sustainable domain to create a 100% clean collection. Sometimes sustainable fabrics are dyed in a non-sustainable way or the other way round, which makes it tricky to choose. As a designer you must have a lot of knowledge and constantly be updated of changes within the production line, in order to stay on top of what’s currently happening. This is of course one way of looking at it, but isn’t it exactly that which constitutes the job of a designer who wants to be branded as sustainable? Doing the work, being on top of what is currently going on within the developments of sustainable options, and to always being informed about the new and better options should be just what these designers do. Apart from the fabrics and other physical elements that go into the production of her designs, Barbara has very strong opinions on how and where the different elements of her clothes are made. She keeps most of her production within Europe, but she also has production in Pakistan and India because she believes that withdrawing completely from the East is not necessarily the answer to a more sustainable production. She thinks that committing long-term to factories in these challenged countries and implementing change in a way that makes them feel safe with the shift that the planet needs us to make happen, is the right way to go. “Change, not boycott. Support them where the shit happens”, is her approach to it, something that is admirable these days. Tweaking where they can, the production line becomes cleaner and she makes sure to visit the factories, so she can influence the production of conventional fabrics in a good way. Barbara’s opinion is that her production should be transparent, and she is open and honest about not being able to maintain a 100% sustainable line. “Honesty has quite an impact on people”, she emphasizes. Barbara’s interpretation of sustainability is not only defined by the production of her garments, but also by the way she creates her collections. Her versatile pieces can be worn in many different ways, which is yet another way to make a garment more sustainable, because it can be used in different ways, in different contexts, by different body types and in different seasons. She wants her clothes to fit each consumer so that he or she can shape and wear it in the way that appeals to them. Her focus is on versatile, long-lasting items that can forever be reinterpreted into an individual wardrobe. The items of her collections are also part of a bigger wardrobe concept throughout her time as a designer, rather than just referring to trends and being separate, independent collections. She is inspired by trends, but does not follow them, “just like my customers”, she says.   The Future Maintaining a good relationship with the consumer is important for any brand, but for Barbara it is more than that. Connection to her consumers is crucial for her production, and she wishes she could get more feedback from them. For Barbara, her designs all emanate from a need to create, and she feels inspired by seeing how her customers wear her clothes. She is often surprised by how experimental even her customers can be in how to wear her clothing. Barbara admires Scandinavian women. They bring their kids to kindergarten by bike in great outfits, not constrained by the weather or current trends. They change  their clothes throughout the day to fit the activity they are doing, and they are fierce and strong women. But she also feels that the essence of Scandinavian women is unexplored and subject to very unproductive body ideals that act as a constraint. The customer is important to Barbara, and she believes that her versatile pieces make it easier for a wider range of customers to wear them because they can be altered and worn in different ways to cater to different body types. This approach to design is a step in the right direction when it comes to turning consumers into prosumers and to, in many ways, force the customers to take a stand when it comes to the item in front of them. At a point in time where the rapidly changing trends are still the dominant contributor on the market, the rise of the prosumer underlines a demand for a change that will bring us closer to a new understanding of value. An understanding of value that connects us to what we purchase and makes us look at the items we wear in a new light. Not as something constantly shifting and to be replaced next season, but something that we can constantly change and personalize, something that will be a part of our wardrobe for years to come, something that we will maybe take a break from for a couple of years but then reinterpret and wear again. A piece of clothing that we will take good care of – because we understand the real value behind what we wear and the value of protecting the garment so it can be used in the future.

  • Show Video Ss17

    BARBARA I GONGINI SS17 _ SHOW VIDEO

    COPENHAGEN FASHION WEEK SS17

    A low haze rolls over the dewy landscape. Long blades of grass sway unsteadily in the soft breeze; weak sunlight pierces the rugged sky. Its rays illuminating flickering silhouettes dancing on the rock face. Likeminded spirits transcend the liminal space – finding one another, weaving themselves together in patterns older than memory. A fledging tranquility sets upon the gathering as darkness falls. Black is the end, but the end always implies a new beginning. A nascent legacy – leave more than bones.

  • Pause Magazine Ss17

    AS SEEN IN _ PAUSE MAG

    COPENHAGEN FASHION WEEK SS17

    A low haze rolls over the dewy landscape. Long blades of grass sway unsteadily in the soft breeze; weak sunlight pierces the rugged sky. Its rays illuminating flickering silhouettes dancing on the rock face. Likeminded spirits transcend the liminal space – finding one another, weaving themselves together in patterns older than memory. A fledging tranquility sets upon the gathering as darkness falls. Black is the end, but the end always implies a new beginning. A nascent legacy – leave more than bones.

  • Nordicstylemag Ss17

    AS SEEN IN _ NORDIC STYLE MAGAZINE

    COPENHAGEN FASHION WEEK SS17

    The Faroese brand Barbara I Gongini is back with another artful collection suitable for all, especially the bold and environmentally conscious. As it is accustomed, the collection is not only progressive but also strong; a great reflection of the company’s DNA, which is to focus on the individual and not on any of the labels by which people are usually classified by. The pieces are both strong and hold a polarized color palette, which is unusual for the spring season, blacks, grays and whites accompany what is a gloomy and elegant parade of exquisite art pieces. The collection does not disappoint and it will add a touch of class and extravagance to our wardrobes in a few months from now. If you have the attitude and the interest in owning something a little bit more conceptual, this collection will become your guide on how to do Spring with a tad of Modern Art in it.  NORDICSTYLEMAG.COM // #NORDICSTYLEMAG  

  • Vogue Ss17

    AS SEEN IN _ VOGUE

    COPENHAGEN FASHION WEEK SS17

    A low haze rolls over the dewy landscape. Long blades of grass sway unsteadily in the soft breeze; weak sunlight pierces the rugged sky. Its rays illuminating flickering silhouettes dancing on the rock face. Likeminded spirits transcend the liminal space – finding one another, weaving themselves together in patterns older than memory. A fledging tranquility sets upon the gathering as darkness falls. Black is the end, but the end always implies a new beginning. A nascent legacy – leave more than bones.   

  • Deuxhommes Ss17

    AS SEEN IN _ DEUX HOMMES SS17

    COPENHAGEN FASHION WEEK SS17

    A welcome ode to the illustrious Edward Scissorhands, this collection is what would’ve been had the Tim Burton character decided to pursue a career in avant-garde fashion. In actuality, the macabre Copenhagen Fashion Week Spring/Summer 2017 collection is the product of Barbara I Gongini. Captivated by deconstruction, the Faroese designer took to supple leathers and body-conscious jersey to showcase her version of the man with scissor hands. Haphazard asymmetry and undone silhouettes were key to Gongini’s fantasy. Exposed threads translated a sense of skewed whimsy while draping was kept simple and intuitive. We saw a variety of neckpieces made of layered cords and plastic fragments, the perfect accessory to accompany billowing wrap tunics and knotted trousers. Cut in airy fabrics, Gongini’s creations seemed to be made of smoke, wafting through the air with every step. But it was her sculptural trenchcoats in solid navy that really stole the show. Wrapped immeasurably on the model’s waifish figure, it was a piece that really held its own: belted sleeves with pin-tuck detailing, angled hem and lopsided collar. Dark and melancholy, Barbara I Gongini excelled at placing her garments within a particular frame of reference — one that is instantly recognizable and fondly recollected. DEUXHOMM.ES // #DEUXHOMMES 

  • Slider Helsinki

    HELSINKI FASHION WEEK 2016 [ M O R P H O L O G Y 001 ]

    HELSINKI FASHION WEEK 2016

    BARBARA I GONGINI took the Wardrobing Concept to heart and created [ M O R P H O L O G Y  001 ] - a  purposed build collection for Helsinki Fashion Week. Morphing past collections together, therefore creating a new unity. These fragmented and deconstructed garments represent the Wardrobing Concept, where designs are part of a “kit”. The individual styles can be layered up, evoking the essence of re-usage and granting customers a more sustainable product. The designs are presented in a multifunctional approach, where sleeves morph into pants and vice versa. This circular access on creating a collection describes what we stand for - a sustainable brand, where the collections are not trend-based, but where garments are there to accompany the wearer`s lifetime. The dark, ambient musical backdrop was recorded during a live studio session by the Copenhagen based DJ Resonant Pole. #HELSINKIFASHIONWEEK / helsinkifashionweeklive.com Image credit: Oleg Oksanen // Two drops of Water

  • Via Design

    BARBARA I GONGINI SUPPORTS TALENT

    VIA FILM & TRANSMEDIA PROJECT

    VIA University College students broaching the issue of a transgender journey.  MADE BY: ELLIE MCNEIL LARS MORTENSEN JAMIE JANE VAN DIJK ANNE SOFIE VORK NIELSEN   MODEL: AMALIE TURPIE   THANKS TO: MAX ROSBORG BRITT BORGHILD MORSING DSB EJENDOMME   WWW.VIA.DK / #BARBARAIGONGINITALENTSUPPORT     ELLEN RIIS

  • Cphfwss17

    COPENHAGEN FASHION WEEK SS17

    FASHION SHOW

    BARBARA I GONGINI : COLLECTION 8 & 25 SHOW INVITATIONSPRING/SUMMER 2017DATE: THURSDAY AUGUST 11THTIME: 20:00 / DOORS OPEN: 19:30LOCATION: REFSHALEØEN FOR PRESS REQUEST PLEASE CONTACT : SOIL AGENCY / [email protected] #COPENHAGENFASHIONWEEK / copenhagenfashionweek.com    

  • Storeopening

    STORE OPENING IN COPENHAGEN/

    Enter the world of Avant-garde at the newly established BARBARA I GONGINI store

    BARBARA I GONGINI & SALOTTO42 are creating a realm where Avant-Garde meets an endless sphere of spirits, by merging two brands that are following the same vision. Showcasing a melting pot for crossover art forms – from renowned fashion, art, literature, music to divine cocktail compositions. We are delighted to establish a platform for installations and debates, providing room for gatherings and happenings of various outlooks. A place where fashion is the premise – where creativity can be celebrated and one can explore the Avant-Garde concept in a space, where all senses are set in the ultimate spin. The Wardrobing Concept, as the centerpiece of BARBARA I GONGINI`s DNA, will also be exhibited - giving the customer the chance not only to buy styles from the latest collections but also to stroll through previous seasons. BARBARA I GONGINI utilizes again the concept of recycling. By reusing chunks of the former shipyard of Refshaleøen, she balances off the mainstream whilst creating a space where the Avant-Garde meets battered relics. The fragmented work of dyed ironwood and shipwrecks which is used in the interior of the store, is hitting the boundaries of postmodernism – displaying a clear reference to the archipelago of islands where the inspiration is distilled.     // WHERE MØNTERGADE 2, 1116 KØBENHAVN     // OPENING HOURS   Tuesday to Thursday     12.00_18.00 Friday                          12.00_19.00 Saturday                      11.00_16.00      

  • Distortion2016

    BARBARA I GONGINI X DISTORTION

    Promoting two clashing universes during this week of orchestrated chaos.

    BARBARA I GONGINI was again rummaging into the concept of recycling. By reusing chunks of the former shipyard of Refshaleoen, BARBARA I GONGINI balances off the mainstream whilst creating a space where the Avant-Garde meets battered relics. This fragmented work of dyed ironwood is also hitting the boundaries of postmodernism – displaying a clear reference to the archipelago of islands where the inspiration is distilled. Coming from the Faroese Islands, where rough cliffs break down into ice-cold water she took inspiration to create a textile art piece right in front of the entrance of DISTORTION ISLAND.  

  • European Commissions

    BARBARA I GONGINI X EUROPEAN COMMISSION

    CONFERENCE

    OUR WORLD - OUR DIGNITY - OUR FUTURE BARBARA I GONGINI was invited by the European Commission in Brussels to the “High-level conference on responsible management of the supply chain in the garment sector” to hold a speech about the perspectives on engaging in responsible supply chains. As a reputable and trusted business committed to offering its customers high quality products, BARBARA I GONGINI recognizes its obligation to ensure that suppliers are operating ethically. We expect our suppliers to consistently provide an environment, which protects their employees' health and safety and basic human rights. All suppliers are expected to comply with their national employment laws and regulations with particular regard to: Minimum age of employment Freely chosen employment Health and safety Freedom of association and the right to collective bargaining No discrimination No harsh or inhumane treatment Working hours Rates of pay Terms of employment WE CARE!

  • Beijing

    THE WEATHER DIARIES

    The Weather Diaries are now also exhibited in Beijing, China, at the Danish Cultural Center commencing from the 26th of March to the 3rd of May, 2016. As curators of the 3rd Nordic Fashion Biennale, artist duo Sarah Cooper and Nina Gorfer explore the roots of Nordic fashion and take an unusual approach to the topic by telling its story visually. Over the past two years, Cooper and Gorfer have travelled throughout Iceland, Greenland, and the Faroe Islands to stage and photograph the work of 12 remarkable fashion talents. The resulting body of work is showcased in The Weather Diaries exhibition and a book of the same name, released by Gestalten in celebration of the biennale. The Weather Diaries exhibition is a prolific collaboration between some of the most gifted designers of the West Nordic Islands and Cooper & Gorfer. It is unique in its symbiosis of installation and narrative photographic imagery, taking you deep into the ingenuity of these three island nations where common is the hug of isolation. Aesthetic and metaphorical, it deflects the conventional rhetoric of fashion. Instead of seasonal trends, it explores the inspiration of creative minds, probes links to cultural identity, and scrutinizes the impact of the inescapable physicality of nature and weather. The outcome of this creative collaboration is an alluring exhibition and book. BARBARA I GONGINI is proud to exhibit her creations in a one of a kind installation alongside a large-scale photographic art works by Cooper & Gorfer. The weather diaries commenced its tour at Museum Angewandte Kunst Frankfurt in 2014, and later presented a fine selection of the photography and designs at the Black Diamond in Copenhagen in 2015 and most recently in Torshavm at The Nordic House. Cover image and content image by: Cooper & Gorfer  WWW.COOPERANDGORFER.COM / #THEWEATHERDIARIES

  • Themodhunew

    THE MODULAR HUMAN INSTALLATION

    The BARBARA I GONGINI brand was born with the core premise to create Nordic sustainable Avant-Garde design and celebrate freedom of individual expression. The modular human is a conceptual 3D showpiece trio, rooted in an extraneous bone-structure anatomy, hand-crafted in-house, from a previously owned industrial carpet. Up-cycled, re-cycled and now re-used, we instigate new life from the disregarded, the deteriorated and the dismissed. These unique tangible creations have been composed out of geometrically shaped by hand cut outs, utilizing every inch of the waste towards zero waste. Manipulating structure. Escalating from a status in quo to reversal, deriving at aesthetic allurement from perceived modesty. Everlasting. The modular human is multi-faceted and dynamic. Its spirit breathes within the creations and its inter-related relationship, is now everlasting, until re-constructed, once again. Life simply modulates. The installation Paris Fashion Week event and party takes place Friday the 4th of March between 7 PM to 9.30 PM at Springsioux, 19 rue Charlot, 75003 Paris. Cover image by: Adam Katz Sinding WWW.SPRINGSIOUX.COM / #THEMODULARHUMAN

  • Nordicaw16

    AS SEEN IN _ NORDIC STYLE MAGAZINE

    HIGHLIGHTS OF COPENHAGEN FASHION WEEK

    The Barbara I Gongini is always a highlight of Copenhagen Fashion Week and her ability to use a heavy amount of black, grey and touches of white to allow focus on the details is something that has strengthened with the designer’s tenure in the business. For A/W16 Barbara I Gongini also showed bold text printed garments, a trend we experienced throughout Day One, as she eased the crowd into her collection with her take on printed casual wear. The theme then shifted to some more gothic elegance as the female models sported pointed shoes, big hats and draped overcoats that accentuated her ability within the realm of black. The women’s collection was sleek and sexy as draped dresses with asymmetric cuts donned models with similar uneven hair cuts in striking blonde contrasting beautifully with the clothing. The mens collection while also adding in the eye for detail on lengths, oversized jackets and stiff hats, produced some excellent leather pieces including racer jackets, biker jackets and leather pants with knee zipper detailing. One of the cleanest looks of the night was the simple thigh length coat in a light puffer style that exemplified the Barbara man with tights under leather shorts. The heavy waxed jacket was artful in its construction and added a high end street touch to fabric more associated with function over fashion. As the show drew to an end a trio of white ensembles were sent down with the first being a dystopian bridal dress followed by a highlight of the evening in an interpretive ballet performance that captured the audience and provided an excellent end to another successful showing. Cover image by: Adam Katz Sinding   WWW.NORDICSTYLEMAG.COM / #NORDICSTYLE

  • Kinsky

    AS SEEN IN _ THE KINSKY MAGAZINE

    THROUGH THE LENS

    Dance. A profound medium of expression. Powerful, enabling, and when conducted right, extremely moving. In its modernity, it serves us with a foundation of interaction. It can enable us to see fashion in another way. Clothes need to be worn, this is when, closest to our skin, we can truly evaluate their relevance. When we bring Faroese designer Barbara í Gongini into the equation, our attention should be drawn. Barbara is indeed not a stranger to these pages, with her always sincere and emotive take on contemporary wardrobes. Garments are an entity to her, one that shall be carried over seasonal boundaries. Her multi-functional pieces have acquired a cult-following. A group of individuals that seek for meaning in what they wear, embracing Barbara’s take on corporate responsibility and respect for the environment. Her connection with the art world, made for an interesting premises, whilst using dance as a medium. This summer season, we all gathered in Østerbro, one of Copenhagen’s more leafy neighborhoods, in a cold warehouse, its white floors, leaving us with a sterile and cold feeling. In the back, one could sense a faint humming, an eclectic array of musical tones serving to break the silence. On the pristine floor, garments were spread out, life-less and immobile. Cue, young dancer, Marcin Kupinski of the Royal Danish Ballet, as he calmly sways into the room. He observes, initially ignoring the garments, taking small steps along the rooms contours. Enigmatic, poised and filled with reflection. Suddenly, he feels triggered by the building tones, provided by ‘’The Magnetic Eagle’’, a cunning duo, that improvise heavily in their work, guiding their tones into the white space, bouncing of its barren walls. Their ‘‘cry’’ or wallowing proverbial presence, provided a mesmerizing subtext to Barbara’s garments. Marcin danced. He interacted, grabbing the knitted overlock vest, working its texture, calmly and with astute precision. As if he was telling us to hold on to our sense of curiosity. Slowly he dressed, stretching the fabrics, morphing their shapes, colliding on the floor, breathing intensely, fulfilled yet leaving the audience with a sense of wonder. The SS16 collection garments feature here as vivid passers-by in Marcin’s own universe. A connection that made sense, sprung from the tactile pieces Barbara loves to create, carefully nurtured here by Marcin’s tender touch. By Marlo Saalmink. Cover and content image by: Prince Silver    WWW.THEKINSKY.COM / #THEKINSKY

  • Kaltblut Huld

    AS SEEN IN _ KALTBLUT MAGAZINE

    HULDRA - A NORDIC MYTH

    A KALTBLUT exclusive fashion editorial. Huldras are feared forest spirits from Norse mythology that offer rewards to those who satisfy them sexually and death to those who fail to do so. Models Isak Orry Rindom, Josephine Golla and Jakob Wisnewski all signed at Scoop Models, Copenhagen for us. Styled by Barbara Gullstein with fashion by Elsa Adams, Rick Owens, David Anderson, Freja Dalsjø¸ amongst others. Set design by Simon Witzansky, Make Up by Louise Polano, Hair by Mads Stig. Cover and content image by: Tom McKenzie.  WWW.KALTBLUT-MAGAZINE.COM / #KALTBLUT

  • Juice

    JUICE MAGAZINE

    THE NEW BLACK

    WWW.JUICE.COM.SG / #JUICEMAG Cover image by Nicky De Silva.

  • Flair2

    AS SEEN IN _ FLAIR MAGAZINE

    WHERE THE WILD ROSES GROW

    Cover image and content image copyright: Flair Magazine WWW.FLAIR-MAGAZINE.COM / #FLAIR

  • Galore

    GALORE

    EDITORIAL

    WWW.GALOREMAG.COM / #KITTENGALORE Los Angeles Fashion Week starts today at Union Station in downtown Los Angeles, and designers from all over the world are showing. We asked a few designers to send us a piece from the new collection for an exclusive sneak peek! And because it’s L.A., we photographed the collection with the model interacting with typical L.A. things—yoga mat, Starbucks, sushi, parking tickets—and gave the overall feel a Melrose-punk vibe, topped off with interviews from each designer about their new collections. GALORE: Describe your new collection in one sentence:  BARBARA I GONGINI: Sustainable avant-garde design, rich in tactility, multi-functional end-user elements displayed in a monochromatic color palette. GALORE: If you could imagine a scene where the Galore girl was wearing your new pieces, what would it be like? BIG: The Galore girl – women – is subtle and poetic in her presence, mysterious in the most intellectual form, yet her presentation is voluminous and she carries an attire rich in layered effects. She would be featured in a theatrical scene, gazing over the horizon, of the cinematic Islands in the Northern Atlantic, the late summer breeze would whisper change of direction, and she contemplates her existence in this universe, as a warrior of pure love and freedom of self. Cover image and content image shot by: Brian Ziff

  • Nylon

    AS SEEN IN _ NYLON MAGAZINE

    THE 6 DESIGNERS YOU SHOULD KNOW FROM LAFW

    If New York City is the melting pot for culture, then Los Angeles is the melting pot for global fashion. This past week, the City of Angels hosted its annual version of Fashion Week. Designers from all over the world, Columbia, Western Australia, Japan, showcased their spring collections, and furthered L.A.’s rising star within the fashion world. Nearly 40 designers showed, but the following six, hence BARBARA I GONGINI are ones that rocked the boat a little more than others. They challenged what it means to be en vogue. Trust you’ll be seeing their designs in the glossies very, very soon. Take note. Cover image by: Avi Loud Content image by: Brian Love WWW.NYLON.COM / #NYLONMAG

  • Grey Black

    AS SEEN IN _ GREY/BLACK

    Cover image and content image copyright: Grey/Black Magazine WWW.GREYBLACK.COM / #GREYBLACK

  • B3biennale

    B3 BIENNALE OF MOVING IMAGE

    Museum Angewandte Kunst (MAK), also referred to as the Museum of Applied Art in Frakfurt, Germany, has invited BARBARA I GONGINI to once more, this time under the umbrella of Mode Bewegt Bild - The Fashion Film Effect - to showcase her specially made video with Janus À Argjahøvda and the one man band ORKA. Fashion is an expression of the times in which it emerges. In view of the fact that there’s nothing at all unusual about shooting a film clip with one’s smartphone these days, it’s hardly surprising that designers and fashion companies have also discovered the medium of the internet clip for their own purposes. Within that context, the boundaries between the advertising film and neighbouring genres such as the music video or the art film are becoming ever more fluid. On the occasion of the B3 Biennale of the Moving Image 2015, the Museum Angewandte Kunst will be presenting a selection of fashion films. The show will manifest the biennial theme Expanded Senses by allowing visitors to experience an interplay between clothing and the body, sound and digital technology in a wide range of film clips and multimedia video installations. Via movement, sound and visual effects the displays will together find their way to a new, independent genre and thus, each in their own way, represent an expansion of the possibilities offered by traditional forms of fashion presentation such as photography, illustration and the fashion show. At the same time, they will exemplify the countless contemporary productions that all contribute to the heterogeneity of the phenomenon. Other creators showcasing their artistic motion projects are for instance William Williamson, Partel Oliva, KENZO, Alexander McQueen, Gareth Pugh, Calvin Klein Collection, Iris Van Herpen, Chalayan, Prada, Matthew Donaldson and many more. The exhibition will start the 2nd of October, 2015 to the 31st of January, 2016. Cover image by: Karina Jonson. WWW.MUSEUMANGEWANDTEKUNST.DE / #B3BIENNALE

  • Wonderlandaw16

    AS SEEN IN _ WONDERLAND MAGAZINE

    THE 7 WONDERS

    Lets just say, Gongini shook things up. With black on black on black, the designer made way for ultra-cool hipster meets gangster meets biker. Sounds pretty magical right? It is. Think monochrome detailing in typography print, tees adorned with letters, trousers with script down the leg. Then think black, and more black. Layered to perfection in contrasting textures of leather and knit, topped off with pixie hats like hippies gone rouge. Flashes of skin peeked through open knees – at the back, not the front – and wide knit jumpers, all enveloped in drapes of expertly cut shirts, cowl necks and fur. Having established in 2005, the Nordic designer has developed a signature androgynous style, and we think it’s here for the long haul. These are clothes that can be worn anywhere, any way. Cover image by: Mikkel Völcker WWW.WONDERLAND.COM / #WONDERLAND  

  • Nastyedit

    S SEEN IN _ NASTY MAGAZINE

    EDITORIAL

    Cover image and content image copyright: Nasty Magazine WWW.NASTYMAGAZINE.COM / #NASTY

  • Fyinterview

    FUCKING YOUNG

    INTERVIEW

    WWW.FUCKINGYOUNG.ES / #FUCKINGYOUNG! I can’t open my eyes. A dazzling light wraps and blinds me. It’s warm and glacial together. I feel strangely free. The light is charging a creative power, it’s exciting. It speaks with me. It tells me a story of fashion and art, tradition and innovation. A story with a northern European charm… The unusual fairy-tale of a modern Hans Christian Andersen, that of BARBARA I GONGINI. Born in the enchanting Faroe Islands, Barbara graduated in 1996 from Denmark’s School of Design at the Institute of Unica Design. Ever since, she has developed her vision as part of a pensive dialogue between design, form and function. In 2005 she founds the brand of the same name that achieves an immediate success. Her collections present a different take on Nordic garments, derived from a conceptual approach towards fashion design. The specific construction is aimed at crafting garments eloquently suitable for both men and women. Structural forms are challenged and experimental pattern-making shape a solemn backdrop for contemporary tailoring. Her clothes are versatile, irreverent, with geometric cuts. The design process is comprised of artistically responsible exercises with a particular focus on sustainability. Hers is a timeless fashion. Designed for the youth of today and tomorrow. A fashion that looks at that future that is already being. FUCKING YOUNG!: Hello Barbara? How are you? In your website we can read: “BARBARA I GONGINI is a Faroese brand”. In fact, you were born in the  fairytale Faroe Islands, suspended in an almost timeless dimension. How did you get into fashion? And what is there of the place where you were born and raised in your collection? BARBARA: Hi Fucking Young! Wow, how I envy that expression (smiling). I am doing fantastic, thank you. Well, as far as I can remember I have always had a special relationship with design and architecture. My Nordic heritage has indeed influenced my design DNA, which is mostly visible in the multi-functional and layering aspect of the garments – the harsh climate changes in the Northern Atlantic calls for swift dressing up or dressing down and I have put this concept into my garments. FY!: Your design process is comprised of artistically responsible exercises with a particular focus on sustainability. Today, how important is this aspect in the fashion industry? And how important is it for Barbara? BARBARA: Sustainability can be coined from different aspects. There is a need to take action towards global responsiveness and even if our product is not 100% sustainable and probably it will never be for factual reasons, we put a lot of ability and manpower for creating a product rich on longevity and multi-functionality, designs that can be revived for years to come. Personally, this subject is indeed a valid point for me, and a focal point in our design DNA. FY!: Sustainability andinnovation as well. Your collections present a different take on Nordic garments, derived from a conceptual approach towards fashion design.Structural forms are challenged and experimental pattern-making shape a solemn backdrop for contemporary tailoring. What can currently be defined as innovative or avant-garde? BIG: Avant-garde by definition refers to novelty. Novelty is thus interpretative and subjective. It changes with the beholder. I like to challenge the concept of novelty and push the boundaries into other areas; recycle ideas into new creations as well as allow our customers to have the possibility to choose among our designs, that are timeless. I think such things represent an important and very current matter in today´s global economy. FY!: Your garments are unisex. What are the advantages of creating collections suitable for both men and women and what the difficulties? BARBARA: Unisex was indeed the starting force when the brand was born. It has thus evolved and progressed throughout the years, as a natural element of each organic evolution. I like to make our customers feel comfortable in their choice of our designs – whether being a female or a male garment. Anyway I think it is important to be also able to create an exclusive line catered solely to men or women, for pure functional reasoning. Therefore MAN and WOMAN are two collections, that have developed individually, but can co-exist intelligently. FY!: In 1996 you graduate at the prestigious Denmark’s School of Design at the Institute of Unica Design, temple of the North European fashion. Your cool fashion, almost street but clean and simple at the same time is also able to conquer the squares of London, Paris and Milan. How did you manage to combine the typically Danish minimal style with that search for originality required by international markets? BARBARA: From a commercial driven perspective,  my main priority has always been that of making my ambassadors – as I like to call all of my dear wearers –  satisfied about the final result. It is always a challenge to morph expressive novelty with minimalistic intricacies. Having said that, I am motivated by staying true to my voice and by sending my message through our designs. I believe that my conviction thereof has allowed me to arrive at the today´s position. FY!: We have just said your garments are cool and contemporary. They embrace Nordic high-end craftsmanship irreverently… But with an adjective, Barbara, How would you define your style? BARBARA: Un-compromised. FY!: Among the models of today, who could best represent the brand BARBARA I GONGINI? And which is the imaginary set where you would like him to be shot? BARBARA: I thrive on inter-personal energy. I can imagine a strong masculine character whose wisdom has granted him the freedom of un-compromised life. A man with principles and a subtle devotion for the arts who is poetic, even if his sensitivity should not be perceived as un-daring. The visual arena for the shoot would only serve as a complement to him and as a canvas for the design to interplay with the set mood. FY!: Let’s speak about your F/W 2014-15 Collection introduced in Copenhagen on the occasion of the Fashion Week. As usual, you have included strong geometric cuts and soft ovoid silhouettes, focusing on the versatility of traditional tailoring. Do you want to tell us about? What’s the name? BARBARA: I do not name my collections. They are a part of a never-ending story, which allows me to turn the chapter that I previously left. It’s like that the idea of the numerical order for my collections was born. The numerical concept is also rooted in the fact that our designs are not seasonally or trendy per se. They instead entail the concept of longevity and you may rekindle any of our designs in the years to come– this focus is based on our ward robing concept and this idea I am very passionate about. FY!: The garment of this collection that you prefer and the one that cannot absolutely miss in your wardrobe? BARBARA: We work with a broad wardrobing concept as part of our sustainability principle, which actually allows one to choose any of the possible clothing options to best suit personal preferences. We also focus on a technically composed durability of the garment to be worn years ahead. I would personally vouch for a strong outerwear piece and statement accessory – and you are ready to discover the world. FY!: We know you are an active participant in the Nordic art discourse, working interdisciplinary in close collaboration with various artists in film, music and photography. How does all this affect your creative process? Is there a painting, a movie or a photo that best tells of your personality? BARBARA: Creative exchanges do spin-off neoteric approaches in my orbit. In several instances, such intricate notions of fresh impulses are played out in a Meta sphere, in a subconscious state of mind, that later manifests itself in some shape and character in my tangible creations. We are all complex and multi-faceted beings, so it makes it close to impossible for me to think about a single example of visual production that would best describe my persona. FY!: If you were not a designer? BARBARA: Craftsmanship is such a force of nature to my being, so I find it hard to visualize an alternative motive. But I do have an interest in politics and a strong stance in human equality related matters, thus a space I could dabble my convictions in…(suggestive smile) FY!: What is really FUCKING YOUNG according to you? BARBARA: A bold individual. Relieved from compromise. Not bound by societal order, sex or age oriented worldly pressures. F.Y! is free spirit. Cover image by Michael Maximillian Hermansen

  • Dash Magazine

    AS SEEN IN _ DASH MAGAZINE

    INTERVIEW

    Many a wanderer. Few reach their destination. These treacherous lands. Alas, they take so many. Their razor-sharp cliffs, mesmerising drops, hounding winds and roaring seas. These are no plains for the faint hearted. Amidst the wilderness, a notion of aesthetic liberation has arisen. Barbara í Gongini, a constant gardener, resilient to such barren circumstances, finds beauty here. Constructing her eponymous universe tactically and without hesitation. Barbara is as sincere as the garments her hands have meticulously yielded. She is a true artisan, an observer of our times. We caught up with her, after her latest presentation in Copenhagen, to explore her profound take on contemporary wardrobes, that unique connection to dance and the resonance of soundscapes. DASH: Ground. Barbara, could you tell me about the Faroe Islands, your home, and what these islands mean to you? BARBARA: They represent my heritage and the islands diverse elements of nature have served as a form of direction in my underlying design DNA. The Faroe Islands represent a rather clustered and intimate community, where focus has been placed to make the most use of the natural raw resources that the lands entail. Growing up with those values, of making the most out of what is given and these limitation, shaped logic towards creating designs that are rich in multi-functional elements, not trend-based as such, but part of a broader concept. DASH: Clock. Over a decade you have been working steadily. Do you recall that first ever collection and what it was like? BARBARA: We are indeed travelling back in time. I get a little nostalgic thinking about it actually. My first collection was actually created out of fabric residue. I studied various abstract, cut out, fabric fragments, their shape and texture, and modulated them later into a new, cohesive design and what became a full collection. This was back in the year 2000, when I was part of the Kønrøg movement. Working towards zero wastage was an important factor to me, a principle I still adhere to today, as I apply this in my collection build-up by embracing a sustainable take on clothing creation. DASH: Reach. Your work is most rich, but what strikes me, is that you have found time for interesting collaborations. Could you tell me about the dance performance with Olympus? BARBARA: I was invited by Olympus, in collaboration with Revs magazine, to create an installation with focus on movement as one fragment of that particular event. I like to fiddle around with what is perceived as convention and pushing its limits – whether in garment creation or other such as dance and sound. For this event, I entered a fusion with a highly trained and skilled, principal ballet dancer and long-standing friends, The Magnetic Eagles, creating the most alluring soundscape in the most unconventional ways. The dancer was interacting with our designs in a sequential matter, then backwards and then again in interruptive frequencies. The sound fed the movement and vice versa. Our mission was to experiment. The ‘unexpected’ creation in such a constellation was spectacular… and it was all done on an improvisational basis, which was a truly enriching experience – not only professionally but also on a personal level. DASH: Move. Speaking of Dance, this also shaped the backdrop to the beautiful collection that you showed in CPH some weeks ago. What was your thinking here and what triggered you to using this medium to present your work? BARBARA: Our core brand principle centres on sustainability and its sub-genres are up- and re-cycling. First and foremost, I like to explain that the showpieces seen in ‘The Modular Human’ installation where hand-crafted from an old white carpet. On this occasion, I worked with ballet dancers from the Royal Danish Ballet, as I am very fascinated by its long-standing heritage. The showpieces functioned in this setting as an object of inspiration and interpretation, for the dancers to create a story paved out in a dance sequence: the meeting between classical ballet expression, a refined and highly respected history, moving from concrete to abstract, becoming a niche form by itself in that very moment. The juxtaposition between heritage and novelty was the end result and an optical beauty I definitely want to indulge in again in the future. DASH: Image. The Gongini universe definitely is one that likes to play with image, often choosing characters over models and working with a signature style. Last year you did a special project with Cooper and Gorfer – could you tell me about these images? BARBARA: I met with the very talented duo Sarah Cooper and Nina Gorfer a few years ago in relation to the Weather Diaries expo, and we instantly found a mutual understanding and respect for each other’s expressive language. In contrast to traditional anthropologists, who use the camera to document people and cultures scientifically, the artists transform what they observe into poetic narratives. The challenge was to work in a darkened monochromatic palette in contrast to their normal rather intense colour schemes. We created our the previous seasons Spring Summer 2016 collection’s campaign images. The result was great and there is just as many streaks of DNA from both forums manifested in the imagery. DASH: Garment. Back to the core of today, what did you want to express with this Autumn / Winter 2016 collection and in what way does it differ from previous collections? BARBARA: There is a subtle evolution in my collections, always rooted in its core design DNA and that is to create timeless garments in a sustainable matter. I wanted to explore an even broader range in my collection build-up for Autumn / Winter 2016, where I have been moved by various movements in urban as well as street culture, music and art, but also in poetry and couture. All impressions later fused, funnelled and compounded into a finished look. DASH: Texture. You have also been keen on morphing surfaces and playing with contrast. How do you observe fabric research and development? BARBARA: As sustainability is an underlying theme to our infrastructure, it is most important to allocate room for eco-friendly fabrics by developing production solutions that have the least pollutive footprint on our planet. What we do in praxis is that we strive to work with a broader range of organic and re-cycled fabrics, up-cycled designs that are moulded into new silhouettes, working with leather and fur that are a direct bi-product from the food industry as well as applying vegetable dye procedures. These are the core, fundamental basis setting the grounds for my fabric research. DASH: Sustain. Your garments are meant to exist as season-less entities that we can utilise in different ways in our wardrobes. Care to elaborate? BARBARA: Our products represent this ‘Wardrobing Concept’’, which is based on longevity and multi-functional elements of the garment. We aim to contribute to local and global responsibility by pushing the boundaries of sustainable and ethical fashion. That is why our collections entail a numerical order and are part of a continuous story. Individual garments may be rekindled years to come as they not only fit into your existing wardrobe, but also have a connection with the past, present and future Barbara I Gongini designs to come. You can for instance discover our latest interactive online campaign: #barbaraigongini X #multiways showcasing how certain individual designs can be worn in x amount of ways, and thus granting the user a broader range of expression. This hopefully gives each design a longer life cycle due to its innate versatile dynamism. DASH: Wording. Over the past few seasons, I noticed you started to use wording on some garments. What were your thinking here and what were the key phrases you used? BARBARA: It is a play on words in their most simple terminology. At times, it is rooted in rather abstract poetry I like to coin as an open source for individual interpretation. On other occasions, the printed statements may be rooted in more politically oriented matters to push towards a specific mind-set; e.g. gender oriented questions such as equality. Any wearer of those designs then becomes an ambassador of that ‘message’ and helps us to manifest it further. That is cool! DASH: Future. If you look ahead, what do you wish for your designs to become? BARBARA: Everlasting! Designs that you can on continuously use despite orientation of time. A timeless design with the strength of  the individual at its core. Next to this, I enjoy working with individuals from other creative strands, or other branches too, as I respect the challenge, the journey it takes you on. I believe that as a creator, once you have found balance and internal consensus in your creative work, you are ready to invite other novel minds to interpret it. This can be self-enlightening, educational and challenging but still always will be the most stimulating ride you can get. Cover image by: Adam Katz Sinding Interview by: Marlo Saalmink for Dash Magazine WWW.DASHMAGAZINE.NET / #DASHMAGAZINE

  • Nasty

    AS SEEN IN _ NASTY MAGAZINE

    Cover image by: Adam Katz Sinding Content image copyright: Nasty Magazine WWW.NASTYMAGAZINE.COM / #NASTY

  • Oda

    ODALISQUE MAGAZINE

    EDITORIAL

    WWW.ODALISQUEMAGAZINE.COM / #ODALISQUE Cover image and content image by: Mads Teglers

  • Superior

    SUPERIOR

    EDITORIAL

    WWW.SUPERIOR.COM / #SUPERIOR Cover image and content image copyright: Superior Digital

  • Revs

    REVS MAGAZINE

    EDITORIAL

    WWW.REVS.COM / #REVS

  • Hypebeast

    HYPEBEAST

    COVERAGE

    WWW.HYPEBEAST.COM / #HYPEBEAST Faroese fashion label BARBARA I GONGINI has unveiled its anticipated 2015 fall/winter collection. Once again, the Copenhagen outfit offers up a unique take on its Nordic roots with a conceptual approach that utilizes a wide variety of textures. Featuring a predominantly black palette with select ensembles paired up with white and gray pieces for a contrasting effect, the collection exudes a seemingly dark, ominous aura throughout. Standout pieces include the outwear jackets and coats which drape over the shoulders for loose-fitting silhouettes. Browse through the gallery and share your thoughts in the comments below. Cover image by: Adam Katz Sinding. Content image copyright: Hypebeast

  • Vogueru

    AS SEEN IN _ VOGUE RUSSIA

    BARBARA I GONGINI READY-TO-WEAR

    Prosper, oh shoreline, onto the deafening unknown. A sole watchman surveys the distant fjord. The encroaching nightfall sheds any remnants of dim wintry light. Alone we shan’t remain. Our salvation lies in connection. To our true sense of self. Strength in numbers. As the seas turn away from the light, we celebrate the empowerment of the individual. A proud wanderer, confident at the helm, steering onto novel pastures. WWW.VOGUE.RU / #VOGUERUSSIA

  • Vogueaw15

    VOGUE.COM

    COVERAGE

    WWW.VOGUE.COM / #VOGUE BARBARA I GONGINI known for: Sustainably produced, genderless Nordic gloom and conceptual shows that often carry a political message. Words by Susanne Madsen. Cover image and content image copyright: Vogue

  • Plazainterview

    PLAZA MAGAZINE

    INTERVIEW

    WWW.PLAZAKVINNA.COM / #PLAZA

  • Voguess16

    VOGUE.COM

    COVERAGE

    WWW.VOGUE.COM / #VOGUE BARBARA I GONGINI known for: Sustainably produced, genderless Nordic gloom and conceptual shows that often carry a political message. Worn by: Chelsea Wolfe, Skrillex. Stocked at: Farfetch, Yoox, Antonioli (Milan). Spring 2016 inspired by: Abstract shapes, rugged landscapes, dark seas, and Northern shores. Words by: Susanne Madsen. Cover image and content image copyright: Vogue

  • Fy

    FUCKING YOUNG

    BOREAL GLARES

    WWW.FUCKINGYOUNG.ES / #FUCKINGYOUNG Cover image by: Adam Katz Sinding Content image by: Matteo Felici

  • Deuxaw16

    URBAN SPORTSWEAR & POST APOCALYPTIC VIBES

    COPENHAGEN FASHION WEEK AW16

    Urban sportswear and post apocalyptic vibes did a sensual dance on the runway of BARBARA I GONGINI. Heavy graphic pieces evolved into edgier looks that had a gothic touch and looked like wearable art for Autumn/Winter 2016. A color palette that centered around black, gray and touches of white allows for textures to shine through. Printed casual wear was present, much like Gongini’s prior work. Gothic elegance was seen and really pulled together with the use of large hats, pointed shoes and draped overcoats. Sleek and sexy draped dresses with asymmetric cuts contrasted a stark beauty look for women. For men, oversized jackets and stiff hats were present as well. However, leather pieces were the hit: biker jackets, racer jackets and leather pants with knee detailing were the lust-worthy items. One look of note was truly a heavy waxed jacket worn with tights under leather shorts. This was Gongini’s nod to the streets while still holding onto its artful lines and function over fashion still taking center stage. A series of white ensembles completed the show, and a dystopian bridal dress really made an impact. Kiss the goth bride. Cover image by: Mikkel Völcker   WWW.DEUXHOMME.ES / #DEUXHOMMES

  • Odalisque

    ODALISQUE MAGAZINE

    INTERVIEW

    It’s literarily as cold as ice outside. I’m in Copenhagen, backstage at the overly crowded and very warm Barbara í Gongini aw13 show. When I get the chance to speak quickly with Barbara, flashes are going off and on as the surrounding people are filming us with their phones. I get the impression that I’m not the only one trying to get a word with the Scandinavian redhead. ODALISQUE: Tell me how you started the collection? BARBARA: We actually started with a team this season, we wanted to cut into the surface and construct openings so you can see through the fabrics so that you could compose the garments together in different layers. ODALISQUE: And this is your first men’s line, right? BARBARA: Yes, the men’s line is our absolute first, so we are super happy, Barbara says smiling and quickly introducing me to her passing assistant. ODALISQUE: Is there a difference creating for men? BARBARA: No, I don’t think so because actually this is the very base, so it’s within the same collection as the women’s line that was originally cut for women; we just took themost masculine parts and tried them out in a different silhouette. ODALISQUE: How are you working with sustainability? BARBARA: It’s a consideration for all to make and we are very much in the debate all the time. What we’ve found out is that it’s a very complex issue. You know, ecological cotton sounds fabulous but it’s still polluted… So what we have done is that we use recycled plastics, I mean, until the industry gets cleaned up, we’re just going to find our own ways and work with sustainability in ways that we believe in. For example, there is a Japanese company that can create textiles that can easily be compared with silk, but it’s completely made out of plastic. It’s so high-tech but still super refined. ODALISQUE: How do you feel about using animal products? BARBARA: We used to work with fur but when we got directly in contact with the suppliers to have a right on discussion with them, what we learned is that they couldn’t guarantee us anything. So we keep to sheep only, and we found Scandinavian suppliers for that. I mean the conditions are really important for us. ODALISQUE: After out chat I’m filled with warmth, but not from the temperature in the room, it’s from my talk with Barbara. I love a designer with a point of view and a greater understanding of eco-responsibility. I’m sure all of us standing in the buzz backstage felt the passion and ambition of the team, not just aiming to create new garments, but also aiming to create new ways of creating them. By Michaela Myhrberg. Cover image and content image by: Mads Teglers.   WWW.ODALISQUEMAGAZINE.COM / #ODALISQUE  

  • Chasseur

    AS SEEN IN _ CHASSEUR MAGAZINE

    INTERVIEW

    Designing is a process that requires skills, knowledge and above all creativity. For Barbara I Gongini, one more thing comes into play and that is heritage. Gongini’s Nordic roots have long now been adapted to her designer DNA, becoming the main force behind every new collection. Just a few weeks before the unveiling of her latest offering at the Copenhagen Fashion Week, we sat down with the designer for an exclusive interview where we discuss design anatomy, the influence of heritage and the future of high-end fashion. CHASSEUR: Elements of theatrics intertwine within your designs, composing highly conceptual forms that stimulate the eye. During the creative process, what comes first, art or fashion? BARBARA: Personally, I do not believe that one excludes the other, as I think that all creative disciplines emanate from the same source. CHASSEUR: When creating, is there a certain narrative you tend to follow for your lines? BARBARA: My collections are an ongoing story, which allows me to turn the chapter where I previously left off. This is where the birth of the numerical order of our collections came to surface. The designs are part of a kit, a kit that can be layered and later disabled where the wearer has the freedom of choice to customize the garment to their likings. This is part of our wardrobing concept that is a fundamental pillar in our design DNA, where the central focus is placed on the longevity formula of our creations. Our designs are therefore inter-related, like chapters in a book. CHASSEUR: During recent years, the industry has seen a major shift towards more street-oriented creations by many high-end designers. How do you view this change and where do you place yourself within it? BARBARA: Time is essential, the most important tool for a designer, by understanding its age and the ability to look in the future, combined with a strong personal DNA. In my view, this is a pivotal ingredient that requires strong design of and for our contemporaries. As I do not work with fast trends and tendencies, I rather choose to immerse myself in my conceptual design methods that are locked into avant-garde platforms. In this way, I aim to create a product that has a long life cycle and is irreverently timeless working with broad category options ranging from street-wear, denim to tailored silhouettes that are on continuous basis evolving and where its deconstruction tradition resides deeper in our DNA conceptualization, rather than fast paced trends. CHASSEUR: Let’s talk inspirations. What stimulates you as a designer these days? BARBARA: Hailing from the Faroe Islands, I draw inspiration from the architectural landscape, the misty mountains, the raw textures of soil and chalk, and the dark Northern Atlantic Ocean in constant outburst. There is something poetic in the way nature orchestrates all of these elements that I am keen on exploring in my creations. I like to fuse that source of inspiration with the buzz from the upcoming generations, where the music scene has acted as a springboard for new ideas, giving us a sense of contemporary direction. CHASSEUR: The deconstruction of traditional silhouettes, seems to have played a key role in the designing process behind your new MAN AW14 offering. What fascinates you the most about the anatomy of design and how easy was it to create new forms without breaking the mould? BARBARA: Each design is built upon certain principles as each garment has a skeleton that later requires layering, sculpting, and finishing. When I start to modulate the garment, the anatomy of the design is fully exposed and I can start to experiment with the shape, without fully compromising the initial mould of our DNA. The technique of deconstruction has thereby formed the basis for our wardrobing concept, in the sense that I can either layer or de-layer one singular garment or incorporate such function over a couple of our designs. Our designs are therefore rich on multi-functionality and aim to include shape-shifting qualities where the wearer has the option to either present the garment in its natural state or to deconstruct it to grant it various expressions. We aim to introduce a sense of multi-faceted behavior where past as well as present can be evoked and in turn rekindled for years to come. This is an important fundamental design principle that has been with us from the start and we will continue to preserve. CHASSEUR: The Nordic heritage has worked its way into your designs, in many creative ways. How is this translated into your new line? BARBARA: The North Atlantic is the basis for my personal DNA. Our lands, the Faroe Islands, are positioned in an epic belt with the wildest weather changes. The insisting forces of nature and savage landscape, non-judicial and ever in turmoil, have a significant impact on the population, where the external circumstances mirrors the inner landscapes. These inner landscapes of mine are often the reasons for the design choices I take both in the tactile as in form development. The basic palette for me is always rather static, but then I do have an ongoing fascination for the principle of design methodology that I often dwell on as long as the source stays open. Therefore, I see my design process as a continuous process, as I fabulate on where the process stopped the season prior. In this way I can be looking at my personal design journey as a story tale of continuity. CHASSEUR: Colour and most specifically the absence of it, is something strongly associated with the nature of your work. What personally attracts you to black & white aesthetics? BARBARA: Tactility and the monochrome non-colour palette only aims to support form and expression. Black and white have a key position with me because of their caliber of calm and quiet, that allows the actual form to appear in its brightest shape. The same applies to the monochromatic palette. Our multi-faceted approach has many fascinating forces. Some of them are that the style can change shape, encompassing up to several variants, it also opens up an interaction with the end user. And lastly and not to be underestimated, each style appears more abstract and thus contains a higher dose of artistic value. New life is given to exploitation of juxtaposition among fabric and textures. CHASSEUR: Your fashion range covers everything from leather to knitwear and fur. What is your favourite material to work with and why? BARBARA: I am a sucker for organic fabrics; my absolute favorites are leather, fur, cotton, silk and wool. As for the why, well, nothing beats nature. CHASSEUR: Any hints on what’s next? BARBARA: We will see some creative collaborations being exhibited around Europe. At this current moment, we are in the midst of composing our fashion show, which will be the opening show at Copenhagen Fashion Week coming up in August. Stay tuned! By Yannis Tzannis. Cover image by: Nicky De Silva   WWW.CHASSEURMAGAZINE.COM / #CHASSEUR  

  • Clash

    CLASH RESISTANCE IN FASHION

    27092014-25012015

    WWW.HEARTMUS.DK / #CLASH Herning Museum of Contemporary Art dazzles up for the museum’s first design exhibition ever. Clash – Resistance in Fashion presents, curated by fashion researcher Ane Lynge Jorlén and Michael Bank Christoffersen, will exhibit seminal designs of great fashion designers who transform society’s tensions and aggressions to the aesthetic design creations. BARBARA I GONGINI is pleased to announce her participation showcasing menswear design for HEART. Clash focuses on how designers challenge fashion and create their own versions of the rebellious styles found amongst punk, hip hop, hippie and other countercultural movements. World-renowned designers such as Alexander McQueen, Maison Martin Margiela, and Hussein Chalayan will be displayed, alongside the designs of emerging talents from the Danish design schools: VIA University College, TEKO Design + Business, Kolding School of Design and the Royal School of Design. The exhibition is present between 27th of September, 2014 to the 25th of January, 2015 at Herning Museum of Contemporary Art. Cover image and content image shot by: Karina Jonson.

  • Love

    LOVE AND LOSS

    13032015-07072015

    WWW.LENTOS.AT / #LOVEANDLOSS In the 1980s the themes of decline and death introduced new content and a revolutionary aesthetic into the world of fashion. Fashion morphs into a mirror that puts us face to face with our own mortality. As a discourse diagonally opposed to that of nip and tuck, fashion emphasizes the passing of time, shows itself in love with transience and flirts with death.  Now they have been appropriated by art. Clothes made of human hair and black feathers have made it to the catwalk; tattered clothing is suddenly fashionable and a death’s head a trendy accessory. Love and Loss: Fashion and Mortality exhibition, celebrates beauty and pain, poetical moments and dark humour. It presents fashion designers side by side with artists, haute couture and street fashion, photographs, videos, sculptures and installations, where carefully chosen BARBARA I GONGINI showpieces will be presented aligned.  Other artists include Célio Braga, Delaine Le Bas, Alexander McQueen, Maison Martin Margiela, Juergen Teller, Walter Van Beirendonck and Bernhard Willhelm. The exhibition will be held at LENTOS Kunstmuseum Linz, Germany.The exhibition is present between 13th of March to the 7th of July, 2015. Cover image and content image by: Lea Nielsen.  

  • Dias Nordicos

    DIAS NORDICOS

    13102015

    WWW.DIASNORDICOS.COM / #DIASNORDICOS Copenhagen Fashion Film in collaboration with Spot Festival has chosen two mutually exclusively produced art films made by BARBARA I GONGINI to be showcased during the Dias Nordicos event in Spain. Dias Nordicos is the largest Latin-American art festival platform, promoting Nordic art and culture. The showcase of the two videos will take place on October 13th, 2015 in Madrid, Spain. Salute to the souls that Behind the BARBARA I GONGINI collection 14 fashion film: by BARBARA I GONGINI, Director Marianna Mørkøre, Cinematographer Janus á Argjahøvda, Lights Karina Jønson, Editor Marianna Mørkøre, Make-up Tina Kristoffersen, Model Wiktor Strand Hansson, Still Photographer Karina Jønson, Music Jens L. Thomsen for ORKA and Sponsored by Mentanargrunnur Landsins. Salute to the souls behind the BARBARA I GONGINI Butterfly film: by BARBARA I GONGINI, Film Janus á Argjahøvda, Lights Karina Jønson, Sound Tomas Barfod, Make-up Tina Kristoffersen, Model Maja Mazurkiewicz and Still Photographer Karina Jønson. Cover image and content image by: Karina Jonson.  

  • Lap

    GATHERING FROM DOMESTIC TO CONTEMPORARY

    14042015-19042015

    WWW.EDELKOORT.COM / #GATHERING As part of 2015´s Salone del Mobile, Edelkoort exhibitions, curated by Lidewij Edelkoort and Philip Fimmano, is pleased to present GATHERING at Ventura Lambrate - Lambretto Art Project (LAP) - in Milan, by which BARBARA I GONGINI showpiece design will be featured. Fashion was also displayed with intriguing pieces by 132 5. ISSEY MIYAKE, Jule Wabel and Min Nan Hui amongst several other, exploring industrialized trend techniques such as pleating, smocking, wrapping and layering, connecting contemporary creation and domestic handcrafts. Set against Daniel Costa’s black and white photographs of endearing vintage craft inspirations, “GATHERING" illustrated how contemporary design is part of a centuries-old domestic craft continuum. "GATHERING: From Domestic Craft to Contemporary Process" was originally commissioned by Design Museum Holon, the acclaimed institution celebrating its 5th anniversary in 2015. The exhibition is present between 14th of  April to the 19th of April, 2015 at Lambretto Art Project in Milan, Italy. Cover image by: Karina Jonson. Content image by: Daniel Costa (Left: pleated and panelled black showpiece by BARBARA I GONGINI).

  • Arctic

    THE ARCTIC FUTURE

    Our Arctic Future curated and exhibited by and at the Royal Danish Embassy in Berlin, will showcase designers with roots stemming from the Northern Atlantic Islands presenting their design ideology. BARBARA I GONGINI has been cordially invited to present one of kind designs for the exhibition at hand, designs that are deeply rooted in the BARBARA I GONGINI design DNA drawn upon creative parameters from Barbara´s heritage in the Faroe Islands and how elements on nature, impact the clothing construction. The Arctic underground traces the history of the earth and life back to the very beginning. For scientists, it is a treasure trove of geological insight. But certain areas of the earth have also been enriched with precious and useful minerals, thick layers of coal and reservoirs of oil and gas. These natural resources represent a great potential for financial gain as well as great challenges. The exhibition is present between 7th of October, 2015 to the 6th of January, 2016 at the Royal Danish Embassy in Berlin. Content image by: Karina Jonson.  WWW.TYSKLAND.UM.DK / #OURARCTICFUTURE

  • Olympus

    THE TALK & THE MOVE

    06082015

    WWW.OLYMPUS.DK / #THETALKANDTHEMOVE An installation curated by Olympus Camera, in collaboration with REVS media partner and Sect et Sept Creative Direction, cordially invited BARBARA I GONGINI to enter a creative symbiosis that grants tribute to documenting art: an experience of movement, light and sound. With special performance artist, Marcin Kupinski, principal ballet dancer of the Royal Danish Ballet, and The Magnetic Eagles sound artist. The event took place at The Lab in Copenhagen during Copenhagen Fashion Week SS16 for a closed media group only. Cover image provided by: REVS media. Conent image by: Prince Silver.  

  • Fetishism

    FETISHISM OBSESSIONS IN FASHION & DESIGN

    We are all born in bondage with a cord around our baby body. An umbilical cord that is the lifeline of gestation and that bonds us to our mother in the most intimate way. The separation anxiety we feel throughout life begins here. This is where the human quest for other forms of connections and bonds starts. Trying to re-enact the primal bond of life, we learn about how fetishism endure life.  Following the success of MoBA13, BARBARA I GONGINI was invited to feature her showpiece creation in Fetishism in Fashion, Fetishism Obsessions in Fashion & Design Exhibition, curated by the world´s leading trend forcaster Lidewij Edelkoort, along with Philip Fimmano and Willen Schenk, will be held at the Trapholt Museum of Modern Art, Applied Art & Design in Kolding, Denmark.   Lidewij Edelkoort has defined 10 themes which she thinks have a touch of fetishism to them - from nudism to infantilism, spiritualism, shamanism and consumerism. 100 of the most influential designers in the global design scene have contributed with creations corresponding one of the 10 themes. Trapholt Museum director, Ms. Karen Grøn, says:"Edelkoort focuses on the fact that we increasingly use design as a fetish to link up with an increasingly uncertain world. Much of our desires and obsessions stem from our childhood and are later developed into a fascination for example, lingerie, leather, velour or shoes. We create fetishes by the choices we make, and thus we connect to the world around us." The exhibition illustrates the fetish-trend with spectacular garments and intriguing design objects collected around the world, exposing an overwhelming creativity of a new generation of experimental designers who in their works lustfully reuse references from nature, religion, anthropology, society and history, thus building a bridge to a future common consciousness. Well-known designers and young, talented stars contribute equally to the exhibition. The exhibition is present between 11th of March, 2015 to the 24th of January, 2016 at Trapholt Museum in Kolding, Denmark. Cover image and content image shot by: Karina Jonson. WWW.TRAPHOLD.DK / #FETISHISM  

  • Samurai

    DARK SAMURAI

    CPH PIX

    The film is inspired by Miyamoto Musashi who was one of the most famous Japanese ronin and warrior philosophers. The film, directed by Sidney Lexy Plaut, produced by Adriana Filipczuk and with executive producer Lene Børglum, the producer behind Valhalla Rising, explores the agonizing and painful processes that goes through the shattered mind of Miyamoto, as he desperately tries to hold on to the only thing he has left - the rapidly fading memories of his undying love for a woman named, Otsu. BARBARA I GONGINI hand-crafted costumes and showpieces can be found throughout various stages of the film in romatic symphony and melancholic abundance. Cover image and content mage copyright: Dark Samurai. WWW.CPHPIX.DK / #DARKSAMURAI 

  • Reykjavik

    THE WEATHER DIARIES

    As curators of the 3rd Nordic Fashion Biennale, artist duo Sarah Cooper and Nina Gorfer explore the roots of Nordic fashion and take an unusual approach to the topic by telling its story visually. Over the past two years, Cooper and Gorfer have travelled throughout Iceland, Greenland, and the Faroe Islands to stage and photograph the work of 12 remarkable fashion talents. The resulting body of work is showcased in The Weather Diaries exhibition and a book of the same name, released by Gestalten in celebration of the biennale. The Weather Diaries are now on its worldwide tour, to be exhibited next at the Nordic House in Reykjavik, Iceland from the 19th of March throughout the 5th of July, 2016. The Weather Diaries exhibition is a prolific collaboration between some of the most gifted designers of the West Nordic Islands and Cooper & Gorfer. It is unique in its symbiosis of installation and narrative photographic imagery, taking you deep into the ingenuity of these three island nations where common is the hug of isolation. Aesthetic and metaphorical, it deflects the conventional rhetoric of fashion. Instead of seasonal trends, it explores the inspiration of creative minds, probes links to cultural identity, and scrutinizes the impact of the inescapable physicality of nature and weather. The outcome of this creative collaboration is an alluring exhibition and book. BARBARA I GONGINI is proud to exhibit her creations in a one of a kind installation alongside a large-scale photographic art works by Cooper & Gorfer. The weather diaries commenced its tour at Museum Angewandte Kunst Frankfurt in 2014, and later presented a fine selection of the photography and designs at the Black Diamond in Copenhagen in 2015 and most recently in Torshavm at The Nordic House. Cover image and content image by: Cooper & Gorfer  WWW.COOPERANDGORFER.COM / #THEWEATHERDIARIES

  • Somethings

    SOME/THINGS MAGAZINE

    VISUALS

    WWW.SOMESLASHTHINGS.COM / #SOMESLASHTHINGS Cover image and content image copyright: Some/Things Magazine

  • Thekinsky

    KINSKY MAGAZINE

    A LACONIC JOURNEY

    WWW.THEKINSKY.COM / #THEKINSKY Time tells many tales. A journey to the remote Faroe Islands is a truly overwhelming experience, filled with emotions, sounds and scents. Hailing from these unique isles, is BARBARA I GONGINI, creative director of her eponymous line. Her words resonate strongly as she speaks, calm and quietly composed. We sat down over black coffees to find our more about her connection with her roots, keeping black relevant and the ethical timelessness of her vision. A conversation with Barbara. KINSKY: Lets start at with your humble beginnings, where did you grow up and what experiences made you who you are today? BARBARA: Well, I was born and raised in the Faroe islands and grew up in the old part of Thorshavn, where all houses where given names, either a name indicating the location of the house or of the owner.  That is where my family name – I Gongini – pronounced I Gonzhina, comes from. The Faroe Islands are 18 small isolated islands in the North Atlantic Sea.  The islands have a total population of 50.000. Stories are resonating that the Irish monks and their staff were the first inhabitants on the islands, others tell tales of Vikings who let their seasick men off, that could not make it up to Iceland. Our lands are positioned in an epic belt with the wildest weather changes. The insisting weather and savage landscape, non-judicial and ever in turmoil, have a significant impact on the population,  where the external circumstances mirrors the inner self of the individual. These inner landscapes of mine are often the reasons for the design choices I take both in the tactile as in choice of form.  The fact that I now reside in Copenhagen, a two hour flight distance from the islands, makes the wind of these elements appear etched iin my memory, as an elixir from the far north, filled with poetic melancholy. KINSKY: The journey we travel as creatives, in how far are we a product of our time? And how do you maintain a sense of relevance in the hasty cycle that is fashion? BARBARA: Time is in its essence is the most important tool for a designer, understanding of its age and the ability to look in the future, combined with a strong personal DNA.  In my view, this is a pivotal ingredient that requires strong design of our contemporaries. As I do not work with fast trends and tendencies,  but rather choose to immerse myself in my conceptual design methods that are locked into avant-garde platforms. In this way, I aim to create a product that has a long life cycle and is irreverently timeliness. Our designs, collections, are not based on seasonality but rather on a numerical order that builds on a never-ending story – like a chapter in a book. The current collection is based and build upon its past. Both past as current will have relevance and inter-dependence with the future. This is what constitutes our wardrobing concept, creating designs that are rich on longevity and multi-functionality, allowing wearers to work with a kit than can be customized in any way preferred. KINSKY: If you had to frame your methodology, how would you describe your research and collection conception process? BARBARA: The North Atlantic is the basis for my personal DNA. The basic palette for me is always rather static, but then I do have an ongoing fascination for the principle of design methodology that I often dwell on as long as the source is open.  Therefore, I see my design process as a continuous process, as I fabulate based on where the process stopped the season prior.  In this way I can be looking at my design process as a story tale of continuity.  It is within the design that renewal takes place,  tactility and the monochrome  non-colour palette only aims to support both form and expression. KINSKY: In your garments, there are so many multi-functional elements, different textures and fabrics. Why did you choose to work from a monochrome colour palette and how do you keep ‘‘black’’ relevant? BARBARA: My belief is that black is always appropriate. Black has a key position with me because its caliber of calm and quiet, that allows it to be molded to appear in its brightest shape. The same applies to the monochrome anatomy. The multi-faceted approach has many fascinating forces. Some of them is that the style can change shape, encompassing up to several variants, it also opens up an interaction with the human viewer. And lastly and not to be underestimated, each style appear more abstract and thus contains the greatest artistic value. KINSKY: Naturally, I also want to ask you about your holistic approach towards sustainability and our environment. Could you describe what elements mean a lot to you and how they are visible in the way you work? BARBARA: Principles of sustainability have always been one of the key pillars within our design DNA that we are very passionate about. We were honored to participate in the Copenhagen Fashion Summit this year and to be specially recognized for our ethical designs. It makes me glad that eco-friendly designs are finally saluted as novel and current. Some of the measures we take in regards to sustainability are that we strive for low impact in our product, by pushing actors within our supply chain to grant us the most eco-friendly solutions and fair trade constellations.  We strive to excel in our selection of yarns, fabric, and leather and where possible we like to work with vegetable dyes. KINSKY: You are known for working across many disciplines. Fashion is a continuous dialogue with Art and both have their own challenges and characteristics. How do you balance art with functionality and wearability? BARBARA: Personally, I do not think that one excludes the other, as I believe that all creative disciplines emanate from the same source. As for clothing traditions, you have a utility and function discipline to be morphed with a delicious synergy with form, tactility and expression. Uncompromising design, for me emerges as pure, even when one uses large compromises. For example,  if the object has a high commercial purpose it does not wave its personal and artistic value. KINSKY: Downtime, a most under-rated part of designing, is taking time for leisure. How do you unwind and relax away from it all? BARBARA: Indeed it is. I like to touch full base with my senses, re-wind and go zen. My nest is my haven and quality time with my family is priceless. Then again, which may come as a surprise…mountain climbing with my man is amazing. Looking over that horizon, it truly humbles my senses. By Marlo Saalmink. Cover image by: Lea Nielsen.  

  • Kaltblut

    KALTBLUT

    DESIGNER OF THE WEEK

    WWW.KALTBLUT-MAGAZINE.COM / #KALTBLUT It takes time to make a stand. To maintain what you represent, without blinking twice. When it comes to fashion, we are in need of new innovators, people who speak their minds irreverently. Think of this as a counter-balance to our contemporary culture of followers. Let us salute mavericks that seek out new ways of communicating who they are. For me, Barbara of the eponymous label BARBARA I GONGINI, is such a person. Ever since she founded her brand ten years ago, she has never succumbed to outside influences, she simply creates what she wants, always on her own terms. Her world is one of understated functionality, maintained in the shadows, balancing off the mainstream. On a recent visit to Valby, Denmark, where her atelier is based, I met up with her and we explored the power of layered expression, responsible creation and gender classifications. Meet Barbara. KALTBLUT: Homeland. The raging beauty of the Faroe Islands. Could you describe this magical islands in your words through your personal understanding? BARBARA: The Faroe Islands are the epicenter of nature’s most hefty forces. It is commonly known that one day in the Islands grants a full experience of the four seasons. At one moment there is a storm raging and the next, you find yourself in complete stillness. The islands landscapes are architectural, with dramatic low dips and high mountain ridges. Winter times are shed in darkness and the summers are bright as the sun. The islands represent contrast, as do I in my design take. It is this versatility that defines the uniforms I create. KALTBLUT: Translation. What made you turn to fashion design as a form of creative expression? BARBARA: As an explorer, I always knew in my gut that I would devote my life to a certain array of art. Back in my younger days, on the islands, there was this fantastic creature and an icon really. She owned a multi-brand store with the most delicate and intricate of haute couture designs straight from Paris all the way through the latest Japanese Avant-Garde offerings. As a youngster, I was simply dazed by her and her passion for design and I believe that that was the moment, where I found comfort in clothing design. The modulate phase of creation making is of particular interest to me. The experimentation of silhouettes is fascinating and intriguing at the same time, because it can challenge me and allows me to explore various shape and forms. This is my art. KALTBLUT: Craft. Making a universe is not a sinecure, how did you shape what now is BARBARA I GONGINI? BARBARA: Well, my drive for creating was driven by a pure mission to express myself, to share my vision. It is my prerogative. I believe that if one remains true to oneself, that vision will eventually accumulate results – whether they are hedonistic or of a monetary orientation. Nonetheless, creating such a universe is not done in complete solitude. I have been blessed to work with an amazing group of people that support my vision and allowed me to place it into a larger orbit. KALTBLUT: Flexing. You often mention that your collections exist as interchangeable entities, is this also a comment on sustainability and caring for our world? BARBARA: Actions toward sustainability are taken at every phase of our value chain and so, filtered down to the core product, from its composition as well as its aesthetic. My design is rich in multi-functionality as a means to grant individual garments a longer life cycle. Therefore, one can find the right expression that suits the individual mind. As the collections are not trend based, my designs are part of a continuous story telling – parallel to the cycle of life. KALTBLUT: Absolve. Black remains a predominant colour in your work. Could you tell me what attracts you in it? BARBARA: I have never regarded black as a colour, but rather an absolute backdrop, a canvas that grants space to experiment with form, tactility and textures. A common streak in avant-garde is this concept of novel conceptualization of forms, where multiple layers are explored. Those layers allow one to enrich and build tactility within a garment, giving contrast – it is the architecture of the silhouette that challenges the senses. The blackness  gives her room to maneuver majestically. Movement is key here. KALTBLUT: Freedom. Let’s speak a little of gender definitions in fashion. Some of your work can be worn by both sexes. How do you see the role of gender in design? BARBARA: My designs are gender free in existential terms. Our designs once started in the realm  of androgyny where my collections where sex-less. Throughout the years, our universe has grown and so the demand for a female and male collection immersed. The collections still inherent an androgynous sub-base, they are simply technically constructed to grant a proper fit to a female or male body. I strive for social justice and like to stress that my garments are non-discriminating and not bound by sex, political or social order, or any other normative pressures. I welcome everybody to explore it. KALTBLUT: Explain. How is your dialogue with your followers and clients? BARBARA: Well, I like to establish an intimate setting between our dear friends, being both clients and devotees to our brand. New technologies have allowed us to maintain an ad-hoc open dialogue with both end-consumers and other players in our universe. We strive for transparency in our communication, both internally as well as externally, in order to enlighten our followers about our actions towards aesthetic responsibility as well as reciprocate what our audience desires. This is why I value the buzz our fashion shows create, both online and offline, because it gives me an instant feedback on what is great and less so. KALTBLUT: Future. What would you like to change about the world we live in today and what would you like to preserve? BARBARA: This is a rather existential question, to me. I urge people, systems and various other constellations, to become more conscious of their own spiritual being. The end-goal should be to live in harmony with each other, where each person has the right to be true. It may be argued to be a utopia, but that is my dream that I like to support in any way that I can. What is of most importance to preserve are all the great actions taken toward social responsibility in various industries on diverse levels. Primarily, to sustain our planet and its raw resources by taking more conscious decisions towards consumption, of any disposable product. This planet is our home…let us come together and continue to nurture and foster it with care. By Marlo Saalmink. Cover image by Lea Nielsen.

  • Interviewtest3

    AS SEEN IN _ INTERVIEW MAGAZINE

    NORDIC BY NATURE

    There is a difference between the sexes, as there should be—thank God for that," says Faroese designer Barbara I Gongini. "Nonetheless, there is a place, in my opinion—somewhere in the mid center—where there is a crossover or a neutral zone that I am quite fascinated with. It is in this "neutral zone" that Gongini developed her striking style that mixes avant-gardism and androgyny. With her eponymous line, Gongini irreverently blurs the line between the masculine and feminine that humanizes, and equalizes, fashion.We spoke with the designer, who is currently based in Copenhagen, about sustainable ethics, fabrics as art, and how her clothes allow the wearer to be whomever they want to be.KATE LAWSON: From the Faroe Islands to Copenhagen, how did your journey into fashion begin?BARBARA I GONGINI: I always had a devotion for the arts and design since a very early age.  It felt like a natural thing for me to step into the fashion scene and explore my ideas, turning them into tangible creations.LAWSON: Copenhagen has become a hotbed for innovative fashion designers such as Astrid Andersen and Anne Sofie Madsen —why do you think that is? GONGINI: I am proud to see that Copenhagen has fostered such creative minds and that they had the balls to be bold enough and go out and kick ass! Having said that, I think that such success may reside in the fact that Scandinavia does in fact provide a safety net, a welfare system, that gives a bit of a springboard for "entrepreneurial minds" to flourish.  LAWSON: And you too are "kicking ass" with designs that visually blend identity and play with unique forms and structures. GONGINI: I always opt to stay true to my voice, but it's a challenge to transcend certain aesthetic expressions into a wearable design. Androgyny was an influential force when the brand was born, but it has evolved and progressed throughout the years and it became important for me to create a line exclusively for men and women, purely for functional reasons. At the end of the day, I urge my wearers to choose whatever they feel comfortable in, whether the garment was designed with a male or female in mind. LAWSON: Tell me about your design process? GONGINI: Each design is built upon certain principles as each garment has a skeleton that later requires layering, sculpting, and finishing. Once you start to modulate the garment, the creative nerve may strike at any end of the spectrum—ranging from strong expression, as seen in its most optimal form in our showpieces, to more subtle designs. It's during the modulate phase where a multi-faceted character of the silhouette is explored, and that's where the sky becomes the limit. [laughs]My collections are part of a never-ending story, which allows me to turn the chapter where I previously left off. This is where the birth of the numerical notion of my collections surfaced. My designs are not trend based, but instead the focus is placed on nurturing a longevity formula. I base it on a wardrobing concept, which is something that I am very passionate about continuing in my work.LAWSON: What about a muse—is there someone you admire who reflects the philosophy and spirit of your designs? GONGINI: I care for the art of juxtaposition. So I don't idolize anyone per se, but I like to discover the fascination in various creatures from different walks of life. LAWSON: Do you enjoy seeing how each wearer translates your designs? GONGINI: Yes. I love to give our wearers a diverse range of choice, creating designs that allow for individual interaction and the right personalization. LAWSON: Strong expression and detailing is definitely a theme that runs throughout your collections, especially in comparison with Japanese designers who championed fashion avant-gardism. Did any of those visionaries inspire you to create? GONGINI: I have an immense respect for the forefathers of avant-gardism—one of them being Rei Kawakubo. The Japanese design culture has altered the fashion industry through their novel creations and there is a synergy of workmanship, concepts, and principles that are definitely aligned with our DNA design structure. LAWSON: Is it important that your designs stand out from the crowd then? GONGINI: Our designs are not bound by trends, sex, orientation, societal order, and other normative pressures. So in that sense, yes... I like to push boundaries with my creations and start a dialogue. I believe in uncompromised aesthetics. LAWSON: Although you describe your brand as high-end, your aesthetic also fits into the youth-driven streetwear market. What current pop culture references have impacted your brand? GONGINI: I draw a sense of inspiration from the buzz of upcoming generations, where the music scene has acted as a springboard for new ideas, giving a sense of direction. I've had the pleasure to work with several artisans throughout my career, and the most recent collaboration was with my fellow countrymen, ORKA, where experimental sound electronics have rocketed my orbit! LAWSON: ORKA scored your S/S 2014 and F/W 2014 shows. The combination of their music and your designs brought an emotive darkness and poetic energy to the shows—do you think Nordic melancholia has been a big inspiration to you? GONGINI: Yes, my home origins have influenced our color scheme. Being from the Faroe Islands, I draw inspiration from the architectural landscape, the misty woods, the raw textures of soil and chalk, and the dark Northern Atlantic Ocean in constant outburst. There is something very poetic in the way Mother Earth orchestrates all of these elements that I am keen on translating and exploring in my creations. I prefer "non-color" as a palette as it allows fabrics and textures to speak as color instead. LAWSON: Sustainability has become a big factor in your design ethos. Where do you see the future of ethical fashion? GONGINI: I take pride in rating my collections according to the sustainability factors, creating a product rich on longevity and multi-functionality, creating designs that can be rekindled for years to come. It is the responsibility of the entire business to shift up the mentality—everyone in the supply chain needs to push for eco-friendly solutions and fair trade, and it's the end customer's responsibility to choose a more sustainable product. At the Copenhagen Fashion Summit this year, the world largest event on sustainability and fashion, our designs were specially recognized in the Denim Challenge for turning an unexpected silhouette into a classic product. There is definitely a need to take action towards global responsiveness within the fashion industry. LAWSON: Talking of the future, what's coming next for you? GONGINI: There are several exciting projects currently in orbit—you just have to stay tuned! By Kate Lawson. Cover image by Lea Nielsen.   WWW.INTERVIEWMAGAZINE.COM / #INTERVIEWMAGAZINE  

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