Anna Roos Van Wijngaarden

Er is getekend!📖✍️ Als een uitgever je benadert in vol vintage ornaat - eerst in klassiek zwart, daarna in hot pink - is het lastig om niet enthousiast te worden. Het vertrekpunt wordt mode en macht, want zelfs wie niets met mode heeft, kiest iets uit om aan te trekken. Ik voel me vereerd en heb véél zin. @uitgeverijcossee (🇬🇧) The deal is signed! When a publisher approaches you in full-blown vintage - classic black first, then hot pink - it’s hard not to get excited. The starting point will be fashion and power, because even those who claim not to care about fashion still choose what to wear. I feel honoured and can’t wait to get started.

Alweer de tiende in mijn ‘Goed Gekleed’-column voor @trouw.deverdieping . Ons kledingprobleem heeft zoveel lagen. Zo blijkt dat ons recyclingsysteem struikelt over ons eigen dumpgedrag – kleding bij het grofvuil, of grofvuil in de kledingbak (een dildo, een dood schaap). En dat een lobby, zo complex dat zelfs textielexperts hem niet kunnen volgen, morrelt aan de duurzaamheidsmaatstaf van de EU. Waardoor plastic stoffen ‘duurzaam’ zijn, en wol niet. Aan de andere kant klinkt een positief geluid, zoals blauwe verstoffen gemaakt van Hollandse Wede - die gewoon in de berm kan groeien, of een jonge ondernemer die haar glansrijke carrière in de Chinese fast fashion verruilt voor een ruilclub, met sessies door heen Nederland. Er valt nog zoveel te onderzoeken over duurzaamheid en mode. Fijn dat ik dat mag doen voor Trouw. — 🇬🇧🇬🇧🇬🇧 Number 10 in my Trouw column series on getting dressed – the better way. Our clothing problem has so many layers. It turns out our clogged recycling system is breaking down due to our own dumping habits – clothes ending up with bulk waste, or bulk waste ending up in clothing bins (a dildo, a dead sheep). And that a lobby so complex that even textile experts can’t follow it messes with the EU’s sustainability standards, so that wool, not plastic, is labeled as ‘non-sustainable.’ On the other hand, there's a positive shift: blue dye from Dutch woad, or a young entrepreneur swapping her career in Chinese fast fashion for swap clubs across the Netherlands. There's plenty more to unpack here; I'm glad I get to dive a little deeper for Trouw. #sustainablefashion #modejournalistiek #duurzamemode #fashionjournalism #fashionmedia

The joy I've experienced sifting through these two fashion books is unparalleled. If you want to 'feel' again what fashion is about, ‘mode’ as a transgenerational feast and universal language before the age of consumerism and marketing (ugh), GIFT yourself with these classic pleasures. 🎁 I bought 'The fashion Book' for its aesthetics - to shine on my coffee table. But once I flipped a few pages and started to Google my ass off and make sturdy notes, I couldn't stop. It’s the full A-Z of fashion represented spanning two centuries of history, from designers and photographers to editors, creative directors, and illustrators. Racinet's Costume History is a different story. Originally published around 1880, the book takes you back to the very beginning of what we call fashion (after all, this word as a ‘way of wearing clothes’ only appeared for the first time in a French text from 1482) and before - when we simply used 'garments' for its functions or to signal identities, ranks and cultures.

Earlier this year I visited @hermes workshop ‘petit h’ outside Paris to discuss upcycling with creative director Godefroy de Virieu. Petit h takes leftover materials from Hermès’ sixteen workshops or métiers and turns them into design products. Hammocks woven from thirty-five rejected scarves, horsehair stools, shakers made with old buttons, tableware repaired with wood. The workshop was founded by Pascale Mussard, sixth-generation Hermès family member. At eight, she watched her great uncle throw a piece of leather in the trash and asked a saddlemaker to make a wallet out of it instead. They displayed it in the Faubourg Saint-Honoré boutique window, people stopped, and wanted to buy it. Mussard’s concept was collect decent, unused materials, then bring in artists to collaborate with in-house craftsmen on new designs. “Because creative people without know-how, don’t know how to build their ideas,” De Virieu says, “and know-how without creativity goes nowhere.” “Many of today’s ‘craftsmen’ want to plug material, move fast (scale), take the money, and leave (the business). There is a big need for healthy creative environments where people can build things with joyfulness, speak with each other about the process, and learn how to understand themselves.” @lampoonmagazine ‘Meccano’ issue is now on the racks 🎮 Grazie @matteo.mammoli @seba_._z @ariannahbonifazi

Het artefact dat mij het langst zal bijblijven van de ‘Antwerp Six’ tentoonstelling in het @momuantwerp : alle knappe koppen van de Antwerpse zes, pauzerend op de reis naar modebeurs Pitti, op een picknickkleedje neergestreken vóór hun tijdelijke onderkomen, een caravan, omdat er geen geld was voor een hotel. Veel dank voor het gidsen langs het nalatenschap van dit mythische modecollectief. @geertbruloot (Verder in beeld op willekeurige volgorde - een zoekplaatje, want waarom niet: replicatie van het atelier van Marina Yee, vlak voordat ze heen moest gaan, vroege virtuoze schetsen (van wie!?), heel het oeuvre van Ann Demeulemeester, journalisten wemelend rondom de verteller, Geert Bruloot, Bikkembergs lonkende bergschoen-ad, 60s shot van de keurige oprichters van de Akademie (spot de mini skirts!) en meer overtuigend bewijs dat ik veel te lang gebleven ben, wat je ook kunt opmerken uit het verslag voor @fashionunitedhq ) 🇬🇧🇬🇧🇬🇧ENGLISH Please The artifact that will stay with me the longest from the ‘Antwerp Six’ exhibition at the MoMu in antwerp: all the brilliant minds of those Six, taking a break on their journey to fashion fair Pitti, settled on a picnic blanket in front of their temporary accommodation, a caravan, because there was no money for a hotel. Many thanks for guiding us through the legacy of this mythical fashion collective to Geert Bruloot. (Further images in random order - a seek-and-find, because why not: replication of Marina Yee’s atelier, just before she had to leave us, early virtuosic sketches (by whom!?), the entire oeuvre of Ann Demeulemeester, journalists swarming around the narrator Geert Bruloot, a beckoning Bikkembergs mountain-boot ad, a 60s shot of the prim founders of the Academy (spot the mini skirts!) and more convincing evidence that I overstayed - which you can also gather from my report for FashionUnited.)

Fashion is trying to be ‘fun’ and ‘light’ again - a playful distraction from the world’s current tremors. It’s why we’re seeing a resurgence of trompe-l'oeil on the runway. I wrote a commentary on this misleading effect in clothes. Fun! (Though I’d argue there are other ways to play than buying new clothes.) “The new ways of deceiving the eye demand more attention. Unlike Schiaparelli's bow-knot, you cannot simply discern modern trickery from a screen. You need to understand the construction and have material knowledge to see the ‘trompe’. They are treacherously misleading; perhaps traître-l'œil is a better term.” From Schiaparelli’s original bow-knot sweater to Galliano’s famous denim ensembles for Dior Spring 2000 and the pixel shirt at Loewe in 2023 - how have we seen designers play with surrealism, deceiving the eye regarding what we really have in hand: fabric, cut, and silhouette? Oh and don’t be fooled by the image… It’s fake. Trompe-l'oeil. (Gemini). - — - 🇳🇱 Nederlands Mode probeert weer 'leuk' en 'luchtig' te zijn - een speelse afleiding van de onrust in de wereld. Dat verklaart de heropleving van trompe-l'oeil op de catwalk. Ik schreef een achtergrondverhaal over dit misleidende effect in kleding. Leuk! (Hoewel ik denk dat er ook andere manieren zijn om met mode te 'spelen' dan weer iets nieuws erbij.) “De nieuwe manieren om het oog te misleiden vragen om meer aandachtigheid. In tegenstelling tot de strik van Schiaparelli (1927) kun je de moderne trucage niet van een afstandje herkennen. Je moet de constructie begrijpen en materiaalkennis hebben om de 'trompe' te doorzien.” Van Schiaparelli’s originele striktrui tot Galliano’s gelaagde spijkerstof-looks voor Dior Spring 2000 en het pixel-shirt van Loewe in 2023 - hoe spelen ontwerpers met surrealisme? Oh, en laat je niet misleiden door de schets. Die is nep. Trompe-l'oeil. (Gemini). Dank @caitlynafra @fashionunitedhq

Fun story to make for the weekend magazine of A’dam newspaper @hetparool “There’s a sense of urgency with commissions like these: by the time the stylist’s email arrives, it should already have been finished yesterday.” Jeanne Hermans, the designer behind C’est Jeanne @cest_jeanne , creates gloves for names like Anne Hathaway, Dua Lipa, and Doja Cat - by hand, in her studio in Zaandam. I stopped by and examined her work up close: organza with silk butterflies… scattered with shimmering crystals… Endless patience is what connects the designs. There’s a ‘but’ in this succes story too. Jeanne reminded me that young makers like herself often go through the same awkward cycle of exploitation and misuse — until they realize they cán ask for a shipping label, or, daringly, for compensation when lending their work to a major star. A lesson for creatives: keep each other informed. And learn to value and respect your craft. / 🇳🇱 🔡⏬️ Een feestverhaal voor het weekendmagazine van: @hetparool “Er is altijd haast bij dit soort opdrachten: als de mail van de stylist komt, had het eigenlijk gisteren al af moeten zijn.” Jeanne Hermans, de coupeuse achter C’est Jeanne, maakt handschoenen voor namen als Anne Hathaway, Dua Lipa en Doja Cat - alles met de hand, gewoon vanuit haar atelier in Zaandam. Ik ging langs en heb met veel bewondering het handwerk onder de loep genomen: organza met zijden vlinders.. bezaaid met fonkelende steentjes. Eindeloos geduld was de rode draad. Maar ik leerde ook een minder mooie les: jonge makers doorlopen vaak hetzelfde traject van misbruik en exploitatie. Tot ze beseffen dat je wél om een verzendlabel mag vragen - of, doe eens gek, om een vergoeding voor het uitlenen aan zo’n grote ster. De les aan creatieven: hou elkaar geïnformeerd. En leer je eigen werk op waarde schatten. 🎥 @daphne_severeijns

I give you… One girl squad in grim grungewear One kawaii moment in Utrecht (the case: Miffy🐰) One fellow Jean Paul Gaultier obsessee (’93? 94? Anyone?) #Streetstunners @elin_ydmark @cocoro_takagi @ren.takagi @ruby_csw @uma_v

And after years of postponing for no good reason, she finally got herself her own (and decent!) sewing machine. From @husqvarnanederland , the brand I grew up with making American quilts with my mother.

Who said carbon is a market? For Lampoon’s @lampoonmagazine latest print issue ‘SOAP’ I delved into carbon offset markets - once hailed as a climate solution, now leaving many people upset. I spoke with Barbara Haya, a researcher at the University of California, Berkeley, who has been picking apart carbon offset programs since 2003 – the year she jumped on a plane to India to pursue a PhD on one of the UN’s first offset schemes under the Kyoto Protocol. “The market is hugely overcrediting across many project types,” she said. Another issue is leakage. Protecting one forest doesn’t reduce demand for timber – it shifts harvesting elsewhere. To New York-based coding artist Tega Brain, offsets are a scam. “It’s like saying: I won’t cut my forest down for now, but I will in ten years – and then financially benefiting from it.” Her ongoing project, Offset (2023), is a rebellious registry of alternative offsets composed of activists’ attempts to halt emissions. The carbon benefits of these human disruptions can be calculated, just like the ‘real deal’. Seven sabotage cases are now complete and live. Also thanks to Jos Cozijnsen for the solution-oriented suggestion that seems to work for some in the fashion industry: insetting. You can now read the piece online. Link in bio.🔗

“Made in China” is once again something to be proud of for the country’s growing middle class. Fashion is where it shows. Rumor has it Bernard Arnault (LVMH) stopped by at Songmont in Shanghai last summer to peek at its luxury handbags: close to Louis Vuitton in quality, but far more digestible in price. Meanwhile, a block of independent designers is presenting a sense of China Chic that is recognizably Asian, drawing on either hyper-modern China or the aesthetics of the ancient empire. Talents like Ruohan and Caroline Hú have already secured spots on the Paris Fashion Week calendar - as it should be: fashion as a messenger of cultural exchange. The new wave of Chinese luxury is rooted in Xi Jinping’s ideology, including guochao, a renewed national confidence that lives on in what Chinese consumers buy, and chu hai, the drive of Chinese labels to make a name for themselves abroad. Today on the culture cover of Trouw! With thanks to fashion curator Anouchka van Driel ｜何京蕴, agent Patrick Steijlen 帕提, and professor Tommy Tse. And chef (De Verdieping): Seije Slager Link in bio 📎 Images: Yangkehan (@yangkehanofficial ), Nan Knits (@nan_knits_official )

For @financieeledagblad I wrote a piece on an expression fashion has largely ignored since the late ’80s: modest fashion. Simply put: fashion with coverage - the ankles, wrists, necklines and sometimes the hair. Long before H&M and Louis Vuitton paid attention, religious fashionista’s - Muslim, Christian, Jewish - made the style their own, adapting trends to fit their values. “When maxi dresses were finally back in fashion, you bought it in bulk - before the cycle flipped back to short and tight, leaving you with scissors and safety pins to keep things covered,” said Esma Hmadouch of modest label Les Atelier. The clothes she designs aren’t just for the faithful wearer, but for anyone who prefers to move through life wrapped. For your ‘to read’ list: – Modesty: A Fashion Paradox by Hafsa Lodi – Modest Fashion (2013) by Reina Lewis et al. Thanks to @lesatelier.official , @hntaj , @manzaram , @merrachi , and the women on that street who took time to explain what modesty is - and what it isn’t (not much!) / @michoubasu for the assignment, and @yeliz_cicek for the pitch! Photos: modest brand Maysaa (2010)