Riina O “Winter in Desert” campaign editorial








Gloves and accessories: Riina O
Photographer: Mike Mottus
MUA: Jessica Cheetham
Model: Emelie Kelman (BAME Models), Signija Ludborźa

All gloves and accessories available at our online boutique


Burberry Makers House exhibition

Right after the London Fashion Week Burberry opened its show venue´s doors to public for one week. Burberry together with The New Craftsmen are bringing the inspiration behind the new collection to life in unexpected ways.

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As the whole fashion business approach is changing from “business to business”, reaching the consumers half a year later; to “business to consumer” – being immediately available(for pre-orders at least), so has Burberry taken the lead of this change and made their latest collection, showcased just a week ago at London Fashion Week, readily available for their clients.

Makers House exhibition looks closely at the making process and the skillful work of their craftsmen, as well as the finished products, available for order.

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The collection – influenced by Virginia Woolf´s novel “Orlando” – is like a love letter to English history. The selection of clothes includes pieces for men and women both, shown together for the first time. Featuring denim blend with cashmere and several silky pyjama elements suitable for loungewear as well as outerwear. The separations between gender-specific and place-specific wear are blurred into new reality. The collection includes deconstructed trench coats, military-style inspired jackets, ruffle neck shirts and other historical elements rediscovered and modernised. Spiced up with some very cute ruffle-purses.

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Open until 27th September 2016, this showcase is worth a visit!

Riina O “Winter in Desert”

Decluttering mind, eyes are turned to the Middle-East for inspiration.
Wide and clear open space of a desert, soft hues of pastel and tan leather
is what inspired Riina O latest gloves collection.

Our muse for this season is Miss Gertrude Bell – the supposed  “Queen of the Desert”. A rather remarkable lady who lived nearly 100 years ago, a strong woman who marched to the sound of her own drum(or the pace of her own caravan, to be correct),  refusing to bend her ambitions to fit the accepted standards of her time.


Known as an a writer, politician, archaeologist, cultural anthropologist, traveller and explorer, who wandered alone(with her caravan) across deserts of Syria, Mesopotamina and Arabia, mapping them out and later being one of the key people in establishing the modern state of Iraq.

The collection entitled “Winter in Desert” features a selection of gloves in different lengths, that have become the brand´s classics.

Short decorative finger-gloves experiment with latticework technique, creating the illusion of 3D-laser cutting.
Hairy ponyskin gloves bear delicate bead embroidery, as if grains of sand stuck on the back of a camel.
Casual medium-length gloves stand out with laser cut pattern that is also featured on waterjet cut leather bracelets.
Sandy elbow-length gloves´ side details, decorated in slashing technique, take on different forms when stretched around arm.

Riina O skillfully combines traditional hand stitching of gloves with modern technological advantages, never seizing to experiment, trying to push further. Riina O high end gloves are designed and made in their East London studio using only the finest of leathers sourced from within Europe.
Gloves are available made to measure upon request.

View full collection here.



Oksana Tandit show collaboration

Meanwhile in Estonia…

While the nights are slowly getting darker and longer, Estonian designer Oksana Tandit has been thinking about the midsummer “White Nights”, presenting her gorgeous new same-titled resort collection.
The créme de la créme of Tallinn fashion crew was transported nearly 100km out of town to the historical Vihula Manor. The show was accompanied by a gourmet dinner along orchestral music from internationally well known musician Andres Mustonen and his orchestra.


For her latest show Oksana was inspired by symbiosis between nature, fashion and music. The collection paints a picture of a weekend escape from the busy everyday life to relax and rejuvenate in the countryside. Soft feminine silhouettes, luxurious materials from cashmere to silk come in pastel shades inspired by nature. Inherent to her signature style, a lot of attention is paid to the details and femininity is skillfully joined with masculine elements.

Riina O has collaborated with Oksana Tandit over a few recent years and it has been a true pleasure to do so. Our collections seem to telepathically speak the same language, without having to coordinate the creation process before it is finalised. Riina O latest collection happened to similarly wander out of town in search for the inspiration, heading for the desert instead.

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Behind the Scenes – Creation of a Masterpiece

Parallelly with Alexander McQueen: Savage Beauty exhibition at V&A, there is a behind the scenes photography show running at Tate Britain. The exhibition of Nick Waplington´s photos takes a sneaky peek behind the glamorous polished face of Alexander McQueen´s collections, to give an idea of his inspirations and working process, which is far from fancy – instead being raw, bold and thought-provoking, including a lot of hard work. In 2009 Nick Waplington was invited to the House of McQueen to document the creation process of the final Autumn/Winter collection created by Lee himself, a year before his death – “Horn of Plenty”. McQueen was generally very secretive about his working process, so having such an access is something not many photographers have been allowed to witness. Nick captured an intense and theatrical working process, from sketching to production to the Paris catwalk show.

Nick Waplington/Alexander McQueen: Working Process, Untitled from the series 'Alexander McQueen Working Process' 2008-09

The critically acclaimed collection had recycling as the heart of it. As a retrospective season, Lee McQueen reused his ideas of the past decade –  updating silhouettes and cuts, copying fabrics from his earlier collections. The idea of recycling as such was central, provoked by post-credit crunch attitude in the UK. The catwalk was set out of discarded elements from the sets of his past shows and broken mirrors, with a kitchen sink crowning the pile of “junk” in the middle of the showroom. Even though there are dresses that look as if they have been created of black bin bags, best Italian silks were used as the material.

Nick Waplington/Alexander McQueen: Working Process, Untitled from the series 'Alexander McQueen Working Process' 2008-09

At the exhibition space images of working at the studio alternate with shots taken at the landfills and wastegrounds full of broken bottles, compressed trash and a huge bulldozer, that is supposed to symbolise Lee McQueen himself. The designer liked this idea. This radical theme provided inspiration for Waplington, best known for his photographic work centered on issues of class, identity and conflict.

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To be honest, if you expect the same grandiose impression from this exhibition, as from the V&A showcase, you´ll be greatly disappointed. However, if you are a fan of Lee´s work and want to have a peek into his everyday life, this will be just an exhibition to visit.

Open till 17th of May 2015

Jeanne Lanvin retrospect in Paris at Palais Galliera

Lanvin is the oldest French fashion house still in business today. The first exhibition devoted to the creatress of the brand – Jeanne Lanvin (1867-1946) opened in Paris in March, featuring over a hundred gowns at beautiful Palais Galliera.
At the beginning of the 1980s, in the musty darkness of the attics of the fashion house, more than five hundred models from the time of Jeanne Lanvin were discovered. They seemed to have been forgotten, to have vanished from memory since the death of  Madame in 1946. All that was needed was for someone to open the trunks and reveal their splendour.

Mademoiselle Jeanne began her career as a milliner in 1885. Even alongside the following couture collections hats were always an integral and indispensable accessory to the Lanvin ‘silhouette’. A few years later she opened her first shop in Paris. In 1897 she gave birth to her only daughter, Marguerite, who became her primary source of inspiration. On Lanvin logo you can see an image of mother and daughter – something very sentimental and emotional for a fashion brand.  Maison Lanvin adopted the famous logo, designed by Paul Iribe from a photograph taken at a costume party in 1924. The logo was first used on first Lanvin perfume bottle, dedicated to Jeanne´s daughter for her 30th birthday.

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In 1908, Jeanne Lanvin hit upon the new idea of children’s clothes, alongside with Young Ladie’s department. Stylistically speaking, the children’s and adult’s clothes were very similar, a feature that gave Lanvin creations their enduringly youthful character.
Maison Lanvin kept growing steadily into a fashion house that catered to all needs of their clients, adding wedding gowns department, lingerie and furs and in 1920s also interior decoration and sport, finally launching into men´s clothing. Lanvin opened shops all over France.

Jeanne Lanvin´s  inspirations ranged from etno-exotic to religios and medieval, as well as modernly geometrical and Art Deco.
The exotic has always been inspiring for Western fashion, but it reached its peak in 1920s. the embroidery motifs inspired by China, Turkey and Japan appeared on the gowns and were executed at skillful workshops set up in Paris by Russian refugees. Jeanne Lanvin  used travel diaries, swatches of ethnic fabrics and a vast library of art books to feed her curiosity and inspire her to create fabrics, patterns and exclusive colours.
By mid-20s ecclesiastical motifs and monastic lines pervaded the work of Jeanne Lanvin. In her work you can see the artistry in materials, embroidery, topstitches, twists, spirals, cut-outs – all the virtuosity of the couturière’s craft.
At the same time there was also a dress with very controversial silhouette to that day, making it´s  name as “Lanvin´d robe de style”. This line was equally indebted to the 18th century and the second Empire, and to hoops and the crinoline – slender bust, low waist, ample skirt – contrasting with the tubular line of Art Deco with its black and white geometrical patterns, the profusion of ribbons, cristals, beads, and silk tassels. The robe de style, a garden-party dress, came into full flower at Maison Lanvin in the 1920s and found lasting success with children, girls and women.
In 1920s quattrocento blue became the symbolic colour of the label.
Evening gowns, boleros and magnificent coats were examples of the prodigious skill of the Lanvin workshops and made a major contribution to the fashion house’s fame. World War II was looming, but the summer of 1939 saw haute couture in one of its most glittering phases. Romantic evening gowns, ample and diaphanous, were an “invitation to the waltz”. “Paris was rarely more sparkling,” Christian Dior recalled. “People flitted from ball to ball … Dreading the inevitable cataclysm, they hoped desperately to avoid it, but whatever happened, they wanted to go out in style.”
A capacity for hard work and an intuitive understanding of the modern world only partly explain the extraordinary success of this discreet woman.

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Alber Elbaz, current creative director of Lanvin, worked closely with Palais Galliera on creating this exhibition. “It is a “whispering exhibition”, it´s not loud. It is not about information, you don´t have to know everything, because all this knowledge is not always important. Just feel, work with your intuition, look at the endless beauty of these pieces, observe how timeless they are and enjoy the moment, ” says current creative director of the fashion house. He is right, as you walk through the rooms of the exhibition, you can´t but stop and observe the handmade details and hand stitched beads on the evening gowns that quietly tell their story of hours of hard work.
Many dresses shown at the exhibition are timelessly modern, something that could be worn  today, just as it was nearly hundred years ago.

Lanvin today
In 2001, Alber Elbas was appointed artistic director of  Maison Jeanne Lanvin. Albert Elbaz shares Jeanne Lanvin’s taste for discretion. To this stimulus for creation, a motif in which forms turn out to be even more timeless, he adds the insolent characters that signify his style.

Looking at the latest Lanvin collection for Autun/Winter 2015/16  presented in Paris in the beginning of March, Alber Elbaz said to have gone back to his Moroccan roots, as he was born in Casablanca. Last year Maison Lanvin celebrated their 125th anniversary, keeping the style simple, so this collection made more of an impact. Alber prefers the introvert approach to creating, looking  for inspiration among his personal emotions and intuition. “Fashion is a human story,” he insisted, “an industry that makes things with its hands. High tech stole the glamour of fashion.”
The collection went on adventure, travelling to Morocco in military-striped slightly baggy trousers with tassels hanging from waist, matched with Russian style high boots. Military style-influences could be also noted in the latest collection.  Leather one-shoulder pieces looked to be the extensions of to the belt, contrasting quite  minimalist flowing dresses. Other keywords include dresses with geometrical lines and occasional fringing edges, Maroccan patchwork and exotic skins, sheepskin coats and ethnically-inspired rich print patterns.