First impressions are exactly what they suggest. In mere seconds, we are capable of formulating an opinion. Through a haphazard merging of seemingly unrelated elements, decisions are made based on the senses, their emotional undercurrents and eventual interpretation. Every day, these countless impressions are made, most unconsciously produced, but when a first impression is anticipated, the occasion is bestowed special sensitivity.

The initial discussions surrounding this magazine were fueled by a similar anticipation; a complex combination of emotions that weave between excitement and uncertainty. Like any creative project a magazine begins with an elusive tenor. Inclined to smother spirits before it rewards, it can be a stubborn process defined by exhaustive coaxing tinged with murky conclusions. Despite its fickle temperament, the treacherous journey is worthwhile. Creating a positive first impression, after all, is worth a lifetime of negating resolute judgements.

Anticipating the first impressions we would create, or more importantly, the ones we desired, the cornerstones of this magazine were delicately considered to highlight our culture and values. Since the publication would be the first point of contact for many with Izmaylova, we wanted to profile what is closest to our hearts – the people who are the epitome of our company. Looking inside our walls we found four spectacular professionals, all remarkably different, but undeniably the soul of our company; beginning with Antonina Izmaylova-Gam, the creative force who infused our modern existence with a unique romantic touch steeped in the heritage of fashion. Slipping into our atelier, we spoke to Irena Stankevica, the pattern-maker and toilie sample virtuoso responsible for transforming ideas into wearable pieces of art. Heading to our creative department, we discuss image making with photographer Davide Sometti. Closing our issue, we sit down with Melissa Wusaty, our in-house storyteller who sings our song through written word.

Conversational and thought-provoking, our inaugural issue invites you to join an ongoing dialogue about creating and giving first impressions; truly private moments that are rarely determined collectively, but in this rests their poeticism and something very special to Izmaylova. From atelier to magazine – we strive to entice.

In our hyper-paced world, buzzing perpetually with information, it is hard to believe there was once a time when the farthest reaches of the world were inaccessible. The planet Earth was once a mysterious place. Information was narrated at the pace of travel, carried across the ocean on vessels or carefully handled across great expanses of land. The tales catalogued in these precious packages of leather-bound journals, hand written letters and sepia-toned photographs were saved, shared and recollected over social gatherings. The digital revolution, however, has changed everything. Through a click, tap or command, the world unfolds – instantly. But do we understand the world better? The explosion of information and the onslaught of globalization have transformed our world into an eerily recognizable and small place. But can we possibly understand anything through the passive absorption of information via the internet? Is it fa c ade?

While expectations are, well, expected, modern travel is bestowed a heavy conscious. We arrive in foreign destinations with heavy luggage. From a young age, our minds are bombarded with visual and textual information about places and people beyond our own. This information is then stored unconsciously where is concocts equally suppressed opinions that only arise when we find ourselves within those places, interacting with those people. While it can be argued our digital world has brought on an unprecedented level of othering, we feel our online lives have brought us back offline. Positioned between the trinity of Paris, Moscow and London, we grapple with the complexities of modern travel.

Drawing on metaphors and analogies, business director Nathanael Gam, has an unorthodox but incredibly precise way of explaining his thoughts – an exactness that flows through every stitch and digital command created inside Izmaylova’s London headquarters. While others may have recoiled from bold business ventures, Nathanael has led his company forwards without hesitation, fully embracing fashion’s digital explosion. He sits down to discuss the fine balance of online luxury, and how its digital evolution requires sensitivity and respect.

“We are taking something that is steeped in history and bringing it into the modern world – it requires sensitivity and respect.”


Nathanael, why launch a fashion brand now – considering the state of the industry?

There is no escaping the world and its current state. Every day on every newsstand it is the same story. Austerity, credit crunch, budget cuts, redundancies, crumbling nations. It is grim. But luxury is showing remarkable resilience. It is easy to think a recession is a terrible time to start a business, but in reality there are many reasons proving otherwise. Smart entrepreneurs are taking advantage of new opportunities and unique needs presented by the downturn. The trick is to find a way to meet them.


Do you feel the digital space is the best platform?

Yes. If someone is interested in a brand, they will go online to find out more. But the online space is no longer about providing information. It’s about an experience that simultaneously informs, entertains and meets needs in an intuitive way. When Antonina and I decided to launch Izmaylova, we wanted to create a brand relevant to our generation. A generation led by the digital revolution.


The digital revolution has also made it easier for younger brands, like Izmaylova, to find their place.

Absolutely, the online space has changed how fashion functions as an industry and how it is delivered, disrupting both traditional media and retail industries.


And this has made it easier for younger fashion brands?

Before, a brand had to wait until someone in the press took notice. Press would then create retail opportunities. There was a lot of waiting. Now, new business models have emerged that combine the two. Brands can generate their own press, though social media and blogs, and sales through their own e-commerce shops. But the internet makes blending commerce and content much easier and less capital-intensive, allowing younger brands, like us, to find our place.


Creativity and business have always been a bit like oil and water.

I think the state of the world has forced everyone to think in more creative ways to generate interest and stay afloat. It is fascinating how aspirational markets like fashion and luxury have produced some of the most innovative business models we have seen in awhile. They are intuitive and give consumers what they want before they know it. You can’t do this offline.


Are fashion brands fully exploiting digital opportunities?

In general, I believe we haven’t seen what our digital world has to offer. That is a beauty of technology – it evolves constantly. It is impossible to know where it is going.


Luxury fashion, however, has been very slow at embracing online opportunities.

Luxury is all about experiencing the dream at close range, which is perhaps why this centuries-old industry and its mighty brands refuse to embrace the web with any gusto. But they are paying dearly for it.


To a certain degree, brands lose a bit of control. Could this be the hesitation?

The spontaneity is intimidating. Also, consumers want to know the brands they purchase. Brands have never been so accessible. It’s about building a repertoire and a connection through transparency. Technology is not only revolutionizing the way we shop but our expectations.


Also, how do you maintain the aura of luxury online?

Luxury is about exclusivity. The internet is about the democratization of information and accessibility. The challenge of selling luxury goods online is enormous. The experience is completely different. Purchasing a luxury good is a sensory experience that requires a high aesthetic appreciation. How do you accomplish that online? We are taking something that is steeped in history and bringing it into the modern world – it requires sensitivity and respect.


By using the internet as our chief global distribution channel, our approach has to be focused. It is not about price; it is about creating value and building trust, which is hard to do when you are a new brand. A pleasant, seamless atmosphere is crucial. Effective product presentation and options for multiple product views can deliver the comfort level required to create sales.

To translate the offline luxury experience, we have used innovative technologies to provide some of the same benefits as a retail store. An online chat option and a personal shopper mimic the services of an upscale retail store. We also have a customization option for key Izmaylova garments. We offer a layered experience that is interactive. We use extensive visuals, such as colour-schemes, video clips to showcase clothing, slide shows, three dimensional product view zoom to show features and textures.


Do you think it is necessary to have an offline presence as well?

In fashion, seeing, touching and trying on a garment is important. While better online merchandising and product visualisations have undoubtedly enhanced the e-commerce experience in recent years, it is still very far from replicating the in-store experience. Finding the right fit also remains a significant problem. Antonina and I have discussed opening as series of pop-up offline stores providing customized fittings.


We have gone online to find our way back offline.

Without doubt, our online world has created more dynamic offline experiences. If anything they have made them more valuable. But this is the future; all commerce will have an online and offline component.

Moscow is a city shrouded in myth; a nation known but unknown to world. Despite the resolute convictions and general publicity entangling the city’s identity, a looming sense of unfamiliarity hangs in the air. Pushed and pulled between stereotypes and actuality, it is a place that one travels to expecting to be challenged. It is a city that is studied, scrutinized, written about and watched in the news, but apart from the sensationalism, Moscow is no different from any other city. Perhaps this is not revelatory, maybe edging on being transparently expected, but it is a city that cannot be understood without standing on its soil.

Moscow, very simply, is intimidating; the language, the mannerisms, the expressions, the general atmosphere cannot be elaborated. There is no flare, much like the people, who are very direct in their ways. Nothing is hidden, and in this rests an intensity and spirit – an electric current that has inspirited poets, created and dismantled the nobility single-handedly, caught the world’s attention during the Cold War and has, at times, equally antagonised and contributed to the greater good. It is a place where the past collides fiercely but also unusually with the past; at times in plain sight. This frankness, however, is the charm of the city.

A Short Interview with Nathanael Gam

When was the first time you travelled to Moscow ?

My first time was in 2000, at the age of 13.

What was your first impression of the city, and how has it changed ?

Moscow intimidated me!  When trying to think of how to describe my reaction to Moscow, I tried to come up with a good manly sounding word, but unfortunately all of them are inaccurate.  It intimidated me, and that is all there is to it.  I did not even realize that was the reaction until later reflection.  While I was there for the first week, I was toying with words like disoriented, confused or unsettled, but when it gets right down to it, they do not really fit.

I did not have any real expectations for what I would see in Moscow, so it is tough to say I was surprised or not surprised. Most of the intimidation I talked about was just a matter of not being able to navigate around. 

Today Moscow is a bustling metropolis where the past collides fiercely with the present. Its rich and varied heritage is evident on every street corner, beaming with secrets from long ago. If you get a cultural overload from the museums, you can go to Gorky Park to refresh. Enjoy the amusement park during the summer days and watch the skaters in the winter when all is frozen over. Otherwise, Moscow is a fabulous city to walk about and enjoy as Muscovites go about their daily affairs. In the evening, Moscow has acquired a splendid reputation for its world-class restaurants and nightclubs.
 

When you think of Moscow, what is the first thing that comes into mind ?

Centre of Art and Art History…!  While St. Petersburg might arguably rival Moscow with its collection of art at the Hermitage, Moscow is home to the culturally significant Tretyakov Gallery. The Tretyakov Gallery is the world's most important museum of Russian art. Famous Russian masters - Repin, Vrubel, and others - have special places in Moscow's Tretyakov Gallery. The Armory Museum holds a special collection of jewels, crowns, thrones, and carriages from royal Russia. The Armory's State Diamond Fund preserves these important symbols of Russia as a tsardom and empire.

How does this city inspire you ?

I call Moscow my muse, the city that inspires me… Think Alexander Pushkin and Nikolai Gogol…! Russia's greatest writers were familiar with Moscow, and many lived in the capital city at some point during their lives. Some were born there, others died there, but they all left important traces of their lives for literary visitors to pay homage to. Moscow is home to many Russian author museums that seek to stop time for the writers' greatest fans. 

Has anything surprised you about the city?

Revolution swept the Russian Tsars out of power in 1917, but, judging by the room rates, Russian hotels have never quite let go of the country's aristocratic past. Hotels in Moscow are by far the world's most expensive!

Reflect upon Moscow’s modernity

Moscow was Russia's capital before Peter the Great moved the capital to his new city, St. Petersburg. But Moscow never lost its intensity or spirit - one that has inspired authors and poets, ensnared the nobility with its charms, and proved to be the centre of Soviet mystique during the Cold War. Moscow represents both the Russia of yesterday and the Russia of today.

Reflect upon the city, its ambience, culture and people

To those who know only the Moscow of the Soviet Union, the city today will look as foreign as Moscow did to the rest of the world during the reign of the Cold War. The dynamic and breath-taking tempo in which the Russian capital is growing is simply unbelievable – this is by all means the official “boomtown” of Europe.

Reflect upon how you view the city as being a foreigner

Unlike almost everyone else in my family, I had never been to Russia before.

This is a nation I studied in history, read about in literature, watched in the sporting arena and followed in the news, but I had never actually stood on Russian soil and seen this country for myself. And, to be totally honest, I was excited but not entirely sure what to expect.

In many ways, Moscow offers no surprises. The city is not unlike any other major European capital, with busy streets, plentiful shopping, international brands, ancient sights, night clubs and restaurants. It represents the kind of affluence you would expect of the capital of a developed country with a booming oil industry.

But then you remember that just over 20 years ago this was still a Communist country -- while just over 10 years ago it may have found political freedom but was struggling for any kind of prosperity.

But things are very different today.

GUM, built in the 1890s and subsequently Communist Russia's leading department store, is now an up-market shopping arcade overlooking Lenin's mausoleum. I couldn't help but ask myself what the founder of Communism would make of such blatant Capitalism located right at the heart of his capital city.

What do you do or see always when you visit the city?

The classic Moscow of the Romanovs, Leo Tolstoy, ballet impresario Sergei Diaghilev and cellist Mstislav Rostropovich is well known around the world: The Kremlin, the Bolshoi Ballet, the Tretyakov Gallery, the Pushkin State Museum and the Conservatory top my to-do lists.

Find here a list of places in which I like to eat, learn, shop and be entertained…

-          CAFÉ PUSHKIN – Restaurant

-          CDL – Restaurant

-          GALLERY CAFÉ – Restaurant

-          VARVARY – Restaurant

-          O2 LOUNGE – Restaurant

-          ESPA – Relaxation

-          BARVIKHA HO TEL & SPA – Relaxation

-          THE KREMLIN – Cultural

-          ST BASIL’S CATHEDRAL – Cultural

-          RED SQUARE – Cultural

-          STATE HISTORICAL MUSEUM – Cultural

-          SOHO ROOMS – Entertainment

-          CITY SPACE BAR – Entertainment

-          BARVIKHA LUXURY VILLAGE – Shopping

-          GUM – Shopping

 

London is a city that is felt rather than explained. Apart from its cobbled streets and the constant hum of people coming and going, the city’s spirit is found in its subtleties. After time, like all metropolises, its grandeur fades away: the labyrinth of passages which cut through the city lose their mystery, the eclectic skyline becomes less mesmerizing and the deep pulse of history becomes familiar. The ambience of London, however, lingers not in its appearance but in the sweet, magnetic charm it whispers throughout the seasons, whether cloaked in fog or drenched in rain. It is an emotional city, caught between polarized skies; producing a diverse range of impressions which best explains the root of its elusive tenor. A city of sound, it speaks through the gentle patter of rain, the sound of teaspoons turning inside china cups or despondent sighs following the crinkle of newspaper.

Perhaps these mundane and overlooked idiosyncrasies stir London’s profound creativity. Known for attracting and nurturing some of the world’s most enterprising fashion and textile talent, London is considered a creative Mecca. An inspired energy clings to the city; a heavy but rousing sensation that surges through college lecture halls, galleries and particular streets. Every year, these subtleties seduce the farthest corners of the world, enticing many to leave familiarity and comfort to become ignited by the city - to find something.

Sitting across from Antonina Izmaylova-Gam, it is challenging to ignore her profound sense of serenity; it permeates the room, softening disarray with gentle persuasion. Despite the constant flurry of meetings, appointments and travels which govern her schedule, Antonina is a calm creative force. Unfazed by the duality of her responsibilities, as creative director and business woman, she has nurtured the label which bears her name with poise and confidence. The Central Saint Martins alumnus discusses history, the colour black and Izmaylova’s contribution to “Made in England.”

“Sometimes, an idea remains just an idea. It is a part of the creative process - what can be captured and what remains free”


Antonina, inspiration is normally derived from the past – why is this?

I think most of us are intrigued by the past.  What it was like to live in a time other than our own. There is a certain charisma and romance to history. As a child I would spend hour upon hour in art galleries or wandering the halls of Catherine’s Palace lost in thought. Tracing the gold, baroque mouldings with my fingers. History is a dream world. It profoundly influences the way I design.


Would you say the past is more inspiring than the present?

The past is easier to understand because we can reflect upon it; we don’t have this luxury in the present day because we are in it. But inspiration can come from anywhere or anything.


Do you actively seek out inspiration?

There are particular things in history that constantly inspire me. Moments in time.  Places or buildings. I consider these ongoing inspirations that can be found in every collection.


Such as?

The 1920s. It was bold and revolutionary. At times, decadent. I love how the garments complimented the natural curve of the female form, rather than aggressively accentuating or restraining it. They were free flowing. The emancipation they enabled – the incredible freedom which I believe paved the way for ongoing innovation in design but also the challenging of conventions. What is considered feminine or masculine.


Other times, inspiration finds you?

Yes, inspiration can arrive at anytime.  Catalyzed by anything. It is a journey. You never know how it will happen.  It is a very organic process; it can evolve from the most unlikely and ordinary sources, entice any of the senses, or peaks your curiosity like how ostrich feathers move.


There is an element of design that is less spontaneous or creative, the moment when inspiration is made into something practical.

The first object I designed was not a garment but a piece of furniture inspired by the Surrealist movement. A chair with integrated book shelves. I am constantly inspired by other design disciplines like architecture.  The precision. The process of designing and creating a beautiful building also applies to tailoring a perfect garment.


When creativity meets practicality.

Yes. The garment begins with a thought, a concept or a feeling. The thought is then captured with a sketch, from this moment the most interesting part begins - when a two dimensional idea becomes a three dimensional creation with a purpose. When the creator meets the conceiver. The pattern helps it achieve ultimate perfection, sometimes this is also where the process stops. When an idea remains just that.


Creativity that cannot be captured?

Sometimes an idea is just not possible. It is a part of the process, like sketching. It can take hundreds of sketches before you get it right and feel totally in love.


Architecture is very permanent, whereas clothing is very temporary.

It is easy to assume this, but it is not true.  I think to a certain extent, most designers want their collections to be timeless. It is the mark of a true designer, when you are able to wear their creations regardless of season or time. The most challenging part of creating a timeless garment is to achieve the right balance between modern and classic.


You derive this from your surroundings as well.

Growing up in Moscow I was inspired by Imperial Russia; the rich heritage and opulent architecture. The ballet Russe and opera.  My family, particularly my mother, always taught me to respect your heritage. This is a value I try to embrace in my work.


To respect the past?

We have infused our collections with Russia’s past and London’s modernity. Studying at Central Saint Martins made us appreciate its forwardness, but also its street fashion, ambience and combination of architectural styles. You need to have an open mind.  Open yourself to new influences. But also giving heritage modern relevance.


Would you say Izmaylova’s atelier is a testament to this?

Fashion began by hand. We have invested in those who preserve this history through craftsmanship. Our pattern-makers, seamstresses and embroiders possess these very technical skills, but give them a place in the modern world. There are very few brands that produce their garments in-house or have an atelier like we do. With the rise of mass production and fast fashion, these values have been undermined. Craftsmanship is timeless.  It is a beautiful and poetic commandment of excellence. A shared experience, human contact on the material. It is a gift.


Colour can also help a collection transcend time.

Black is one of the most beautiful colours, yet it is the absence of everything. It is known but also unknown - this is its attraction.  Quite simply, it is the embodiment of power.  Something that can be had, but not. It is the colour that best describes us. Fashion is not only about having, but feeling.


An emotion.

Dressing is incredibly emotional. It conjures memories. As a child, I often accompanied my mother to stylish boutiques around the world, watching in admiration as she purchased dresses for the ballet or opera. My desire to design for elegant, pragmatic and enigmatic women, just like my mother, started here.  I believe black embodies their spirit. A woman who is not afraid of being luxurious.


Or seductive.

Yes!

No matter where life may take us, the comfort of familiarity can be found in the most unlikely places when they are least expected. At Izmaylova, we breathe for the written word. Wander through our offices at any given time, you will find a fascinating array of magazines, newspapers, literature and non-fiction casually occupying desk corners, lining the inside of drawers, or hidden underneath paperwork. When our travels take us around the world, we are always struck by the similarities connecting the destinations we frequent. Regardless of locale, a newsstand or magazine vendor can always be found. Although the languages are different, we always indulge our curiosities.

At Izmaylova, we produce our atelier collection and bespoke commissions in our London-based studio. Sourcing the best textiles, materials and talent this country has to offer, the ‘made in Britain’ movement is close to our hearts. In this article we survey what it means and why it has captured the world’s attention.

What does ‘made in Britain’ mean? Instantly, the question conjures an intricacy reminiscent of a Rorschach test. First, the mind is bombarded by a sequence of visuals. Through a stream of consciousness, the mind releases itself into a haphazard series of obscure but somehow profoundly relevant images that flicker behind the eyes. The rapid overload then eases gently into a sensation; an emotional tenor the mind then attempts to translate through words, where the question rears its true convolution. The answer is elusive, wrapping the well-versed and eloquent in a linguistic conundrum – but perhaps this is the solution. While many will attempt to answer what ‘made in Britain’ entails by traversing history and solid, factual information, the connotation bears something beyond facts and simple language. The attraction and invigorated global interest rests in heritage.

There is something particularly nuanced about heritage because it is irrefutable. Whether it falls in or out of favorability, maintained or neglected, polished or left untreated - heritage is a perpetual narrative. When examined in a broader sense, it can be viewed as a curious contrast against its fashion backdrop, which by definition, is an ever-changing, responsive concept that adapts to the world around it. Heritage, on the other hand, can exist in a selfcontained bubble – a precious vacuum where it quietly absorbs or catalogues what permeates its fickle continuum.

But for something that has aroused considerable interest in recent years, an accurate definition of heritage can easily slip through the fingers. Encompassing both the intangible and tangible, precedence is typically given to more obvious attributes grounded in nostalgia or clichéd aesthetics. But this ability to move between physical qualities and emotional undertones, however, poses a considerable challenge when attempting to define heritage. Opinions are profuse: Mary-Adair Macaire, former chief executive of Pringle of Scotland, asserts that heritage is “about the physical artifacts and intangible attributes which connect the brand to its past,” while Patrizio di Marco, chief executive of Gucci, notes how the word “should not be interpreted as a sort of nostalgia - sweet longing for the past - nor as a marketing tool . . . Authentic heritage is something that you can see, feel and sense in every product.”

Although heritage lacks a concrete definition when applied to fashion, key themes can be extracted. First, heritage assimilates the past, but it is not interchangeable with history as the term is not restrained within the borders of retrospection. With this in mind, heritage is often spoken about in an emotive manner that is not nostalgic but applicable to the present day, incorporating a broad survey of a brand’s factual, visual and emotional continuity. With this in mind, one could argue the concept of heritage is simultaneously dependent upon time however the strength of its appeal resides in its ability to transcend it.

And within this revelation, the appeal of ‘made in Britain’ is found. The label, ‘made in Britain,’ conjures very specific British aesthetic hallmarks, attention to detail, traditional craftsmanship and unquestionable authenticity, but what draws many to its doorstep is the comeback of all things local, all things with a sense of place and how they’re surfacing in a world dominated by not only globalism, but a lack of story. This ability to participate in something that is so diverse and compelling, by merely interacting with an item connected to the ‘made in Britain’ tenor, is enough for many consumers to feel they have chosen intelligently. ‘Made in Britain’ offers a story, a connection to what was, but also what continues to be.

Autumn/Winter12 Lookbook