Bruuns Bazaar SS13 collection
Bruuns Bazaar
Spring summer 2013
A modern version of a very traditional piece
Arne Jacobsen’s elliptical floating and off centred floor lamp in steel and linen designed for the SAS Royal Hotel in 1956 has together with Dutch Scholten & Baijings Colour Wood side tables in thinned wood designed for ‘Karimoku New Standard’ Japan in 2009 inspired Bruuns Bazaar spring summer 2013 collections.
Tinted, translucent and overlayed. Soft pastels are mixed with bright fluorescent colours. From tinted pink Delicacy to Peach Bud and Camelia. From Bluewash to Mercury, Iceberg Green and Storm Blue.
Colour block and colour contrast, translucent printed graphic stripes, printed hounds tooth and simplified printed neon stripes ads minimal but bold decoration to simple summery styles.
Light and crisp cotton qualities, papery poplin, men’s shirting and tight cotton twill are used for simple utility inspired styles. Bonded foamy trench qualities and spongy cotton are used for sophisticated outerwear, a beautiful duster coat with a gold zip detail, a trench with an exaggerated storm flap and a super modern elegant parka.
Silhouettes are clean and graphic with emphasis on easy sack dresses, boxy woven t-shirts and neat top and trousers combo’s. Melange stretch linen, sporty jersey-like scuba and the softest lamb leather ads a grown up sensibility to sports wear inspired silhouettes enabling track pants, t-shirt dresses and cycling shorts to suddenly belong to a working wardrobe. Lightness and fluidity is added in easy summer styles – a sweatshirt inspired printed front woven top, neat boxer shorts, an easy batwing dress and draped dresses in printed habotai and solid stretch silk. A fitted sleeveless top and a rich pleated skirt in double silk organza forms the reduced evening offer.
Minimal pointed mid heal pumps, flat pointy slippers and almost-not-there sandals. Skinny belts and leather bags in mini, midi and shopper size finishes of the look. Easy fold out nylon shoppers and click-together-purses in leather and vinyl dresses down the collection for leisure and beach time.
BRUUNS VS BAUM
Bruuns Bazaar & Baum und Pferdgarten launches new store concept in Copenhagen
In line with the vision of offering contemporary fashion with strong references to the Danish design heritage, Bruuns Bazaar & Baum und Pferdgarten has opened a new combined store Friday February 1, in Vognmagergade 2 in Copenhagen.
The space of 350m2, created by architect duo Peter Bundgaard & Signe Bindslev Henriksen of SPACE Architecture, shows a brand new store concept that has been developed to be the ultimate backdrop to the Baum und Pferdgarten & Bruuns Bazaar collections.
Taking a stand in a Scandinavian design tradition the interior focus is on classic natural materials such as massive stones, wood and metal, materials that are plain yet carry an intrinsic elegance. The interior elements all consists of five materials that have been combined in different ways to create interesting effects and small universes within the space.
Though understated at first sight the space is rich in detail and contrast. Soft washed oak and grey painted wood are combined with black Nero Marquina marble and white Arabescato Piana, bound together by recurring details of warmly toned brass. Deep hues of neutral colors on the walls add character and create a feeling of intimacy. The consistent focus on quality and longevity can be seen in the use of materials that age gracefully and become more beautiful with age, also evident in the pick of timeless Danish design classics such as Finn Juhl’s Pelikan chair and table bench.
Full collections of the Bruuns Bazaar men’s and women’s ranges will be offered together with the women’s collection of Baum und Pferdgarten. The two brands represent two different but essential sides to Danish style that contrasts and complements each other; where Baum und Pferdgarten is colorful and eclectic; Bruuns Bazaar is edited and understated. Showcasing two of the top Danish fashion houses under the same roof should make the store a true destination for Danish fashion.
Opening hours: Monday-Thursday 10:00 - 18:00 Friday 10:00-19:00 Saturday 10:00 - 16:00
Tel. number: +45 33 77 00 72
Spring Summer 2013
Interview with Trine Søndergaard
The talented artist Trine Søndergaard has been a great source of inspiration in Bruuns Bazaars autumn winter 2012 collection with her beautiful photo series called “Interior”. As a tribute we are, in collaboration with Martin Asbæk Gallery, exhibiting some of her works from the series in our shop in Kronprinsensgade during Copenhagen Fashion Week SS13. We also had a talk with Trine about inspiration, style and tranquility.
What was the first picture you took?
In 4th grade I got my first camera. It was a small, oblong pocket camera from Kodak, which was popular back in the 1980s. I photographed what was around me, my friends and pets. Later the photograph was more of a way to explore the world - rather than just to register. And when I got older and went to photo school Fatamorgana, I found out that I could express anything with my pictures.
How would you describe your style?
I do not think about the word style in my work. It may well be I have one, but when I work, I am interested in exploring a certain world of motifs or condition, and that’s where my focus is. My first works were very confrontational and expressive. Today the images are less contacting, more introverted, because I’m absorbed by silence, inner peace and secrets.
Do you have a favorite object?
When talking about photographing my ‘favorite object’ is particular rooms and portraits. One never tires of looking at people. Just as one can never be finished with his own reflection - to try and understand themselves, e.g. the aging process taking place, constantly changing us. Working with the portrait for me has something to do with the insight more than the individual human being.
What makes a good picture?
There is no formula. The French theorist Roland Barthes says that a good photograph has a ‘sentence’, something that takes or retains the viewer’s gaze. And it is true, but when the good image occurs, it is about a combination of several things: the idea, technical execution, what you see and can frame. Often in a process that you can not completely control yourself. But I give it a long thought before I shoot. I think there are already too many pictures in the world, so I try not to take too many and instead just make the ones that it necessary for me.
Do you have an idol?
Noone directly that I can emphasize over others. But several artists have inspired me over the years. From various art historical periods, both living and dead. And of course a variety of names in photography history. I would say that I find inspiration in a jumble of impressions: art, film, literature, society, debates, etc.
What was the inspiration for the “Interior” series?
It was actually just the fascination of the place. The castle was closed and the rooms inaccessible. They had an atmosphere that made me want to work with spaces of that character. The interiors has not been used for many years and is functionless, but are waiting in a sort of time warp. Of course not forever. You just get that feeling.
What would you like to tell with these pictures?
Like my portraits the interiors have turned away from the world. They address the same mental space as them. There is peace and space to cognition. Several of the rooms have many doors, entrances and exits, large surfaces, which makes motives simple and open to interpretation.
You have previously taken pictures of people and nature. What is the difference between perpetuate living things and static objects?
There is not much difference, but of course I involve myself in another way, when I for example photograph people because it is necessary to communicate with them and instruct them. Over the years I have worked in an interaction between one or the other form. As an art photographer, I have no permanent catalog of genre or motif groups that are repeated. It is entirely up to me, depending on where the idea and the urge takes me.
Your photos, both in this series and earlier, has a certain tranquility about it. Is it deliberate
In the beginning when I photographed, I worked on the basis of a documentary tradition. I wanted to create exciting images that told several stories at once. Since I allowed myself to be ‘boring’. It felt a little forbidden to make pictures that were completely subdued. I do not fell like taht anymore. Now I work quite deliberately testing how quiet it can get without the images lose tension and visual magic.
