• Tommy Hilfiger and Shawn Mendes Presents Partnership

    Written by Yasmine Mubarak

    When Shawn Mendes walked the Met Gala carpet earlier this month, he wore an upcycled Tommy Hilfiger outfit inspired by the sea. Little did we know, it was a part of something greater – a future partnership. This week, Tommy Hilfiger and Shawn Mendes officially revealed their partnership, Play it Forward, as the next step in the brand’s evolution and sustainability journey.

    To start, the Canadian GRAMMY® nominated singer-songwriter is fronting the Summer 2022 “Classics Reborn” campaign, a collection made of sustainable material. Mendes will also use sustainable Hilfiger outfits on his upcoming world tour Wonder: The World Tour. While the brand donates USD$1 million to mitigate and offset the environmental impacts of the tour.

    The TOMMY HILFIGER “Classics Reborn” campaign was shot by Craig McDean and features Shawn Mendes wearing styles from the 1985 Program collection, including the iconic 1985 polo which is made from organic cotton. Throughout the 1985 Program’s 2022 collections alone, the use of organic cotton reduces CO2eq by about 48% and avoids 692 tons of emissions — equivalent to 641 one-way flights from London to New York for one passenger. Shawn Mendes also wears more sustainable denim that is produced using 20% post-consumer recycled cotton and requires less water and energy during its finishing stages.

    As a key milestone of the partnership, Tommy Hilfiger and Shawn Mendes also will also introduce a co-designed capsule collection in Spring 2023. It will feature quality styles that reimagine classic TOMMY HILFIGER pieces with circular design while scaling material recycling innovations.

    In a Twitter post Shawn Mendes says ''…I’m partnering with @TommyHilfiger to bring more sustainable clothing to the forefront. Tommy is reimagining the classics using more sustainable materials, & has made a $1mm commitment to greening my tour. This is just the beginning…''

    Take a look at some of the pictures from the Shawn Mendes in the Tommy Hilfiger “Classics Reborn” campaign, and read more at Tommyhilfiger.com

  • Moley Talhaoui, 2022, © Jimmy Backius


    Written by Lina Aastrup

    Moley Talhaoui

    ”Retrointrospective” at Ganymede, Hjärnegatan 3, Stockholm

    May 19-22, 2022

    Moley Talhaoui is a brilliant artist who Odalisque has been following ever since our very first print issue. We met up with him for a chat about the upcoming show – “Retrointrospective” – his first in Stockholm in ten years. Make sure not to miss the opportunity to see his works live at Ganymede, this week only.

    Lina Aastrup: This is your first show in Sweden in a long time, how come you so rarely exhibit here, even though you are based in Stockholm?

    Moley Talhaoui: I have mainly worked with galleries in London and the US for many years now, so it just so happens that this is where my focus is normally. There is also something different about showing here – I wouldn’t call it difficult, but it feels special and important somehow.

    LA: Could you tell us about your new exhibition?

    MT: I was actually supposed to exhibit in Stockholm in 2020 already, but it was right when the pandemic hit, and everything was cancelled. “Retrointrospective” is comprised of large scale paintings created on site in Stockholm from 2017 until very recently, including three entirely new works that have never been shown before.

    LA: Why this particular series of work?

    MT: From 2017 and onwards, my artistic practice has expanded in width. I never work on specific themes for my exhibitions, every work I create is part of the same narrative. They build on each other, which is why organizing the exhibition chronologically makes sense.

    LA: And this narrative is?

    MT: In my work, I am constantly searching for the true, universal self that we are all part of, that predate the individual selves that make up Moley or Lina for example. The way I see it, we are all connected. I feel there is a certain expectation from society that coming from my perspective, I would have to focus on topics like precarity, inequality or being a racialised body. These are of course really important topics to deal with in art, but I never considered life to be that divided. When you see everyone as part of the same soul, it becomes clear that the differences between us are really just different contexts or different parts of the same journey in life.

    LA: When looking at your paintings, I cannot help but noticing some recurring motifs, like the apparently skin-less body. What does this particular iconography mean to you?

    MT: Everything I do, all the symbols and motifs, have a specific meaning in my world. But the beautiful thing is that they also function like a Rorschach test. The viewer brings their own references to the art experience, making their own reflections and assumptions about what they mean. Ultimately, what they see is more about them than about me. And that is something I would never want to deprive the audience of by sharing what I thought about when making them.

    Regarding the bodies, I never aimed to make them look “skinless”, but I have heard that particular interpretation many times before. If you look back in time, to around 2008-2014, I made a lot of skeletons. After that I had a period of obsessing about Santería and conceptual spirituality. I think all spirituality is a reflection on what we all feel, it is just the conceptual framing that differs, be it Islam, Christianity or voodoo. These bodies I have been working on for a while now could be seen as a way to connect the skeleton, the spirit and the body. Either way, I feel like as if I have reached a point where I am connecting the dots and completing this whole narrative in a holistic way which is also why it felt so right to share my work through an exhibition at this moment in time.

    Moley Talhaoui, 2022, © Jimmy Backius
    Moley Talhaoui, “Sensithief”, 2020. Oil on canvas, 200x150cm. Photo by Dimitris ’Dimman’ Vulalas.
    Moley Talhaoui, “Mindcraft”, 2021. Oil on canvas, 140x140cm. Photo by Dimitris ’Dimman’ Vulalas.
  • CHANEL Cruise 2022/23 backstage

    Written by Fashion Tales

    Heading to Monte-Carlo for the CHANEL Cruise 2022/23 collection.
    “To me, Monaco is a matter of feelings above all. That’s Karl, Caroline, Charlotte,” says Virginie Viard.
    “From very early on, I knew we would hold a show there, and more precisely at the Beach Hotel. Besides, Karl was
    dreaming about it. From this magnificent venue, one can glimpse his villa, La Vigie.
    I will never forget the times I spent there: terraces and balconies, big umbrellas, baskets of flowers - so much beauty.
    ”The trailers of the collection, directed by Sofia and Roman Coppola, stage a group of girls
    enjoying boat trips, bathing in the sea or motor sports. “A sporty atmosphere, but not only.
    There are lots of tweed or silk jumpsuits lined with light terry cloth. Many sequins and flowers shape
    embroidered plastrons adorning thinly striped long shirt-dresses with white high collars – a nod to
    Karl –, a sequined midnight blue dress, or backless tops worn over wide-cut trousers.”
    Inspired by the Monte-Carlo ballet and the dancers’ pointe shoes, black satin shoes are adorned by thin strass buckles.
    Bags are shaped like tennis racquets. The flowy and shiny swimming suits are twisted into asymmetrical black skirts or draped dresses.
    “The first time I saw Caroline was on the beach in Monaco. She was wearing a draped black dress, very thin tights and heels,” recalls Virginie Viard.
    “Monaco is inherent to the history of CHANEL. We have lived so many happy moments there.”