Jerseys were reworked into togas, gladiator helmets were paired with dual toned denim and cropped hoodies were overlaid over top of corsets.
Synthesizing elements of modern day and antiquity, No Sesso created a refreshing collection reflecting a contemporary Renaissance. Check out photos from the presentation below.
Never failing to stay true to what the brand is known for, this collection contains the much loved and timeless shearling coat. Within that vein we still see pieces that are tailored with sharp clean lines, but still deconstructed and in line with the experimental feel of the collection as a whole.
Coming to life within the Covid-19 pandemic, Anderson took the opportunity to experiment with not only the clothing but how the clothing was brought to life for the public. Working within the regulations of lockdown and runway shows being pushed to the sidelines, Anderson created a series of posters to be placed all over London. This brought the collection from the drawing board, to the showroom, and finally to the public for any and all to see and experience.
Check it out below.
Founders Max Tsiring, Hugh Mo and Dominik Halas talk with office about their beginnings flipping clothes on e-commerce sites, working with Kanye West, acquiring Raf remotely during job interviews, and finding style inspiration in Rainer Werner Fassbinder.
Left — sweater MARNI AW 2019, boots BALENCIAGA AW 2018, hat PRADA EARLY 2000s
Right — top JEAN PAUL GAULTIER 1990s, bib COMME DES GARCONS HOMME PLUS AW 2015, pants VERSACE 1990s, boots GUCCI EARLY 2000s. RIGHT; shirt RAF SIMONS SS 1999, hat CALVIN KLEIN 205W39NYC AW 2018
Tell us a bit about your backgrounds..
Dominik—I was born in Nitra, Slovakia and moved to the states at age four. My mother had wanted to become a fashion designer but couldn’t because of Slovakia’s Communist government. I was raised in Montclair, NJ, and developed an interest in fashion at age 13. I’d hit a point in my life (aka puberty) where I started developing my own interests outside of school - for me it was philosophy, rock n’ roll and electronic music, modern art, and fashion. My parents laughed at the idea of buying a $100 t-shirt, so I had to think of creative ways for myself to make money to purchase what I wanted. I began reselling Hedi Slimane era Dior Homme, mainly from yahoo! Japan, and eventually moved onto Helmut Lang and Raf Simons. By the time I began studying at Brown University, where I majored in History of Art and Architecture, I was one of the most prominent resellers. It was around this time I began selling to David Casavant, and eventually became his first employee, as well as interning for Robert Geller. As soon as I began interning for Robert, he received a call from Kanye West asking to consult on Season 1 of YEEZY. Little did I know at the time, I was selling David Helmut and Raf pieces which were being rented to YEEZY as references for the exact pieces I was helping sketch with Robert Geller. I later went on to consult for YEEZY again with David, this time Season 5, and was even tasked with personally giving Kanye a presentation on the design of the original Helmut Lang stores. In addition to Artifact, I now guest lecture and occasionally critique at the Rhode Island School of Design’s Apparel Department.
Hugh—I was born and raised in New York — the suburbs to be exact. I was very into cartoons as a child, which lead into obsessions with toys and card/video games. I have always grown up with an attention to the whole universe behind products and having a voracious curiosity about the collectible aspect of them. I also have always had a competitive gene, so going to get the best of something or being very well researched and the most informed was always something I took on as a challenge. I guess one can say I’ve been a really picky and high maintenance consumer since day 1.
I went to Bowdoin College in Brunswick, Maine for undergrad and did not study anything close to what I am doing now with Artifact — funny how things work out. I ultimately became really heavily invested in developing a social media following depicting my fashion taste (mostly hype pieces and streetwear brands at the time) and working with a photographer on campus who was also trying to develop his portfolio. I grew up as a sneakerhead and a hip-hop culture fan (I grew up in Queens) so I was already aware of how to buy/sell/trade on peer to peer markets and I was able to locate highly sought after pieces and start collecting quite easily. It’s all about where you look. At the time, I was essentially renting the clothing I was using in my content — buying it and then selling it later down the road since I didn’t like holding onto things that were going to be “old” after a season or two.
Left — top PRADA AW 2007, pants 1990s, hat RAF SIMONS SS 2003, vest MAISON MARGIELA 2000s, boots DIRK BIKKEMBERGS 1990s
Right — sweater BALENCIAGA AW 2018, jacket RAF SIMONS SS 2003
What draws you to particular designers? Do you covet some over others? Why do you find that is?
Max—I'm drawn to different designers for different reasons. It could be anything from peculiarity to functionality. I do find that once I connect with a body of work from someone I will immerse and consume until my interest (or money) is spent.
D—I’m drawn to designers that are progressive for their times (whether evaluated in their original context, or in retrospect) and resonate with evolves my personal aesthetics and values. Since we “represent” a lot of these older designers works or specific periods of their careers to the public eye, I try to make sure our inventory reflects not only iconic pieces, but also lesser known yet equally interesting works. Someone like Helmut Lang completely shifted the paradigm for fashion, and will always be remembered not just for his physical garments but the impacts he’s had on designers after him. His approach was archetypal and abstained from any kind of excessive ornamentation (a nod, I’m sure, to the philosophy of his fellow Viennese Adolf Loos). To many, his pieces may read as too plain or minimal, but he forced designers to think not just about how much a spectacle the garments would create, and rather focus on how wearable and how timeless they would become, how the materials would perform. The overwhelming success of his method is evident in the fact that nearly every designer working today has taken something from Helmut’s work.
Left — model on left wears top RAF SIMONS AW 2002, shorts BALENCIAGA AW 2018; model in middle wears sweater JEAN PAUL GAULTIER 1990s, dress PRADA 1990s, pants JIL SANDER 1990s, boots DIRK BIKKEMBERGS 1990s, scarf MISSONI 1990s, hat JEAN PAUL GAULTIER AW 1993; model on right wears sweater BALENCIAGA AW 2018, jacket RAF SIMONS SS 2003, pants RAF SIMONS
Right — top RAF SIMONS SS 1999, pants, coat CELINE AW 2019, sneakers RAF SIMONS AW 2012, sunglasses PRADA AW 2018
What are some of your favorite looks/people you’ve rented to so far? Who are your dream clients? and what would you put them in?
D—Anything we’ve rented to Carlos Nazario has always come out looking amazing. In my opinion, he’s one of the most talented young stylist today, and it’s always an honor to work with him. My perspective on the possibilities of a piece always evolve after seeing how he presents it. In terms of dream clients, I would love to see Yves Tumor wearing Artifact, though I would hesitate to put him in something specific as I would be more interested to see what he naturally gravitates towards.
H—Billie Eilish in the Raf Space Pants. Rihanna in the End Racism Shirt. Cudi in a full look with the LV Mohair Top and the Astro Pants. I don’t have a dream client, probably because it feels like we’ve already dressed all the ones I would have said were dreams when I first started the business. I don’t want to set any expectations or goals because I want to dress whomever has a deep appreciation of the pieces in the archive.
What are each of your favorite pieces you’ve collected?
H—Raf Parachute Bomber SS03, I was spam emailing the seller/platform that held the sale and had a friend do the same and somehow he got through — he ended up being the one negotiating on my behalf while I was in a job interview. You could say part of my mind was not focused on the interview. I managed to score it and had to go back home in Queens to retrieve a check, just to come back into the city and collect the piece. It’s never been sold again since I purchased it, and god knows how long it will be before it appears again. It’s I think without question a top 5 grail in menswear for most people.
Left — tops PRADA 1990s and HELMUT LANG 1990s, pants JEAN PAUL GAULTIER 1990s
Right — top MIU MIU 2000s and HELMUT LANG AW 2003, sleeves JEAN PAUL GAULTIER 1990s, skirt MAISON MARTIN MARGIELA 1990s and HELMUT LANG SS 1996, heels HELMUT LANG AW 2004
Most memorable pieces of fashion you bought for yourself before the archive?
D—My most memorable piece would have to be my Dior Homme by Hedi Slimane Napoleon Jacket from the Fall / Winter 2003 ‘Luster’ collection. It was something I wanted since middle school, and had to restrict myself from spending any money for half a year to save up for it when I was finally ready to purchase during my junior year of college. I bought it in cash from a physical therapist in the Bronx, and we met up in a fried chicken joint to conduct the deal.
Have you been able to make Artifact a full time gig?
M—Artifact and my band Kitten are my obligations.
H—It is my current full time job, since May when I graduated from NYU Stern for my Masters of Business. Our next goals are to take this business to new heights and to grow even more rapidly. We’re going to start opening our doors to other business opportunities/revenue streams and are looking forward to grow together with our current clientele.
Left — top RAF SIMONS SS 2002, shorts RAF SIMONS SS 2000, sleeves RAF SIMONS AW 2017, sneakers RAF SIMONS AW 2012, mask 1990s
Right — jacket BALENCIAGA AW 2018
What are your other passions?
D—Outside of fashion, my life revolves around different facets of culture, namely film, music, and literature. I find these tend to inform my sense of fashion greatly, and offer a different approach or understanding clothing. I’m currently trying to watch every Rainer Werner Fassbinder film, and can always be found re-reading my favorite works by David Foster Wallace. Music, on the other hand, proceeded fashion for me and is a passion shared by my entire family. My father collects vintage vacuum tubes and builds his own audio equipment (he even made a custom shelf for it that floats on magnets to avoid disruption and the sound quality is so good you can hear orchestra members turning the pages of their sheet music) and my younger brother is a very talented multi-instrumentalist and producer who collects vintage guitar pedals. To me, music is as instrumental to conveying a mood or perspective of a given style as the clothing itself.
Left — swimsuit GUCCI SS 2000, harness HELMUT LANG SS 2003, sweatshirt HAIDER ACKERMANN AW 2014, shoes CALVIN KLEIN COLLECTION 2000s
Right — jacket RAF SIMONS SS 2018, pants HELMUT LANG SS 2004, hat YVES SAINT LAURENT RIVE GAUCHE AW 1998, boots RICK OWENS AW 2009
The collection further features tees that read “freedom always has a price” and contains multiple pieces referencing Eugene Delacroix’s Liberty Leading the People. To help celebrate this new beginning, office solutions caught up with Awuye and created its own take on the F/W ‘20 collection’s nonconformist attitude.
Tell us a bit about how New Regime started.
The project started in 2009 as an outlet for self-expression. It was a passion project with a hustler’s spirit at its core. Back then, we were designing in bedrooms, stocking t-shirts in basements, and selling them out of car trunks. It was all fuelled by a love for art, design, photography, and street culture.
Where did you draw inspiration for this collection?
At the end of 2019, I was in a really dark place mentally after experiencing a multitude of negative events as well as the biggest challenges in my life to that point. Starting in 2020, none of the original Atelier New Regime crew members were still around. I let my most experienced staff go, and had to take on a new set of responsibilities. I saw this as a fresh start as I gathered a whole new team coming into the new year. I convinced them to be the new engine to this Ferrari.
Although I had a plan, I was fearful I wouldn't make it through the first quarter. Some of our partners felt the brand was not going to survive all these changes and became reluctant. There was a lot of negativity directed towards me, but my drive never let me give up on the people that still believed in the brand. I was hungry as ever and had to channel all this energy into my craft. This collection was a proclamation; coming out of all these situations triumphant. It’s a step out of my comfort zone and one towards creating things with purpose and meaning. I like to think of this as my debut collection.
This collection incorporates phrases like “guilty of innocence” and “freedom always has a price”. How did you go about choosing these and what significance is behind their opposition?
What we go through makes us better understand who we are, our aspirations, and what we value in life. It was a time where I would pull myself over to avoid police harassment. My experience has allowed me to value the importance of using our platform to share these messages. The "Guilty of Innocence'' slogan really came from being persecuted or judged one too many times based on characteristics that were irrelevant to the accusation. I want to be able to move freely, no matter if it costs me a potential opportunity. My hoodie and durag stay on before, during, and after meetings.
Favorite piece from the collection?
The "Liberty Bubble Jacket” — the symbolism behind the raised flag alone makes it the most powerful piece of the collection for me. Plus, I have a thing for bombers!
What’s the significance of releasing this collection at such a culturally monumental point in time?
This is not new to us. With slogans like "Peace in the Middle East”, "Usual Suspect”, "We learn all our gang shit from the government”, every message we try to relay comes from personal experiences we feel others can relate to. The last couple of months have been quite challenging in every aspect imaginable for all of us. This collection was intended for self-motivation, while we were at war behind the scenes. It just so happens to come out at a time where these topics made the news.
Atelier New Regime encompasses a self-proclaimed “hustler’s spirit”. How has that ethos been brought into these pieces?
50 Cent once said, "one thing you can always count on is change.” Being able to adapt to many and any situation is the true characteristic of a hustler. A true hustler is going to make it happen, by any means, because his life depends on it. This is how we treat our brand. This is it and we'll always find a way to make sh*t work. It's the same mentally when tackling any project. We faced a lot of challenges in the development of this collection, COVID was the cherry on top.
There's a new brand that pops up every other day. To last in this industry, you must have something special. I've come to realize that we're in the business of changing lives, not fashion. For as long as we can inspire others to believe in their ideas, change their world, and inspire others, the New Regime saga will continue.
