Intercolor Winter 2015/16 Conference. Dusseldorf. Germany.


Choices for Winter 2o15.2o16
The aim of this conference, which brought together participants from sixteen different nations, was for all to share the way they felt about 2015-2016 Winter season&rsquos potential trends, put forth arguments for new concepts, discuss new movements in the world and in their own countries and to reach substantial conclusions about exploring new directions, palettes and materials.

This time it was the turn of the German Fashion Institute (DMI). We gathered upon their invitation to the event, this year held in the historical setting of Deusseldorf&rsquos Malkasten. For two days we joined workshops and presentations, together with representatives from all member nations, so that all could share their work from the last six months.

For the most part, the biggest similarities were tı be found in personal lifestyles. We duly drew upon a new consensus based on a more natural, harmonious and emotional environment. To focus on our senses and draw up an agenda to feel those other living beings with whom we share the universe and increase our ability to empathize with the other and everyone&rsquos individual freedom.

We spoke of utopia, digital detox, waves, empathy, living in the future, going back to our roots, spontaneous experiences and many minute details. Colored visual boards, special digital presentations, video shares and brainstorms &ndash all had their place in the many workshops.

As members from Turkey, representing &lsquo34 Color Istanbul&rsquo, we were there to introduce our &lsquoHappy People&rsquo concept. In fact, we introduced the theme by showing the documentary film Happy People &ndashA Year in Taiga. The film documents spending a year with the native people of this Siberian village. In the process of showing the film team their primitive ways of life, and their personal experiences, the Taiga people show what real happiness is.

Directors, German Werner Herzog and Russian Dimitry Vasyukov, filmed the documentary in 2010, and it is truly a masterpiece.

From Siberia once again, we put forth another human portrait, Olga Kostina, a Russian woman who has made art work from her own home. In fact, she collected 30 000 plastic bottle caps and, nailing them to the wooden panels outside her home, we took note of how art should be experienced in the environment in which we live.

That&rsquos why the art of today, which we can gotten used to seeing, we explained at length, has become rooted in our own places, or own enivironments and the places we inhabit.

A new expression was born of all countries various discourses: Numanity, is the new term to describe humanity.

It is a more natural expression in life style and perception.

The visual presentation from Italy, if showing the vivid reality of urban living, full of stress,  hussle and bussle, personal disappointment, unfulfilled expectations, and the consequent periods of isolation, explained that we need to increase our ability to share with one another and treat each other in a humane fashion. It was a rather powerful piece of work.

Together with the other Inter Colour delegates, we designed a more pleasant future with all our senses.

Whilst the ICC celebrates its 50th year in existence, we at Inter colours  celebrate our 17 years in business and have started to have real impact on the formulation of trends in world fashion with every passing day. Motivation has come from this wonderful session and we will be sharing with you, before anyone, the resulting designs.  

Ümit Ünal-Özlem Süer
1 5. 1 6. f a l l .w i n t e r.

*happy people
we would like to announce a new way of looking at things.

A combination of the man-made and the natural order in everyday reality, their relationship is manifest in countless forms. Thus, we aim to reflect on the regular, clockwork pace and rhythm by which nature functions and take it to the personal level. The lyrical vitality of nature that creates positive and peaceful energy is one one which is at peace with its maturity.

This angle is seen in the finished product, demonstrating a different aspect of human creativity. Every moment is signified in the personal and passionate personal aesthetic values emerge as a means of discovering our own personal abilities.

This is a new period of maturity. 
Purely aimed toward bonding people to a natural state of living.
In harmony with the shared creativity of man and nature and the art of life, just to live.

The knowledge, wisdom and skill employed in the trapping trade is inspirational. To watch the trappers wield a hatchet with the ease of a knife through hot butter, build boats, tools, traps and collect the bounty from their environment is to see masters at work. Without the modern amenities of electricity and running water, the daily routines of these people remain unchanged from the methods of their forefathers hundreds of years ago. They are at ease in the wilderness, living through conditions that most will never know. Despite the obvious challenges and hardships of this way of life, we may concur with Herzog's thesis: these are happy people.

Remember a documentary. * Happy People &ndash A year in the taiga, Werner Herzog, Dimitry Vasyukov.

In 2010, Werner Herzog and Dmitry Vasyukov directed the documentary Happy People: A Year in the Taiga, set in the heart of the Siberian Taiga, Russia. The acclaimed film maker follows the lives of a group of fur trappers from the small and remote village of Bakhtia on the river Yenisei.  Access to this community, a population of approximately 300 people, can be attained only by helicopter or boat.

With HAPPY PEOPLE: A YEAR IN THE TAIGA, Werner Herzog and Russian co-director Dmitry Vasyukov takes viewers on yet another unforgettable journey into remote and extreme natural landscapes. The acclaimed filmmaker presents this visually stunning documentary about indigenous people living in the heart of the Siberian Taiga. Deep in the wilderness, far away from urban civilization, 300 people inhabit the small village of Bakhtia at the river Yenisei.

There are only two ways to reach this outpost: by helicopter or boat. There is no telephone, running water or medical aid. The locals, whose daily routines have barely changed over the last centuries, live according to their own values and cultural traditions. With insightful commentary written and narrated by Herzog, HAPPY PEOPLE: A YEAR IN THE TAIGA follows one of the Siberian trappers through all four seasons of the year to tell the story of a culture virtually untouched by modernity.

Werner Herzog's distinguished filmography includes documentaries (Grizzly Man, Encounters at the End of the World, Cave of Forgotten Dreams), narratives (Fitzcarraldo, Rescue Dawn), and many shorts. (C) Music Box

Another amazing portrait on the theme of happy people, again from the same location, has been captured by the incredible life-artworks set to inspire everyone going down their own path. Siberian Olga Kostina.

It is a unique beauty that adds character to the environment and to the universe.
Recalling the initial definitions
Instinctive artistic handcrafts
personal motivations
Another picture of color and form 
Color repetition
and the art of living
natural echo for art and for life
art forms of nature with colorful plastic materials in the eternal present
parsing through nature 
to fuse with nature

*Far away in the remote village of Kamarchaga, located in the Siberian Taiga, Russian pensioner Olga Kostina has decorated her wooden home with colorful patterns and images made from over 30,000 plastic bottle caps. Olga collected the bottle caps from soda bottles over the course of many years and she began using them to decorate the walls of her wooden house once she felt she had accumulated enough. She placed every single bottle cap by hand, using a hammer and nails to create traditional macrame motifs and various images of creatures living in the neighboring woodland.

She plans to cover her entire structure in plastic bottle caps in an effort to save the caps from landfills (and the difficult process in which thicker plastics are recycled) and has created a special work of art in the process. Kostina started collecting bottle caps many years ago to pass the time, at this point, neighbours and friends have started collecting their bottle caps and passing them on to the local artist in order to keep her project going. Personally, we greatly admire the initiative this wonderful woman has taken to beautify her house, she totally made us take a step back and say, like, WHOA!

She has created a special work of art in the process. Kostina started collecting bottle caps many years ago to pass the time, at this point, neighbours and friends have started collecting their bottle caps and passing them on to the local artist in order to keep her project going. We love the initiative this wonderful woman has taken to beautify her house, she totally made us say, like, WHOA!

Another example of our theme for happy people *
files from two artists' projects
Finnish artist Riittaikonnen
Norwegian photographer Karoline Hjorth
&bull Eyes as Big as Plates .

Bengt from Eyes as Big as Platesexhibition,byRiittaIkonen and Karoline Hjorth, 2011
Finnish artist, Riitta Ikonen, graduated from the RCA in 2008, with an MA in communication design. Since then, she has had installations at Tate Britain in London, developed concepts for the Olympic Delivery Authority and worked collaboratively for It&rsquos Nice That. This winter she is presenting her new show Eyes as Big as Plates at  The Finnish-Norwegian Culture Institute in Oslo. She is currently based in New York.

Bengt from Eyes as Big as Plates exhibition, byRiitta Ikonen and Karoline Hjorth, 2011

How would you describe yourself in one sentence?

Originally from the deep eastern forests of Finland, I&rsquom a fresh New Yorker and a keen collaborator working mainly with photographers and costumes for communicative 

What&rsquos the feel of your upcoming show, Eyes as Big as Plates?
?Eyes as Big as Plates is the first collaborative venture between me and Norwegian photographer Karoline Hjorth. Inspired by the romantic&rsquos belief that folklore was the clearest reflection of the soul of a people, Eyes as Big as Plates started out as a play on characters and protagonists from Norwegian folklore. Rather than the manifestation of a specific folktale narrative, the meaning of each image is not explicit. Instead, the emptiness of the surrounding landscape encourages the viewer to project their own interpretation onto the figure in the scene. ?Each picture presents a lonesome figure in landscape, dressed by the elements of its surroundings. The anonymity of the archetypal backdrop and expulsion from the image of anything that could locate it to a specific site also encourages a sense of timelessness and universality. As in a children&rsquos tale where the forest could be any forest and the sea any sea, these portraits speak of cultural themes not confined to any national border. As the figures in Eyes as Big as Plates literally inhabit the landscapes, the natural world acts as both content and context. This blending of figure and ground recalls the way in which folk narratives animate the natural world through a personification of nature, embodying inanimate conditions with a consciousness.  This slippage of elderly figures into the landscape inevitably also suggests a return to the earth, a final celebration of lives that have been lived.purposes.