Liverpool vs Galatasaray

Cim Bom reminds Liverpool that they
are not walking alone

Having an unfortunate start at home in the Turkish Super League, Galatasaray challenged Liverpool, disappointed by its own performance in the first 6 weeks of the Premier League, in Anfield. Down 3-0 in the first moments of the competition, the Turkish team fought back with two goals towards the end.


Comparing the two teams appearing on the English pitch to the chants of the fans filling the stands, the Merseyside club was the favourite for sure. Liverpool came out shining with stars such as Steven Gerard, Xabi Alonso, Luis Garcia, Jermaine Pennant and Dirk Kuyt; while Mehmet Topal, who used to play in the Turkish second league until a few weeks ago, was preparing for his first European experience due to the absence of Innamoto, Galatasaray’s transfer from the English Championship league. But upon failing to challenge one of the most expensive midfielders of the world, Gerard, he was substituted by Hasan Sas. Not surprisingly, the absence of Hasan Sas in the line-up stunned the spectators as much as the Sky Sports commentators. This was not the only strange decision of Erik Gerets, the Belgian coach of Turkish champion, Galatasaray. For instance, a midfielder originally playing at the right back for three seasons so far, Cihan Haspolatlı is still in the line-up despite his many missteps including at least one own goal. Umit Karan, top scorer; Hasan Şaş and Okan Buruk, the most experienced player of the team were all waiting as substitutes on the bench at the start.

Istanbul spirit
Champion’s League Winner Liverpool came to the competition with an improved team. Although the British media continued to make fun of Peter Crouch, who scored two of the night’s goals, one with a magnificent scissor kick, the team was made up of the star players keeping the team spirit at its height. Galatasaray laid bare all its defects in protecting the wings during the last match played in the league, allowing Ersen Martin from Trabzonspor to score two goals and thus attracting the attention of Benitez. Consequently, the night of 27 September was to be the night of Peter Crouch apparently.
Walking onto the field with the song “You Will Never Walk Alone” being chanted by the fans, Liverpool started its attacks from the very first seconds of the match. The Reds took advantage of the wings Galatasaray failed to protect and forged ahead with a score of 2-0 in the 14th minute. At this point, the Sky Sports commentators reminded viewers of the most far out defeat of Galatasaray in the Champion’s League by another English team, Chelsea, in the year 2000 at Ali Sami Yen stadium in Istanbul. However, a fact that was ignored by the same announcers is that after that game, Galatasaray went on to win the UEFA Cup undefeated.
Song’s loyalty ...
Completing the first half 2-0, an unbecoming one for a Champions League competition, the Turkish team started the second half with two changes in tactics: Cihan Hapolatlı and Mehmet Topal were substituted by Hasan Sas and Umit Karan. This meant that Sabri would draw back to right-back and the team would adopt a 4-4-2 diamond with one defensive midfielder and two strikers. Actually, Galatasaray met some advantageous positions in the first half, yet could not score. Therefore, Karan’s entry to the pitch aroused the hopes of the fans, who know him for his famous strikes. Evidently, the powerful sounds of “Cim bom bom” being chanted were heard all over Anfield and all around the world through the TV.

The ghost of Istanbul
Strange though, that the goal was actually the kiss of life for Galatasaray, not Liverpool. As if the bell had tolled for them, the yellow-red team was reminded of their aim and went on the attack giving up the struggle in the midfield. For it was one of the best-organised midfields they were facing. Their solution was to rush any ball they acquired across the midfield or else push the ball towards the wings. These tactics resulted in two fast goals by Karan, reminding British fans of the Istanbul spirit.
The cure of Liverpool was about to poison Liverpool itself at Anfield. The spirit is now transformed into a ghost wandering along the Anfield Road. Spending the last 20 minutes in awe, the host team monitored the positions Hakan Sukur, Sasa Ilic and Karan with terrified eyes. Nevertheless, they were able to leave the field with a victorious score of 3-2.

FIFA World Cup 2006 Germany

World Cup starts just now!

Tensions rise as the finals come closer in the Germany 2006 in which 56 competitions have been completed so far. There are no surprising teams among the last 8 except for the Ukraine and football fans are not struck by the elimination of Australia, Ghana and Mexico. Furthermore, it can be said that the cup really starts now for the fans of the surviving 8 teams.


Having left behind the first two phases of matches, FIFA World Cup 2006 Germany goes into full throttle with its exciting matches, critical cards, controversial penalties and, above all, with its unique fever. As the teams aiming to reach the quarter-finals in the tournament, launched with the participation of 32 countries, obtained a chance to relax and revise their tactics once more with the two-day break; fans are concentrating on the statistics and the unforgettable moments of the tournament that are now to be lifelong memories.

The “Scarlet” Tournament
Actually, every World Cup event opens up for new consumption fields rather than new records and the pleasure of football. This situation also applies to Germany 2006. The idea, which was developed by Germans in this tournament for the first time, is that each team plays a match in a different city causing fans to transport themselves from one city to another. It seems Germany 2006 will beat a record as the most expensive tournament due to train tickets, hotel fees, and souvenir costs paid by fans.
Besides this fact, Germany 2006 will be remembered for its record in yellow and red cards that have been raised in the matches and not for its competitions achieving many goals. Carrying the title of being the most scarlet tournament up to now with 22 red cards, France ’98 has transferred this title to Germany 2006 that has been stage to 25 red cards up to now. Comparing the Korea-Japan 2002 yellow card record of 272 with that of Germany 2006 it was beaten with 309 yellow cards. This number is sure to increase as the last 8 matches may be more contentious than ever.
The intriguing matter is not the number of the cards, however; but the fact that this card glut started just after FIFA President Sepp Blatter’s warning. Behaving rather mean about the cards and penalties, the referees suddenly started to raise cards and give penalties.
While Asian and African referees seem to cheer up, some suspicions were raised as the decisions taken served for only the “big” teams’ appetite. Recalling the previous World Cup, in which the teams not having a strong football école, such as Turkey and Korea had played in the finals surprisingly, it is a matter of question whether this was not a suitable bargain for the promotion policies of FIFA.

Argentine – Brazil; possible?
Returning to our main point, Germany 2006 did not fully please the football fans. Except for Australia, Ghana and Mexico, none of the teams disappointed the fans with their game while Ukraine, surviving to the quarterfinals, was a surprise among the other 7. So we can say it’s “All Quiet on the German Front” for now. If there happens to be a Germany–Brazil final match, as the organising team has been wishing for, everything will have gone just as it had been anticipated.
However, Argentine may give the fans a last minute excitement by surprisingly winning over the host team Germany and beat its possible rival Italy in the next match, and thus may create a long-desired fever in the finals. Whereas, Brazil, although having decreased its rhythm comparing to the beginning of the tournament, seem to have only England as a difficult rival on its way to the final. Yet, England, successful in not ever conceding any goals but unsuccessful in scoring any, seem to have a lesser chance against Brazil.
Beyond all these “forecasts” however, we are actually on the shore of all possibilities. For instance, Italians, having conceded “catenaccio”, may be obstructed by Ukraine; or France may crush Brazil’s hopes, like they did in the finals of France ’98; or Portugal may pierce the English defence thanks to their creativity.
If the official ball of Germany 2006 the “Teamgeist” is a round-ball, despite all the technology behind it, we can say everything is possible in any minute in football; and that is why we like it.

Hasan Hüseyin

HASAN HÜSEYİN

Born in Cyprus and having lived as a child in England, where he was educated in photography, Hasan Hüseyin has become one of the most esteemed advertising photographers of Turkey. Having shot advertising photographs for the best known brands of the world, Hüseyin now owns the El Sabor Latino restaurant in Nicosia.


Your name is widely recognised in Turkey especially in the field of advertising photography but this may not be so in Cyprus. Tell us something about yourself.
I was born in 1962, in Nicosia. My family emigrated to England when I was 10 and I lived in London until the 1990s. Having an interest and ability in mathematics as a child, I had always planned to study mathematics at university. However, I realized I wanted to do something quite different rather than become an accountant or something like that and I changed my mind to study photography. I had been an amateur photographer since I was 14 when I decided to become a professional.

I think it first started with drawing?
Yes, I have been drawing since I was a small child. I enjoy paintings in renaissance style, however I prefer drawing in charcoal. I was not trained in drawing, I only attended photography school in England. After working as an assistant to many photographers until 1987, I started searching for professional jobs. I photographed for some magazines in London. I started to concentrate on the market in Turkey in the early '90s. I moved to Istanbul in the wake of the Gulf Crisis. It was a visit in the sense of a trial and experience first but, as time went by, I saw that I was able to get good jobs even in my earlier days. Then a come-and-go period followed, and I realised that I enjoyed it besides developing an interest in Turkey’s exciting atmosphere. I decided to stay for some time, then I stayed forever.

Then, you moved to Istanbul?
I started living mostly in Istanbul, yet I never became a real citizen completely. I always had one foot in London. I fell in love with a girl who was born in Germany and she did not want to stay in Turkey, upon which I decided to follow her to Germany. As the saying goes, “love conquers all”. I spent five years travelling on planes - to Hamburg, to Istanbul, to London. Each week I was to fly somewhere. My friends used to ask me where exactly I felt at home, to which I replied “at ma’s home”. Where I was from, I did not know. I started visiting Cyprus more frequently and made some investments here. Now, I concentrate on Turkey and Cyprus. I work in Turkey but I come to Cyprus at the first opportunity. If there happens to be a 3-day break, I fly immediately to Cyprus.

Photography has become easily accessible with the popularity of digital cameras and portable photographic telephones. Most people take photographs to keep memories but you are a professional earning a living from photography. What is your conception of photography?
Nowadays everything has become simple for everyone and information is easily accessed through the Internet. Photographic equipment has become cheaper and shooting has become easier. The cameras of today can do nearly everything in the process of taking photos. It was more difficult before, as cameras were much more expensive and you had to do a lot of research to find a really good camera. Today it is possible for everyone with a reasonable budget to get a good camera. However, the main issue is to concentrate on good photography and get the result you want. Everyone can catch a moment in life. However, at the very moment that a photograph aims to become more than a picture but a mise-en-page, it requires thought, creativity, production and intelligence. Above all, it needs a particular eye in order to capture the esprit of the moment. Portraying the tiniest details or the spirit of the person in front of you requires some experience. You should consider the whole thing, the whole event. There are generally 30 to 60 people at the set of a camera shoot. You have to manage everyone around there; the model, hair designer, light operator, etc. Above all, you have to be creative in such an environment and achieve what the client wants. The essence of being good at your job is hidden in these smallest details. However, many people can just push a button to take a photograph.

Do you think it is more crucial to create a mise-en-page before seeing and photographing what is there?
It is important to catch a viewpoint in advertising photography. You have to tell a tale and, as such a tale is not written, you have to create one. Thus, I can say that everything is mise-en-page in advertising photography.

What kind of a relationship can you establish between a drawn picture and a photograph from this point of view?
You can do whatever you like in a drawing using your materials. In photography there are many different factors; however, while in drawing there is only you and your brush. You are alone with your imagination and you have a chance to change what you have painted, unlike in photography, where you have to get everything in its right place to capture a perfect picture in a split second. And then it is permanent. You shoot many photos just in order to achieve that perfect one. Consequently, that one photograph tells the whole story and brings either success or failure in an advertising campaign.

For you is photography a source of income or a way to express yourself?
Both actually. Of course, photography is a source of income for me. I have been working as a professional photographer for 20 years now. I feel I have already earned a satisfactory amount so far. But photography has always been a pleasure to me. It means more to me than simply providing my living.

Your name is mentioned among the most important fashion photographers of Turkey.
Yes, they say so after many years. I can say I am the one who created fashion photography in Turkey. There was no such thing as fashion photography when I came to Istanbul in 1990. There was not anyone concentrating on this field. I forced the market towards the field. Tamer Yılmaz also used to work with me. However, later on I concentrated on advertising photography. I'd had enough of fashion.

What does fashion mean to you?
Fashion is transition; everything is changing and developing with unbelievable speed these days. Fashion is a market of mere consumption; in the past people used to buy clothing much less frequently and they used to wear what they had for a couple of years. But now, people buy clothes continually as the mode changes even within the season. And we, as the fashion photographers, are required to adapt ourselves to this rhythm.

Do you think the reason for this may be the need of people to express and differentiate themselves?
It may well be, but also it may rely on some personal deficiencies. To take it further, why would people want to look different? For instance, male frogs swell up their throats to attract females for mating, and some of them have coloured backs. All these rely on sexuality; not completely maybe but simply this kind of attraction: receiving attention from the people around. What lies behind this is the ego for sure; the reason for many things. People will do a lot to satisfy their ego. You can see this in every field of life: even in presidents and prime ministers. They can cause wars and attack other countries just to satisfy their ego. I say people can reach maturity only after they have beaten or understood their ego.

Besides your photography, you own and run a restaurant, El Sabor Latino, am I right?
The design of El Sabor is an idea of mine. Actually, this idea stemmed from a lack; I could not find any place to drink a good cappuccino. I am serious. There was not a proper place to have nice food and drink. As I saw this building I said, “I have found a place to drink cappuccino”. Then I calculated that if 30 tourists came per day and drank a cappuccino, we would be able to pay the rent and, besides, we could eat all day long. This is how we launched the project but we were pretty surprised when people started to come in good numbers even in the first week.

Yet El Sabor is an unusual place to encounter in North Cyprus. It may well fit a street in Milano or Paris.
We have occupied ourselves with the design and concept of this place for approximately 8 months. I had everything done and transported from Turkey. We took pains to achieve exactly what we wanted. Finally, it has become a place out of a city from Europe and attracted attention. Furthermore, the food is really good. I can say that among the many places I have visited across Europe, or even in Istanbul, the food in El Sabor is supreme.

The cook is a relative of yours?
Yes, he is the husband of my sister. He is Portuguese and a wonderful cook. They used to run a cafe in London with my sister. They decided to sell the cafe and move to Cyprus to open a small cafe just for business, whereas I am a man of big business and never take a fancy to small occupational activities. One day, I took them here and said that this place would be our new restaurant. I provided the design and investment but my sister took on operational matters and her husband was to cook - and there was our trio.

The menu is composed mostly of Mediterranean cuisine.
Spanish and Italian cuisine. We have an open kitchen for people to see what is being done. You can see flames rising, people shouting at each other, like a scene from a show. The people coming to the restaurant enjoy such an atmosphere. Actually, we define this place as an “eatery”, like a big canteen, rather than a “restaurant”. This is not a place where people come in fancy clothes and sit like models; quite the opposite, this is a place where people can feel free and relaxed, where they can eat and drink all day long. We want people to feel at home. You know most parties start in the kitchen. The living room is left empty while everyone stuffs themselves in the kitchen. This is exactly what I want to achieve in this place. There are people coming here three or four days a week and they get to know each other. Moreover, it is cheaper to eat here than to cook at home. Consequently, there is in many ways a family atmosphere in El Sabor, exactly as we intended.


PHOTOGRAPHY OF CYPRUS
As a photographer, what do you think would be the best photograph to reveal and encapsulate the spirit of Cyprus?
Cyprus is a very complex place. The Cyprus issue alone is highly complicated. For many years there has been no solution and, as far as I can see, no one wants it solved as many people profit from such chaos. I would want to shoot a picture of deadlock. For example, a knot that is trying to be undone from many sides, and yet can't be undone. You know the Venetian walls of Nicosia with 12 points, each corresponding to one spot on the face of a clock. It is as if there was a big knot above these walls, being pulled upon at each of the 12 spots in order to be undone. I say this would be a perfect photograph to portray Cyprus.

Cyprus is a country mostly identified with its natural beauty, and so we have tourism. How would you photographically promote the natural beauty of Cyprus?
My company PPR was once asked to promote Cyprus, and we had some photos taken. The aim, or the target of the promotion, is of great importance under such circumstances. It is important to know and understand who will see your promotional photographs of Cyprus. Are they aimed at West European countries, Scandinavian countries, or Eastern countries like Russia? For instance, if you want to promote Cyprus to German people, then the sea becomes of primary importance; then you can suggest a photograph displaying a wonderful sea view or a beach. However, Girne Harbour is generally shown in promotional pictures. I, for instance, visit Girne Harbour only once a year because I am not attracted to it. What attracts me in Cyprus is its culture and people; and these would be in my photograph.

You have spent many years in London. What would be your best photo of London?
London is often portrayed with its double-decker buses, telephone booths or policemen. This is a pretty hard question for me, though. Nothing changes significantly in England. I have been travelling to and from England for 25 years, and even if had been away from England for 15 years it would be like only 15 days of absence. England is essentially the same today as it was 100 years ago. You know the characteristic terraced houses of England? If I was asked to reflect England with one photograph, I think I would use these houses in my picture. However, London has various places to see, not forgetting Camden Market which everyone visiting London has to experience at least once, like İstiklal Caddesi in Istanbul. It is one of the most cosmopolitan areas in the world where you can see all sorts of different people and, undoubtedly, I would include one shot from there among my best pictures of London.

Jean Jacques Picart

Fashion Brand Consultant:
Jean Jacques Picart

No Place for amateurs in this world!

JEAN JACQUES PICART, THE MAN BEHIND WORLD FAMOUS BRANDS, BELIEVES IN TURKEY. BUT HE DOES ADD, “YOU MUST BE VERY PROFESSIONAL WHILE OFFERING THE TURKISH CULTURE TO THE FASHION WORLD, BECAUSE THERE IS NO PLACE FOR AMATEURS IN THIS WORLD!”.


As an expert, when you look at the Turkish ready-to-wear industry, what do you see?
This is actually an easy question for me, because two years ago İTKİB (Confederation of Istanbul Textile and Ready-to-Wear Exporters) invited me to Turkey to consult on fashion. On this occasion, I met designers during a whole week and gave conferences in Istanbul. I met people from the industry and learned of their views. At the end of all this, I can easily say that Turkey is currently at the key junction of transition from production to design. Ten years ago, priority was naturally on production.
Leading brands in the world, such as Ralph Lauren and Donna Karan, found the quality they have been searching for, here in Turkey. This still continues, but it is clos to its end.
The Turkish producer is now concerned about combining fashion design with manufacturing, and producing products of very high quality. Maybe the designs are not easy to wear, or easy to sell, but bringing these products out to market and offering to the world will greatly enhance Turkey’s international image. That is why you need fashion.

Do you think making our voice heard is dependant on creating unique designs?
You get close to couture when it is unique. But Turkey must now get to the point where she can compete with Italy, Spain, and France in the European market. That means Turkey can produce what Italy can, at least as well as the Italians. In other words, you must sell creative products at prices that are not cheap. When creativity and production get together, you can be a competitor to these countries.

Turkey has come to this point within 15 years. So how many years does it take us to reach the position where we produce brands?
You also need about ten, fifteen years for this, but it can be faster, too. This depends on how strong the partnerships will be between the Turkish producer and designers. You need more than courage for this, because the manufacturing businessman already possesses this courage; that is how he came to this point. Business risk and design risks are different. Buying new equipment and building a factory are risks, but they can be calculated. However, a producer can invest in a designer for ten seasons and still not get the financial returns. Even if this is not a satisfactory investment from a sales perspective,it is a good investment. His company now has a stronger image and prestige, and sales increase due to this prestige. Like a cycle, both support each other and in the end, both win.

We are constantly talking about Turkey developing and getting stronger in ready-to-wear. What about our competition, are they standing still?
Of course they are developing as well, but you will bring a fresh breath to the fashion world. Fashion is not only jackets and pants; it is a culture. Turkey is very rich culturally; she also possesses a lot of things for us to discover. We in the world need every culture more than ever, because we have reduced everything to technology. We speak with every corner of the world, we take pictures, with a small mobile phone. A new Turkish brand against Japan, Italy, France will be interesting for everyone. You must, however, not do this in an amateurish way; you must do it professionally. When a Turkish designer has a fashion show in Paris or Milan, he has to be professional, at least as much as an Italian or French colleague.

Do you think Turkish culture will receive the attention it is seeking in Europe?
We Europeans, as different from the Americans, are very cultural. America was born out of Europe and has a very short history. America is a very young country, and Turkey is just as young. We not only need techno music and movies, but also more sensitive things. This comes with culture. Culture brought by Turkey and others.

Where would you go when Turkey does not seem new to you anymore? Where is the last station?
Perhaps, we will start exploring the Arab or Indian world after Turkey, I do not know. A very capable Arabic generation is emerging from fashion schools. There is no last station here; discovery is a never-ending process. Change is a permanent element of fashion. Perhaps in fifteen years, France and Italy will not even come to mind when somebody mentions fashion. Countries such as Turkey and Portugal will lead in this area. Portugal for me is like Turkey of twenty years ago. They just started production, just like Turkey did in the past.

Which Turkish brands do you consider as having the potential to be a global brand?
I do not know in detail, but I see a potential with Mavi Jeans. Maybe they will be the first international brand of Turkey. Being a brand has to do with appeal. I do not know which stage Damat-Tween is at, but they also promise hope. They can be a young Hugo Boss; but I am really not sure.

Why are you not sure?
Perhaps, you need a bit more sophistication and be more provocative in your designs. That is what I mean with appeal. Something that will draw attention to yourself. It is not enough to do what you do well and be happy, you must always push the people. This push can only be made to happen with a designer.

What kinds of characteristics have you observed in Turkish designers? Were there any designers, among the ones you have met, who come to mind?
They are very young; most are under twenty-five. This is a young age to do business in a real way. But most of them have good education and are supported well by the industry. They have people and material at their disposal, I think something may happen. I am talking about the youngsters in Istanbul, not Dice Kayek and Hüseyin Çağlayan, who have already proved themselves.

Do you not consider Hüseyin Çağlayan or Dice Kayek as Turkish designers?
Of course they are Turks, but they live in Paris or London. They are inspired by those cities and are affected by the life there. This is very natural, of course, but to call someone a “Turkish Designer” in the true meaning of the word, that person must live in and feed off Turkey. Currently most of the famous Turkish designers live abroad. OK, they reflect the Turkish culture, but the newspapers they read, their friends, the movies they see... All these are in Paris and they are affected by their environment.

Turkish is a difficult language; is this a disadvantage for Turkish designers?
No more than it is for a Chinese or a Japanese. Besides, the names Hüseyin Çağlayan and Dice Kayek are fairly easy to say. So is Rıfat Özbek, but honestly, I am having difficulty saying Atıl Kutoğlu.

Rifat Özbek was really one of our most talented designers. Where did he disappear all of a sudden?
I do not know where he went, but Rıfat Özbek was like sunlight, he was special. He was a huge talent. In fact, he was the most talented in my opinion. Rıfat could mobilize something within me or other people. I remember that he used the dervishes and their white outfit in one of his fashion shows in Paris ten years ago.
My God, it was fantastic! Of course the models were not dressed as dervishes, but there were designs which were inspired by the Mevlana philosophy.

How does one establish the name of a brand?
I believe it first has to be easy to say. At the creation stage of a new brand, the name must definitely have a story. It must tell a story to people by reminding them of a unique thing.

In your book “Tomorrow’s ABC” there are known headings as the headings of your philosophy such as A-Art, D-Design. What does N-Never correspond to?
Never say never! You can be enjoying and doing something you used to hate years ago. This is the most important rule of fashion. You say, “I hate black”. Then you find yourself in black. For example, ethnical costumes; nobody used to like them before, now they are used frequently. There is no such thing as never in fashion, everything, but everything is possible. I do not know why, but we may love things that we hated yesterday.

Fashion is a part of our life, and what we wear has a huge meaning for all of us...
We all have means of communications outside of words. Dressing is one of the most important ones, I believe. Fashion is a language at the same time, a process of give and take. We not only dress, we also try to say who we are by our dresses, we decipher how we want to be perceived. In fact, it is sometimes misunderstood; sometimes we say what we are not. With the entry of technology into our lives, our speech-based communication has become too monotonous, so alternative means of communication such as dressing became more prominent. As we continue to talk on the phone more and more, we shall need different garments to express who we are. Talking on a mobile phone is very short and monosyllabic; everyone uses the known and insufficient elements of the same universal code, because it is faster. As a reaction to this, we are going to need more outfits and make up, to express ourselves. To say this: “Hello, look at me! I am not like you, but we can share some things. Look how I am dressed, maybe this will tell you something.”

Fashion and fashion design are a sociological phenomenon, really...
Yes, the designer must understand and follow sociology and politics. Politics is the first and strongest expression of a country. A good designer cannot work all by himself, within a room outside the daily life. If he does, his creations do not mean anything to anybody. A good designer watches television, walks the streets, and meets people. He observes what the youth wears. Fashion is politics and politics is life...

What happens when fashion designers come from China? They already are a threat because of their prices; what would we do if they also start producing fashion?
Fashion needs freedom and is fed by freedom. Freedom across a whole big country is only possible with a free media. That is why fashion cannot be created in places where freedom does not exist.

Do you believe fashion is borne out of power? In other words, does being strong in political or cultural sense constitute an advantage in terms of defining fashion?
Did the French dress like the Germans during the Second World War? No. On the contrary, German women wrote to their soldier husbands and sweethearts letters that said, “Bring me lipstick and dresses from Paris”. I believe appeal is the most important element in defining fashion. #



Jean Jacques Picart
Jean Jacques Picart was born in France in 1947. He has been involved with brands like Thierry Mugler, Cacharel, Shiseido, Jil Sander, Hermès, Jean-Charles de Castelbajac, Kenzo, La Redoute, Chloè, Daniel Hechter, Newman, Levi’s and Helmut Lang between the years 1970-1980. From 1981 to 1986 he devoted all his time and talent to the Christian Lacroix brand by working together with Mr. Lacroix at his couture office. He has been working as a consultant for young designers like Hedi Slimane (Dior Homme), Jose Enrique Ona Selfa (Loewe), Jean Paul Knott; for senior executives like Bernard Arnault (Lvmh); or for large producers like Charles Jourdan from 1999.


Concepts of Jean Jacques picart
Art: Some of the measures of fashion creation have some common points with art, however, fashion is not an art form. Fashion can only be an applied art form, at best. Validity of fashion creation is in the selling of the garments. The best dress, if it is not sold and worn by someone, loses its reason for existence. Fashion, just like a banana, must be consumed at the right time. A fashion idea presented too early is like a green banana, nobody would want to consume it. Conversely, a fashion idea offered too late would be treated like an overripe banana and would not be preferred, either.
Creator: Creator is the person who thinks he/she owns the keys to a more beautiful and different world. The belief in a more beautiful future and aesthetics provides the power to real creators. This perception and anticipation is very personal. The difference between creators and stylists, i.e., designers, lies here. The first have a vision, the second group creates the clothing we desire. This word was proposed in 1975, to underline the difference between great tailors and designers such as Yves Saint Laurent, G. Sherer. Generally it was used for Thierry Mugler, Claude Montana, Jean-Charles Castalbajac, Jean Paul Gaultier. Today there is a new category: Young creators. They gravitate towards creating exceptional models, instead of industrial garments.

Desire: The only engine of fashion is desire. Creation of desire is the biggest skill of creators. Because the before and after of desire is excitement. Excitement when you see an outfit, excitement during the purchasing process, excitement wearing it, excitement remembering it… This excitement is magic. One can create a frenzy for this excitement. When a creator can awaken this excitement, this desire that is when he gets closest to an artist. This is the magic of the people like Galeano, Yves Saint Laurent, Semien Clemier, and Yamamoto.
In and Out: In and out are very personal, relative criteria. What is meant here are trends that some categories of people adapt or abandon. For something to be “in” may mean that it is “out” for others. “In” and “out” are the most useless values of our profession. These words must be taken out of the fashion dictionary.

Why: Why did this idea achieve success and not the other one? You should never ask this question. There is no logic, no rule that can explain fashion. At most, there are some principles and recipes that are mostly used to calm one down. Fashion in reality is the reflection of the boredom and orientation of a society at a certain period. Once they only used to show the dresses of a collection in fashion shows. Then fashion shows started telling the universe of the creator and now each piece of garment acquires meaning as part of this universe. This is called a show. Special effects, semographies, stage designs, and stage directions are used. This way, the attention of the world media is being targeted. But sometimes it is not possible to bring these outfits to life, however, these outfits lead you to dream, they excite you. With this excitement you enter through the doors of the boutiques where you can find dresses that can be worn.

Style: Having style does not mean only having new ideas; it is beyond that. Style is the creation of continuity for a creator. It is creating, at every season, what is in harmony with the trends of the time, with a specific identity. For example Miss Chanel has a style, so does Yves Saint Laurent. Names like Greta Garbo and Grace Kelly created their own styles. For me, style has a magical side. To me it seems that style can stop the passage of time, because, it is very difficult to specify a time for some creators.

Skill: Skill is the difference between an ordinary life and an extraordinary life. The skill of an artist shows life in a different way; it gives a new flavor, it is magic. Skill by itself is not enough. One must know how to use it, to protect it. One must ensure developing it; continue to grow it. One must not waste this talent and do all this honestly.

Zero: A collection does not depart from zero. A creator with the most freedom is not totally free to do what he wants. He has to take into account his own style; he has to consider the best sellers in his previous collection. He has to consider the expectation of the buyers and the press. It is not really hard to guess these. I believe in a good collection, 35% of the models must be recognizable, 40% must be from new ideas, and 15% must have some risky propositions. This way it will be possible to develop these in the next season. The rest, the 10% must really have outrageous, scandalous products.

Didier Grumbach

The fashion guru

DIDIER GRUMBACH MADE PARIS THE FASHION CAPITAL OF THE WORLD, AND HE IS KNOWN AS A “FASHION MAGICIAN”, THE WORLD OVER. GRUMBACH’S EVERY SENTENCE IS WORTH ITS WEIGHT IN GOLD.


Why is fashion so important for the world?
I view fashion differently. I think fashion is an expression of power. For example, Hitler tried to bring haute couture into Berlin because the effect of fashion is a lot more than the effect of industry. I believe our relationship with Turkey is very important in the name of fashion. Our industry is organized in a strange way: president of this, director of that. This is not such a bad thing, but fashion is not comprised of industry only. Brands must be fully open to debate, however, the bureaucracy of our institutions do not allow this. This leads to a dilemma.

What were the conditions that created the Yves Saint Laurent brand?
All the fashion brands known by everybody today started business as haute couture. When Saint Laurent started the business in 1962, it was the symbol of luxury. In fact, for many people with exceptional skills, competing in the international arena, and who entered the haute-couture calendar, being famous is almost inevitable. In the case of Saint Laurent, the brand was built on a very strong creativity and it managed to become institutionalized due to the haute-couture system.

It is of course difficult to create a brand such as Saint Laurent overnight, but Turkey has ambitions along this direction. How do you evaluate the goal of making Istanbul into a fashion city?
The fashion industry is important for Istanbul’s today and for the future. Your ready-to-wear industry has a serious potential to support this as well. There are Turkish designers who have had fashion shows in Paris and have become successful. However, there currently is not a link between the ready-to-wear industry anddesigners. Creating a brand is a very long process. There is no similarity between a brand like Yves Saint Laurent and a brand of sportswear. Everything is different from production to management and identity. If we manage to include Turkey within the whole system and the industry and designers work hand in hand, Istanbul’s place and importance in the fashion world will improve very much in five or six years.

Is there a Turkish brand you recognize and know of today?
Dice Kayek is consulting many Japanese ready-to-wear companies today. Not only I, but many many people have heard about them. I must also count Hüseyin Çağlayan, who is talked about a lot in Paris.

What do you think is the relationship between fashion and brands?
Brands have existed in the fashion world since the existence of original creation. For example, there was no such thing as a brand until the mid-19th century. Brands came to France with freedom; that is with the republic. There were no brands until the Republic because the palace directed fashion, just like everything else. Fashion had strict rules in those periods. It is interesting that the first brand that appeared in Paris was an English brand. In other words, the first couturier of Paris was an Englishman. A Couturier is an inventor, he is after new things, and therefore he is accepted as an artist. In Paris, we create brands on top of original creativity. If there is nothing original, there is no brand. There are two types of brands in France: Griffe (label) and marque (brand). Griffe is tied to a person and his capability. Marque, on the other hand, is a brand that we have seen in sportswear. That is why we do not compare personal brands in France with, for example, a sportswear brand. For us, Chanel and Adidas are not the same.
All the prestige brands are avant-garde to a certain point. That is, real brands are born out of creativity, out of the creative power of one person, one name. Hüseyin Çağlayan is a very good example for this. People like him take a very long time to grow, with lots of difficulty; after some time, they become an industry by themselves. Brands start with creativity and ends in industry. Our work is not art; we are part of the business world.

Are creativity of the designer and the sales focus of the business world not in conflict?
Brands are full of creative power at the starting stage. If the designer wants to make a living with this, however, he must know to curb his creative power after a certain stage. When a brand starts to establish itself and therefore starts making money, the designer must be less creative. If you are continuously in a mood of reaction and creation, you can never be part of the ready-to-wear industry. That is why a brand is the blending of two different characters. Generally, the two different characters are represented by two different people: one who does not get involved with the commercial aspects of the business, and the other who adapts his partner’s creativity to the needs of the market. It is really difficult for these two people to make a good fit, and there are very few who have achieved this. Every ten years, there can only be ten new brands, at most. In reality, local brands are never global. If you sell very well in France, you cannot sell in New York.
Is there no way for brands to be global? If your product is ordinary, you can make a lot of local sales with good marketing. For you to distribute a product like this globally, your price must be cheap enough to compete with India. Another method is to enter the global market with a product with international value added. The value you can add to the product are creativity and brand equity. Creativity is a different game, but what is called brand equity is really needed. Achieving brand equity is a long process. For example, Dice Kayek has just finished her 12th year and she still struggles. They just started making their name known in a real way. That is why, as I mentioned, one must distinguish the industrial brands from brands borne out of creativity. These two processes are entirely different, but there can be common points. What Turkey needs today is making industry and creativity meet.

Will it make it easier for Turkish designers and brands, if Turkey becomes an EU member?
I believe Turkey is part of Europe, whether she is an EU member or not. Turkey is not Asia, but is Europe. Hüseyin Çağlayan and Dice Kayek are already EU members. In fact, many fashion people in Paris are not French; they are different people who came from different parts of Europe. On the other hand, Turkey is needed in Europe. If you are asking whether entering the EU will open doors for you, yes it will. The Europe-Mediterranean region is a whole and it must know how to compete with Asia on one side, and America on the other. There are many reasons for this, but I think the most important one is its cultural variety that is reflected as a richness onto the whole. Turkey is one of the most important parts of this variety. If Europe is successful in its fashion struggle against America, this will be because of the endless cultural accumulation of countries such as Italy, England, France, and Turkey. Turkey has a very deep history and culture, as Hüseyin Çağlayan also describes very well with his designs. Istanbul is a city, which deserves the definition “world capital” in a real way. Of course we cannot change the capital at this point!

So we cannot move the capital of fashion from Paris to Istanbul?
The world is getting smaller and Paris is no longer in France; it is a global city just like New York. In that case, why would we want another one when we have New York or Paris? What must be done is for a Turkish designer to have fashion shows in Paris and the Turkish industry to support him. In other words, one must not bring fashion to Istanbul, but must bring Istanbul to fashion, because Istanbul is already a part of Europe. Executives of Turkish companies and fashion designers in Paris must have dialogues more often and enhance cooperation. For fashion designers to make their voices heard better, they must be present in Paris, smell its air. It is not enough for ready-to-wear industrialists to get together in a different city every year, we must get together more often and consistently; because 2005 is as close as tomorrow.

You said that French brands are losing their locality. Does this make them less powerful?
What I meant was that brands such as Chanel, Dior are now global. Just like Hüseyin Çağlayan belongs to the world, Chanel also belongs to the world now. There is no place for local brands anymore; every brand must be international. That is why the term “French Brand” must not be used anymore. We need brands in fashion, because fashion brands disappear fast. No woman dresses like her mother. Fashion brands are different from other brands. Opposed to the others, life gets more difficult for fashion brands as they get older. In fashion, old brands are not valid. You have no friends who buy Valentino anymore. Therefore, if we want to protect our industry, we must support new brands. When we consider that it takes ten, twenty years to establish a new brand, we must support young brands which have made a name in the international arena, especially now when we do not have much time.

We are trying to support our young designers in every way, as the Turkish ready-to-wear industry....
Yes, I know, and you are doing the right thing. For example, you invited Jean Paul Knott to the IAF (International Apparel Federation) Congress as a speaker. He was the assistant of Yves Saint Laurent for 12 years and is now selling in his name in Japan and Europe. Why should he not have a collection in Turkey as well? His credibility in Japan, America, and Europe can be used for the products of Turkish companies. Turkey does not currently have an international brand, and you can cooperate with designers such as Knott, who need the support and have a name. There are two things you must do: First, creating a brand and making it consistently powerful within a cooperation with the industry; secondly, cooperating with new brands with a certain history, and entering the American and European distribution channels using these brands.

Do you think we have a design spirit coming from the past? For example, the IAF logo on your lapel is a traditional Turkish embroidery symbol.
Spirit is one of the most important elements necessary for design, and maybe what we need in Europe is Anatolian spirit. Maybe we are looking for the lost message from Anatolia, who knows? When Brazil moved to Paris, and first Brazilian designers started appearing in Paris, we felt that something missing was completed. Maybe this is valid for you as well.



Head of France Fashion Federation
Didier Grumbach, who is referred to as a “fashion Magician” was born in Paris in 1937. He started his working career at the C. Mendes Group as General Manager in 1963. He founded Yves Saint Laurent Rive Gauche in 1968 with Pierre Bergé. He founded ‘Paris Collections Inc.’ with C. Mendes in 1967 and ‘Creators and Manufacturers’ in 1971, which has brought together the young designers of that time, like Emmanuelle Khanh, Ossie Clark, J.-C. De Castelbajac, Issey Miyake, Roland Chakkal, with the industrialists. He became Head of Thierry Mugler in 1978. He was brought to the head of Yves Saint Laurent Rive Gauche USA and Yves Saint Laurent Inc. in 1980. In 1986, he was appointed the Marketing Director at the France Fashion Institute (Institut Francais de la Mode), Study Director in 1989 and Dean in 1997. Grumbach, was appointed the Head of Haute-Couture Development Commission in 1992 and was in the same year appointed the Minister of Industry. His book named, ‘The History of Fashion’ was published in 1993. Grumbach, became the Head of the Chamber of Couture Schools in 1998, and has been carrying-out his duties as the Head of the France Fashion Federation and Chamber of Couture Schools since 1998.

The man who opened a new era in fashion: Yves Saint Laurent
Yves Henri Donat Mathieu Saint Laurent was born in Algeria on 1 August 1936. He drew attention with his interest in clothes; his designs were published in the world famous Vogue magazine when he was 17. The following year, when he collected three out of the four awards in a design contest in Paris, he found himself in the Christian Dior design house. When Christian Dior died suddenly in 1957, Saint Laurent, after only working there three years, was appointed the head of the fashion house. Coco Chanel honored him with the statement, "My spiritual successor".
Saint Laurent joined the Algerian army a few years later because of the mandatory military service. He learned upon his return to Paris that he was fired from the job of head designer. He decided to set up his own fashion house. YSL created one of the world’s biggest fashion brands in a short time. His name was equivalent to haute-couture. Being considered a fashion icon, Yves Saint Laurent started destroying the rules of fashion one by one. He created his own style with flowing and sparkling designs. YSL created the ready-to-wear brand name Rive Gauche (Red River) in 1966. Not only Saint Laurent’s creations, but also his statements were interesting: "Beauty? Beauty is unimportant. More noteworthy is the ability to turn someone on. Everything we feel is subjective. I personally prefer a body gesture to a look." Saint Laurent did not avoid doing what he declared. He used colors that are considered unmatching, , he preferred sparkling colors instead of shadows, and entered his haute coutures into public bazaars. With these characteristics, Yves Saint Laurent managed to change the dressing habits of ordinary women, and not only the high society who follow fashion shows closely. In 1983, his retrospective exhibition wasplaced in the Metropolitan Art Museum,becoming the first living designer who had this honor. When he declared that he was withdrawing from the fashion stage in 2002, it created a devastating effect in the fashion world. With YSL ending haute-couture activities and being marketed as a ready-to-wear brand by Gucci, an era in fashion history was closed.