Credit photo Leilani Lemmet in the film “Paradoxal”
Publication en français sur Les Echos Le Cercle
The philosophy of fashion is a mix of ideas speaking a language that few people hear, but everyone uses. This thought is in the hollow of the mythical scene of the cerulean blue in “The Devil Wears Prada” (minute 22: 40 -24: 27). With a certain magic, this creativity crystallizes from the backs and forths of fashion explorers in strata of society. So many navigations that reveal social requirements, lead to technical innovations and new imaginaires.
Thus Mademoiselle Chanel met a social need with her style, her new sewing and interfacing innovations; freed by this wardrobe, the 20th century woman exposed her husband’s success less. Fashion also progressed through technical invention when Hermès industrialized its craftsmanship by adapting it from saddlery to leather goods. Finally, imaginaires are created, for example when Dolce & Gabbana brought from Italy the south, hot, gourmet, family, opulent, baroque and social to fertilize once again a fashion exhausted by the domination of a northern universe.
In recent years, fashion has become globalized. Does this globalization definitively suffocate creators by opposing their own inspirations coming from local cultures? Should we consider them to be slowed down, or even prevented, if their creation is no longer based on the idea of the craftsman and his handmade work, but on marketing and finance? Has fashion changed into a horizontal conversation, that of a flat world impermeable to its own verticality? Deprived of this dialogue in gravitation, are brands trying to revive themselves in zero-gravity, with the arrival of new stylists? Unfortunately, if the latter refresh a style that will then be copied, where can they find the audacity of the creator who renews an inimitable technique? Finally, when a Maison integrates a new stylist to replace an old one, how many of them manage to re-exist ?
This is why if products are a kind of overbid, they remain silent about new social needs, without innovation or poetry. In a word, they are making consumers weary. The latter compensate for the producer’s lack of creativity by creating in their own way. An illustration? This rich bag collector, the brand will remain respectfully a mystery, diverted her collection to transform it into flowerpots. The flowers of his houses thus arranged flourished in his leather goods.
Dognin, a next Hermes, Prada, Coach or Gucci?
In general, the design of the bags meets two requirements: the rigid bag and the flexible bag. Dognin‘s success is linked to an invention, a new technique, a third standard, ” Le Souple Structuré “: a renewal of shapes thanks to a Millefeuille of leather and fabrics patented and labelled by the Observeur du design. From this new territory, leather bags are created with 40% less weight, innovative volumes and a balanced flexibility through shape memory.
Dognin’s first creations, Le Vendôme and Le Marivaux, were kidnapped by the Palais Galliera, the Fashion Museum of the City of Paris, for its permanent exhibition.
His first successful bag, Le Polochon (video), was found in its original and handmade version on Samantha Jones’ arm in “Sex & the City”.
Next came Le Ma, Le Raspail, Le Goum and many others; then the Renaissance Collection: Le Diane working on stained glass and light, Le Clouet directly linked to the painting of François 1er and Le Sologne inspired by the architecture of le Château de Chambord.
Dognin’s production is absolutely French style, i.e. a balance between north and south. And each bag, in its own way, renews fashion by responding to a social need – like Mademoiselle Chanel -, with a know-how – like Hermès – and with an original universe – like Dolce & Gabbana.
Dognin met a tremendous success for the past 10 years. Where to see his creations? They are all “made in Paris”, at La Goutte d’Or, and the showroom is in the 18th arrondissement. But, more easily, the next exhibition of a collection of unique pieces will take place in Paris at the gallery Pierre-Yves Caër (December 2018 – January 2019), around the theme: the Contemporary Renaissance. Further on, in early 2019, Dognin will exhibit in Tokyo.
This post would be incomplete if it did not touch the many industrial applications of ” Le Souple Structuré “. It is not limited to bags for women or men. To participate in the reindustrialization of France, it is for Dognin to adapt its technology to the comfort or safety in the automotive industry (discussions in Germany), aviation, cinema, military, medicine, furniture, lighting, electronics (protection of mobile phones, laptops…). The hunt for partnership is on!
Dognin awards in the world
2018, Exhibition Transformation, Musée des Arts Décoratifs, Berlin
2018, Representative of France, International Handwerkmesse, Munich
2017, Salon du Patrimoine Culturel, Geste d’or, Paris
2017, Paris Artistes Design, Paris
2017, Octobre Rose, Paris
2017, Design et Artisanat d’Art, Paris
2017, Paris Design Week, Paris
2017, Mitsukoshi, Tokyo
2017, Futurotextiles, Moscow, Cairo, Buenos Aires, Izmir, Berlin, Lille
2017, Journée Européenne des Métiers d’Art, Paris
2016, European Parliament, Brussels
2015, Acturial, Paris
2015, Regards Croisés between Dognin and 50 contemporary artists, Paris
2013, Finalist of the Industries & Commerces Franco-German Prize, Paris