INTERVIEW Get to Know Copenhagen- Grounded Handbag developer, Matilda Venczel

Since launching her first collection in 2017, developer Matilda Venczel has come a long way, erecting a strong foundation for her eponymous handbag and accessories label VENCZEL grounded out of Copenhagen. Loved for her futuristic yet classic, simple yet unanticipated, and flowing yet structural designs, the Swedish- born creative continues to put out elevated rudiments, with her rearmost design being” Collection 010″ for VENZCEL, which was presented in an exhibition at the art and design gallery Etage systems during Copenhagen Fashion Week.

The developer’s 10th drop features her core handbag styles dressed in an ultraviolet tinge– which Venczel decided to use after spotting a grandiloquent supercar one day. The pieces, alongside other colorways and new styles like the Aera S Soft– a crooked shoulder bag offering further space in comparison to VENCZEL’s usual designs–, were displayed on curvy essence stages conceptualized and executed by the artist Charlie Boyte. Adding to the range are” banded” bags, which use leftover leather from once product processes.

The exhibition marked one of the many highlight moments Venczel has formerly had just one month into the new time. Days before CPHFW, she revealed that she’s been working with Casey Cadwallader of Mugler as the house’s accessories developer to unveil his first- ever handbag the helical wind 01.

With these instigative feats and gigs under her belt, in addition to being loved by celebrities like Kylie Jenner, it’s enough apparent that Matilda Venczel is a name to keep on your radar. Continue scrolling to read our interview with the developer on her rearmost collection and her eponymous marker.

Please introduce yourself to our compendiums . What do you do?

I ’m a developer specializing in bags and leather goods. I run my brand VENCZEL, together with a many collaborators for press and deals and my adjunct from my base then in Copenhagen. I also work for Mugler, I design the bags together with the creative director Casey Cadwallader so I spend a lot of time in Paris, as well as Italy where we’ve our product.

What was the alleviation behind” Collection 010?”

The sculptural core collection comes in a shade of ultraviolet– substantiated from the color of a auto and in keeping with the core referential points for VENCZEL. My work in general is veritably important informed by the shapes of supercars. I generally do n’t work with seasonal themes since I do n’t make seasonal products. I try to work much further abstractly and when creating a new product, I believe it’s veritably important to look further than just a season or a time– it has to be possible to wear it in 10 times and still be intriguing, which is why I do n’t release new products so frequently. It takes time to make commodity that is really good.

Why did you decide to show it in an exhibition format?

For some time, I had the idea to produce a tribune that actually worked with VENCZEL’s organic shapes rather of against it. Charlie Boyte designed the stages inspired by the process of designing and constructing VENCZEL bags. The aluminum wastes were twisted manually in a reflexive dialogue with the form of each bag. I wanted to present the products as puppets rather than functional objects this time. It’s further of a surprise that you lift up the product and also you notice that it has a function- doing it in a gallery setting gives it a bit of a different dimension.

I love Etage systems and they represent some amazing artists, similar as Hilda Hellström, Sabine Marcelis and Soft Baroque. They’re each good musketeers of mine and I ’m so honored to be presented in a gallery where they’re all represented.

What was the process like behind this collection and how was it different from your former releases?

It was a different way of working since I had a baby last time. I had to be more effective in decision- timber and at every step of the process. preliminarily, I did n’t have similar tight deadlines when it comes to VENCZEL and I could take all the time I wanted. Having a baby and also working for a big house forces me to be extremely organized, and I suppose this process only makes my work more– I do n’t have time to mess around.

I trust my original ideas much more than ahead, and it’s a veritably intuitive process with every decision, I just do what I feel like. Before I could question everything to the point where it becomes nearly nothing, but that’s just not possible presently.

You posted on Instagram that your mate has also created commodity for this exhibition– tell us further about it!

My mate David Zilber is a food scientist and fermenter, so I asked him to make a drink that would match the collection in some way and he made this amazing fermented thing– a deep grandiloquent drink made of fermented beet juice, butterfly pea flowers, saved interspersed bomb, yuzu, kumquat and outgunned with champagne. It’s really beautiful and SO succulent!

What kind of vision or direction do you see for your brand as you continue to work on these dateless bag designs?

I would love to unite with specialists in different accoutrements . Right now we’re developing our first product that’s not( fully) made of leather. The shapes are so sculptural and I can fluently restate the form language to other products as well.

I would love to explore other orders of products at some point. perhaps an interior object or a piece of cabinetwork, commodity that relates to the body but does n’t inescapably need to be a specific size for you to use or wear.

Categorized as Bag