Receive a Kuoca Body Lotion upon eligible spending on selected Korean brands. T&C.
Happy Thursday Special Offer – with up to 80% Off on your favourite designers. One day only! T&C.
Enjoy 10% off upon first purchase of HK$2,000 on full-priced items. T&C.
NEW YEAR NEW HAIR! RECEIVE A COMPLIMENTARY SET OF SAMPLES UPON PURCHASE OF HK$800 ON SELECTED HAIRCARE PRODUCTS
Celebrating 165 Discover the new visionaries

New Directions

New Directions
CREDITS
Hair
Tristan WaiKong
Makeup
Evelyn Ho
Model
Petra H at Sun Esee
Words
Harriet Quick
Photography
Tim Wong
Hair
Tristan WaiKong
Makeup
Evelyn Ho
Model
Petra H at Sun Esee

This season, a new chapter begins at Ports 1961 as the heritage brand takes on a fresh direction under its new creative director Natasa Cagalj. A season of new beginnings for the label sees Cagalj – previously head designer at Stella McCartney with stints at Lanvin and Cerruti – focus on daywear staples, building a wardrobe for today’s women.

Coming into the brand, what was the starting point for you?
When I started at Ports 1961, I explored the history of the company. I was inspired by the simple vision of its founder Luke Tanabe, who wanted to create a perfect white shirt for his wife in 1961. This was my trigger – I wanted to build a wardrobe around the white shirt; something accessible and easy that can be worn by anyone.

Read more

You focus on elevating the foundations of a wardrobe. How do you approach this?
The pillars of a wardrobe are the classic pieces: cotton poplin shirts, tailoring, coats, skirts, dresses and tunics – I seek to give them a twist with functionality and fabrication.

What role does instinct and chance play in the creative process?
I love the idea of capturing the mistakes that happen in the process of designing and fitting, and not polish it too much. It’s about incorporating imperfections while still keeping the element of luxury.

For the debut, you combine slouchy tailoring with movement, asymmetry and bows – what was the vision?
The Autumn Winter collection is about establishing the base for a woman’s wardrobe. I wanted to erase the line between evening and daywear, incorporating elements of workwear as well as sportswear but also working with the best craftsmen from French and Italian factories to achieve the highest quality. We spend a lot of time on fit, exploring how a garment can be worn in different ways.

What pieces have enjoyed longevity in your own wardrobe?
A black Crombie coat, black trousers, white shirts and classic jumpers in navy, black and many shades of grey and a pair of sneakers.

Who are your fashion mentors?
The late professor Louise Wilson taught me a lot about pushing myself creatively and I was really fortunate to train under her at Central Saint Martins. At Cerruti, I learned about fabrics, details and how the industry works; at Lanvin I learned about wonderful craftsmanship of the French ateliers and the seven years I spent at Stella McCartney was another precious time. It was with Stella that I really started to think about the wardrobe in the design process. It was a very “honest” approach, women designing for women.

Describe the new office in Clerkenwell London – where The Face magazine used to be based.
I used to subscribe to The Face in the 1990s when I was still a student in Slovenia, so the space holds meaning for me. The studio is one big open space where we do all the designing and fittings, full of inspiration boards, books, garment samples and a small in-house atelier.

2015-10-01 00:00:00.0