Raphael Hauber Spring 2012 | Berlin Fashion Week

Stills–Raphael Hauber pre­sented his spring/​summer 2012 col­lec­tion dur­ing Berlin Fash­ion Week with mod­els, on dis­play, all around the voo store, stand­ing still as if they were part of its fur­ni­ture, like inte­rior objects part of its design, almost like embed­ded fig­ments … Inspired by aer­ial pic­tures of agri­cul­tural land­scapes from the Brazil­ian rain for­est to the Egypt­ian desert — Dis­cussing his new col­lec­tion, the Ger­man designer expressed, “I saw these images of drip irri­ga­tion fields in Brazil and knew imme­di­ately that this was what I was look­ing for! They look like abstract paint­ings, you can hardly tell what it is” — and the way the human race has reshaped the nat­ural world for its own agri­cul­tural pur­poses, the col­lec­tion fea­tures the label’s trade­mark all over print (another great one this sea­son with a satel­lite view) and bomber jacket, with a sig­na­ture sil­hou­ette, marked by relaxed refine­ment, drap­ing, asym­me­tries and geo­met­ric shapes in vivid pas­tels or neu­tral hues and this season’s unavoid­able check …

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Raphael Hauber Spring 2012

google earth–for his spring 2012 look­book ger­man designer raphael hauber teamed up once again with pho­tog­ra­pher adrian parvulescu for a very clean & graphic ses­sion that makes a per­fect blend with the style of the col­lec­tion … influ­enced by agri­cul­tural land­scape, vast cir­cu­lar fields and images taken from space which show how man has turned the geog­ra­phy of our planet into geo­met­ric mod­ern art, the col­lec­tion reflects this human inter­ven­tion in nature today … asym­me­tries, graphic ele­ments, inserts, con­trasted fab­rics, dig­i­tal prints from satel­lite pic­tures, colours of the rain­for­est, for an over­all fresh & sporty silhouette …

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Raphael Hauber Spring 2011

for the 2nd col­lec­tion in his own name after the change from post­weiler hauber, raphael hauber takes a stair­way to fash­ion …
strict sym­me­try & kalei­do­scope effects are the key­words in this ss11 col­lec­tion shot by adrian parvulescu and inspired by empty & anony­mous stair­cases arranged around a cen­ter sim­i­lar to those often seen in big ancient build­ings …
pho­tos of a ‘70s stair rail have been mod­i­fied and used as all over print for sheer chif­fon shirts or light weight denim jeans; a kalei­do­scope pic­ture of stairs com­bined with a male or female vis­age mir­ror­ing the sym­me­try or asym­me­try of the human face adorns jer­sey tops … sym­me­try is rein­forced in the pat­terns by the posi­tion­ing of insets … the soft colours are bright­ened by flashy inserts of apri­cot nylon meant to remind of escape routes …

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Raphael Hauber Fall 2010

the aw1011 col­lec­tion from ger­man label raphael hauber (pre­vi­ously known as post­weiler hauber) takes inspi­ra­tion in peo­ple with a tem­po­rary and mobile habi­ta­tion style …
enti­tled roomers, its main focus is the car­pet as a medium to eas­ily mark spaces as ter­ri­tory, to high­light fur­ni­ture and struc­ture rooms … pho­tos of col­ored rag rugs are used as all over prints as well as an abstract black and white print of a scaled-​​up rag rug pile … the clear forms of a square and of an oval car­pets are used for shapes and print details …

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Spring 2010 | Postweiler Hauber

enti­tled “too much quatsch”, the twelfth col­lec­tion by ger­man label post­weiler hauber is based on the essen­tial sum­mer gar­ments, first of all jeans and t-​​shirts …
pic­tures of piles of denim jeans and piles of t-​​shirts are printed on fab­rics for trompe l’oeil pieces … also to be noticed a very real­is­tic wood­pile print image, as well as real wood and nat­ural leather for details and acces­sories … the hand wrin­kled top is a con­tin­u­a­tion of the ‘decon­struc­tive’ and chaotic pile pictures …

* quatsch is the ger­man word for too much stuff, rub­bish, bullshit

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Postweiler Hauber Fall 2009

Ger­man label Post­weiler Hauber shares another look at their fall col­lec­tion enti­tled “Aus­bau”. The pho­to­graphic col­lec­tion is the result of designer Raphael Hauber’s col­lab­o­ra­tion with pho­tog­ra­pher Heinz Peter Knes. The col­lec­tion is an exten­sion of Hauber’s sim­ple, yet very graphic approach to design. In a con­ver­sa­tion with Knes, Hauber’s elab­o­ra­tion on how orna­ment func­tions in his work, pro­vided more insight into the heart of his tech­nique. Accord­ing to him, “Orna­ment in the sense of pure dec­o­ra­tion is not rel­e­vant in my work. Usu­ally I resist dec­o­ra­tive details, unless it is about dec­o­ra­tion in design itself…In con­tem­po­rary and ambi­tious design, it is the con­sen­sus to avoid all dec­o­ra­tion and orna­ment. After all, orna­ment has a bad image. It’s con­sid­ered facile or vul­gar. I’ve aimed to absorb this dis­crep­ancy into my work.” In this fash­ion, Hauber has incor­po­rated Knes’ imagery into his lat­est col­lec­tion in a mean­ing­ful way that in his opin­ion dis­rupts “pic­ture real­ity” in favor of rein­ter­pre­ta­tion for a new take on life.

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