STAY CREATIVE - WWWESH STUDIO™
If you’ve been following Sabukaru over the years you will be no stranger to the output of the Parisian creative studio, WWWESH.
If you’ve looked at any of the multiple features on the L.A brand Heightened Sense, of which they’re closely affiliated with and collaborate on a regular basis you’ll have seen the creative touch of WWWESH.
However, dig deeper and you quickly begin to realise that you’ve previously only just began to scratch the surface of the capabilities of creative duo Pierrick Sance and Antoine Jourdan.
Pierrick and Antoine at WWWWESH HQ
It’s hard, to sum up in a matter of a few words the multifacetedness of WWWESH STUDIO™, still, in its infancy, the wealth of visuals and volume of projects they have been involved in is hard to grasp.
Founded in Bagnolet in 2017 and now based in Paris (18ème) the studio handles every form of creative output imaginable, from the concept and execution of scenography, which is the design of any form of space, whether that be an exhibition, retail store or some form of entertainment set, right through to creating workshops for big-name brands or directing music videos.
Most creative studios out there portray to be culturally informed, to be amongst the grittiness, shaping and forming the very culture that they peddle and preach, however when you pull back the masquerade you find they’re far from what they sell you - with WWWESH this isn’t the case.
The best work happens when mutual acquaintances lock heads and connect, the higher level of understanding due to similar backgrounds or taste levels matching, simply can’t be bought, you have to live the same lives of the people you’re working with.
To be able to create that higher magic and that’s the stark difference from a big corporate agency and one that’s still very much making waves with big-name clients. However most importantly, never forgetting its roots.
It’s only natural that a wealth of the projects they undertake are within the music scene, creating everything from the props and stage set up in a music video, right through to producing, filming and directing the music video itself.
Their longstanding obsession and passion for music has led them to organically work with some of France’s up-and-coming independent record labels such as Don Dada, RPTG and La Ligne Bleue.
For the general public, you’re likely to never really, ever, encounter or come into direct contact with a studio, or any form of a creative agency.
They normally move in silence, pushed to the shadows by their big corporate clients.
However, what you find with WWWESH STUDIO™ is that they’ve naturally become a brand in their own right, and many of the partners they work with welcome their logo being emblazoned throughout the execution of a project, sitting alongside the brands themselves rather than being stuck in the background.
It’s easy to see that the work Pierrick, Antoine and their creative team undertake is years of organically being ingrained in street culture, you can visabily see the wealth of knowledge in the execution of the work.
With that being said its no surprise that they have such a closed linked allegiance with LA brand, Heightened Sense.
Having worked together on previous collections, for (s)Hell Burn® the collaborative process was ramped up for the 2020 offerings, forming a partnership dubbed as WWW/HS.
This is visible throughout the collection, through two different monikers, firstly with the WWW oval logo and the WWW/HS monogram.
The TN(C) sneakers, which sees the iconic Nike Air Max Plus TN and the Converse Chuck Taylor fused together as a hybrid was a major success, rapidly selling out after releasing at the TOKYO exhibition.
For those that are unfamiliar Heightened Sense is a direct to consumer brand, only purchasable online or through select popups around the world.
The brand focuses on the creation of garments that are released in small, limited batches, it's the approach of a couture atelier but for the streets.
Elevating the conversation of streetwear garments, and giving an option of individuality in an era of streetwear overload. An overload that is driven by mass-produced hype items that are worn as clout and globally recognised. Heightened Sense provides another option to the passionate and educated consumer.
Regularly seen in Paris and Tokyo. They have a physical presence allowing their fans to experience their world tangibly.
With the shellburn collection, vast experimentation was undertaken to try and test new techniques such as burning gunpowder into the material of the garments, as well as a wide range of processes were applied to allow the colour of the garment to change when exposed to extremely high temperatures.
This is an example of the arsenal of skills that WWWESH STUDIO™ embody, it goes beyond simple graphic elements thrown on to a tee for a quick buck, they dig deeper and push the conversation forward.
Pierrick and Antoine’s constant determination to deliver fresh projects has led them to work with well-known brands on a regular basis, recent examples of this can been seen in the Asics x Chemistry launch scenography as well as working with Jordan brand and Footlocker to create the latest PSG collaboration collection campaign.
Just like its organic ties to culture, at the heart of WWWESH STUDIO™ is a community and from day one of the strict lockdown measures in March, hot of the mark, they set up a creative confinement program, encouraging people from all backgrounds, age groups and skill levels to take this vital moment of our lives being put on hold and use it as an opportunity to allow ourselves to create something.
Eight weeks in and we’ve witnessed an array of challenges from simple one colour artworks through to the opportunity of re-designing the Red Star FC jersey, head over to their Instagram to check out some of the competitions and entries, @wwwesh.studio.
Although we are living in an era that is a struggle to comprehend, much like times of the past when the world has been in a fragile state, there’s almost a guarantee of a magical surge of a creative and freedom movement.
We chopped it up further with Pierrick and Antoine regarding their creative practice, influences and vast body of work.
What are the earliest memories that you both share together, when did you meet and what is the journey that ultimately led you both of you to form wwwesh studio’s?
We met at Art School in 2012 where we were studying Product Design. During the first year we were in the same course and on the second one, we moved into a flat share where we quickly transformed our living room into an office. After a year of working together for school projects, we thought of setting up a studio together.
What’s your heritage and background?
Pierrick; I am from Toulouse, a city located in the south of France. I grew up in a family where manual works and strong material interactions was part of my daily life. Firstly, my grandparents, one taught technical drawing and practised carpentry. The other was a milling manufacturer, working mainly on metal. My father had a precision engineering company and my mother is a computer scientist and had an artistic practice as hobbies. I was surrounded by this universe and that is why I naturally went into aeronautical engineering studies.
After spending five years studying mechanical, technical and materials science, I had decided to shift my skills and knowledge into a more conceptual, and creative approach and learn industrial design knowledge.
Antoine; My dad is French and my mom is Brazilian. I have always been dip into few worlds at the same time and mixing cultures. It is something that inspired me on my work.
I got some musical background. I used to DJ and produced some beats. Nowadays I cannot find the time but I am missing it sometimes. During college I have run a streetwear brand with a friend. I have Always struggled in this creative world.
I have never feel comfortable with school. I was a dreamer. I was this kid looking thru the window. I have always liked to learn and make everything by myself. I have done a product Design degree and I met Pierrick there. But even in art study, I was off the beaten track.
I never fit with any form of education.
When did you form WWWESH STUDIO™?
Once we graduated our bachelor degree we went into an internship. Antoine in China in Shanghai at Benwu Studio designing product and display for Hermès and Pierrick in Switzerland in Lausanne at Adrien Rovero Studio designing scenography for museum, product and display for Hermès too.
Pierrick; Despite the distance, we kept communicating and working together for a few small clients. I have the opportunity to continue a master degree at the end of my internship.
Antoine;…And then I convicted Pierrick to not go back to school and start the business.
Pierrick;…So I drop out of school. I did not feel like waiting more time to use 100% of my energy in the studio. We officially start the business in May 2017.
You’ve worked on a wide variety of projects, from cd cover art to installation and exhibition design for the likes of Nike and Asics, to all of this coming full circle again by producing and directing music videos, although your practice is in its infancy you’ve been non-stop, what projects are you most proud of and what’s the highlight moments of your careers so far?
It would probably be for Nike during Air Max Days 2018, Paris On Air. It was 25 days working all day every day with the Nike team, agency and supplier to imagine the art direction and scenography of the historic part of the event, which resulted into a kind of Air Max Museum. We were given 1000 square meter of empty space to fill. It was a beautiful project and a strong moment to share with all the people we teamed up with.
It is difficult to underline one key moment when we are working all the time and generally on various projects at the same time. During the realization of the projects, the constant task of focusing makes it hard to step back regarding the situation. It is rather a global state of mind of satisfaction when we are able to step back from the situation once the project is done, for instance, we were proud of what we have been able to accomplish with Shellburn : Traveling as a team to make the collection in Los Angeles with Heightened Sense at their studio then settling in Tokyo for three weeks and present our collection. When looking back, we are able to say that this project was a year of pleasure where we got to meet new people, new cultures, while being in a working environment.
From an outsider looking in Paris seems to have a vibrant creative community, is this the true case?
Paris is a very creative city due to the diversity of the culture and the energy of the community. There is always something to discover, it is also a key place for fashion and design culture. Therefore, it is also difficult to stand out and find your place but that is part of the game!
Who do you both look too for inspiration, even if you don’t have any specific idols now who were the creative heroes you looked up too when you were younger?
Pierrick; Regarding music inspiration, I was constantly searching for underground electronic music in the depths of the Internet, where music was exchanged almost like a currency. Discovering new artists every day (rather every night). Not being from Paris, I followed from a distance what was happening around the music scene there, such as artists who went to the Social Club or the entourage around Ed Banger label. It was a time where social networks were not a thing and where we had to go and get the information by our self. Nowadays, information comes to you, just by following certain trends and where you are not really longer in control of your “discoveries”.
In terms of street culture, there is a whole universe that revolved around Colette of course, between the emergence of new brands and young artists and the beginnings of the "institutionalization" of big collabs. Tom Sachs's creative approach was revealing a new way of apprehending artistic projects by integrating big brands and questioning overconsumption.
How has your work adapted due to COVID-19, can you tell us more about the reinterpretation of the air max 2090 launch?
These new sneakers are an evolution of the classic AM 90, we interpreted the evolution of its name as a date of the future, hence 2090 ODYSSEY.
Inspired by real facts and events observed in Le Grand Paris, confronted with a futuristic evolution of technologies, we imagined new lifestyles for a future contemporary generation, where the presence of nature and new technologies coexist together.
The current situation does not allow us to move or produce a shoot, we had to create fully digital universes of the shoe, in the environment, with the characters as well as in the clothing.
These visuals make more sense during this period where all notions of time, travel and exploration are turned upside down.
We have always experimented with the different 3D techniques as digital craftsmen, mixing real elements scanned in 3D, creating a fully digital universe. And conversely, by integrating 3D elements into real-life through VR tools, holographic and interactive projectors. What we are mainly looking for above all is to immerse the spectator in the universe we create.
What is interesting is that these experiments have allowed us to explore different digital tools that we hybridize with our savoir-faire of the matter and our obstinacy for the product and the volume.
Of course we must not fall into the extremity that is fully digital but we have to continue to explore the elements, draw inspiration from nature and feed on what surrounds us.
Car culture seems like a big influence, from the BMW 520d that you pulled apart for an album cover through to the hoodie and sweater release you did in collaboration with MEYSON of neoparisians, as well as the standalone import/export collection Moto culture plays a big part in the work you do, what’s the appeal for you?
Cars are always present around our everyday life, and they come in all kinds and shapes, and can have different uses.
Either vintage cars, luxury cars or even the ones used for daily usage.
We have a kind of emotional relationship with the automobile where the excitation around car aesthetic comes at a young age. Everyone as a story in mind about cars. Ranging from a nostalgic moment in a movie to a memory of our childhood.
Engine noises, mechanical performances, body shapes and perfect assemblies are often seen as an important factor in this culture. There is also a strong identity question, and that is why we play with the codes of this new subculture.
Long before the heightenedsense TN/Converse hybrid, you’ve been pulling apart, deconstructing and re-working sneakers such as the Nike Airforce 1 and the Bapesta, there’s minimal coverage of this online, what were these pieces for and did you ever release any of these at any point?
We have always deconstructed stuff and especially shoes in general. Of course, sneakers culture is very inspiring for us. Deconstructions is a way to see how products are made, thought out and designed.
As for the Air Force, we were working on a custom of our own version of the pair. The day we started hearing that Virgil was going to come out with ten Nike shoes we immediately stopped putting energy on it (lol) it was done for the moment. But it is not over, the air force and many other sneakers are timeless. We may well start working on it again soon.
What’s your favourite car and sneaker?
Antoine
AM1 / AJ1 / Air Max séries
Mercedes AMG 560 SEC
Pierrick
Nike Air Max Plus TN and Salomon XT S-LAB 4
Range Rover Sport HSE 2011
Can you introduce us into the worlds of the musicians that you’ve worked with?
Most of the musicians we have worked with are our friends before being clients. Together we share the same creative spirit so it felt natural to build something together. There are different independent labels such as Don Dada, RPTG, La Ligne Bleue.
We like to work with them knowing that we can be free and that they trust our creativity, instead of being restrained by the major and the music industry.
We are actually working on a MMMIXTAPE® which will regroup our close entourage from around the world.
Ultimately hyper creatives juggle an insane amount of projects and concepts at any given time, what are the ones that were left behind, unpublished and unfinished that you want to work on bringing to light someday, is there any you can talk about or give us a glimpse of?
Too many project are being avoided due to brands changing their mind, changing the budget or even by being afraid of taking risks and almost eighty percent of the ideas we have do not emerge. These events are part of our job and it is what makes it exciting and allows us to constantly renew ourselves. We cannot give you any examples due to the fact that we are still working on some of them, it is our ideas bank.
The DIY trend within fashion has seemingly been at the forefront of every brand for the last few years, with everyone putting on some form of workshop activation, you’ve worked with some well-established brands in producing these workshops, what do you think is next, will these become tired or will they evolve?
Yes we do some called WWWORKSHOP™ for brands whether in store or in events. The past two years we have seen that this kind of moment has been starting to feel a bit repetitive. Recently we have been trying to push our customers to other types of workshops on new practices and ways of handling the products but they do not seem to be ready to switch the classical flocking workshops and try to explore new formats.
Since the principle of doing workshops as way of advertising is quite a recent thing, some brands find it difficult to invest the right amount of money into them, even though that in the end of the day, showing products is the goal of any type of advertisement.
This kind of advertisement (WWWORKSHOP™) should allow the brand to carry another message, consisting on raising people’s awareness on choosing better consumption over overconsumption.
Nowadays, the idea of sustainability is present in the fashion scene but in reality brands tend to use the term due to its current relevance and its fashionable image more than actually trying to explore the theme and find solutions.
Nevertheless there are still certain niche brands that were able to become aware soon enough, react and even integrate this into their production process (for real, not only organic cotton). This awareness would be one of the main differences between those emerging brands and the larger well established brands since it would demand too much of an economical sacrifice for the bigger brands to make the late transition towards a more responsible way of producing products.
As for the workshop, we tend to push brands towards other ways of producing, but not only fashion brands, we also seek to act in other areas that are dear to us such as accessories brand or furniture design where overproduction is an important factor. I am thinking in particular of Ikea for which we already have ideas in mind for example.
We also started to make our own WWWORKSHOP™ like lately with Takahiro Yasuda and Ken Balluet at Cekai Kyoto Haus. We had brought second-hand clothes from France to transform them into bags on the spot. Then we use lasercutting machine to produce normographs as stencils and apply graphics to the bags. We had a group of 15 people participating, it was a great day, everyone was involved and very interested in the processes.
And we are planning to organize something else, which will be a way for us to prove to the brands the strong creative and commitment potential of these workshops towards consumption.
Could you tell us more about casa93?
At the very beginning of 2020, we directed the last call for application video for Casa93. A new Fashion School founded by Nadine Gonzalez and chaired by Caroline Tissier.
This committed and innovative school makes it possible to transmit social and ecological values through fashion and design by providing free access to a new form of learning for young people from suburbs of Paris.
Adding to the video, we are working with young people from the school on a special project with with a luxury brand, in order to transmit to them the values of design, from the brand's material waste and thus across their cultural background with that of a brand. history like LV on topical societal themes.
When looking closely you can see that furniture design has been an integral part to the projects you undertake, you can clearly see its something your passionate for but it also gets lost amongst the sea of work, what are your favourite pieces that you have produced?
As we studied furniture design at art school we always focus on product. Even when we were still at school, we immediately wanted to integrate global design to it because it was necessary and because we were excited to do it.
Furniture was not so “hype” at the time so it was hard to immerse only with a furniture collection. We are currently preparing a kind of transition between hype product such as sneakers, t-shirt to show to people that product (in general) and furniture on their own are an entire beautiful product.
For now we can say that we are most proud of the furniture we have done for the Shellburn collection which was made from reusable and scrap materials. We use unusual accessories such as extinguisher , brick , carton box as graphics etc. We have tried to use a new language with Shellburn, in which materials and processes are our primary focus before form and function.
You have a longstanding relationship with the LA brand HeightenedSense, what can we expect to come from you guys in the future?
We are thinking about a new kind of common project. It will be an event closer to an exhibition in which people would be placed into an immersive experience, exploring digital and real-life experimentation.
You produced a series of protective wear clothing dubbed ‘Busou Shita’ in collaboration with Ismael Rifai, what’s the story and concept behind this series?
Wow! It sure has been a while, probably like four years ago. If I remember correctly it meant « Armed men » or protected men. It was an utopic based on Japanese nuclear Fukushima incident. The idea was to find out how and what the first needs clothing and accessories would be made by the surrounding and by the people living in the touched area. It is quite interesting to see that the current situation with what is going on with the Covid19 pandemic is creating a similar response with people creating their own masks due to the factory shortages.
(shout out to Ismael Rifai, look him up and what they are doing with his girl-friend, StudioLow)
What advice would you give to younger creatives that look up to you for inspiration and want to follow a similar path, I guess what’s the most important piece of advice that you would go back and give a younger version of yourself, having achieved what you’ve achieved
Everyone should really do what motivates them. Feed your creativity by being curious of everything and take your inspiration in uncommon things to be different.
Never give up and always trust in your idea but above of all be yourself.
Studio 93 is your latest endeavour that serves as a creative platform set up for collaboration and the release of products, you’ve just dropped the DVD and zine package documenting the Shellburn collection with Heightened Sense, what can we expect from Studio 93 in the near future?
Under Studio93 we bring project as SÉRIE and HORS-SÉRIE (for collaboration). We called the project as series. Every series is actually a capsule We have plan already a lot of them, approximately 8 series ready to go and some HORS-SÉRIE almost ready to go treating different themes and subjects, from product, object, art or music.
Since the beginning of the quarantine, we have started a series of challenges consisting on creating various outcomes depending on the day, promoting daily creativity in this period of instability. There will then be a published book “The Quarantine Program” regrouping a selection of some of the participations as well as an exhibition.
