BLESS is a visionary substitute to make the near future worth living for.
She is an outspoken female – more woman than girl. She’s not a chosen beauty, but doesn’t go unnoticed. Without a definite age she could be more between her mid twenties and forties. B. hangs around with a special style of man. She has no nationality and thinks that sport is quite nice. She’s always attracted by temptations and loves change. She lives right now and her surroundings are charged by her presence. She tends to be future orientated.
BLESS is a project that presents ideal and artistic values by products to the public.
BLESS came to fame in the winter of 97/98, when the models of a Martin Margiela fashion show wore BLESS wigs made out of fur. Heralded as one of fashion’s most innovative designers, the Paris and Berlin-based duo (Desiree Heiss and Ines Kaag) quickly refused to capitalize on one milieu.
Constantly investigating the boundaries of style, BLESS slides from fashion to beauty, interior decoration to art exhibition, collaboration with other brands to stylized advertising. Their production, which sits on the ﬁne line between art object and design, high function and high fashion, is always unique and marked by the recycling and adaptation of unexpected items put to use in a totally new way.
BLESS have exhibited internationally at the 1st berlin biennale (1998/99), Musée d’Art Moderne de la Ville de Paris (1999), Centre Pompidou (2000), Manifesta 4 (2002), Palais de Tokyo (2003), Moderna Museet, Stockholm (2004), Museum Boijmans Van Beuningen, Rotterdam (2006), Kunsthaus Graz, Austria (2010) Chicago Architectural Biennial (2017) and most recently in New York Fashion Week.
Their collaborations with other brands range from Adidas to Levi’s, Nike, Mikli, Droog and Artek over to the jewellery designer Bucherer.
BLESS will head a new two year Masters programme of Fine Arts, Design & Interior Architecture at Sandberg Instituut, open from 2018-2020 only. The temporary programme, Challenging Jewellery, focuses on building a persuasive collective. One that could be defined as both a corporate association and a movement, driven by a common interest in ‘team spirit’ and the relevance of the silent side of the beauty. The initiative is driven and operated by way of a fully-functioning company structure.
The Temporary Programme challenges the subject of jewellery on a fundamental level – how it relates to our present time. The approach represents an attempt to think big on a small scale, and presumes an ability to understand ‘micro-working’. The input for Challenging Jewellery is based on intergenerational dialogue. An advisory board, comprising four key figures in the realm of jewellery and design, ensures this will be done in a solid cooperation with the relevant fields. The visiting tutors and guests – varying from theoreticians and curators to contemporary architects, designers and artists – guarantee a continuous renewal of viewpoints on and insights into a discipline manifest in traditions, historical design and theoretical connotations.