Inside The Artwork – Iron Flag

For the second edition of Lemonade Magazine we thought long and hard of ways to improve the quality and variety of content that we put out for our readers. One of the things we have introduced for this edition is two new series of articles. Along with the ‘Origins’ series introduced earlier in the month, we are also starting another collection of articles looking specifically at one piece of work and asking the creators themselves to take us through the design process, from the brief, right through to the final outcome.

Kicking us off with what we hope will be a long and interesting series is Danish Design Studio, Iron Flag. We recently caught up with Kasper Fjederholt who took us through the different stages of design that they went through when asked to re-design the visual identity for Danish Fashion Label, Noir.


The Brief: Last year, Danish fashion label, Noir, changed owner and head designer which prompted a need for a subtle change in direction for their visual identity. This was to be emphasised in their visual material for the S/S12 season.

The aesthetic of their clothing had become more minimal, with subtle details, so we aimed to reflect this in the printed matter.. How they approached the design of the clothing, we approached the print- with stylistic restraint, something that later helped to define the design aesthetic of Ironflag, and became a big part of our ethos.


Inspiration: The theme of the collection “The Tall Surviving Ship” was inspired by a series of photos by Alan Villiers. In the story, a ship returns from a storm at sea, it’s foggy silhouette representing a mythological return from the dead.

Black & White has always been a significant part of the Noir label’s image, so it was only natural to continue with a colourless palette, to fit both the inspiration and the brand itself.


Research: Out on Ørestaden, a somewhat desolate place outside Copenhagen, we found an alternative nature playground shaped as a ship half sunken into the ground, with high wooden pillars around the railing. The wooden materials of the playground and rough Nordic nature surrounding it, seemed to fit the theme of the collection perfectly – without being too literal. We had the chance to take a slightly more abstract approach, leaving only a few clues in the photos that could reference back to the storyline. The visual reference of the pillars on the ship would then again link to a genuine forest, next to the playground, incorporating a rougher natural environment.


The First Draft: The black and white photos combined with a very minimal layout seemed to have a symbiotic effect and drew attention to subtle details of which both the clothes and the graphic design depicted. The references to the back story of the collection are few and subtle, again keeping in line with Noir’s new profile. The text is limited to a description of Noir that also works as a typographic pattern on the front and back of the inner pages; our intention was to frame the purely visual content with decorative text.

The campaign book has loose pages, where each page has the same theme, one with frames, one with photos etc. That way, when the book is flipped through, it has a slight mirror effect.


The Final Outcome: Noir only had minor changes to the layout, a satisfying result that underlined a project with good communication and a mutual understanding of where Noir should go visually.

The Noir Campaign book was, and still is, a very important project for us, it helped us define our own studio, visualize some of our thoughts and later put them into words. It also allowed us to work with one our favourite photograpers, Blaise Reutersward.

We are currently working hard at pushing Noir AW12 further and feeding our own development at the same time, so its become a project that works many levels and not just a regular case.


– Kasper Fjederholt


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