Revolver Blog


Join us this Friday, June 24th at Voyager San Francisco for the launch party of our July Pop Up with Moon Collective!

Come and shop the new season from Moon Collective plus a very special collaboration tee made just for the occasion!

Music by Brogan Bentley

Drinks by us

Fun for all!!

The Voyager Shop
365 Valencia St

Friday, July 25th
Dialogue Series No. 8 / Ade Velkon

Not too long ago I was at the shop and these two effortless stylish women came in, I felt an instant connection to their style but more than that, to their persona.. around an hour later we had already made an appointment for me to see their line and less than a month later that line was at the shop ready for San Francisco to discover it and be amazed by it.

Marta: Well I guess the first question would be how did it all start? How did this line come to life? How did you meet etc..

Kathrin: We met three years ago through a friend who connected us, actually specifically, to talk about working together. I had just quit my job and Molly was searching for a partner to get things started and move forward. I don't know, we were just a match in what we wanted and started working together the week after we meet. The first couple of months were a lot of research, administration and inspirational work. We launched the very first collection in our apartment studio. We kept it quite private and cosy, invited friends and family and enjoyed a Sunday afternoon together. I mean we are talking about two women who take everything very serious in how they do things, so everything was set up in a professional way and the feedback was very promising to proceed in what we started. In the next half year we did another 3 capsule collections, two events and had two shootings. We just went for it, haha.

Molly: I had been wanting to start a fashion label for some time, but wasn't sure how to approach it. I was for sure looking for someone I could work with, but at the time I had a different sort of project in mind. When I met Kathrin the project took on a whole new life, there was a lot of energy there, it felt like this thing that already existed, almost tangible, we just needed to bring it to life.

M: Did you always know that this was what you wanted to do?

Kathrin: For me not really. I was surrounded by art during school and even studying experimental arts in Vienna did not really set any passion for design. But fashion itself was for sure important to me for many years. I never thought I would launch my own label though. It feels very liberating.

Molly: I guess in the back of my mind, or deep deep down somewhere I knew it was what I wanted, but it was kinda hard to admit that even to myself. I had always gravitated towards clothing construction, but this whole “fashion” world was so intimidating. It still is I guess! But I try not to think too much about the idea of the industry and just keep doing what feels good. We make clothing that feels good to me, when women try our stuff on and smile, raise their chins up high, I know we are on a good path.

M: What are the first steps when designing a new collection? Do you start by a color palette, or a textile, or a pattern? What is the first inspiration that sets all in motion?

Kathrin: Well, the process is not always the same I guess. Sometimes we already have fabrics we wanna use and then thats a starting point. We collect a lot of design ideas through out working on a collection, which we push into the next season and adapt them bit here and there. But colors for sure are very important. We create moods and refine them step by step until we can both see a setting for the collection. The setting could be a combination of a mood, an environment, colors, a fictive woman that inspires us and the story that we create around her. It feels like everything stays within a frame and seems homogenous. But sometimes it can just be one idea that sets the core of a collection.

M: I know this is very tricky but how would you describe in a few words what your brand is? What are the fundaments of it? And what keeps you motivated to continue doing what you do?

Kathrin: Its the understated elegance and the innuendo to a sophisticated and affordable design that's hand made in Berlin. There is an ethic motivation that is idealistic and, in regards to this industry, naive, but we wanna create outfits and clothes which are not anonymous and copied from other designers, which are not necessarily seasonable or out of fashion in 3-6 month. The design motivation is creating something humble and editable for the person who wears it. Simples to sporty shapes, elegant to particular fabrics and an androgynous design approach create pieces which are wearable every time during a day.

M: Why did you choose Voyager/Revolver as a retailer? What excited you about us and made you decide to let us carry the brand?

Molly: When we discovered Voyager in San Francisco it seemed like the perfect location to launch our label on the West Coast. We love the interior of the shop and how playful the mix of everything is. All the garments and products are so thoughtfully put together, but with such ease, nothing feels overly thought out or too perfect. Its the kind of shop that really pulls you in off the street. So many of the brands there are ones I really love and admire, but the way everything is presented is so approachable. In some shops I almost feel hesitant to pull things off the rack and try clothes on because its all so picture perfect, like it doesn't want to be disturbed, but in Voyager there is a sense of freedom in the shop, and everyone working there is so friendly.

M: Aww, thank you so much! That is really the best compliment anyone can give us, that freedom and that approachability is the thing we care about the most! We love curating a space and the awesome designers we carry in it but we would be nothing with our customers, and knowing that our vision is palpable at the shop just means the world to us!

And now to finish, the classic question of how do you see the line in 10 years, but I want to know more about where would you like to see it? 

Kathrin: It would be really great to live from what we are doing. I think this is fair to say that at the moment we put so much time and energy into this brand and want it to be successful and profitable, haha.

Molly: If I were to be honest, when I look so far into the future, I don’t necessarily see our label in a million shops, thats just not what we are all about. Its always been more important to me to be in the right shops and to build meaningful relationships with those shop owners. Since our clothing is so subtle its very important to stay connected to the women who are actually buying the designs, to continue this personal feedback. Of course I want our label to continue to spread out, but I see us doing that in exactly the way we have gotten to where we are today, with thoughtful connections. I see us hitting interesting cities one by one and finding the right fit shops rather than the many.

M: I can't wait to see what the future has in store for you guys! And we are so honored to have you at the shop and be able to tell your story! Thanks so much!

Shop Ade Velkon here

All picture courtesy of Ade Velkon

by Nikolaj Hansson


Charlie Roberts can almost be considered an anomaly; raised in the US, educated in Canada and now residing in Norway, Roberts' art references cubism and comic books in greater fusion with the likes of Chief Keef and Bobby Shmurda. Utilising his talents across watercolour and oil on paper, paintings and carvings in wood, it's hard to know what's to expect next from Roberts. We sat down with the American artist for a chat on sports, Rae Sremmurd and the paintings of George W. Bush.



Having grown up in Kansas, do you often reference your birthplace in your art?

Not so much anymore, at least not directly. An occasional KC Royals insignia or a reference to a local gang, "The Lethal 7", will pop up in the work, but the Kansas references tend to be few and far between.

You grew up in the US but now reside just outside of the Norwegian capital, Oslo. How’s the Scandinavian way of life compared to that of the American?

The Norwegian life is quieter, less public and generally more muted. It has its ups and downs. The winter has more downs than ups, but it's good, and a great place to raise a kid. I miss the States though, the juice and the nuttiness of America. I have the expat's curse of becoming more and more obsessed with America the longer I'm away. I've made it into a fantasy America, where the weather is always nice, the parties are always killer and radio stations just play only good rap. I get to go back for work a lot, it's always fun. USA USA USA!

It seems that you’re quite the sports fan. Did you dream about becoming an athlete when you were a kid or was it always the art that came first?

I loved sports as a kid and was heavy into baseball and wrestling until my sophomore year in high school when any delusion of a future in sports vanished and music, partying and girls took its place. Now I loosely follow the NBA, UFC, and MLB, mostly through grantland.com and podcasts.

It seems that the titles of your work at times reference the world of hip-hop and the culture surrounding this. What’s your opinion on the new wave of artists such as Bobby Shmurda, Chief Keef and so on?

Chief Keef is the most exciting artist in any field of the last 5 years PERIOD. No one has pushed music sonically, visually, and commercially the way Keef has. Who else would snub Kanye right out of the gate? He's a force of nature, a once in a decade artist, a game changer. I'm a huge fan and can't wait for the next record. Love the Bobby Shmurda track, also Dej Loaf's "Try Me", Rae Sremmurd's "No Flex Zone", the new Jeezy record and the new Migos mixtape. So much good rap now!

How important is the element of absurdity in your art?

Ice cream is always nice on the beach.

Has the term of pop culture become excessive, as it has undergone heavy referencing over the more recent decades?

We are in some strange days, it's be becoming harder and harder to box things in. I'm confused. No labels, No ceilings.

Is there any truth to your art?


Do you remember your first encounter with the world of art?

I worked at the public library in Hutchinson for a while in high school , signing people up for the internet and such. All I did was to surf the web. Sandra was this cool lady I worked with who had lived in New York, been a college professor and a mover and shaker in the women's movement in the 60s and 70s. She was into art and culture and introduced me to websites and magazines. It was probably the first time I became aware of an art world.

What’s more important; making people laugh or making people think?

Tough one. I'm not sure. Laughing.

Gucci Mane raps: “I heard you suppose to be a gangsta, yeah supposedly.” Do you think a lot of people today pretend to be into art as well?

The art world has to welcome the fakers and the phonies, anybody who is even sort of thinking about being interested, because most people don't give a shit about contemporary art. More phonies mean more money! Snoop's new paintings are great, George W. Bush's too. Gucci should start making sculptures.

Is coherence a big factor for you when you work?

No. My brain is a mess. Whenever I try to come up with a plan, it turns to shit.  I'm jealous of methodical people. Typically, I start some skeletal notion and then begin to pound away at it. 30-40% of what I make gets destroyed. My quality control has gotten better, I hope. The in-between show times can be nasty, sometimes I can go a month of making garbage before I hit on something. Deadlines help. But really you just need a refractory period, to fill up the sacks and ingest new info, before you can produce A/B level stuff again. It's a tricky game.

What’s the most ridiculous thing anyone has ever said about your art?

"We'll pass."

What would the memoirs of Charlie Roberts be like?

A mess. Part Daryl Strawberry, part Alice Cooper, part Side Effects.

Are there any topics or themes that you’re scared to depict?

I don't think so. Whatever I'm interested in, I'll use. I've never even thought about not using something. That's probably the biggest perk of the job; nobody to say "don't do that". The art world tends to be socially liberal, so I guess if there were an artist who in their heart of hearts was a pro-gun, no tax, anti gay marriage, tea party supporter, they might want to keep that to themselves. The lanes seem to be pretty open. "Diamonds are 4 everyone, go get u one, go get you some" - Ballout.



From : CURATED BY CHARLIE ROBERTS, ARTIST Words by Nikolaj Hansson

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