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“Everything is based on things that we have found in the archives,” Hedin clarifies, speaking over the phone from Paris, where he is due to present the collection in Le Corbusier’s studio-apartment, on the top two floors of the Molitor building he designed with his cousin Pierre Jeanneret in the ’30s in the south-west of the city. “It’s an interpretation of what we think he would have chosen. We wanted to get to know how Le Corbusier used the colors, but also how he used textiles in his different houses—his apartment and studio in Paris, Villa Le Lac in Switzerland, and the Cabanon, his holiday cabin in the south of France.” The biggest challenge? “You have to pay so much respect to the history, because in a way it’s a one-way conversation,” he says. “It was a lot about trying to put ourselves in his mind.”
It’s not the first time Hedin has drawn on architecture for inspiration. Tekla, which has expanded from bedding, towels, and blankets to sleepwear and tableware in recent years, collaborated for several seasons with the British architect John Pawson. Indeed, the 40-year-old Swede reveals that had he not pursued a career in fashion (he spent seven years at Acne Studios) and then in textiles, he would have studied architecture. “I love the design of space, and being in rooms that are very well-proportioned,” he says.
Neither is Tekla the first in the fashion and lifestyle space to invoke Le Corbusier’s legacy. Karl Lagerfeld famously took “Le Corbusier goes to Versailles” as his theme for Chanel’s fall 2014 haute couture collection, while the Comme des Garçons designer Rei Kawakubo has said in interviews she respects the “simplicity and spaciousness” of Le Corbusier’s philosophy. The Belgian designer Ann Demeulemeester bought his only surviving house in Belgium, Maison Guiette in Antwerp, in 1983. The architect’s work has had a lasting impact, too, on Lanvin’s Bruno Sialelli, who grew up in Cité Radieuse, the housing complex Le Corbusier designed in Marseille. “Here I was, this skateboarding-obsessed ’90s kid, surrounded by bizarre Brutalist mid-century design—it felt like a dream world,” he told the New York Times in 2020.
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