FOCUS: Boris Bidjan Saberi

Boris Bidjan Saberi is one of the leaders in the avant-garde of contemporary menswear, considered as the heiress generation of great Japanese designers like Yohji Yamamoto and an essential date during the Paris Fashion Week.

Attracted by the Spanish way of life, Boris Bidjan produces his collections from a workshop located in Barcelona, a cosmopolitan city and the European mecca of skateboarding, notable influence on the young designer work.

Saberi launched his own menswear brand in 2007 and at the beginning of 2013, exalting his interests for the punk movement and the hip hop culture, the designer launched a second line aimed at a streetwear audience: “11”, an experimentation with graphical applications and thorough research in graphics and treatments.



His German roots reflected in the most pragmatic and minimalist aesthetics; and his Persian side which emerges in the special devotion to texture and details coexists on efficient designs where artisanal and natural are fused with high-tech fabrics, seeking functionality and standing up for quality.



While developing his own label, Saberi also collaborated with notable brands such as New Era, Solomon or Reebok, that placed reliance on the meticulous designer to create a limited edition model of the iconic Instapump Fury.

Bori Bidjan designs are dominated by dark tones that drive almost all the attention to the design of the clothes, although there is no lack of luminosity on his work as he also explores within an exquisite pallet of bright and vivid colours.


“I use a lot of blacks because it suits my skin and it fits me. All the changes you see in the collections is an evolution in creativity and living life happily and truly.”




Tireless seeker of new forms, Saberi manages to transport us to a futuristic millenary Japan and delights us with the Bedouin breeze of nomads of the desert. A vest that turns into a fanny pack, unbreakable buttons or waterproof long-lasting products is some of the ideas that the talented designer brought to life with the intention of covering day-life needs.

The message under the aim of functionality intends to criticize society behaviour as one of the many other moral concerns of the artist, making an approach that denounces the culture of “use and throw”.



If we consider the end of the era of technology and the return of the primitive where artisanal forms that this designer defends are a common process, as a possibility; wouldn’t it be a revolutionary movement today?

In a world in which fashion is being distorted and separated from art, approaching at a strategic speed towards numbers and masses, it is remarkable the involvement and commitment of the designer to offer quality and authenticity.

Boris Bidjan Saberi does not aim the commercial expansion. He doesn’t consider responding to higher demand, his priority is to maintain the singularity and excellence of his product, retaining the spirit of the brand intact.

At LABOUTIK, we share Boris Bidjan's vision and we are happy to support his goal of keeping fashion as something special, useful and with great design value. Soon available online and in our store, the 2020 collection.


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With Kanye West, you never know. This time, apart from attracting half of Coachella's total assistance (50.000 out of 100.000 people) to the foot of a hill last Sunday at 9 a.m. to offer a performance crowned as "Sunday service",  Kanye West managed to form an infinite queue of people waiting to buy ridiculous overpriced "Church Clothes" merch. The collection was composed of basic, neutral-coloured items, each of which contained several God-fearing slogans, including "Holy Spirit," "God of Trust," and "Jesus Walks". Sweatshirt prices range from 130£ to 215£, and the socks cost 40£



Even though all sorts of criticisms were made in which jokes abounded, a bunch of people was more than willing to pay an exorbitant amount for the simplest of t-shirts. What's wrong with us? It's not possible for humans - the creators of space stations - to get carried away so easily. Is it? Well, bad news, it is and we'll explain why; 

The more expensive something is, the more exclusive and therefore more desirable it becomes. In the eyes of designers, there does not seem to be a shortage of consumers who believe they can buy personal power with what they are wearing. They want the item in the first place, they want items that are scarce or are made in limited runs, and they are willing to pay a lot of money for that to happen. 

In many cases, designers raise the price of their products simply to get an added shine of prestige and exclusivity. So, the short answer to why designers charge so much for their products is as simple as; because they can.

It's the price, as much as the product itself, that makes an item remarkable. The price, and the fact that most of the world cannot afford to buy such an item which has the reverse effect of empowering the buyer. In this society, no matter how little we like it, the reality is that personal power is synonymous with purchasing power. And it's not just a marketing tactic, it's a psychological condition that top designers count on



But, what is the real price of clothes?

The gross margins of fashion companies tend to be around 65 per cent, which seems a lot, but it's what the shareholders expect. It also means that a 3,500£ bag costs approximately 1,225£ to produce and bring to market, from materials to sales.

There are many steps along the way that contribute to the final price. There are the costs of raw materials, design, manufacturing and compliance. Then, in retail, there is the cost of prime real estate and sales staff. And finally, there's marketing. Yeah, those brilliant fashion ads cost a lot of money to produce, and much more to place.  

That is why, in order to minimize costs with the excuse of boosting exports, increasing economic growth and creating employment in depressed areas, some trade barriers are eliminated in free trade zones that are located in impoverished countries in order to be able to produce their products in countries where the expense of paying workers is minimal.

In Bangladesh, for example, the average pay of these employees is 35£ per month, equivalent to a minimum wage that is among the lowest in the world. This allows firms to lower point-of-sale prices to levels that, if they had to bear the costs of first world wages, taxes and safety conditions, would not be "competitive".

So, do they take their factories to the third world to lower costs or do they do it to further increase their profits?



The underlying problem is to assume that the only way for cheap clothing to be available is for it to be produced in unworthy conditions. In today's interconnected and exposed world, companies take maximum care of their image and one of the reasons why they do not face a strict change is the great social and legal premise that they would suffer if they exposed the "how" of their textile productions.

For fashion companies to stop ignoring what we all know as an open secret, legal reform is needed, as well as an imposition by consumers, who are complicit in the faults of the companies, since in general the concern falls on being able to buy cheap clothes rather than on the conditions of the workers who manufacture them and the climatic consequences that this entails.

Transparency and education are the first steps and the sustainable way to relate to what we wear, the ultimate solution.