Loading

 

 

 

Robert Geller began his career in design after graduating from the Rhode Island School of Design in 2001. Entering into a trainee ship at Marc Jacobs in New York City, he assisted in the creation of four collections before leaving to join designer Alexandre Plokhov to revamp New York-based brand, Cloak; a menswear line that would win the two designers the Ecco Domani Fashion Foundation award in 2003 and a Vogue/CFDA Fashion Fund runner-up prize in 2004. Geller launched his namesake collection in 2007.

In July 2017 Robert Geller launched a new line, GVA.

GVA takes its name from the main character of Thomas Mann’s famous novel, Death in Venice, Gustav Von Aschenbach. Like many of Mann’s literary works, Death in Venice, is steeped with references to contemporary influences ranging from music – Gustav Mahler gave the character his name – to Freud’s findings in psychology as well as classicist references to greek mythology. Additionally through its suffix “von” the name evokes a “tongue-in-cheek” nobility.

Robert takes these German references to update them with contemporary elements. GVA is an instantiation of his desire to make his designs easily available and to reach a broader public

Robert Geller’s Gustav von Aschenbach line, short G.V.A., is now in its third season:
From the beginning G.V.A.’s essence is found in its relationship to street culture, and each season can be regarded as a reflection thereof, seen through the lens of the designer.
SS19 then takes a closer look at the preponderance of graphic design, and its ability to create brand identity and even brand equity.
Robert Geller’s contribution to this subject is steeped in his love for original Swiss graphic design and typography: together with his long time ​collaborator ​and friend Ryotatsu Tanaka he has been revisiting and reinterpreting the work of the mid century geniuses of the Basel School of Design, Switzerland, Armin Ho​f​mann and Emil ​Ruder​.
The subtle play with words- “theoretiker” “illusion” “Basel”- pays homage to the forefathers of graphic design, adorning ​many pieces​ either as logo typography, trompe l’oeil, a shirt where the word typography ends up being perceived as ombré and stripes or simply as philosophical statement.
The G.V.A. kid is evolving into a young artist who expresses himself through individualistic self confident clothes:
In addition to the graphic design elements, big zippers, removable badges and pops of color infer to the pieces their streetwear aspect, reminiscent of past seasons G.V.A. outings. A few pieces retain that original intent, as for example a pair of cropped jeans and an updated version of a corduroy workwear jacket, but most pieces exude a sense of luxury: elongated, chic silhouettes come in refined cottons, nylons, and lightweight techy fabrics, that have all been sourced in Japan where the collection is also being produced.
The color palette features muted neutrals, beige, gray and a light pink with more saturated tones, such as ochre yellow, bottle green and purple, against a background context of black and white.