Issue 10 - Winter 2013/14

19 6 8 WINTER 2014

Fashion Designer

Rachel Sin Jewellery Designer

Carole Tanenbaum Bag Designer

Cindy Cantin

Travel

West Indies Chef

Douglas McNish $4.99

FOUR SEASONS RESORT Nevis

www.fourseasons.com/nevis

TABLE OF CONTENTS

WINTER 2014 5 BAG DESIGNER Cindy Cantin 8

11

15 IN THIS ISSUE

COVER Photographed by Mario Miotti Stylist Yoshihiro Hidaka Makeup and Hair Sacha Harford Model Ulla - Q Models

16 JAZZ BABY Photographed by Mario Miotti

24 IN THE ZONE Photographed by Regen Chen

36 NUMBER 1 Photographed by Anatolii Maf 44 ARTIST Martin Golland 48 CHEF Douglas McNish

51 ILLUSTRATOR Sarah Beetson 54 DJ Evalicious

64 BAROCK Photographed by Kay Smith

4

32 CELESTIAL Photographed by Andy Lee

56 TIMELESS Photographed by Patricia Recourt

FASHION DESIGNER Rachel Sin

14 MASTHEAD

JEWELLERY DESIGNER Carole Tanenbaum

72 RUNAWAY Photographed by Erwyn Loewen 80

TRAVEL West Indies

www.1968magazine.com

INTERVIEW - BAG DESIGNER

Cindy Cantin Handbag Designer

W

hen you hear the term “Handbag Designer”, a shiny white retail space with five-figure price tags immediately comes to mind.

But in the case of Cindy Cantin, designer of Montreal-based line C Comme Ça, her pieces are all things modern, beautiful, sustainable, meaningful, and at an accessible pricepoint. Cantin has had formal training in art and design and has used this knowledge to turn felt, a material used by ancestors, into a luxury material, having spent much time with Natives communities.

Felt (hers is made from merino wool or recycled fibres), aside from being aesthetically pleasing and durable, is also sustainable and water-resistant, making it the perfect material for her iPad and laptop sleeves and chic bags. All these amazing things rolled into one amazing package?

(Well, bag....) Yes please! www.ccommeca.ca

When did you decide to take your training in art and design and focus it on handbag design?

I finished my studies in Art and Design in 2002. My master’s works were mainly about how we can keep alive our traditional culture in modern object and how an object, especially furniture, can transmit value, message. After I worked in different fields, I decided to create “C Comme Ça” and work with felt, an ancestral material. I first designed sleeves for electronics because the felt absorbs chocks and is water-repellant. Customers kept asking me to design handbags and naturally, I decided to expand the line to handbags. All of my designs are thought to carry electronics.

It’s really interesting to work with an ancestral material like felt for modern uses.

What inspired you to begin designing handbags?

The customers, the everyday living, the modern uses.

How was C Comme Ça born?

I decided to quit my job and work to develop my own line. I bought a sewing machine, I had felt, material that I already used, and just decided to explore the material. I did an internship in a small leather company to be sure that it was really what I wanted to do, and the rest just happened.

How would you describe your style as a designer?

Hard to say… the customers tell me that my design is neat, clean, with something original.

Where do you find your inspiration?

Material, simplicity, modernism. I don’t want to redesign just for redesign. Design is thought to be durable, timeless. My design is made to fit in that simplicity, modernity.

Why is it important to you to keep Aboriginal traditions like felt making alive?

I’m not making my own felt. But I think it’s essential to keep tradition because we live in one big global culture. When you travel, you hear the same song on the radio, you see the same fashion trends, you need to have your ancestral culture alive to continue to create your difference, to show people what is exceptional in your culture, to transmit what your culture learned since few millenaries. We think that we are so modern and so advanced, but we have a lot to learn about the ancestral knowing.

5

BAG DESIGNER

Has your ancestry inspired you in other ways?

The nomad native cultures made gorgeous functional objects. The beauty was in the material used and in the function. The nature of things. No time to loose for ornament. Just create everyday living objects with intelligent materials.

Although you use quality materials and hand-make everything, your pieces are very moderately priced; do you feel it’s important to keep it this way?

Depends on the point of view. What I want is to offer affordable items, as well as items that really represent the amount of work put in it. It is important for me to keep my production locally made. The other important thing is to live well of what I’m doing.

How do you like to begin the design process; does it just happen organically?

I draw and work with the materials. I like to let my computer at my desk and go to the cutting table, take some material retails, and then start to work.

If you could work in any city in the world, where would it be and why?

I’m fundamentally a country girl. I really appreciate the nature. The best place would definitively be a quiet place in front of the sea, near a forest, and near a big city. I love Rio de Janeiro. I’m a contrast girl. I like the simplicity in objects, but I like eclectic cities with mixed people. What I noticed in Brazil was the similarity between its handcraft and Quebec ancestral handcraft. It was really interesting.

Other than felt, what is your favourite material to work with?

Leather. I also work with canvas, but I definitively prefer working with felt and leather.

What do you look for in a good handbag design?

Durability, quality material, simplicity, usefulness.

Which handbag are you carrying at the moment?

Le fourre-tout. I like big bags. You can put your laptop and everything you need for work, and stop at the market and put your purchases in that bag, no need for another one. I really love that bag.

BAG DESIGNER

Do you have a favourite piece out of your collection?

Not especially. I’m proud of the classic bags which are my first design. I like all my pieces for different uses.

Who would you most like to see wearing your bags?

I went to NY for a show, and Blake Livelly came into my booth and was excited about what she saw. Unfortunately, I was looking around at the show and I didn’t see her but if I had been at my booth, for sure I would have given her a bag.

I think that girl has a good sense of style.

Who are your style icons?

I don’t have any… I don’t like icons.

What is your best seller now?

Comme des garçons bag.

Where do you see yourself/your company in the next five years?

I would like the brand to be recognized in the US and some places in Europe as high quality and intelligent design, felt and leather bags and accessories.

Any plans for expansion beyond handbags?

Yes, but I cannot tell. Lots of competition just looking to know.

Photos by Sandrine Castellan

INTERVIEW - JEWELLERY DESIGNER

Carole Tanenbaum Jewellery Designer

C

arole Tanenbaum could be described as the Coco Chanel of the modern jewellery world. Born and raised in New York and now living and working in Toronto, she has made costume jewellery modern, desirable, and classic, just as the Mademoiselle herself did. Initially, her career lay in the world of corporate art, but twenty years ago she jumped into the universe of fashion and vintage jewellery. Her collection consists of over 30,000 pieces from great designers such as Dior, Lanvin, and Chanel. Her keen eye for detail and craftsmanship has made hers a collection that is internationally famous, evident in the fact that Tanenbaum has given lectures on costume jewellery at the Royal Ontario Museum, the International Society of Appraisers, and in her own book Fabulous Fakes: A Passion for Vintage Costume Jewellery. Michelle Obama, Sarah Jessica Parker and BeyoncĂŠ are among her many loyal clients. Selections from her collection are available for sale worldwide at high-end boutiques.

When did you realize that you wanted to move from a career in corporate art into costume jewellery?

My transition from the corporate art world to a career in Vintage Costume Jewellery came quite by accident, I was first a collector for about three years. I amassed a huge collection during that time. I had been in the art world for 20+ years and decided to share my vintage passion with others. I approached Holt Renfrew, Toronto, and they established Carole Tanenbaum Vintage Collection.

www.caroletanenbaum.com

Why costume jewellery?

In costume, one is not limited in size, shape, or colour. So the ability to create an original design is greater than it is with fine jewellery. There is no greater wow factor in accessorizing than to wear creative vintage.

What was the transition like?

It was an easy transition, as I was passionate about vintage and I was somewhat burned out with the corporate end of collecting. The idea was fresh and I was one of the public start-ups to have my collection in a large dept store, setting the bar in fashion with a unique way of accessorizing.

Have the lines between art and jewellery blurred?

Not at all. In fact, I use the same aesthetic criteria when selecting jewels as I do when selecting art. Look for originality, creativity, and craftsmanship.

What was the first piece of costume jewellery you ever loved/owned?

I bought a Coppola e Toppo beaded necklace which I considered wearable art. This started my love for this 60s design team who created many jewels for Pucci.

What is it that you love most about collecting?

I love the hunt! When I come upon a treasure, I feel like I struck gold. I also love filling in my personal collection with pieces that are needed.

Photo by Peter Bregg

8

Have you ever collected something else from costume jewellery?

I have about a dozen personal collections - art, quilts, vintage toys, vintage photographs‌ I am a born collector, starting at age 5 when I was collecting match covers.

www.1968magazine.com

JEWELLERY DESIGNER

Given that you have so many pieces, this may be hard, but do you have a favourite piece from the collection?

I have some favourite areas of collecting like Bakelite, Scottish, Figurals, as well as favourite designers such as Schreiner, Coppola e Toppo, and Hobe.

Brooches, bracelets, earrings, necklaces‌do you have a favourite?

No, I wear them all in quantity, grouping 3 or 4 bracelets with several necklaces and closely placed brooches at any given time. And I wear these to the grocery store or to an event. I feel naked without them.

Are you in the lookout for something in particular?

I am always on the lookout for unusual and rare pieces.

Since public Museums and fashionista alike are collecting voraciously, the rare and small production jewels are harder to find.

Do you have a favourite material (metal, gemstone, etc.)?

I love Bakelite, and coloured crystals. And, believe it or not, I love great wood pieces.

Why did you decide to move from New York to Toronto?

I fell in love with a Torontonian and the rest is history. I am fortunate to return to NY several times a year, as I love being there.

How would you describe the jewellery/fashion world in Toronto?

I was in on the jewellery/fashion world early on. I watched the growth of Vintage over the last 20 years, and how it has influenced the couture designer who reference vintage designs in their jewellery designs. Toronto has always been current in fashion and took readily to Vintage accessories. Our press has been incredibly supportive, which helps communicate the importance of jewellery in fashion.

Since you travel a lot, do you have a favourite place to pick up pieces?

I always love London to see selections that rarely travel “across the pond�. I also love road trips to small cities to see what I can scoop.

JEWELLERY DESIGNER

What should a woman look for in a good piece of costume jewellery?

A must when looking for vintage is fine condition. We each have our own sense of aesthetics, so it is hard to tell people what to look for. However, make sure the piece(s) is in original condition and is original. As the vintage industry grows, so does the appearance of fakes. Ask questions and learn about what you are buying. Information is key to the growth of collecting.

Similarly, what do you look for in pieces to add to your collection?

As I have over 10,000 pieces in my private collection, I look for pieces that I need to complete sets and series. I am always looking for new areas to collect.

Do you have a favourite era of jewellery design?

I love the Glitz of the 50s, as well the designs of the Deco Era. What part do you think costume jewellery plays in fashion today?

I think everyone is aware of how costume jewellery defines the outfit. People who are interested in fashion turn to vintage for the unique fashion statement as a “wow� factor in accessorizing.

Do you have a favourite designer?

I love Henry Schreiner and Hobe.

What inspires you?

I am always attracted to originality in design, colour combinations, and excellent workmanship.

Any advice for other collectors?

Read about the different designers, go to shows, expose yourself to Vintage. Then, choose dealers who are knowledgeable and will steer you in the right direction.

Where do you see yourself in five years?

Same place, same passion.

Photos by Joanna Wojewoda

INTERVIEW - FASHION DESIGNER

Rachel Sin

Fashion Designer / Architect

O

nly a highly-trained design eye can pick out how the soft curve or sharp corner of a building will translate into cloth and onto the human body. Rachel Sin, architect turned fashion designer, is one of these people. She noticed the correlation and symbiosis of all things well-designed while earning her Master’s Degree in Architecture before turning her precise eye onto the world of womenswear. Her clothing, designed for every woman who wants beautiful and functional pieces, has earned her a growing pride of Canadian and international fans, from Joannie Rochette to Ashlan Gorse from E News, and Rosey Edeh on ET Canada. We predict that soon, Sin’s vision will be both on buildings and the dresses worn inside them everywhere. www.rachelsin.com

Photo by Catherine Asanov

When did your fashion “hobby” turn into your career?

I always knew I wanted to become a Fashion Designer, but didn’t feel like I had to study Fashion. I took some sewing classes while earning a Master’s Degree in Architecture.

When I started the brand, it was never a hobby, I knew I wanted to pursue it seriously, with the intention of running a successful clothing line.

Have you always been able to see the correlation between the forms in architecture and those of clothing?

I do not think I would have been as good of a fashion designer, if I had not studied architecture. Architecture is the basis of design. As an architect, design, no matter what the scale, must be designed well. It is a profession of responsibility, and it is your responsibility to make the world a better place with good design.

Photo by Catherine Asanov

11

FASHION DESIGNER

What was it like going from architecture to fashion design?

It was very natural; designing clothes has always come very naturally and is something I truly enjoy. It’s almost easier, because compared to architecture, clothing is smaller in scale, and as a designer you can control every facet.

Besides architecture and the design world, where does your inspiration come from?

The everyday inspires me. As an architect you learn to open your eyes to the everyday and pay attention to details.

Whether it’s the combination of building materials that come together in harmony, or how a woman walking on the street combines an outfit, I find all these little things interesting.

Where did you learn to sew and pattern-draft?

I took sewing classes while earning a Master’s Degree in Architecture. I approach fashion much like an architect, overseeing to ensure the end product is what I envisioned and the owner gets value in what they pay for.

Photo by Jimmy Hamelin

What textiles/materials are you currently craving to work with?

I love working with ponte; it is a stretch knit fabric that is incredibly functional. It resists wrinkles and creases, is very durable, travels well, and is extremely comfortable to wear.

It also has a very sculptural quality to it. Function and form combined, it is the perfect fabric in an architectural sense!

How would you describe your style?

I’m always working and on the run. I try to keep my everyday work wear polished yet effortless and always comfortable. I think that’s why my collection has a wearable quality, wearable in the sense that it is versatile and can transition from day to night.

Who is the Rachel Sin woman?

The independent working woman is who inspires me, because that is who I am and what I love to see in other women.

She is the independent, want to do it all woman, whose wardrobe is an extension of her originality and personal style.

Who would you like to see wearing one of your designs?

Someone cool yet edgy like Rooney Mara, Olivia Wilde and Jessica Alba.

Photo by Jimmy Hamelin

FASHION DESIGNER

Photo by Catherine Asanov

What was it like when you found out celebrities were wearing your pieces?

At first it was exciting. Then I realized celebrities are in a way like myself, just trying to put themselves out there, do their art and what they love. You really just want to support them, make sure they look beautiful and ensure they have a good experience wearing Rachel Sin. What is your favourite part about your job?

Designing a new collection is still my favourite part of the whole creative process, with seeing your hard work walk down the runway following a close second. There is nothing like choosing your own fabric, creating the initial sample, and seeing the finished product for the first time.

It is a laborious process and with an architect’s eye you scrutinize every detail, fit and function. A runway show is where all your hard work comes together and you are able to express the brand in a very stylized manner - through hair, make-up, music, and overall ambience.

If you could move anywhere in the world and open a studio, where would it be and why?

Probably New York. It is the hub of fashion, and the American market is so much larger. Of course, the city itself is pretty amazing.

Similarly, if you could show on any runway in any fashion week, where would it be?

New York Fashion Week. We’ve already participated in Toronto, Montreal, Ottawa and Boston Fashion Weeks.

Photo by Catherine Asanov

Do you have a favourite piece amongst your designs?

Every season, I do have a favourite piece. It’s usually something that makes a statement and often what we open with on the runway. This Fall season it is the Cape Blouse and Graphic Line Dress.

What are the most important things a woman should look for in a dress?

Fit and comfort, because if you have these two things, you will feel confident in what you wear.

Are you ever planning on expanding your line (ie. bags, shoes, menswear)?

I would love to expand into a lifestyle brand and be able to offer well-designed products. As an architect, with every purchase you make you want to ensure that the item is of good value, is well designed, and beautiful to look at.

What are your goals for the next five years?

To saturate the North American market. One day I would love to have one job title: Designer, to be able to design anything in any medium and bring value to that object.

I think it would be wonderful designing both a clothing line and a standalone store to house the collection.

1968 MAGAZINE MARTIN VOLPE

Editor in Chief - Creative Director

1968 Team

Fashion and Art Contact us info@1968magazine.com advertising@1968magazine.com submissions@1968magazine.com subscriptions@1968magazine.com letters@1968magazine.com Contributing Photographers Mario Miotti, Regen Chen, Andy Lee, Anatolii Maf, Patricia Recourt, Kay Smith, Erwyn Loewen Contributing Stylists Yoshihiro Hidaka, Kate Corbett, Jennifer Choy, Barbarossa, Joanna Plisko, Gilles Clarisse, Sonia Torsan Contributing Makeup Artists and Hair Stylists Sacha Harford, Natalie Ventola, Delia Lupan, Buffy Shields, Lila GuĂŠant, Antoine Iter, Emily Helsdon, Dat Tran Contributing Writer Hayley Chato

1968 Magazine is a registered Copyright of 1968 Group. All rights reserved. No content or segment of 1968 Magazine is, under any circumstances, to be replicated, reproduced or diffused in any manner without the expressed written consent from the publisher. All work is copyright protected. 1968 Magazine is not responsible for copyright violations or misuse by others. The publisher protects the right to reject and/or amend any contribution or material supplied. All submitted material may or may not be published due to space, editorial review and/or quality. By submitting images, photographers certify that it is their own original work, for which they have the copyright and are holders of the model release, and give 1968 Magazine permission to publish it on any issue. Photographers grant an exclusive licence to use photographs in its submitted form, or subject to resizing to fit the magazine’s format. 1968 Magazine reserves the right to edit material and assumes no responsibility concerning any error and/or omission. Material may be also featured on www.1968magazine.com. Information presented is from various sources and thus, there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness, despite the care taken in reviewing editorial content. 1968 Magazine assumes no liability for products or services advertised herein.

14

www.1968magazine.com

IN THIS ISSUE...

Cindy Cantin

The Montreal-based handbag line C Comme Ça is the often difficult fusion of quality and great price.

The woman behind it, Cindy Cantin, has managed to combine the two beautifully, creating a line of bags and accessories that are sustainable (made out of durable merino wool or recycled fibre felt) and use traditional Aboriginal techniques on their construction.

(Page 5)

Carole Tanenbaum

Designer has become an umbrella term, but few can move from one design type to another as seamlessly as Rachel Sin. The designer, who has had pieces featured on ET Canada, E News, and in fashion magazines, earned her master’s degree in Architecture before turning her sharp eye from the curves and edges of stone and mortar to the curves and edges of fabric.

(Page 11)

Rachel Sin

Martin Golland has travelled the world, and lived in many countries people only dream of, such as Turkey, Miami, and Toronto. He has taken this vision of the world and incorporated it in his oil paintings, which he has exhibited in Dusseldorf and home in Toronto.

(Page 44)

Martin Golland Doug McNish reached a point in his life when he realized that he had to do something to turn his habits around. Today, he is a successful and very healthy vegan chef with his own cookbooks, helping others on the path to health and happiness.

(Page 48)

Douglas McNish

DJ Evalicious

The name of Carole Tanenbaum has become synonymous with Vintage Costume Jewellery.

Initially, her career lay in the world of corporate art, but she dove into the world of fashion and never looked back. Her collection has become known worldwide for being all things beautiful, unique, and well-made, and consists of 30,000 pieces from designers such as Dior, Lanvin, and Chanel.

(Page 8)

Sarah Beetson Montreal-born Eve Salvail burst onto the international scene in the 90s when she became one of the fashion world’s top models, muse to genius designers such as Jean Paul Gaultier. She has appeared in many movies and has stomped down countless runways, but ultimately her passion lays in music.

Currently, Salvail is tearing up dance floors as DJ Evalicious in clubs and parties across the globe.

(Page 54)

This Manchester, UK-born illustrator has become one of the most well-known names in fashion illustration. Her list of illustrious clients include The Wall St. Journal, Diesel, La Perla, The Globe and Mail, Reader’s Digest, Ikea, and many, many more. Her eclectic, colourful style has come to create a unique perspective on this classic art form.

(Page 51)

Travel to the island jewel of Nevis in the Caribbean where Four Seasons Resort Nevis attracts beach lovers from all over to show them a little piece of paradise.

(Page 80)

West Indies 15

16

www.1968magazine.com

Silk long dress AWAVEAWAKE Both rings IOSSELLIANI Black fur ADRIENNE LANDAU

JAZZ BABY Photographed by Mario Miotti

www.mariomiotti.com Stylist: Yoshihiro Hidaka Makeup and Hair: Sacha Harford, using Oribe Hair Care, Make Up For Ever, Yves Durif Salon Model: Ulla - Q Models

Black silk dress LELA ROSE Black feathered belt LELA ROSE Black feather head accessory made by STYLIST

Black silk long dress VINTAGE Black silk cape made by STYLIST Black cuff WXYZ JEWELRY Black platform heels STEVE MADDEN

Black fringed dress VINTAGE Fringed earrings with black stone IOSSELLIANI Black cuff WXYZ JEWELRY Black pumps IVANKA TRUMP

Fringed gold necklace IOSSELLIANI Cuff WXYZ JEWELRY

Black fox fur coat ADRIENNE LANDAU Gold brass necklace with stone IOSSELLIANI

Black patterned dress KAELEN Silver snake bangle PURO IOSSELLIANI Black short boots STEVE MADDENÂ

24

www.1968magazine.com

in the zone Photographed by Regen Chen

www.regenchen.com Stylist: Kate Corbett, represented by Plutino Group Makeup and Hair: Natalie Ventola, represented by Plutino Group Model: Shiya - Sutherland Models

Cape coat Ted baker Skirt Tibi Dress Stretta Bracelet RebekaH Price

Bolero Issey MiyakE

Grey top Celine Hat H&M Skirt Malene Birger Bag ClaUdia Firenze

White shirt Alexander wang Leather pants Danier Leather Bag Ted baker Brackets RebekaH Price

Jacket Donna KarAn Top American retro Pants Rich & Skinny Clutch Karen Ross Bracelet RebekaH Price

Baseball hat H&M Wristlet Danier Vest DonNa Karan Pants Carven Shirt Carven

Clutch Karen Ross Vest Sask Taylor Skirt Carven Earrings  Laborde Designs

CELESTIAL Photographed by Andy Lee

www.andyleephotography.com Stylist: Jennifer Choy Makeup, Hair and Manicure: Delia Lupan for MAC Cosmetics, Kiss Nails and TRESemmé Hair Care using TRESemmé Tres Two Ultra Fine Mist Hair Spray to set the hairstyle Represented by Judy Inc Model: Kristin - Next Models Canada

32

www.1968magazine.com

Necklace MICALLA Earrings Biko Top TopShop

Earrings Jessica Simpson Cuff Craft & Guile Shirt J. Crew

Necklace Craft & Guile Ring Craft & Guile Necklace Rosetta Stone Gallerie

Winged horse necklace TopShop Necklace Craft & Guile Necklace BIKO Earrings Biko Lace dress American Retro

Dress topshop Jacket topshop Hat H&M Accessories untitled&co

36

www.1968magazine.com

Sweater topshop Accessory topshop

NUMBER 1 Photographed by Anatolii Maf

www.anatoliimaf.blogspot.ca Stylist: Barbarossa Makeup and Hair: Buffy Shields, using TRESemmĂŠ TRES TWO Hairspray for body and hold Represented by Judy Inc Model: Rebecca - Elmer Olsen Models Photographer Assistant: Alisa Erlikh

Dress topshop Sweater topshop Hat topshop Accessories topshop

Shirt topshop Coat topshop Accessory topshop

Blouse topshop Skirt topshop Glasses UNTITLED&CO

Blouse topshop

Dress topshop Jacket topshop Hat H&M Accessories untitled&co

Suit topshop Accessory topshop

INTERVIEW - ARTIST

Martin Golland Artist

M

any people have not travelled half as much as all the places Martin Golland has actually lived in the world. Now based in Ottawa, the artist was born in Montpellier, France, and has lived in Turkey, Puerto Rico, Miami, and Toronto. In addition to this, Golland has exhibited nationally and internationally in such places as Dusseldorf, Toronto, Guelph, and Greater Victoria.

His work, abstract yet firm and puffed with colour and texture, earned him the Honourable Mention prize at the 11th Annual RBC Painting Competition; as a result, his work was exhibited in various museums and galleries across Canada. Currently, he is an Assistant Professor in Painting at the University of Ottawa. www.martingolland.com When did you realize you wanted to be an artist?

I think the first time I had the notion of what an artist is was in 2nd Grade at Biscayne Elementary School in Miami.

Our history class had a bio page on Picasso, who, as a kid, copied his dad’s paintings in chalk. I thought “If he can be an artist at nine, so can I”.

How would you describe your work, what you do?

I make collages and paint on canvas and paper, primarily.

My recent body of work is a continuation of my invented architectural spaces. These paintings describe a fictional meeting point between built environments and the natural world. The paintings begin from a bricolage of abandoned photos, small drawings and large collages that I use as initial reference points. The source material becomes the starting point that prompts further invention on the canvas.

My work is created from a broad range of painterly languages that respond to the contradictory histories of representational painting. During the painting process, subjects such as the screen, frame, mirror, window and curtain are influenced by the physical properties of paint itself.

Do you have an artist statement?

My work is about attempting to translate my ideas on being in the world, especially the conundrum of integrating an inner world with an outer reality.

44

Stilts

Where would you say most of your inspiration comes from?

The impetus for my work comes from being in the city.

My work is informed by all kinds of elements that catch my eye in day-to-day living. I take tons of pictures and short videos everywhere I go. I’m always on the lookout for unexpected discoveries while I get from A to B. Some of my best paintings have come about as a result of straying off the path, following my curiosity, and discovering new subjects and places. With regards to what happens once I get to the studio, inspiration comes way after the initial idea has presented itself, and only once after I get myself out of my own way, so to speak. I don’t know, and shouldn’t try to know what the final result will be. The painting arrives during the unexplainable process of making. As I meander through the myriad decisions, I respond to the circumstances of the painting during the process as best I can.

www.1968magazine.com

ARTIST

Since you have travelled so much, how important is it, in your opinion, to travel in conjunction with creating art?

I think it’s essential to travel in order to expand our knowledge of art. I try to visit the paintings, buildings and artworks I love the most. I need to encounter the art object in person, to touch it with my eyes. As an artist, I learn about art from studying the phrenology of the surface, the details that give away the (sometimes secret) processes of making. There is nothing like the thrill of feeling the presence of the artist in the work, the fact that their touch has been recorded and transferred over into the work in a direct manner. Half the task of painting is acquiring this knowledge about how it was made.

Do you have a favourite place, out of all the places you’ve lived?

For an experience of nature, the wild, I’d say that living on the island of Puerto Rico in the Caribbean when I was a young kid was probably my happiest time of my formative years. I was being home-schooled at the time, so, needless to say, I had a lot of time in my hands. I’d leave the house after breakfast and come back only when I got hungry, at dinner-time. What a luxury, now that I think back, to be able to drift around and simply occupy yourself with your surroundings. We lived in a hilly town called Humacao, known for its banana plantations and Pentecostal churches which dotted the hillsides. This is when I started to take drawing seriously, and venture into watercolour, at around 7. It was in this tropical environment that I gravitated to making pictures in earnest, mostly as a way to occupy my time during the quiet, hot hours of the afternoon. It’s kind of all the education I needed. That, and learning all the Spanish gospel songs broadcasted over the PA systems across the town.

Shelter

Why the medium of oil paint?

I came to oil paint late, actually. It was a medium I loathed for the longest time. It was so serious! I thought I needed to become a good artist before I could paint in oils, so I delayed working with them until University. Now, it’s a medium that is all encompassing. It resists doing what you want it to. It’s both frustrating and rewarding. You can’t “learn” oils, you just hop on and go for the ride and hope you arrive kind of where you wanted to go to begin with.

What draws you to the treatment of subjects and ideas as abstraction?

If you look closely, and especially in person, you’ll find that all my works are rooted in representation. I may treat my subjects loosely, but the heart of the matter is in the observed environment within the photo. They veer into unrecognizability in places, which is my way of questioning the notion of what is represented, and offering other ways to interpret the visible.

Is there any other medium you enjoy working with?

I’m currently working a bunch of hand-held sculptures, helmets and masks as a way into some new paintings. I’m always looking for new ways to work out ideas, and am open to what other materials offer. More and more I see these sculptures as an extension of my collages. It’s collage, only in 3D. All the same thought processes are taking place, whether it’s optical, or physical.

What are your favourite themes?

My favourite theme would probably be the notion of difficult beauty.

Do you have a favourite piece of art amongst your work?

Not really. I always have an itch to find the next painting, probably because I’m restless. I prefer to set my sights on the next thing I haven’t seen before.

ARTIST

Is there a message you wish to communicate with your art?

I find painting to be less about messages, and more about creating conundrums. The riddle of the thing, you know?

A painting should nag at you, taunt a bit, and not give the fruit of itself too easily. I want my works to provoke active looking and a prolonged viewing experience.

How would you describe your creative process?

I would describe it as neurotic (!) I am always looking for ways to short-circuit the “super-ego”; the football coach in all of us who tells us that nothing we do is good enough.

There are some antidotes to this. I think there are always ways of accessing our creativity, and it usually involves play, and some degree of irreverence. I think the right ingredients for working include a desire for focused tinkering, curiosity, and a tendency to want to break the rules.

Art can take on so many means for different people; how do you personally define “art”?

This is similar to the last question. What I’d frame the question as “what do you think people need from art?”; to which I’d say that art is not for everyone. But if you enjoy living with art, engaging in art in any way, then I think we all can agree on a few basic tenets: that art delineates the exemplary aspects of our lives, that it is the part where we ask the questions about what gives our life meaning.

This of course leaves ample room for the meaningless, the unknowable, and the absurd.

What does your work mean to you?

My work is a way to organize myself. It’s a way to investigate lived experience, or at least reflect upon it in some way.

I think this is an indelible part of the human experience of living, so it goes beyond rational thought in some way, to include to other aspects of ourselves, such as our drives and fears. It’s an insatiable desire to want to make some sense of the world, and then communicate our findings and musings without needing to explain it away.

Do you have a favourite stylistic period in the history of art?

My favourite period would have to be the Mannerist period, which was roughly 1650-1700 or thereabouts. In any case, it was a time when almost every aspect of what art stood for and represented in the Renaissance (order, symmetry, perfection, divinity, excellence, and so on), was questioned.

Probably because they thought that everything had already been achieved, and so much so, that it deflated the younger artists’ desire to excel, to compete on the previous generation’s level. Who could beat the Sistine Chapel?

The Last Supper? Everyone was crestfallen, dejected and bitten with “ennui”. So what they did was intentionally break every rule in their grasp in order to reverse the direction of artistic endeavour, and embrace distortion, disjunctive space, disproportionality, and ugliness.

The Subject

Mirrors

ARTIST

Do you have any advice for aspiring artists?

As a teacher at the University of Ottawa, I’m asked by students about the career of an artist frequently. So many students are eager to be recognized, which on the one hand, I understand and relate to. But I think what most overlook in their aspirations to be validated from the outside - the arts community, collectors, galleries, etc is the rock-solid foundation an artist must quietly build through the work we do when we’re alone in the studio.

Making art is a way to get to understand ourselves, our way of being in the world. This comes first, above anything else.

I think the most important task is to find ways of staying connected to the basic, primary reasons why we wanted to be an artist in the first place.

What can we expect to see from you in the future?

I’ve just finished three solo shows in the last year, so now I’m back to the studio building working out some new ideas from the ground up. I’m particularly drawn to working on paper at the moment, particularly Mylar film. Also, I’m making a bunch of small sculptures, so basically, I’m trying to keep my hands busy in order to be one step ahead of myself.

Photos by Martin Golland

Juniper

If you could sit down to coffee with any artist, dead or alive, who would it be and why?

In most cases, I find the work of an artist and their personality to be anathema to one another. I wouldn’t want to sit down for a chat with Lucian Freud, if you know what I mean. An exception I hope would be Joseph Beuys. I feel the work and the man to be one and the same - full of vitality, charisma, invention and dream.

As an artist, what has been your greatest achievement?

To be flexible enough to keep changing and growing as an artist. I’m not at the stage where I can really look at past achievement, only to say that the daily practice of painting is already a privilege, and as such, an achievement.

I’m really privileged to be at a job that I love.

INTERVIEW - CHEF

Douglas McNish

G

Executive Vegan Chef

ood food isn’t cheap, and cheap food isn’t good. That is the mantra of Toronto-based Vegan Chef, Douglas McNish. After battling many health related issues, he changed his life and diet. This change occurred when a friend showed him an animal rights video, inspiring him to clean up his act and cut out dairy, refined sugar, meat, seafood, gluten, and any other animal products. Since then, McNish has become a beacon of glowing health and an advocate for a pure, clean lifestyle with a fierce commitment to health and organics. What are his secrets? You can read all about them in his cookbooks: “Eat Raw, Eat Well” and “Raw, Quick and Delicious”. www.DougMcNish.com

For those who may not know, what is raw food?

Raw Food is food in its unprocessed whole state. It is generally made from nuts, seeds, vegetables, fruits, cold pressed oils, and seasonings. In addition, the food created is not heated past 114°F to help preserve maximum nutrition and enzymes.

Why raw food?

Eating food in its unprocessed natural state, whether it be an apple or a slice of raw pizza, helps to provide (and sustain) your body with energy. Very simply put, the less processed a food is, the less processing your body has to do to break it down. When your body doesn’t have to spend energy breaking down the food you eat, you feel a general sense of well being. It tastes great too!

What does raw food/veganism mean to you?

Veganism means everything to me. I would not be where I am today without my morals and my ethics. I think that if everyone in this world adopted a more clean, ethical diet, rid of toxic processed foods, the world would truly be a different place.

For how long have you been a vegan?

I don’t really know exactly what date I went vegan, but I think it’s safe to say somewhere in the 8 to 9 year range.

Who inspires you?

Great question! Other classically trained chefs in the plantbased world inspire me. It isn’t easy to go into the mainstream kitchens, or speak to the general public, and do what we do; I take great inspiration from my peers. Anyone in this world striving to make change, to me is an inspiration. It takes a lot of guts to stand up to the status quo and speak out against what you think should be different/changed. Every day I look to these people on social media, in magazines and on TV. And, of course, my wife; after all, she supports a selfemployed vegan chef daily, and always has my back!

Photo by Jo-Anne McArthur

48

What would you cook to convince someone how delicious raw food can be?

At a raw food restaurant I used to run, we had a motto: “Desserts convert!” For anyone skeptical of how good raw food can be, I would make them my Chocolate Walnut Brownie with a Banana Vanilla Coconut Frosting, drizzled with a Rich Cacao Fondue and Macerated Berries.

www.1968magazine.com

CHEF

What was the transition like, going from a classically trained “regular” chef to a vegan one?

At the beginning it was challenging, I am not going to lie.

Most of what I knew had to be flushed down the toilet and re-learned. I was originally taught that dredging a piece of flesh in flour, egg and breadcrumbs, and then stuffing it with cheese and deep frying it was food! I began to immerse myself in all things vegan and organic, and soon came to realize there was a whole world out there I had never experienced. Gone were beef tenderloins and knobs of butter, replaced instead by tempeh and coconut oil. I think that if you cook for a living, we are all students as long as we are in it, and continual learning is a necessary part of success.

What does a typical day being a vegan chef look like?

I am typically awake at 4:30 or 5:00 am each day and begin to answer emails right away. I like to exercise early and then come home and have a green smoothie and a quick shower, then more emails. Depending on the day (I do a lot of things after all) I may be in the kitchen cooking by 7:00 am or, if it’s an office day, I’ll be on the phone with various suppliers asking questions or putting through orders for the week.

Photo by Colin Erricson

Why is it important for people in today’s world to cut out dairy, refined sugar, gluten, etc?

When you are able to gain control of what you eat, and cut out the most common allergens, refined flours, refined sugars, gluten, dairy, etc, you begin to notice a whole other world of amazing foods that you never knew existed. These foods are full of vitamins and minerals that your body needs but, never knew existed. I know for me, cutting out dairy was the single best decision I have ever made in my life. Not only did my skin clear up, but I felt lighter, had a better sense of well-being and my hair became softer.

You lost a lot of weight and got in shape when you began to go vegan; how much has your life changed, in any aspect, since you’ve gone vegan/raw?

Living in the body of someone who is 100 pounds over weight is miserable. Each day is a test to walk up the flight of stairs at the subway station, or even to put on your clothes and head outside the house. When I began to lose all of my weight I felt like something very heavy had been lifted off of me, literally! Since consuming more whole organic unprocessed foods, my confidence has gone up, I have become better at cooking and in business and, of course, I met my beautiful wife!

We understand raw food can sometimes be time-consuming; any advice for first-time raw food eaters?

Yes, go slow. I like to use the analogy of dating. When you first meet someone you want to take it slow and get to know them. I like to say the same thing when it comes to changing your diet. If you give it the love, respect and nurturing it needs, it will blossom into a wonderful life long relationship!

What are five basic ingredients that one should have to prepare raw food?

Although not technically raw because it is pasteurized, Nutritional Yeast is one of my essential ingredients. It helps to add Umami (a layer of flavour) and to give recipes a rich creamy flavour. Hemps seeds are a wonderful source of protein and healthy fats and, in a pinch, can even be blended to make a cream sauce. Kale is an amazing source of so many nutrients and it can be used in many different ways, from breakfast smoothies, kale salads or even kale chips. I couldn’t live without the cashew. Cashews are a creamy nut that, when soaked and blended make the most delicious cream based sauces such as Alfredo. Raw agave nectar is a great low glycemic sweetener that can be used in so many ways for so many things; make sure it says raw when buying it to avoid brands that have been cut with corn syrup!

CHEF

Photo by Colin Erricson

What are the essentials for a raw/vegan kitchen?

A good blender is essential, I suggest a Blendtec; a good food processor (at least 12 cups in volume); a good Chef’s Knife and Cutting Board and, if you decide to make more raw foods, an electric dehydrator is invaluable.

Raw desserts are decadent and also super healthy; do you have a favourite?

I love any variation of a creamy cashew cheesecake, there is a great one in my first book “Eat Raw, Eat Well”.

What are some great starter meals and snacks for a new raw foodie?

Smoothies are always a great place to start. They help you get a load of nutrients into your body and they can taste great! Another great snack is simple, an apple with some raw almond butter and freshly ground cinnamon on top.

What do you think needs to happen in Toronto to educate more people on the raw/vegan lifestyle?

I think that Toronto is actually one of the better-educated cities in the world when it comes to clean food. I know each Saturday at The Evergreen Brickworks, where I serve my food, I see more and more people gaining an understanding of Vegan Cuisine, and it is only growing.

Photo by Colin Erricson

If you could talk to any raw/vegan/holistic guru, who would it be and why?

I would have to say Ghandi. He wasn’t raw/vegan, but he was vegetarian! He lived his life in such an amazing way, expressing compassion and love for all living beings. I would have loved to have shared a green juice with him and pick his brain.

Where do you see yourself in five years?

In five years I see myself being more of a household name when it comes to clean vegan food. I would like to have a series of organic vegan restaurants, continue to consult for luxury brands and, be raising a family.

Any plans for another cookbook?

I most definitely want to write more cookbooks. Initially I was hesitant about the writing process. Being a chef, my strengths lie in cutting, sautéing and making sure a kitchen runs smoothly, not in writing per say. After having completed two books, I feel at ease with writing them, and enjoy sharing my recipes with others.

INTERVIEW - ILLUSTRATOR

Sarah Beetson

S

Fashion Illustrator

arah Beetson’s resume is as full, colourful, and diverse as her illustrations. The Manchester, UK-born illustrator has a style of her own that has attracted many clients, from magazines, newspapers, and personal clients, to Trader Joe’s in the US. She graduated from Falmouth College of Arts in Cornwall in 2002 with 1st class honours, and spent the next four years living and working in London as an illustrator and graphic designer. There, Beetson worked in styling, and created fabric prints for Stella McCartney, who then commissioned her to decorate the walls of the shoe room in her Burton St. shop. Since then, Beetson has curated an extensive list of clients like The Telegraph and the Times (UK), The Globe and Mail here in Toronto, The Wall St. Journal, Diesel, La Perla, Reader’s Digest, Scholastic Books, The British Fashion Council, Ikea, and Continental Airlines among many, many more. She relocated from the UK to Australia in 2006 where she created works for numerous exhibitions. www.sarahbeetson.com

When did you realize that you wanted to be an illustrator?

When I was 8 I had three ambitions: to be a professional tennis player and win Wimbledon (until I realized I wasn’t too good at tennis), to be a rockstar (I even made my first failed attempt at learning guitar), or to illustrate children’s books like Quentin Blake. I got close to the third one.

Why fashion illustration?

Fashion has always provided a huge inspiration to me, particularly in my youth as I was beginning to find my own personal style. I wondered why people in the street did not dress as the models did in fashion shoots; often bizarrely themed with many layers of clothing, eccentric styling and heaps of colour, so I started to do that myself. People often tell me I look like my work, as it became a natural progression that I would draw the things I loved to wear myself.

Were you ever interested in moving into the fine art world of oils and canvas?

In recent years, as a diversion from commissioned illustration, I have widely exhibited my personal work via galleries, showing in solo and group exhibitions in London, Paris, New York, Portland, Ottawa, Melbourne and The Gold Coast, Australia. I was never tempted by oils, though I often work on raw canvas or linen. Almost all of the materials I use are water-based, with the exception of spray-paint, and my favourite painting medium is AcrylGouache.

Your work contains lots of diverse subjects; where do you tend to get your inspiration from?

I find much inspiration from my travels; I live between Australia and the UK, spending 3-4 months a year in London and often stopping off in between. I love typography and collect photographs of examples I love the world over. I particularly like decaying signage on shop fronts, amusement parks and neon signs. I read widely into the subjects that interest me and will conduct much research when working on personal projects or without tight deadlines. Apart from the fashion industry, I’d say my greatest source of inspiration comes from film. I watch at least 1-2 movies per day from all kinds of genres/time periods, and when I am in the city I’ll often take an inspiration day, hoping between cinemas, and taking in 5 movies.

51

ILLUSTRATOR

Your work is full of balance between line weight, texture, and punches of colour, but how did you refine this signature style?

Whilst I was at art school in Falmouth, UK, I was initially using a number of techniques to create work, none of which I was really in love with. During life drawing classes, we were taught the blind contour drawing technique, in which you place your pen/pencil on the paper and look at the subject, drawing ‘blindly’ without taking your eyes from the subject. This technique can be totally haphazard with moments of clarity; a mess of abstract lines with a perfect hand or eye within it. I decided to combine this technique with the bunch of other materials/styles I liked to work with, and hence my style was born.

How would you describe your work?

A very well planned, carefully executed accumulation of chaotic colourful madness?!

How has living in London influenced your work?

In so many ways, from the people I lived and worked with and the city itself, to the general poverty I lived in when I first moved there. I do think the London streets have the most daring fashion statements of any city in the world.

When I first arrived I was forever accosting brilliantly dressed people into letting me draw them. I have lived in other cities (Melbourne in Australia possibly being my favourite, it has an alternative arty feeling very like Portland in the US), but I think what sets London apart, and keeps me returning, is the self deprecating character of The British.

We can look at things like art and fashion with irony and humour and not take ourselves too seriously.

Looking back at your clients, how does it feel to see so many esteemed names/brands?

I have been really lucky to work with some fantastic people, and even luckier that some of those clients believed in me when I was 21 and straight out of art school, and really provided me with that step up onto the illustration ladder.

Getting representation with 2 agencies in my graduate year played a huge part in this, and I count Shelley Brown of i2iArt, Toronto, and Harry Lyon Smith of Illustration Ltd, London, as the key players in shaping my career.

If you could move to any city in the world to work, where would it be and why?

I think New York would be my ultimate, having visited it so often, but never stayed long enough to feel like a New Yorker. But for now, I am quite content floating between Australia and the UK, and all the travels that happen in between!

What do you feel has been your biggest achievement so far?

Among these have been working with Stella McCartney in the early days of her label, working with Mary Portas at Yellowdoor, illustrating for major newspapers including The Globe and Mail (Toronto), The Times and The Telgraph (UK) and The Miami Herald, winning the Creative Review (UK) Best in Book prize for illustration in 2011, being shortlisted for the 2012 Metro Award (a $50,000 Australian Art Gallery Prize), exhibiting at Somerset House, London, as part of Pick Me Up 2012, and being invited to exhibit “Rainbowspective” in Paris earlier this year, showing the best of the last 5 years of my work.

Do you have a favourite artist (illustrator or otherwise)?

There are so many I don’t know if I could pick one favourite, but here are some: Keith Haring, Antonio Gaudi, Gustav Klimt, Egon Schiele, Julie Verhoeven, Cary Kwok, Henry Darger, Grayson Perry, Yoshitomo Nara, Aubrey Beardsley, Robert Crumb, Alan Moore, Antonio Lopez, Vaughan Bode… and many more.

Is there someone you dream of working with or for?

I would love to create a fashion illustration spread working with John Galliano.

ILLUSTRATOR

What is it that you like most about working in your industry?

I do love working from home in my own studio on the farm where I live in Queensland, Australia. It is a huge space which enables me to create large scale paintings, and unlike in a shared office, my pet chickens get to come in and hang out. I also love the excitement that comes with the anticipation of an enquiry or the arrival of a brief; a few days prior to Christmas, 2012, I was poised to potentially fly to New York for an illustration project during fashion week which didn’t come off, as projects often don’t, but that kind of spontaneity is something I really love about being an illustrator. When an enquiry comes into one of my agents, the terms, deadline and brief are discussed, then we go ahead and I begin researching, gathering references, making sketches, and working with the client to create the realized illustration; all of this is rather exciting, challenging and fun!

Do you have a favourite piece amongst your work?

I think often my favourite piece is the one I have just finished creating. But I would say that the piece I always think is one I created back in 2002, which is the profile image on my Facebook Fan Page, and is called “Miss Sherbet Dip”. It was from a drag queen; inspired photo shoot from the Falmouth days, and features my first muse and good friend, Knud Kleppe in full drag.

Knud is now a successful animator working for a major Oslo TVnetwork, and is also in the rockerbilly band “The Lucky Bullets” who were finalists to represent Norway at Eurovision 2011!

Many have said that illustration is a dying art form; what is your view on the subject?

I would strongly argue quite the opposite. I think for almost ten years now, illustration has been having a major resurgence, and is currently in its heyday this century. I am a talent scout for my UK rep, Illustration Ltd, and I think there are more fantastic artists out there right now than there have been for a long time. Illustration is widely used across advertising, publishing, TV, web and digital media, employing a very diverse range of styles and artists. When I first left art school 10 years ago, there was no where near as much illustration usage clearly visible at all levels of media as there is today. I feel like in some part the financial crisis helped illustrators, as clients potentially had to cut their photography budgets back, but saved on using illustration in its place. Photographers need to hire models, locations, etc, whereas illustrators require a small setup and are often far more cost-effective to commission.

Do you have a favourite motto?

I like: “Do or do not, there is no try” (Yoda) and: “There’s no fate but what we make” (Sarah Connor, Terminator 2).

What are your goals for the next five years?

In February 2014, I’ll be taking part in Supergraph Melbourne, a graphic Arts Fair in which I will exhibit prints and originals, and sell printed clothing, cushions and my illustrated naughty playing cards, as well as creating Live Portraits of visitors. Later in the year, I plan to take a summer sabbatical and spend three months in the place that has inspired me most over the years: Coney Island in New York. I will take my travel easel, A3 moleskine and art materials, and just thoroughly immerse myself in the place, sketching all that I see. Upon my return to Australia, I’ll be developing this body of work and will also focus on similar themes in my hometown of The Gold Coast, also a classic seaside resort with many amusements and signage to inspire. Over the next five years I plan to return to Japan, which has been the source of many ideas since my last trip, and I’m hoping to get to South America with my boyfriend and taking in the culture and colours. All the while I’ll continue to develop my illustration portfolio, and I look forward to discovering the jobs and commissions which may come my way.

INTERVIEW - DJ

Eve Salvail

D

DJ Evalicious

Js are as much a part of fashion weeks as the editors and street style regulars.

They provide the music of the moment, the heartbeat (and model-stomp) of the show. But there are some in the industry who have so much talent and passion that they have used the fashion world as their opportunity to explore very successful new ventures. DJ Evalicious is one of these musical heartbeatmakers, but she has also made the world beat as top model, actor, and musician: Eve Salvail. The Quebec native turned the fashion world’s idea of beauty on its head when she entered the scene in the 90s. With her shaved head and head tattoo, she redefined what the industry had come to think as “beautiful” and ushered in an era of androgynous sex-appeal. Since then, she has become the muse of great

designers such as Jean Paul Gaultier, and has appeared in many films such as “Pret-a-Porter” by Robert Altman, “Celebrity” by Woody Allen, “Zoolander” by Ben Stiller, and “The Fifth Element” by Luc Besson (that awesome airport scene combo of the see-through mini skirt and red boa?

That’s her). Now, DJ Evalicious is exploring her childhood talent and passion for music by being one of the most celebrated celebrity DJs, travelling around the world to places like Egypt and Seoul to pump up the dance floor, and playing gigs for Tag Heuer, Zac Posen, Saks Fifth Avenue, and many, many more. Oh, and she was recently knighted in Canada, making her Dame Eve Salvail. It’s true: passionate and inspiring, Eve Salvail can truly do everything. www.djevalicious.com

54

Music is not new to you, as you’ve been singing in bands and writing your own music since the age of 14; what started this passion?

I really don’t know what started it… perhaps listening to Edith Piaf and David Bowie obsessively? I used to tune my brother’s guitar for him when I was young, he would tell me I had a “better ear” than him. I always enjoyed good music, making mix tapes (back then we had cassettes), and playing with my father’s turntables.

When did you realize being a DJ was your (next) career direction?

That was a fluke, and although I was in love with DJ-ing right away, it took years before I became semi-good at it. A club owner asked me to DJ one night and so I did…

What is it about DJ-ing that attracts you?

I used to repair recorders and tape players at home. I was always fascinated by wiring audio, that is one side that attracts me. But I think most of all was the challenge of becoming good at DJ-ing when I had no rhythm. I wanted the respect that boys get in this industry, not only as a woman, but as a former supermodel.

Did growing up in Quebec, and the creativity that is there, have an influence on you growing up?

Very much so. My parents are both artists as well, which made it even easier for me to flourish as an artist. I grew up in the countryside of QC, in a city called Matane, which also had a great influence on me.

How did you start in the fashion industry?

I went to Japan and did a few contracts there, a contract is usually two months in length, and I got bored of being a model. So, I shaved my head, got the tattoo, and moved back to Montréal, where soon after I was discovered by Jean Paul Gaultier.

What is the story behind your famous dragon tattoo?

After talking to my father about wanting to model with a shaved head, and him saying it wasn’t very original, I thought… what about tattooing my head? He thought it was a great idea. The actual dragon is an 800-year-old Chinese art piece made of bronze. I found it on the cover of an art book in Japan.

www.1968magazine.com

DJ

Do you have an artist you particularly love at the moment?

Always changing.

How has it been spinning for such high-profile clients as you have had?

Fun!!

I see a lot of Bowie in your work, the way he lived and breathed for his art and stood for being whoever you want to be; in this vein, who do you count as your outside inspirations?

Well, shockingly enough, Bowie, for one. My parents. Edith Piaf.

Can you tell us about the experience of appearing in one of Lenny Kravitz’s videos?

That was an amazing experience; from meeting him to all the technology and props, to what I wore. I really was impressed and a bit star struck too.

Do you have any DJs, past or present, who inspire you?

Yes. DJ AM. You were hugely influential as a model and actress in the 90s; did the fashion world fuel your passion for DJ-ing?

Thank you. Perhaps. My experience in the industry is certainly a great advantage when I spin for fashion shows or fashion events. I thank my modelling career for all the doors that it’s opened up for me.

Has there been any sort of noticeable transition to go from modelling and acting in the industry to DJ-ing in it?

Like I said before, the world of DJs is mostly run by men, and the nightlife industry rarely thinks an ex model can play, and almost always has little respect for the idea.

That is the challenge. But if a door closes in my face, it just makes me want to win the key to open it again!

What role do you believe DJs have, or should have, in the industry?

Play music? Make sure everyone has a good time!

Why do you think fashion and music have become so deeply intertwined?

I think the cinema, fashion and music industries were always intertwined.

Could you describe your musical style?

I prefer to play “open format”, which is a bit of everything really. I can play anything though. I believe my job is to play what the crowd wants to hear, whether it’s Guns N’ Roses or Taylor Swift.

What would be your dream DJ gig?

Playing with/for Rihanna.

You have already travelled around the world playing gigs, but is there one place you want to go you haven’t already visited?

London. I’ve never played there and all my playlists stem from the UK Top 40. I love andy music that comes from the UK as well as their musical choices.

This is probably a very hard question, but do you have a favourite musician/band?

Rihanna and Jay Z are my two all time favourite artists as a DJ. As for what I listen to at home… any Jazz from the 40s, and I’ve never stopped loving and listening to Edith Piaf.

Any advice for aspiring models?… and for aspiring DJs? Models: Have fun with it and try not to let it get to you. I say that because it is very hard to be a model and deal with this industry emotionally.

DJs: Reading a room is what a DJ does. Try to see what people on the dance floor react to.

You’ve already accomplished so much, but what are your plans for the next five years?

Thank you. I wrote a TV Show. Look out for that in the next few!

Photos by Malika Cosme

56

www.1968magazine.com

TIMELESS Photographed by Patricia Recourt

www.patriciarecourt.com Stylist: Joanna Plisko Makeup, Hair and Manicure: Delia Lupan, using MAC Cosmetics and TRESemmĂŠ Texture Ultra Firm Control Gel to sculpt and define the hairstyles Represented by Judy Inc Female Model: Jennifer Steele - Sutherland Models Male Model: Jesse Dunphy - EO Models

Jacket Ryan Joelson

Jacket Hugo Boss Dress shirt Calvin Klein Ring Vitaly Design

Dress Maison Matthew Gallagher Blazer H&M Glasses Balenciaga Ring Vitaly Design

Jennifer Top Guess Ring Vitaly Design Jesse Top H&M

Dress Ralph Lauren Glasses Burberry

Jacket Ryan Joelson Pants Maison Matthew Gallagher

Jennifer Jeans Guess Ring Vitaly Design Jesse Jeans Guess Briefs Calvin Klein Necklace Vitaly Design

Top Dior Belt All Saints Hat H&M

64

www.1968magazine.com

Top Manoush

BAROCK Photographed by Kay Smith www.kaysmiths.com Stylist: Gilles Clarisse Makeup Artist: Lila GuĂŠant Represented by B4 Agency Paris Hair Stylist: Antoine Iter Model: Maya - Hakim Models

Jacket Claudie Pierlot Shirt vintage Trousers H&M Bracelet Hermès Ring H&M Earrings Mango

Jacket Manoush Top Lanvin Trousers H&M Belt Mango Hat vintage Bracelet Hermès Ring H&M Earrings Mango Necklace TatTy devine

Top Dior Skirt All Saints Belt All Saints Hat H&M Bracelet Hermès Ring H&M

Top Manoush Short Wolford Belt Mango Socks H&M Shoes Valentino Bracelet Hermès Ring H&M

Body aSOS Bracelet Hermès Ring H&M

Jacket Manoush Top Lanvin Hat vintage Bracelet Hermès Ring H&M Earrings Mango Necklace TatTy devine

RUNAWAY Photographed by Erwyn Loewen

www.erwyn.ca Stylist: Sonia Torsan Makeup Artist: Emily Helsdon Hair Stylist: Dat Tran, represented by Push Management Model: Roxanna Dunlop - Sutherland Models

72

www.1968magazine.com

Left Dress Wanted Shoes Remix Clothing Jewellery Remix Clothing

Dress Wanted Shoes mARCIANO Belt BCBG

Dress LAUNDRY Accessories Remix Clothing

Corset Remix Clothing Sequin pants GILES & BROTHER

Dress MALENE BIRGER

Overalls Unif Remix Clothing Accessories Remix Clothing

Dress GILES & BROTHER Shoes Remix Clothing Accessories Remix Clothing

TRAVEL - WEST INDIES

FOUR SEASONS RESORT - WEST INDIES

Looking for a unique place to get away from it all? In Nevis, a little-known jewel of the Caribbean, Four Seasons Resort Nevis opened its own doors on Valentine’s Day in 1991, and has been attracting beach lovers to its secluded shores ever since.

Steps from pretty Pinney’s Beach, three infinity-edge Caribbean pools offer expansive decks with quiet alcoves for sunning.

This 36-square mile island lies near the top of the Lesser Antilles archipelago, about 200 miles south of Puerto Rico, and just west of Antigua. The island jewel is approximately 7 miles long and 5 miles wide, with natural vegetation that is unparalleled.

The Resort is located on Pinney’s Beach, minutes from museums, plantation homes and historic churches dating to the 1600s, 10 minutes from the Nevis airport or 30 minutes by boat from the St. Kitts airport.

Most destinations have reputations for being outdoor adventure hotspots where you can indulge in everything from sailing and surfing to hiking and horseback riding.

But Four Seasons Nevis, West Indies, takes an excursion to a whole new level under the sea with their Dive and Dine Program. Guests can go on this two tank scuba dive with the Resort’s chef and the local Nevisian Dive master to lasso Caribbean Spiny Lobsters. After the dive adventure, guests return to the Resort to enjoy a private beach barbeque and the catch of the day is prepared while the chef gives a lesson in grilling them.

The award-winning, five-diamond Four Seasons Resort Nevis is surrounded by coconut palms, golden-sand beaches, and a full spectrum of vacation facilities. The 196 deluxe rooms and suites, and 44 luxury villas feature either ocean views, or views of the championship golf course designed by Robert Trent Jones II.

From sumptuous buffet breakfasts to casual Italian dinners, Four Seasons Resort makes sure your Caribbean vacation is as delicious as it is luxurious. Just a few feet above the waves and a short stroll from the beach, catch a spectacular Nevis sunset from Mango, the open-air restaurant featuring exquisite West-Indian cuisine.

80

www.1968magazine.com

TRAVEL

TRAVEL

Indulge in a wide range of relaxing and rejuvenating Caribbean spa treatments at the full-service spa facility.

The relaxation of the Reflection Beach and the rhythms of the Caribbean Sea create a harmonious retreat for Four Seasons Resort Nevis’ Spa Beach House. Just steps from the beach and pool chaises on the Resort’s quiet Reflection Pool, the Spa Cabana offers guests an opportunity to experience healing massage therapies in the heart of natural surroundings. Realign body and spirit in this tropical sanctuary of well-being. The spa offers rejuvenating body treatments, massage therapies, facials, salon services and custom perfume blending, all with the personalized Four Seasons touch.

With all the modern amenities, the convenience of resort living, and the natural beauty of Nevis beckoning to be explored, Four Seasons Resort Nevis will show you a little piece of paradise.

For more information visit www.fourseasons.com/nevis