Issuetwofinal

ASTONISH F A S H I O N

&

A R T

M A G A Z I N E

ISSUE TWO

ISSUE ONE

SPRING 2012

$9.95USD/CAN

22

0

74470 26527

6

astonishworld C O N N E C T

E N G A G E

I N S P I R E

S U C C E E D

w w w. a s t o n i s h w o r l d . c o m

Photography by lee malcone www.leemalonephotography.com

Ad vertise with us. Limited Space Available. Email: advertise@astonishworld.com

F A S H I O N

&

A R T

M A G A Z I N E

E d i t o r - i n - C h i e f

FORVANA ETONNE

ART dir ector Executive Editor Deputy Editor M enswear Fashion Editor

KATE WANG KAREN SONG HOLLYJANE CORNELL KRISTEN IRBY

Copy Editor

MICHAEL POLCE

A ssistant t o t he Editor -in-Chief

MYRELLE NARIO

Fashion Assistant G rap hic Designer s

CHER PADUA VAN KIM LE MELISSA DE MATA WAYNE DALLAS

G raphic Design Inter n Production Dir ector Founder & CEO Chief Oper ating Officer Direct or of M ark eting & Sales Business Develop me nt M A RKETING INTERN

JULIANA QUINTERO HONGAN TRAN RYAN CHUA GARY MARSHALL BRANDON LEONG CHARLES UM LIANE ABOITIZ

ISSN: 2162-9269

www.phuongmys.com

ASTONISH

Editor's Letter Welcome to the latest issue of ASTONISH Magazine: “OUTER BEAUTY”. Our previous issue, “LOVE, LUST, DESIRE” was an exposition of the universal madness that internally arouses every human being. This exposition raised several questions in pondering minds: What is the outer manifestation of this universal madness? What is outer beauty? Is it a reflection of the purity, love, madness and conflict that are inside all of us? Or is it a superficial ploy, a mask to conceal what is really inside?

In this issue, we artistically explore the elements of “OUTER BEAUTY”, the complexities that cannot be spoken or seen, the undiscovered truths about ourselves. Our contributing artists depict outer beauty in dramatic and provocative ways, expressing what is inside all of us in its purest form. Welcome to “OUTER BEAUTY”!

FORVANA ETONNE Editor-in-Chief | ASTONISH Magazine

2 | ASTONISH

ASTONISH Generation 12

Designer: Phuong My

16

Photographer: Kosuke Matsuo

22

Model: Lucy McIntosh

EURO Spotlight Ara Jo

30 36 42

Malgorzata Dudek Flaminia Saccucci

ASTONISH Culture

Fashion & Film: Jacqueline West Fashion & Music: Vanessa Curry Fashion & Sustainability: GATF Fashion & Economics: Beauty & Anarchy

50 56 60 62

Straight from the Runway 70

Gaspard Yurkievich (Paris SS2012)

74

Rochambeau (New York SS2012)

ASTONISH Editorials 78

To Serve & Protect by Maciej Boryna

Fetish by BJ Formento 1 0 0 CMYK by Haze 88

1 1 2 Dark 120 130 140 148 160

Matter by Ali Lukiyanto

Expessions by Cyril Lagel Midnight by Maxim Repin True Happiness by Laretta Houston Flowering Nymph by David Marvier Blind Beauty by Marina Morozova

170

Royal Raven by Kosuke Matsuo

182

Bloom by GL Wood

192

Majestic by Zhang Jingna (Cover Story)

Table of Contents

ASTONISH Contributors

BOLANILE SHENNU A b o u t He r :

"I'm an avid lover of details,

fashion and cooked food (even carbs)."

O n O u t e r B ea u t y:

It is the sum of all our

imperfections. These minuscule details are what makes an individual worth staring at, ogling over, desiring -- and sometimes even stalking (but let's hope not too much). After all, Audrey Hepburn's nymphet-esque eyes and slightly crooked smile made her a beauty icon.

UYEN CAO

A b o u t He r :

"When I was younger, I thought

that it was impossible go to sleep without dreaming. Funny thing is, now I dream too much and don't get enough sleep."

O n O u t e r B ea u t y:

It is but a mere reflection of

inner beauty. If you feel beautiful and confident, you will look it. That's a guarantee.

SOPHIA SCHWAN A b o u t He r :

Sophia currently lives in Berlin

with her fiancee Alasdair and puppy Hamish with whom she is constantly on the hunt for big city adventures. The arts are her passion and ASTONISH is the next big thing.

O n O u t e r B ea u t y:

Everyone is ugly and

everyone is beatiful. Beauty lies in the eye of the beholder.

JUDY LIEN

About her: O n O u t e r B ea u t y:

"Live. Love. Laugh."

Outer beauty means inner

strength and resilience. It also means getting enough sleep!

ASTONISH Contributors

ALYSON SAGALA A b o u t He r :

"I'm a wannabe Parisian addicted

to old jazz music, cured meats, and knit sweaters."

O n O u t e r B ea u t y:

You could be the most

beautiful person in the room, but if you can't carry yourself confidently, then you've got nothing.

JONATHAN CISNEROS About Him:

"I've been known to cross lines"

O n O u t e r B ea u t y:

It is the dress

that inner beauty wears.

AMY MCGRANAHAN A b o u t He r : "If

not for Buddhism, ballet and

Berkeley, I'd probably still be a farm girl."

O n O u t e r B ea u t y:

Embracing the privilege

to express yourself, your true self, without self-criticism or self-denial. Certain doors will naturally be closed to each of us. We shouldn't ever close any on ourselves, especially in cases of self-expression.

LEXIE TIONGSON A b o u t He r :

"A good day for me is a

visit to the Marc by Marc Jacobs store on Fillmore with Kid Cudi shuffled on my iPod on the ride there."

O n O u t e r B ea u t y:

Outer Beauty not only

means creating a first-impression with style and appearance, it also portrays the elegance and poise we want to create for ourselves.

8 | ASTONISH

ASTONISH | 9

ASTONISH Generation

The Talented. The Bold. The Geniuses.

The Future Creative Leaders of Tomorrow. This issue features the worldwide sensation designer Phuong My, the fabulous Japanese photographer Kosuke Matsuo and the most beautiful woman to grace the pages of ASTONISH, model Lucy McIntosh.

Photography by LOUIZA VICK

10 | ASTONISH

ASTONISH Generation

How did you get into fashion?

One day I met up with a friend for the first time eating at a Korean BBQ [laughs]. And he asked me what I wanted to do. I said I wanted to be a fashion designer because I love making clothes.

He then asked me why I was studying math at the time and I couldn't answer his question. I thought about it for hours during the meal; then went home and thought some more. And it was so simple but I didn't know why. Two weeks later, I transferred all my credits and tuition to art school from UCLA to find the answers for myself. Of course, my parents were in shock and were not happy with me for years.

PHUONG MY Interview by Zhang Jingna

Born in Vietnam,

fashion designer Phuong My moved to the U.S at the age of 13 to study at an all-girls boarding school in Washington D.C. Often told she was stubborn, ambitious and very passionate in everything she did, Phuong My went on to attend UCLA for her undergraduate degree, majoring in Mathematics.

Q 12 | ASTONISH

uickly after her enrollment, Phuong

Phuong My started her styling career early in 2010.

My found out that she wanted to

Only a year and a half later, her works have been

pursue fashion design. She often found herself sketching outfits in her lectures at UCLA that she wished to one-day wear. Knowing nothing but mathematic formulas, My was torn with deciding between two different career paths. After deciding to risk everything

and

pursue

fashion

design, her feelings of dichotomy are often expressed through her designs — softness and femininity met with a touch of boldness and a strong sense of individuality.

featured in major publications including Vogue,

So there wasn't anything in particular that sparked your desire to learn fashion? Where did the fascination with fashion come from?

I really like the fact that you got inspired from the people around you, and grew up with lots of artists. Everyone around me did business.

Most of my friends are doctors, pharmacists, businessmen, or technicians. I just like beautiful things, and making things pretty. I always did what I wanted and went for it. [Laughs] I don't like giving up. Fashion helps me to express my views and myself.

Do you think growing in Vietnam and then later in the U.S. influenced your view of the world? Was there something in particular which you think makes a difference in the development of your interests and fashion work?

For example, I grew up in China till I was eight, and a lot of my life principle's and values I think are very Chinese — being quiet, or extremely hardworking. I have a really strong sense of justice and desire for freedom.

Of course. I think people who grew up in the U.S.

Harper’s Bazaar, ELLE and Her World.

don't appreciate what they have as much because

Can you tell me a bit about your background and how you started fashion designing and styling?

many other countries, it's extremely difficult to be

I work very hard in everything I do, but I get bored easily and change direction all the time. I love drawing, always did since I was little, but I never really thought I would pursue a career in it — especially because my parents always told me that artists were poor, and you only went to art school because you couldn’t study well.

they are used to everything here. In Vietnam, and

What was your first big break in your fashion career?

Phuong My: My big first big break was probably

my work with ELLE Vietnam. I remember the day I Googled their office address [laughs] then I got a taxi and went there with my printed portfolio and computer. I asked to see the editor to present my work. I was nervous because I didn't know much.

But I was always ambitious so I thought why not give it a try. If they like my work, great; if not, then I’ll

work harder. The editor from ELLE Vietnam liked my work, but she didn't love it. I only started working for not even a year. I didn't have much to show [laughs].

But I told her whatever she needed to be done I would make it happen. I think she was interested because I was young, ambitious, and sitting in front of her so sure of myself [laughs] so she gave me a chance to shoot something for their next editorial.

That's incredible. It just goes to show that with hard work, dedication, and a dash of confidence (and of course enough to back it up and follow through) things can work out. And I take it they loved that editorial? Since you seem to be contributing to them frequently now.

But it wasn't that easy [laughs]. I never think my life is easy. I had to do everything 2-3 times before I can get what I want. For my first editorial with ELLE Vietnam, they gave me a model and team of photographer, makeup, hair to work with; I chose the concept and everything else. Then on that day, we had a problem with location. It took a while to get everything right. The makeup artists could only stay for two hours. It was a long day and

the photos turned out okay. But Elle Vietnam was very strict on their images. They only liked some images, not all, which wasn’t enough to make a 10-page spread — so they made me re-shoot the next day. Unfortunately, the photographer already left for Paris so I had to work with a totally new team, and re-shoot everything.

Some people ask me who I knew to get in touch with, or how I got so lucky. But honestly, I think luck and connection is only a small part. You have to work extremely hard to get what you want and prove yourself to be worthy before anything else.

inspired or finding inspiration. It’s hard to find the right fabric, the right tool. We don't have lots of magazines to read. Models are not as tall and

Photo Credits

attractive. Makeup and hair are not as available

T h i s page :

as it is here. There are a lot of available resources

SIVONGXAY, Makeup by VALERIE VONPRISK

here, and whatever you think or want to do, you

Photography by LASONIC

can make it come true. You just have to use your

Ne x t page :

imagination, work hard and everything will be the

Makeup by VANESSA PEREZ, Hair by REYNA

way you imagine.

Photography by ALLEN CHU,

SOTO, Model LUCY MCINTOSH

ASTONISH | 13

14 | ASTONISH

ASTONISH | 15

ASTONISH Generation

"I believe that it is every photographer's unintended dream to be immortalized. I can feel somewhat at peace knowing after I have passed away, my work will still remain.”

KOSUKE MATSUO Interview by CAMERON LEE, Written by KAREN SONG

J

apan-born photographer Kosuke Matsuo may not be fluent in New York’s native tongue, but the collection of his works translate haute couture diction across pages of advertisements and magazine editorials, understood by the city that nurtures his quaint NY City studio. A graduate of Osaka Visual Arts, Matsuo made the transition from a backseat lighting technician and digital operator to a front-runner in the industry of high fashion photography.

16 | ASTONISH

it is every photographer's unintended dream to

Fortunately, I have a great team now. Up until this

be immortalized. I can feel somewhat at peace

point, I was constantly looking for members who

knowing after I have passed away, my work will

had the same taste level and suited my personal

still remain.

sense. These people also needed to have a passion for photography, but most importantly

As an emerging international photographer in the United States, what are some difficult hurdles that you've overcome?

Difficult hurdles? There is a Buddhist belief that I adhere to, that is throughout our journey in life there are walls that we must scale. These walls are placed in front of us because not only must we overcome them, but also because we *can* overcome them. So although I've encountered many difficulties as an emerging photographer, I recognize that these are necessary obstacles for me to surpass. The most difficult barrier that I’m still learning to overcome is not what [an] outside instigator has placed before me but rather the internal struggle that I face with my decision to pursue a career in a country with a language and culture that I am still unfamiliar with.

When did you decide to get into photography?

As long as I can remember, photography has always been a hobby of mine, capturing a favorite person or location. However, it was after I had entered adulthood that I realized my desire to turn a long time hobby of mine into a serious career. I suppose that naturally my life's course has pointed me in the direction of photography. I believe that

How has the language barrier impacted the way you introduce your work to others?

My hope is that my photography will speak for itself and not be restricted by barriers such as language;

they were people that I wanted to grow with. Little by little, step by step. We can't leap over any steps as we continue our journey to the top.

How do you want people to view your work? Does it reflect the way you portray yourself?

There's no particular way that I want people to experience my work, I just want them to experience it completely, each in their own way.

It's hard to say that my work is a direct reflection of the way I portray myself, but it is very personal.

Every time that I lay out a photo, you can compare it to exposing a small piece of myself.

Where do you gather inspiration for your projects? Is there a certain process you use?

For the majority of the time, whenever I go out,

How do you know when you are finished with a work of art?

I would just say it's a feeling that I get. How does an artist know when they are finished completing a painting? I believe if you asked them this same question you would get a similar response, it's just a feeling.

What do you believe is the difference between outer beauty and inner beauty? And how would you related them to your work?

I don't think there is a difference between outer beauty and inner beauty, because everything comes from the inside. All of the experiences that a person has encountered up until the moment that the shutter goes off are all visible, although perhaps not to the naked eye. However, that single moment in which the photo is taken everything from the past comes through, in what can be considered "Outer Beauty," however it is the inner experience or "Inner Beauty" that has created this image and projected it onto the actual world.

even for non-related work, I can always be found with my camera bag. I always carry it around with me because you can always be struck with inspiration by the tiniest, most insignificant moment. Small items such as objects in nature,

You can find more of Kosuke Matsuo's works at www.kosukematsuo.com.

the weather, a random person, all of these can

Photo Credits

issues.

turn into incredible visual inspiration for me.

Above and Next pages: Photography by KOSUKE

Because my inspiration sources are so random,

MATSUO, Creative director SHU KOJIMA, Styling

Could you tell us a little bit about your team and how you came to work with each other?

I don't have a particular system; I just process

I want the visual impression to transcend such

whatever experience I happen to encounter and decide how to let that develop.

by Noriko Nakano, Hair by Takashi Yusa, Makeup by Satoko Watanabe, Manicure by Keiko Miyazaki, Model megan parkhurt @click models ASTONISH | 17

ASTONISH | 19

20 | ASTONISH

ASTONISH | 21

ASTONISH Generation

LUCY MCINTOSH T H E

D A Z Z L I N G

I

B E A U T Y

F R O M

D O W N

U N D E R

Interview by ALYSON SAGALA, Photography by LOUIZA VICK, Styled by RODELLE BAS Makeup by JACQUELINE PICCOLA, Hair by RICH MAGANA Hair Assistance by FRANCISCO ESTRADA, Retouched by MONIKA LEPIANKA

22 | ASTONISH

t sounds a bit like a fairytale, and in reality it just might

Originally born in a small town outside of Melbourne,

be. With her striking bluish green eyes, lustrous brunette

Australia, Lucy had never thought about modeling until

hair and sharp elfin features, model Lucy Mcintosh

after graduating school. “The person I lived with at the

definitely exudes the aesthetic and charm of iconic

time was pursuing modeling,” Lucy said, “and I thought,

beauty. But, as every success story starts, Lucy wasn’t

why not? So I went into my current agency and got

always a model, and had never actually planned to be

some pictures taken, and ever since that day, I've been

in the beginning.

a model!”

C o n t i n u e d o n page 2 1

ASTONISH | 23

pretty face, Lucy hopes to someday work behind

C o n t i n u e d f r o m page 1 8

the camera as a designer. She loves sketching A great deal of her current success comes after

and designing clothes, as well as jewelry.

being the chosen model by the winning designer,

“I hope one day to have my own fashion label,”

Julijana Grbac, during the first season of Project Runway Australia. Of the experience, she says,

she said.

“The most stressful thing was watching my first

Her competency in fashion shows through her

designer go through the whole process and then

excellent knack for personal style, describing most

being eliminated. After creating a bond from the

of what she wears as a mesh of Melbourne chic

very beginning, and then seeing him eliminated —

and LA street, with a bit of bohemian influence.

“Being the ‘face’ of fashion week gave me real insight into the meaning of fashion within our community and how it brings us all together." it was so upsetting. But then, on the other hand,

“I like to dress simple and comfortable with a

when that happened, I was picked by Juli Grbac,

little bit of flavor. I’m addicted to everything and

who turned out to be the winning designer.”

anything leopard print right now.” She stresses the importance of comfort, which shows through in her

Her most recent experience as the face of

favorite fashion era. “I love the draping and the

Melbourne Fashion Week in 2010 was also the

sassy ease of the 1920’s flapper [girl]. The 1920s

start of an exciting new phase in Lucy’s life, an

were the perfect combination of style and function.

opportunity to use her charisma and attitude in

I believe style is all about being comfortable.”

contributing to one of Australia’s biggest fashion events of the year.

Her greatest fashion inspiration is fellow Aussie model Miranda Kerr. “She is so dedicated to her

“It was such an amazing experience.” Lucy said.

work and inspires me to take good care of my body

“Being the ‘face’ allowed me to not only be a part

and health. I believe to look good on the outside

of the glamorous aspect of fashion week, but

you need to take care of the inside. She reminds

it also gave me real insight into the meaning of

me that no mater where you come from — if you

fashion within our community and how it brings us

have the drive, the passion, and the courage to go

all together. Melbourne Fashion Week is always

after your dreams — you can do anything.”

one of my favorite [events] because of all the up and coming local designers showcased there. If

Though fashion and modeling are currently her top

you ever get the chance to shop the streets of

priorities, Lucy still hopes to positively give back

Melbourne, do it!”

to the community in a more grounded career after modeling. “I always wanted to be a performing

When asked about her interests in breaking out

arts teacher or a missionary worker, which are still

into the U.S. fashion industry, the Aussie native

aspirations of mine,” she says. Her wise words to

says she’s taking her career “one day at a time,”

anyone trying to make it as a model in the industry:

— a wise move to make in a sometimes fickle and

“Stay grounded, stay focused on your dreams,

unpredictable industry. She currently lives and

and never take anything to heart!”

works between both LA and Melbourne, the former with which she is still starting to “settle in.” But she

Part model, part artist, and part future humanitarian

tells us, “I most definitely have plans to go to NYC.

— when it comes to Lucy Mcintosh, it’s difficult to

It’s one of my favorite cities in the world and I

paint a picture that perfectly displays the many

would love to spend time there working.” The idea

facets of her complex personality. And even with

of Lucy taking over Mercedes Benz Fashion Week

all her past and current success, Lucy hasn’t

doesn’t sound too far off from the future at all.

even gotten close to the height of fame she will be reaching within the coming years. And when

When asked more about her future fashion

that time comes — in the very near future — as

aspirations, Lucy excitedly mentioned her hopes

immature as it may sound, we’d like to be the ones

of someday working with photographer Peter

to say, “I told you so.”

Lindbergh and the internationally

renowned

fashion house, Dior. But always more than just a 24 | ASTONISH

ASTONISH | 25

"I like to dress simple and comfortable with a little bit of flavor.

I’m addicted to everything and anything leopard print right now."

26 | ASTONISH

ASTONISH | 27

Euro Spotlight

ASTONISH presents the newest wave of European talents.

Featuring fashion designers Ara Jo from London, Malgorzata Dudek from Poland, and Flaminia Saccucci from Italy, these creative minds are taking Europe by storm.

Photography by Christoph Musiol 28 | ASTONISH

ASTONISH | 29

Euro Spotlight

ARA JO

Written by UYEN CAO, Photography by ANDREAS WALDSCHUETZ Styled by ADIA TRISCHLER, Makeup by STEFANIE LAMM Hair by PATRICK GLATTHAAR, Assistance by MERLIN KOENIG & THOMAS RATH Models BEATA & ROBERTA @ EXIT MODELS

30 | ASTONISH

ASTONISH | 31

C

Since the noteworthy debut of her work on Lady Gaga, Jo has constructed designs inspired by female empowerment and the irresistible nonchalant and confident attitude of celebrities. Her recent collections include Mermaid, Vampire, The Sun of Beach, The EMPRESS and her most recent 2012 celebrity attitude-empowered collection, The Super Ego. With this in mind, the invention of the human superego isn’t just an abstract concept but a wearable one. Jo assures her wearers that there’s a diva inside every woman that can be captured through the confidence of wearing fabric on the sultry female body.

When asked if she believed “diva” would be a definitive term for her work, Jo embraced the word in every sense. “I love that word, DIVA! My collection is for women who are confident and enjoy my fashion. So yes, I could say my work is for DIVA who can call themselves a diva.”

Aside from submerging herself in the entertainment world, traveling has been a large part in stimulating Jo’s creative process. Prior to living in South Korea where she currently resides, Jo lived in London where she found

ombine irresistible temptation with beautifully constructed garments and fabric

herself sketching between her commute on the bus ride home as a means of

and you get something that is utterly sexy and absolutely unconventional —

fostering an inventive mindset.

something that is definitive of up-and-coming fashion designer, Ara Jo.

“I love that word, DIVA! My collection is for women who are confident and enjoy my fashion. So yes, I could say my work is for DIVA who can call themselves a diva.”

With a Margiela-esque sensibility for design, Jo’s work has been known

“I had to save time designing when I traveled” Jo said. “I designed on the bus

to submit themselves to ideas of deconstruction and reconstruction. The

because everything around me could inspire me. When I lived in London, it

subtle hints of ambiguity in her shrouded heads designs for the Whitemare

gave me freedom. You don’t have to worry about what people would think

collection, for example, illuminate with concepts of mystery in an otherworld

about you—it’s unlimited energy and you just have to enjoy it.”

and futuristic experience. But despite the tendency to claim that her work leans more heavily towards avant-garde, Jo’s attitude expresses a lighter and

As for Jo’s future plans? She hopes to move to New York City by next year

more playful creative process when it comes to her prêt-à-porter pieces.

to continue researching and fostering ideas for prospective designs. And looking deeper into the entire spectrum and what she expects to see in the

“I love curvy shapes and that’s how I get inspired when I start to design,”

fashion world, Jo couldn’t help but revert back to her roots and what makes

Jo said. “When I do research, I like to see everything connected with the

her happy: the joy from people and the entertainment world who love fashion.

theme and that’s how I could create something unique and bold as all ideas or sources for designs come from something very original, not just from another

“Fashion has not changed hugely since 2000 — some parts of fashion will

fashion or form that already exists.”

change because of technology,” Jo said. “Fashion is about entertainment and people will eventually love another unique type of fashion. I would like to see

Collaborating with musicians has always been a major part of Jo’s work—

myself being there for the people, for fashion.”

specifically for women in the industry. Jo, who graduated from Central Saint Martins in 2009 with a degree in Womenswear, has had her designs worn by celebrities such as Leona Lewis, Jamelia, Kimberly Wyatt, Buttafly, Grace Obika, Roses and most notably Queen of Pop, Lady Gaga, who wore two outfits from her CSM graduate collection: 2009 A/W Whitemare.

32 | ASTONISH

You can find more of Ara Jo's work at www.notjustalabel.com/arajo.

ASTONISH | 33

34 | ASTONISH

ASTONISH | 35

Euro Spotlight

MALGORZATA DUDEK

Y

Written by Sophia Schwan, Photography by CHRISTOPH MUSIOL Makeup by PATRICIA BONTSCHEFF, Hair by MARGO WEGLEREK Styling by JADWIGA POKRYSZKA Model KATARZYNA NAWROCKA @ GAGA MODELSv

our AW 11 collection radiates power and a modern fierceness, incorporating vibrant colors and unusual architectural forms. It appears as if you are celebrating the female form in a way that Helmut Newton did yet lending them that air of couture. What are your inspirations for making your collections, in particular the AW 11?

AW 2011 was influenced by nuclear disasters. In SS 2012, I was inspired by H.R. Giger’s biomechanical art which creates a very fierce woman yet definitely feminine.

36 | ASTONISH

C o n t i n u e d o n page 3 9

ASTONISH | 37

C o n t i n u e d f r o m page 3 6

by people who wouldn’t understand or cherish them. The women who wear them are those who

The individual pieces often feature intricate detail, multiple layers of beautiful fabrics and artistic proportions. Approximately how long does it take to create one piece and how elaborate is the process?

Some pieces take several weeks to finish while others may be finished in days when I am hurrying before a fashion show. I don’t care how long it takes to create a piece, but it must fulfill my vision and give the desired effect. After having done a rough sketch, I usually construct a muslin prototype so that the form is ideal. Then I cut the fabrics, and supervise the sewing of the runway piece. I always have the pieces altered along the way and if something doesn’t look right, I have it corrected.

By the time it’s finished, I’ve had enough of it and can’t stand to look at it. When the model wears it on the runway, I love it again.

When did you initially start designing fashion and why did you decide to become a designer? Was there a specific individual who influenced you?

I knew that I wanted to be in fashion for as long as I can remember. As a child and teen, I was creative in many areas and I always explored things that interested me. I’m who I am because of this. Successively I made steps towards my goals and I know that I can achieve much more.

There was never an exact moment or time that I decided that I wanted to become a fashion designer, it was always with me. When I was in primary school, a local designer fascinated me.

Everyone used to point their finger at her and think that she was weird, but I loved her. She wore strange and colorful clothes that I had never seen before and staged happenings around town.

One such happening was outside my church on a Sunday, when she arranged bare mannequins in the courtyard. It shocked and repulsed the churchgoers as they left mass. Later that spring, I made a crowd of effigies and dressed them in clothes that I had altered. After gathering a group of schoolmates, I burned the effigies and drowned them in the stream behind my house. It was inspired by her happening and you can say that it was my first fashion show.

What type of woman do you associate with your design aesthetic? What is the Malgorzata Dudek customer like?

My clothes aren’t for the average mortal and I would rather have looks not sell than to have them worn

you pass and absolutely must turn around to catch another glimpse. You feel respect towards them and jealousy of their self-confidence and fact that they completely don’t let anything affect them.

How does the extravagant, powerful and also multifaceted feel of your work reflect on your own personality and your own style?

I think that my personality reflects my work very much because I am strong, passionate and very unpredictable. However, I am not the muse for whom I design and I find little time to devote to my personal wardrobe. There is a saying in Polish that goes “The cobbler wears broken shoes.” And it applies to me.

The gravity-defying heel-less shoes featured in your recent lookboook truly emphasize your spellbinding architectural designs.

Are you thinking of including an accessory or shoe line in your label?

In my own label, not at the moment because I am a control freak in the creation process and I don’t tolerate mediocre craftsmanship. I don’t have much experience in accessories and I’m afraid that it would distract me from my main passion.

However, collaborating with accessory designers is something that I am branching into.

The aspects of texture and shape seem to be consistently highlighted throughout your collections. Do these two aspects influence your designs the most?

I think that these two things do influence me very much, but I don’t know if they’re the two aspects which influence me most. I don’t narrow my influences to particular aspects but concentrate on the story that I want to tell.

The feel of your collections vary drastically, featuring a flashback to Marie Antoinette’s pastel opulence versus the current Sci-Fi black, orange and cream collection.

How are you able to successfully provide such a wide spectrum of design?

Each collection tells a new story, so it’s easy for me to take collections in a new direction. It would be much more difficult for me to provide a narrow spectrum of design because it would bore me to death making collections which more or less tell the same story.

ASTONISH | 39

40 | ASTONISH

ASTONISH | 41

I

Euro Spotlight

late

But one question that inquiring minds might want

Rolf, Balmain and Alexander McQueen, prior to

evening in Paris. As a teapot slowly simmers to a

t’s

a

to know: how can Saccucci take rubber latex

even graduating.

boil on the stove, muffled noises from the radio fill

and turn it into something that is feminine and

the room with faint traces of lingering movement.

indisputably sexy? The answer lies in the simple

The young Italian designer reminisced on the

It’s a quiet and calm night in the city. Flaminia

concept of balance.

earlier and humbling experiences of when she

Saccucci, who has just arrived home from work Saccucci takes the problematic nature of latex

unquestionably fresh and innovative.

and manipulates the material in a way that shapes

“I have a very nice memory of the duo Viktor and

the body. The concept of creating a sharp fit

Rolf,” Saccucci shared. “They were really down

without being overly stretched is a very important

to earth. It was my first week there and a model

Using specific blends of synthetic materials

flaminIa saccucci F a s h ion

a nd

te x tile

designer

Written by Uyen Cao

first started in the design and fashion industry.

at the Givenchy studio, is brewing up something

“I love the manipulation of different materials. I think that anything can be inspiring; it is a matter of how you mix it with something else.” that interpret the ethereal feel of floral images,

way of conveying sophistication in the choice

was missing. So I've been fitting shoes all day

Saccucci has discovered an aesthetic that is

material that makes her body of work illuminate a

for them. As a young intern it was such a great

distinctively her own. Opaque shades of green,

matchlessness quality.

experience to be in fittings all day with them.”

all a part of the experience in viewing Saccucci’s

Living and working in Paris has greatly affected

Saccucci currently works at Givenchy where she

work—one that is multi-faceted and undeniably

Saccucci’s design process by supplying an

is putting together a Pre-Fall 2012 Collection.

complicated. More importantly, Saccucci has

endless reservoir of inspiration.

In addition, she has a capsule collection from

pink and underlying highlights of gallant black are

molded her creative process to a variably methodical, but sophisticated, point.

her graduate collection that will go on sale at “I research a lot before starting the making of a

Joyce Boutique in Hong Kong early next year.

collection,” Saccucci said. “The research can

Somewhere down the line, Saccucci hopes to

screen-printing

be done from reading books, traveling or even

create and manage her own label.

process, Saccucci creates delicate and calculated

visiting exhibitions. But of course, even a word or

floral prints on latex. As another “artist” — a

a sound or the feeling of touching a material can

Aside from looking much further into the distance

musician, painter, or photographer — might do,

be a starting point to a design.”

of what the future holds, Saccucci is content and

In

a

three-color

separation

Saccucci discovered her technique through sampling and experimentating with ink on latex.

42 | ASTONISH

satisfied with the way life has progressed thus far.

Just a few months prior, she was still a student

She remains humble as she admits the innocence

at London’s Central Saint Martins where she was

of her young age by simply stating, “Let’s see what

“In my case the quantity and type of ink varies

awarded the prestigious L’Oreal Professional

the future will bring. But right now, I am a young

according to the color of the artwork,” Saccucci

Young Talent Award for her graduate collection.

designer and I just want to grow in my career”.

said. “I love the manipulation of different materials.

But expectations were already high for Saccucci,

I think that anything can be inspiring; it is a matter

who had already worked with iconic names in the

of how you mix it with something else.”

fashion world including Alberta Ferretti, Viktor &

We can’t wait.

ASTONISH | 43

44 | ASTONISH

ASTONISH | 45

46 | ASTONISH

ASTONISH | 47

ASTONISH Culture

We explore the different aspects of fashion in our world today.

In this issue we feature the former PussyCat Dolls singer and rising pop star Vanessa Curry and Frock LA's newest fashion line, the effects of luxury and fashion economy with Global Action Through Fashion, and David Gensler's movement against fashion luxury.

48 | ASTONISH

ASTONISH Culture F A S H I O N

&

F I L M

jacqueline west Written by Karen Song

Jacqueline West, an award-winning costume designer for The Curious Case of Benjamin Button, The League of Extraordinary Gentlemen

and Water for Elephants, talks costume design with ASTONISH.

F

ashion and film have always shared a rich history of mutual inspiration. With cinema playing a leading role in evolving cyclical traditions, both industries display a complementary and competitive nature, one-inch shy from marriage seeming.

On the runway, Jean Paul Gaultier wed his Spring

2008 collection to the four-film franchise, Pirates of the Caribbean and in department stores, the prolific

50 | ASTONISH

reproduction of Hepburn’s worn Little Black Dress brood the undertakings of the immortalization of characters, Jack Sparrow and Holly Golightly.

The externalizations of these wayward personas seem to purpose a greater role for costume designers, breathing life into static characters contextualized on script, taking a garment and writing it into the history of a character.

C o n t i n u e d o n page 5 2

ASTONISH | 51

C o n t i n u e d f r o m page 5 1

Costume designer Jacqueline West toss two dimensions of the cinematic landscape to shape identities and extract characters that have aged on paper.

Fashion designer and businesswoman turned costume designer, West has become celebrated in both fields of fashion and cinema. Nominated

for an Oscar in 2009, for The Curious Case of

Benjamin Button and the Saturn Awards in 2004 for The League of Extraordinary Gentlemen, it is

hard to believe that only a decade earlier, West could not be found behind the screen or anywhere

designing for a film?

I would say finding the characters, reading the script, imagining the people. I studied art history at Berkeley and I loved historic research—finding the character within that period and finding the choice that character would make at the time is fulfilling to me.

How was it designing the costumes for your first film, Rising Sun? What was your process when designing and what sorts of things did you run into?

Well at the time I had clothing company. That

periods? From The Social Network to Water for Elephants, how do you begin to draw inspiration for these eras?

I’m a researcher and I like to get as close to the actual research of what I’m costuming and marry

myself to it. People think that The Social Network as a contemporary film but it’s actually a period film. Sometimes it’s harder to design for those because fashion changes so subtly. They weren’t wearing skinny jeans at the time and you can’t just find it at a regular store. It's not in costume houses because its just not bold enough. You have to be a detective to find those things. So I used Facebook

near Hollywood.

was so huge because while I was designing and

to research friends of Mark Zuckerberg. But the

So how did West find herself dressing household

Sun. I was going from producing thousands of

much the same. When you’re doing period films,

names such as Brad Pitt and Cate Blanchett? It is certain that she did not set out to build a career rummaging vintage stock rooms for genuines or to swathing actors in '30s circus costumes. In fact, the crossover was nearly an unruly, unforeseen

shipping a clothing line, I was designing for Rising

process of designing for different periods is very

things to designing for one person in a film — it

you are still looking for character. You’re taking

can be daunting. You have to be sure of yourself.

Nailing the character and getting the design right for a scene and a particular character for that era takes the process of reading a script no less than

transition.

six times. You need to know characters inside out,

It wasn’t her love for foreign films, neither was it

whether or not you’re designing or shopping for a

her fascination with costume design. Berkeleynative and a fashion designer by legacy, West who claims she has many precedents and influences, sensibly owes much of her career in fashion to her mother — an avant-garde fashion designer in the

what time of day the particular scene is in and period or a contemporary film. And once you know the character, you take that character shopping in that era.

The process at the start of each film is like starting

'40s and '50s.

a clothing company. You visit pattern makers

At the time of her career shift from fashion to film,

pieces in a short time frame. The garments have

West had already designed and produced her own line, “Identikit by Jacqueline West,” found in 500 stores nationwide and boasted having her own

and supervisors, while assistants help you find tight constraints because you’re looking for the character in mind. In the same way, designing clothes, you always have someone in mind for a

department at Barneys.

clothing company.

It seemed as though her career was on the

What is your thought process in costume designing for a film?

How do you collaborate with the director and the actors?

fast track to expansion, until the transition from designing for the masses to designing for just one came from an unlikely dinner with director Phillip Kaufman. At the time, Kaufman who was filming

Henry and June, envisioned her house to be exactly like that in the film. After headhunting West to be the creative consultant for the 1990 American film, Kaufman later brought West in to serve as a costume designer for Kaufman’s subsequent films

Rising Sun and Quills, which received nominations for an Oscar and a Golden Globe.

I read the script so I know that I’m dressing characters, not actors. We talk with directors and we are usually on the same page. I show references, research and draw. By the time the actors are on board, we usually have an image in mind for reference. It’s a meld of my ideas and their ideas.

Since then West has worked on a myriad of

Who would be your favorite character to dress?

Play and The Tree of Life. West, a self-proclaimed

Pocahontas — I have a Native American dementia.

projects including The Social Network, State of ‘method costumer,’ has become a household name, bearing a name that suggests a career headed in the right direction.

What’s your favorite part about 52 | ASTONISH

Her costume when she goes to save James is one of my favorite costumes.

them shopping in department stores instead of costume houses, finding pieces to inspire. I love using genuines on actors.

What was one of your favorite pieces you designed for Water for Elephants and from where you drew inspiration (i.e. Reese Witherspoon’s red dress)?

I would say Reese’s elephant costume with Swarovski crystals. I was inspired by the 1931 film Mata Hari.

How do you think the costumes fare chemistry between the characters? Do you find that important when designing?

First of all, the clothing doesn’t reveal the inner ridges of a character. There has to be chemistry between two characters and if they aren’t revealed, there won’t be an attraction. You definitely need to consider the relationship between two characters and keep them in the same world. She needs to be attracted to him in her world and the same goes for him.

I think any costume is all about the details. You can have dress with a beautiful cut, but the fabric can be wrong. Fabrication is the most important thing. I agonize about fabric. For Reese’s dress, I imported all the fabric from France. I made it in the same factory, made in the '30s. The cut of the back is important. You need to be a physicist to construct. Pattern making is an art — balancing one hang on one point, low in front, high in the back. I was so lucky with Reese. She had the perfect body for the gown. We watched a lot of 1930s films, studied film goddesses of the era

How is it designing for different

and the body language in pulling off the design.

C o n t i n u e d o n page 5 5

ASTONISH | 53

C o n t i n u e d f r o m page 5 2

Do you have a fashion icon that you like to refer to often in your films?

I have different ones for different film. For Cate in

The Curious Case of Benjamin Button, I was very influenced by the women that Chardin painted in Quills.

All through the ages there’s diff fashion icon. My '30s

Water for Elephants influence was Renée Perle. So for different films, I draw different icons. Mata Hari, for the '30s, Carole Lombard, Rita Hayworth. I just love the style of Lee Miller and people who have great style and live from different eras — it doesn’t have to be a movie star or fashion.

What do you think makes a great costume designer?

I think dedication and character. Being able to dress a character and not an actor. Marlon Brando’s t-shirt in Street Car was the best costume on camera because

it really reveals who he was. He is that t-shirt. We all subconsciously are aware of when a character's clothing is right and you don’t think about it — but we leave the theatre thinking about the character's costume.

For young inspiring costume designers, what would you encourage them to do to get into the industry?

I always believe you are better in anything you do if you have a really good liberal arts education. Read a lot, observe and expose yourself to travel, art and great literature. Absorb yourself wherever you go and meet people — people that are interesting, who are artistic and inspiring.

In Berkeley and San Francisco, many influential people surrounded me and it forced me to be creative. I had a mother who was a fashion designer. I never studied fashion but I was around it. If you don’t have that, really the best thing to do is determine a great fashion school like Fashion Institute of Design & Merchandising (FIDM), which is a wealth of knowledge and in two years you can really learn. You can learn what works in clothing and which fabrics drape. The Fashion Institute of Technology, Rhode Island School of Design and FIDM are great learning places and you are forced to be creative. There is so much creativity around you. In downtown LA near FIDM, I get so inspired by how they dress. I learned so much from watching people who have great style and how they put it together. It’s not just about buying clothes off racks but dressing eclectically and putting clothes together in an interesting way. Train your eyes by putting yourself in different environments.

54 | ASTONISH

ASTONISH | 55

green clothing has a certain look, that it's only for a certain woman, and I wanted to create a line where women can enjoy the look of the fashion in addition to the message. Vanessa is the perfect

ASTONISH Culture F A S H I O N

&

frock girl, the perfect California girl, and she cares about animals and eco products, so this was a

M U S I c

natural move to make together. We want people to be drawn to our clothes' aesthetic appeal, not just because it's sustainable, but this is an important message. If it's a piece that you wear often, that's versatile, that you love, you'll wear it. It's not really sustainable, if you're not going to wear it often.

And Frock is also involved in philanthropy and events?

Victoria:

Every time we do a fashion show or

event, we try to give back. We've worked with The Trevor Project, The Princess Project, and The OKIZU Foundation, they're great local, Californiabased charities.

How would you describe the look of Frock pieces?

Ia n :

Strong, strength, independence... All these

pieces are so different, but what ties them all

VANESSA CURRY

H

Written by Amy McGranahan

Victoria:

Some of these pieces are very daring,

and they are all sophisticated, confident pieces.

What excites you most about the release of Frock's "Watch Me" music video?

Victoria:

We are so excited for the public to see

Vanessa as a singer, artist, musician, dancer they've seen her as our model, and now they get a chance to see her as so much more.

Va n e s s A :

And they get to see Frock moving -

we're really moving in Frock, full-on choreography - you can do anything in it!

Ia n :

aving studied Film in college at UC Berkeley, Victoria Tik derives some of her design inspiration from the style and elegance of classic movies. Ian likewise took his creative background in Advertising with the Art Institute of California in a new direction when embarking on fashion photography and design. Completing the creative trio behind Frock, spokeswoman Vanessa Curry has been a fan of Frock since its inception, and has been

The pieces are form fitting, and everyone

looks so good, dancing. And after, we just threw all are truly washable, and they come out looking great. You can just put these pieces in the wash and wear them again tomorrow.

about Frock's mission, history, trajectory, and exciting ventures with Vanessa at the Viceroy Hotel in Santa Monica.

Va n e s s a :

When you launched Frock in 2009, you committed to making a sustainable clothing line - why is sustainability an important element in your fashions?

"Frock" song. The video is called "Watch Me"

Victoria:

In the wake of the recession, I thought this was a good

opportunity to start my own company, create jobs for those who are losing jobs. People have the idea that...

accessories, and they look great with the pieces.

The song behind the runway is very

important, so we thought we should make a

because when you're wearing Frock, you're going to look.

inspired me during the whole shoot.

artistic freedom. The lyrics and the melody, Ian and I wrote together. We wanted to make sure it reflected outrĂŠ brand, being trendy, but not too trendy.

Ia n :

I think we got to incorporate all of the words

that we wanted to inspire the video - "classic sexy, versatile, a hint of rock 'n roll!" It will be released December 7th, in honor of Vanessa's mom. It's her birthday - every aspect of Frock is committed to the people who touched their lives - down to the release date.

What have reactions been so far to the video?

Ia n :

We just finished promoting the song in the

Castro in San Francisco at Club Trigger, and they loved it! We love the song, but you never know until you hear positive reactions. It was great confirmation that we are headed in the right direction!

Va n e s s a :

This Frock song is so catchy for girls on

runway. It's fun, classy, sexy, and a hint of edge!

How important is personal fashion sense as a performer? How do you feel that fashion and music can be related?

Va n e s s a :

Well in the video, the love story is sort

of a tease, and wearing those pieces is how I came up with the story line, like a flirtatious love story.

The dress definitely inspired me. But creatively I love switching it up, doing different things here and there, but always coming back to the same.

Actresses and singers are now models, and there aren't as many creative boundaries - there's so much more you can do, expanding to different areas. Acting, dancing, designing all tie together, all related.

Victoria:

Our designs are so broad, so versatile,

but when I design the piece for the ideal Frock woman, I design for her individual personality, someone I admire, and it manifests into inspiration.

I also look to vintage art and vintage fashion. Our pieces are very modern, but we focus on pieces that are flattering, that are classic.

Va n e s s a :

It's kind of like a classic song - you can

play it anywhere, never get tired of it. Also, we're inspired by the people who touch our lives, and we design pieces for them.

What's next? For Frock? For Vanessa?

Victoria:

New patterns, new materials, organic

silks, hempstead, polyesters, wools, recycled materials, jeans and separates, bamboos, soys and coats.

Ia n :

Menswear is definitely in the 5-10 year plan.

There are so few eco-friendly options for men, we're really excited for this.

Va n e s s a :

Right now I'm in my transition - I like to

have my hands in a little bit of everything. I want to perform, I want to keep designing, and I'm excited to see this empire we are going to build - it's only been 3 years, and I think it is going to be huge. I want to have our own Frock LA show, and play my music during a full show. For me, fashion is like performing, design is like choreography.

What are the favorite frock pieces?

And why this piece?

Va n e s s a :

"The Jamie" - I love this dress, it's slinky

and freeing, a simple black dress with the cutest

And now seemed like the right time to launch a solo career?

Va n e s s a :

What kind of woman do you picture in Frock designs? Who do you envision when creating your designs?

Now is the perfect time - I have the

support of my friends, my family - I don't consider Frock my colleagues, they're my friends.

little pocket. I love that it looks good with any bra or no bra, and it was named after our stylist.

Ian:

"The Vanessa" - this is for any woman, any

age, for any occasion. My sister loves the Vanessa, and she wears it to work, and then out to events after work.

V i c t o r i a : " The

Has Frock been supportive of your new direction?

Va n e s s a :

Frock inspired me to make this song,

Lauren" - named after my college

roommate. She is tall and blonde and Grecian looking, and I made this dress with her body in mind.

and I honestly didn't know that I could do it, until the day of the video shoot. Everyone was so

What was the creative process like for "Watch Me"?

Va n e s s a :

by Ian and Vanessa personally. The dress really

We really took ownership of the song. Lots of

of the pieces in the wash, actually! These pieces

What makes the "Watch Me" video important to Frock?

the spokesmodel for Frock in Spring 2010. I had the privilege of learning

56 | ASTONISH

together is strength.

"Watch Me". White Label boutique provided all the

We put all of our effort into everything,

into each piece, into this video, Ian is an amazing writer/singer, and we came up with our song,

supportive. Everyone mutually supports each other. Collaborative design process, discussing with each other, refining own thoughts, calls at the grocery store, etc. This way with the song too - lyrics, themes, etc. Carlo and Chris produce.

Photo Credits Photography by IAN MAXION, Makeup by JANET MARISCAL, Styling by FROCK LOS ANGELES

Blots of artistic freedom, even melody, lyrics written ASTONISH | 57

58 | ASTONISH

ASTONISH | 59

"We want to make it easier for companies and consumers to have a positive impact on the world through fashion."

ASTONISH Culture F A S H I O N

&

S U S T A I N AB I L I T Y

DOMENICA PETERSON

Written by Lexie Tiongson, Edited by GARY MARSHALL

In this exclusive interview, co-founder Domenica Peterson shares her

moment that I am extremely excited about. The most exciting to me is our

thoughts with ASTONISH about her involvement in the fashion industry, what

documentary film about the fashion industry. The film will empower the

ethical fashion is and how the non-profit she started will help the current state

audience, making vital connections between what we wear and how that

of the fashion industry.

clothing is made. Revealing how each purchase we make can affect the lives of others, it becomes a call to action – portraying the hidden costs of bargain

How did you get involved in the fashion industry?

I grew up as a seamstress. Both my mother and grandmother sewed and I was encouraged to make my own clothes. I also love the art of fashion and have been an avid fashion magazine reader forever! Clothing and style define so much of who we are and how we wish to be seen. It reflects human society throughout history. All of the people in my family are artists so I was also raised with a high appreciation for craftsmanship. I am particularly passionate about preserving the craft of fashion, as is reflected in the other work I do as

Ethical, equitable and sustainable consciousness describe

the standards to which the fashion industry must adhere in evaluating the practices of making and selling apparel. As ethical fashion becomes introduced into the fashion industry, Global Action Through Fashion (GATF) helps with the issues faced by the industry.

G

60 | ASTONISH

a couture seamstress.

What made you want to start a non-profit fashion organization?

When I was in college, I studied international development and social entrepreneurship and went on to work in the Fair Trade fashion industry.

With my experience in international development and fashion and a personal background as a seamstress, I see ethical fashion as a tool for solving the critical global environmental and social problems that face our world. My professional experience in the field and my personal research and passion led me to discover hundreds of innovative organizations and companies.

However, there seemed to be no cohesive movement to improve the fashion industry and, in turn, the world. We founded Global Action Through Fashion to help create a platform for the different industry to come together and educate people about ethical fashion. We want to make it easier for companies and

ATF is a non-profit fashion organization that familiarizes fashion designers, merchandisers and consumers with eco-friendly, sustainable and fair trade apparel. Founded in 2010 by Domenica Peterson and Grant Ennis, GATF was formed to “create a platform for the ethical fashion and conventional fashion communities to network, learn, collaborate, improve and exchange best practices, as well as create a stronger and more informed consumer base for ethical fashion goods throughout the world.”

From educational resources and lectures to ethical fashion night events and their 25th Street Collective in Oakland, CA, GATF helps all fashion-goers with their purpose. The 25th Street Collective is a space created by GATF for designers who need support to sustain their businesses. Numerous projects have been organized by GATF to focus on the issues seen in the fashion industry.

goods and investigating a global supply chain that can lead from exploitation to elegance. Yet it also shows how fresh choices and expanded awareness can result in permanent and substantial impact. The world can change – one fashion decision at a time.

Which designers, artists, and/or photographers has Global Action Through Fashion worked with so far?

And how do you feel they've contributed to your purpose of ethical fashion?

We have worked with so many amazing designers, especially through our events. These include companies like PACT Underwear, Platinum Dirt, Stewart+Brown, Camilla Olson, Indigenous Designs, and many more.

Brand 46 did a lot of our initial graphic design work and Adele Reeves is our illustrator. Filmmaker and photographer Mark Leibowitz is directing our documentary film. He brings an important fashion perspective and a beautiful eye to the project.

Describe the 25th Street Collective and the whole vision behind it. What kind of work is accomplished in this space and what kind of designers have you met?

Through my work I've met many small ethical fashion start-ups that struggle

consumers to have a positive impact on the world through fashion.

to find the initial capital for their own offices and production equipment. The

What was it like to start an organization that focused on ethical fashion? Were you nervous? How did you and Grant Ennis prepare for this type of challenge?

sustainable start-ups can share both tools and knowledge. The 25C is located

It was a good challenge and an incredible learning experience. I had worked for a number of non-profits in the past, as had my co-founder, Grant Ennis. Grant’s background is primarily in microfinance and youth livelihood development. These past experiences gave us some basic knowledge in establishing and running a non-profit organization. Since I also worked for years in the ethical fashion world, I had a great community of supporters and a wonderful board of advisors.

“Ethical Fashion” encompasses “Sustainable Fashion”, “Eco Fashion”, “Fair Trade Apparel”, animal rights, and cultural concerns. It goes a step beyond to include all fashion that is socially and environmentally conscious

What is your hope for the future of GATF? Our goal is to have a significant impact on the fashion industry, to make

25th Street Collective (25C) was founded to be a collective space where in the heart of downtown Oakland and is a local business incubator, artisanal sewing collective and storefront.

How do you think people should approach becoming an Ethical Fashion Consumer?

First, just start to ask questions and investigate your clothing. Know where your clothing comes from, how it was made, who made it, and what it is made of. Second, have sentimental attachment to your clothing. Buy things of quality that you love instead of large quantities of cheap, disposable fashion that is poorly produced and will end up in landfills. Third, when shopping, look for clothing that is recycled/used, made of environmentally responsible materials and was produced with respect for good labor standards. This might require a bit of homework but sites like ecofabulous.com or ecouterre.com can make it easier. Lastly, be mindful of how you wash! About two-thirds of the environmental impact of clothing happens after you buy it. Wash cold, hang dry, and use eco-friendly detergent.

conditions better for those who make it and lessen the environmental destruction it causes. We are working on a number of projects at the

ASTONISH | 61

ASTONISH Culture F A S H I O N

&

E C O N O M I C S

BEAUTY AND ANARCHY

Written, Styled and Directed by KRISTEN IRBY Photography by TIMOTHY ROSADO, Makeup by ALICIA OLIVERI, Hair by Brian-David Daigle Models NUSYA, JIAN YE, SAM, DARREN, MARLON @ COLBY MODELS NYC Dresses and shoes by ROBERTO CAVALLI NYC, Menswear by SERUM VERSUS VENOM Eyewear by MYKITA, Protest poster art by JOSH VANOVER

Serum Versus Venom designer David Gensler’s unabashed stance on the notions of luxury, design and fashion industry practices.

62 | ASTONISH

64 | ASTONISH

ASTONISH | 65

O n

the

eve

ASTONISH

Williamsburg, Brooklyn compound where all of the Serum Versus Venom (SVSV) garments are manufactured in the neighboring workshop to discuss his product development philosophy and the fashion industry’s impact on the American economy. In New York City, the fashion and retail industry is a $55 billion business.

“Some of these designers dare to come out and sell the idea that they are an American designer on American soil, selling the idea of luxury to Americans who don’t even have the jobs to make the clothes that are then sold to them,” Gensler said. “Americans need jobs, so why does the fashion industry go offshore?” he asked. We also touched on human interaction in the digital age, the impacts of social media and what he considers high and sustainable value as luxury. of

the

“If luxury is produced at the expense of others, it’s not luxury. Fashion is a

launch

detachment from the logic of luxury because we are overrun by the image

event, an uncharacteristically dreary September day, I stopped by the newly

of luxury rather than the reality of luxury. I don’t get Alexander Wang or Yves

opened Henrik Vibskov shop in New York City, which I read about while on

Saint Laurent. I don’t get it! I don’t get why a t-shirt costs $600. Luxury has to

holiday in Berlin a few weeks prior. I’ve been a loyal consumer and fan of

be attached to logic and there is no logic in a $600 t-shirt unless you can say

Vibskov after first discovering the Scandinavian designer at SEVEN New

that the t-shirt is making a positive impact on an entire community of people,”

York, the troubled yet astonishing shop on Mercer Street, in 2008. Nick,

Gensler said.

the blade-thin sales associate, introduced me to a new brand that Vibskov was featuring at his SoHo store called Serum Versus Venom, a Brooklyn-

Gazed upon by four stuffed elk and a warthog hanging high on a wall closest

based menswear brand. To my delight, the offering of Serum Versus Venom

to the entrance, I sunk into a brown, vintage leather couch in the lofty living

garments included draping drop crotch pants with mixed patterning, fractured

space of the KDU. Profits from the KDU consulting business help support the

button down shirts softened by rich colors with functionally efficient details

SVSV fashion business. The Keystone Design Union’s regular clients include

and dynamically printed denim.

Nike, Reebok, Hennessy and Samsung. SVSV’s signature industrial shears are on view in varying sizes, on shelves, on chains, and on the table before

Founded in 2003 by David Gensler, CEO of Keystone Design Union, Serum

me. Gensler has a collection of more than 800 original, industrial shears

“Fashion is a detachment from the logic of luxury because we are overrun by the image of luxury rather than the reality of luxury.”

Versus Venom was built on a philosophy that challenges many fashion

from England, Germany and France dating back to the Victorian Era through

industry standards not only through hyper-modern designs, but also in the

the American Civil War. “These shears are my strange obsession,” Gensler

brand’s profound opposition of mass-marketed, mass-produced and mass-

said. “They’re like weapons.” In another room sits several members of his

consumed fashion.

team staring intently into sleek iMacs. The SVSV garments are mounted and hung neatly on a wall across from me. Immense windows reveal a charming

“I want to interact with the Council of Fashion Designers of America (CFDA)

garden filled with loosely manicured brush, trees and flowers. A substantial

so that I can challenge it,” said Gensler. “My dream would be to win their

round table sits just a few feet away from a large grill where Gensler, the self-

stupid award.”

proclaimed “celebrity endorsed, Brooklyn ghetto chef,” makes his borough famous scrapple/angus/bacon burger.

Gensler, a graduate of the University of Pennsylvania’s Wharton School, collaborates with a team of 15 designers to create garments based on

“I challenge those punks at Peter Luger (the famed Brooklyn steakhouse)

military attire and work clothes of the industrial era, colliding them with ideas

to a burger cook-off any day,” Gensler said, who also describes himself as

of the future. Authentic vintage materials are sourced “painstakingly,” cut and

a designer through research and strategy, a photographer and also a writer.

reimagined with the accompaniment of new materials that add contemporary

“I’m the guy behind the elephant with the shovel.” On a glass cabinet behind

street credibility. Serum Versus Venom’s designs are further inspired in

me, filled with more of Gensler’s industrial shear collection, sits an old camera

response to the “mass hysteria of work wear and Americana” as well as old

that belonged to his great-grandfather.

photos of family members who fought in the U.S. Army.

My conversation with Gensler, who spoke in abundant vigor on how the “I have hundreds of photos that were shot by my great-grandfather while he

younger generation “needs to speak up and ask questions and not tow the

was fighting in Normandy,” said Gensler. “We plan to remake the clothes they

line,” left me with an impression of beauty and anarchy. The beauty of Serum

wore out of modern fabrics.”

Versus Venom lies not only in their avant-garde work wear meets street garments but also in the value of supporting the fashion industry by sourcing

I recently sat down with Gensler and members of his team at their 66 | ASTONISH

raw materials in the U.S that are manufactured right here in New York City.

ASTONISH | 67

Straight from the Runway

From the runways of Paris and New York...

ASTONISH takes an inside look into the aftermath of Gaspard Yurkievich's Spring & Summer 2012 Collection from Paris Fashion Week and Rochambeau's Spring & Summer 2012 Collection from Mercedez Benz Fashion Week in New York City. These exclusive interviews take a look into the creative minds that procured the most creative collections this season.

Photography by JULIE BADIN

68 | ASTONISH

Straight from the Runway

O

n one hot unseasonably

restrictive budget. I follow my sensibility for French couture and elegance

sultry day in autumn, the grand ballroom at Paris’s Intercontinental Le Grand

heritage and try to create a continuity of it, but giving it a cosmopolitan point

was all a twitter: confetti everywhere, flash bulbs blazing, people buzzing --

of view. It’s prêt-à-porter and it has to be easy to wear. I think I propose a

and that was before a single model slinked out on the circular shaped catwalk.

creative, affordable and wearable proposition.

Behind the scenes was the eerie hum of a well oiled machine, as models were

GASPARD YURKIEVICH A

B R E A T H

O F

F R E S H

A I R

getting dressed, last minute preparations were being made, organizers were alerted to time checks and congratulatory measures were being prepared in honor of the Gaspard Yurkievich’s Spring 2012 runway presentation.

But the fresh faces that were behind the scenes of his runway shoe didn’t seem to care about the independent designers rise to Parisian prominence.

Instead, the Twiggy-esque models, were gushing frilly, yet mod-chic clothing.

Their mid-length hair was plastered with perfection to their heads– creating a fashionable just-out-of-the-rain hairdo. Makeup artists performed last minute cosmetic miracles, which in Yukievich case included a very prepubescent bushy eyebrow. In fact, everything about the collection seemed to remark on the new beginning of spring, not in a screaming billboard sort of way, but more like a sincere conversation between two close colleagues. As the models lined up in their color-blocked clothing, they giggled with a school

Interview by BOLANILE SHENNU Photography by JULIE BADIN

girl’s anticipation.

Lights, cameras, and the soft electronic music cue as the crown oohed and awed over the shift dresses, reconstructed A-line skirts, and frilly collars that spilled on the circular runway. Every now and again a token male model hits

started the journey for his fashion brand ten years ago, after the budding entrepreneur worked for couturier Jean Colonna and had a brief public relations stint with Isabelle Roch. Today, he is all about branding, as all of his efforts are directed into making his name sake company a bonafied lifestyle brand.

Yurkievich

the catwalk, decked out in collection-appropriate garb (by the way Gaspard’s collection is unisex). Now the flash bulbs flickered around the mirrored ballroom with purpose, the celebratory confetti had significance, and the people (mostly industry insiders and press) had something to talk about. And, the thought that should have crossed their mind was: what does it take to turn

Which designers do you feel changed the face of fashion? And why?

The couturiers: YSL, Chanel, Vionnet, Cristobal Balenciaga. The fashion designers: Helmut Lang, Comme des Garçons, Vivienne Westwood, Martin Margiela. The geniuses of today are Miuccia Prada and Marc Jacobs, for making avant-garde fashion and still very commercial, and Nicolas Ghesquière, who’s using the mécanique of high luxury to the service of avantgarde. Those ones are, for me, the real creators that I like to understand the mechanism of their creation to confront mine.

What do you think is the future of French prêt-àporter?

It’s going faster and faster, and the brands need to respond to this process.

I believe there will be only capsule collections in the near future on one side and the return on classics, in temporal, unique, specific pieces on the other side. I love it cause it responds in our way to consumer fashion. I project seriously to make different collection, translating the transversal way to buy: from basic to high and rare luxury. I’ve start this season with two extreme proposal: launching a pre-collection with affordable and basic pieces, and a new shoe-line, all hand made embroideries.

What was one of the biggest challenges you faced establishing your label?

a native Parisian into the creator of one off-the-grain fashion megabrand?

I’m leaving it now. I'm starting the transition of my brand: becoming a label

Your collections vary greatly from season to season, where do you draw your inspiration from?

my brand for more then 10 years; it’s time to establish a serious business

The inspiration of the collection comes more and more from the cutting, the fabrics and the build of the clothes than exhibitions, travels, books, etc… We try to create a signature and we work on proposing sophistication for daylife.

What makes your creative vision different from other Parisian design houses?

from being an edgy fashion, French designer. I worked on the signature of around this signature.

What is the ultimate contribution you would like to imprint on the world of fashion?

I see my brand on a trend which consists of making a link with the body and the spirit, the sophistication and the functionality, being sexy and sensual with a conceptual and intellectual point of view.

There are not so many French independent labels in the Paris fashion scene.

For my part, I feel free to do what I want every season, of course, with a 70 | ASTONISH

ASTONISH | 71

ASTONISH | 73

Straight from the Runway

ROCHAMBEAU T H E

T HA T

K E E P

R O C K ,

M E N ' S

P A P E R ,

A N D

F A S H I O N

a progressive menswear label in New York. Even

DeStefano. Rochambeau was formed in 2007.

though it was juvenile at the time, there would

DeStefano, after graduating from the Parsons

be decisions we’d have to make and they would

School of Design, joined Rochambeau as an

be settled over a game of rock, paper, scissors.

associate designer in 2009. DeStefano is the

When the time came to create the brand and

only member of the trio with a formal education in

looking at the risks involved in it, the name

fashion design.

Rochambeau just fit. We just wanted to make

I attended Rochambeau’s Spring/Summer 2012

a statement that, yes, you can do something

presentation at Mercedes Benz Fashion Week not

progressive, it can come out of New York and it

knowing very much about the brand. Rather than

can be menswear.

doing research on the brand, I decided to simply

Joshua:

show up free of expectation. What I discovered

approachable from an international standpoint.

were avant-garde menswear garments based on

Here, people know what it means but Rochambeau

traditional tailoring with refined elements of wool

was also a French general and there are some

suiting, drop crotch pants with super high waists

other inadvertent meanings. We wanted to be

(very 90’s by way of Z.Cavaricci), chest-revealing

flexible and not just an American brand.

accented by sleek lapels finished in leather (this is the first season the brand has integrated leather into their collection), bell-bottomed trousers, down reaching V-neck jersey shirts with mesh texture,

We also thought the name was

How would you describe progressive menswear?

Joshua:

I would genuinely say that you have to

reference Asia and Europe and show American

What role does fashion play in your lives?

Joshua:

Without speaking to someone you kind

of get a feeling for who they are by just looking at them and the way they’re dressed. I think it’s important to show people that you care about the way you dress and that it’s a part of you. It’s not as if the brand that you wear represents you, but I think it does say something about the way you carry yourself and how you interact with society.

La u r e n ce :

Fashion

creates

an

immediate

dialogue, an understanding.

What roles do you play individually in the conceptualization and design of your garments?

Joshua:

Basically, we’ll come up with an

inspiration and David will do a lot of sketching and conceptualization. Laurence and I will do a lot of pulls of garments that we like. I’m constantly

S C I S S O R S

M O V I N G

F O R W A R D

“There is a shift of men having more focus on the clothes they're wearing and why they’re wearing them. At the core of it, menswear really has to come down to fit. No matter how forward it is, it has to fit well."

's Spring & Summer 2012 Collection is evocative of modern men's fashion from the RoARING TWENTIES meets the dystopian society of the action franchise MAD MAX. Rochambeau

74 | ASTONISH

associated with. We felt like there was a void for

Chandler subsequently teamed up with David

suit jackets extended by panels of soft leather

Interview by KRISTEN IRBY

J

and Political Science, respectively, Cooper and

fedoras with capacious, shadow conjuring brims and elongated beaded chains.

The designers

pay special attention to traditional elements of menswear with a contrasting defiance that I hope will further induce men, especially American men, to think outside of their comfort zones and take bold steps into the future of men’s fashion.

On the afternoon of our appointment I arrived at the Standard Grille and found the guys sitting at a small, square table nestled in a back corner of the restaurant accompanied by two women with

operation that led the ambitious duo from tradeshows

attending Pace University in Lower Manhattan. It

to show rooms.

wasn’t actually fate that brought them together; it was

Today,

fashion! “I noticed a pair of sneakers that Josh had on,”

has become one of the leading fine printing and

said Laurence Chandler, co-founder of Rochambeau.

production houses in the city. It also serves as a

“That’s how our first conversation began.” Their initial

consulting business for print production and creative

business pursuit was experimenting with making

campaign strategies. Profits from Proof Seven allow

t-shirts on which they’d print vibrant graphics created

the designers to focus efforts on continually building

by artist and designer friends. The novelty of making

their fashion label. With degrees in Communications

Proof

Seven,

their

original

company,

Also, work -wear, button-ups, suits and jackets that nobody thinks twice about wearing, because growing up, guys were told this is how a man should dress.

Do you think that American machismo holds men back from accepting progressive fashion?

finding images and styles that I love. David will get very creative and make his own designs and we’ll have a joint meeting where we come together to tweak styles and we appoint fabrics to different styles. Once we agree on everything David will cut patterns and we’ll source the materials in the garment district.

point and you can see it more than ever. There is a shift of men having more focus on the clothes

Joshua:

I do think that...

meeting. Finally, Joshua Cooper, with his broad,

angel-faced fast talker, at his side, escorted me

on the Internet and flipping through magazines

When you put a group of men together, sometimes the bulls can bump heads. Do you guys ever want to pull one another's eyelashes out?

La u r e n ce :

grounded of the trio - with Laurence Chandler, the

happenstance in 2002 on an elevator ride while

there are a lot of conservative, heritage brands.

Joshua:

me to believe that he was the most laid back and

t-shirts soon turned into a full-fledged business

how guys could dress here. Here (in the States)

whom they seemed to be wrapping up a business open face and thick curly hair - who later induced

oshua Cooper and Laurence Chandler met by

men how guys dress over there and compare it to

To a degree but there is a turning

they're wearing and why they’re wearing them. At the core of it, menswear really has to come down

from the bar to the table. DeStefano, who recently

to fit. No matter how forward it is, it has to fit well.

took over as head designer of the label, left with

Joshua:

But it’s also a balance of being a business

Yeah, I think we all get overwhelmed

at certain points but, at the same time, there isn’t a very aggressive dynamic between us. We’re usually very in sync and we do bump heads on the business side of things about terms for a retailer or if we should be placed in this store next to this

the slightly disheveled yet chic young ladies.

in the States because we are literally selling to

How did you guys come up with the name "Rochambeau"?

limited. It takes a city that is involved in fashion

we do sync up on that…

to understand our brand. In mid-state America,

La u r e n ce :

La u r e n ce :

There’s risk involved in anything and

that’s how the name came about. We spent about six months strategically looking at the market and listing all of the men’s labels we wanted to be

fashion-forward men in New York and L.A. so it’s

everything revolves around that machismo and what they learned growing up. There’s not much

brand, but in terms of the ethos of each collection There’s a common goal so at the

end of the day that’s the priority. Even if there is a problem, it’s something minor that can be resolved.

reference, like there is in New York, to new or progressive fashion.

C o n t i n u e d o n page 7 6

ASTONISH | 75

C o n t i n u e d f r o m page 7 5

David, can you describe the Rochambeau man?

Dav i d :

That’s one of those questions that you just

shoot yourself in the face with! We want a guy who appreciates fashion and is in the know but doesn’t care that much about it or doesn’t have a really big ego about it. We want someone with a sense of style who knows what’s going on in the city with the art and music scene but, at the same time, we don’t want someone who is totally pretentious. We design clothes that make a statement but not obnoxiously so.

Joshua:

We’re interested in guys who are more

concerned with style rather than with brand loyalty.

Men who are willing to take a risk because they know something will look beautiful on them but if it’s not their favorite brand, they’re still willing to buy it.

How would you describe your design aesthetic?

Dav i d :

It’s progressive, a little subversive. It’s also, in

a way, classic. I don’t mean to shoot myself in the foot by saying that but there is a timeless simplicity about it. While we are doing something modern and a little bit funky, the aesthetic behind it is something so clean that it’s not going to get played out.

Joshua:

In our Spring/Summer collection there

is a lot of formal suiting and structure but with very forward twists.

What are some of the challenges you face as designers?

Dav i d :

We could be way more progressive. We do

something progressive for men in New York but it’s scaled back a lot…

Joshua:

Although we are sold overseas, in Hong

Kong, Saudi Arabia, Europe, we still have to cater to the American man. Even though we’re too progressive for department stores we still need to have our business based here and that curbs us a little bit. We could be more experimental but we have to think about profitability.

Dav i d :

We have to find a balance between producing

designs that are bold, show-worthy and profitable.

That’s the toughest path to walk.

Joshua:

We have to be careful with how far we go.

We have to remember that we are a business.

What are some of the future goals for Rochambeau?

La u r e n ce :

We want to keep innovating and creating

unique products. As a label, we want to be in the best boutiques and work with the best companies.

Joshua:

We also want the high-end boutiques to buy

us. We want to prove to those people that we are on the same platform as the designers they’re currently selling.

76 | ASTONISH

ASTONISH | 77

coveralls MONIKA IDZIKOWSKA, bag FURLA, bracelet ALEKSANDRA PRSYBYSZ, earrings ALEKSANDRA PRSYBYSZ, shoes RIVER ISLAND

to serve and protect Interview by KAREN SONG, Photography by MACIEJ BORYNA Makeup & Styling by ANNA ROZGA, Hair by MARCIN HET Models MAGDALENA CHROBOT @ OLIVKA, JARK NESTEROWICZ BOB ROBERTSON

T

hey look like images you might find in some post-apocalyptic police dossier. They tell a story of a string quintet hustling the metropolis in search of unsuspecting victims. One image depicts a chary man perusing the streets of Warsaw. In another, a woman is fastened into a metal strait jacket in an experimental sanitarium. These visual simulacra in Maciej Boryna’s portfolio aren’t quite typical for the fashion-sort, rather bode an evoking darkness that seem to reveal the demise of a particular kind.

There is only one breed of talent that can paint such surreal dreamscapes, strewn with eccentricity, arcane yet still manage to make complete sense to the rest of us. Poland-born and unquestionably an idiosyncratic breed, Boryna broke into photography merely eight years ago, setting into motion his budding photography career with deft trajectory. Currently the Art Director of SOUL Magazine and a photographer...

78 | ASTONISH

C o n t i n u e d o n page 8 4

ASTONISH | 79

coat ELWIRA HOROSZ, bag FURLA

80 | ASTONISH

ASTONISH | 81

skirt ELWIRA HOROSZ, shoes ZARA, ring COCTAIL ME

82 | ASTONISH

ASTONISH | 83

BOTH PAGES: dress Monika Idzikowska, shoes ZARA

C o n t i n u e d f r o m page 7 8

for made by MILK, Boryna has maintained an ardent, inventive momentum in fashion photography in Warsaw, Poland.

What are your aspirations?

Once I had some aspirations. That was before I was able to accomplish several. Now, I just wanted to do even a few of my projects that make me feel a little less useless.

It seems as you photograph from a storyteller's point of view. Your photographs evoke storyline and emotion. Do these stories come from personal experience or observation?

They come from the observation that I experience personally. You can also be inspired by any good universal theme. But if the issue does not touch and excite me personally, then I see no possibility

from and what inspires you to shoot from this perspective?

It comes naturally to me as a combination of my personality and all these things that I’ve seen. I often want to photograph in a different way and I feel as though I went against the tide.

What aspect of fashion do you find rousing?

I treat fashion as costumes for the film. I like different types of fetish outfits that make a woman

simple drawings of frames and asked her to find the

admire them for hours.

things that will look good in such settings. When the

How has your photography evolved from when you first began shooting?

At the beginning I wanted to be a reporter because I was interested in certain events and emotions associated with them. Then I found that I prefer to create them myself. Since then, I try to develop my photographs in a direction using short stories with

who wears them gain character.

minimal resources

Where do you see yourself in the future?

What is your favorite thing to shoot?

I really wanted to take pictures in the U.S. but not

In Poland, I like to shoot things that appear to

because I dream about the illusion of the American Dream. I grew up on American films and I miss those locations to shoot my pictures. Most of my ideas are not to be done by the lack of locations in Poland.

to photograph it in a real, authentic way.

Who is your favorite photographer and why?

It is apparent that you have a quirky sensibility to your aesthetic. Where does this comes

The first was Helmut Newton. Viewing his pictures

84 | ASTONISH

has a deeper meaning. They do not bore me; I

made me choose fashion photography. Next was Steven Klein. He has had a strong impact on me.

His pictures make it seem to me that photography

not be Polish. So I go away as soon as possible.

My favorite topics circulating in my photographs are about domination, masochism, pain, arms, melancholy, and the post-apocalypse. I also love futurism and cyberpunk. These are topics that are very difficult to do in Poland.

What was your thought process for this editorial?

Pictures of police arrests always excited me. I loved the sessions with the police made by Steven Meisel. I loved when Steven Klein did such topics.

"My favorite topics circulating in my photographs are about domination, masochism, pain, arms, melancholy, and the post-apocalypse. I also love futurism and cyberpunk. These are topics that are very difficult to do in Poland."

color had a meaning for me, I asked for a dress in that color. For example, I think about what a dress might look like lying down on a street and then I’ll ask my stylist to find one, which fits the picture.

How do you define outer beauty?

For me, these are the features, which make the outward appearance that a person becomes perfect for a purpose. For example, a model with a freak face can be beautiful on pictures. Each person has their own canons of beauty — well, when they are their own canons and not imposed by others.

But the first idea for this session came when I saw

The first idea I had with the black and white photos

a police arrest with my own eyes.

was that I wanted to do it in the basement car park

Since then I started to look at police officers and

— to at least once not worry about the sun. But

their uniforms. Therefore, this session was made

as usual, I chose the open sky. That is why the

with Polish uniforms — I loved that they are Polish.

pictures are black and white. In the photo with a

Unfortunately, I had to censor them so this small

naked breast and green dress, it would have been

detail that I liked had to be replaced by this terrible

a good combination of color if I did this in the dark;

New York badge.

however, in combination with the blue sky it looked

I believe that such powerful scenes are ideal to

awful. Without color, there is a greater visibility of

show fashion. Besides, I think that the images

emotions. In the last two pictures, I always wanted

should talk about what excites the photographer.

to do something that Edward Norton did with a guy

This is the only way to capture images that have

in American History X.

any feelings inside.

When the ideas were ready, I went to a stylist with

What do you think is the difference between outer beauty and inner beauty?

This difference is enormous. It lies in the fact that external beauty is when you get free from nature and you can, at best, try to improve it or care for it.

Inner beauty is made up of all these events in your life that built your personality.

These are rare configurations of the natural character and ability. I always had more respect for the characteristics of the personality.

ASTONISH | 85

dress Agnieszka Światły, necklace Aleksandra Przybysz

There is only one breed of talent that can paint such surreal dreamscapes, strewn with eccentricity, arcane yet still manage to make complete sense to the rest of us.

86 | ASTONISH

ASTONISH | 87

HER: headpiece CHROMAT, dress DINA BAR-EL, cage over dress CHROMAT, jewelry AYAKA NISHI, shoes ROUGH JUSTICE HIM: mask SOTU

FETISH

Interview by JONATHAN CISNEROS Photography by BJ FORMENTO, Styling by PHILIP GOMEZ Hair by MARCIN HET, Makeup by JULIO SANDINO

and take only with you a camera and a dream. Some say that there are no wandering souls left in this world but BJ Formento would prove them otherwise. Living on the road and chasing an idea, he exemplifies the life of a wanderer and captures the essence of humanity every step of the way.

Leave everything behind

W

orking with such names as Eugene Richards and Mary Ellen Mark,

BJ Formento has developed his Cinematic Narrative style of shooting,

managing to capture the fleeting feeling of transience. Obtaining his

BFA in photography at the Academy of Arts University in California,

BJ Formento has developed into a unique artist and has embarked on

numerous journeys to expand his ability. His most current and successful

project being "CIRCUMSTANCE: American Beauty Swept Down to Bruised

Knees".

Formento offers viewers a different perspective to life through his photography

and tells stories through his angles. In an almost poetic way of shooting,

Formento shows us a glimpse of beauty through his impromptu shots. In this

exclusive interview, BJ Formento invites Astonish readers to look at life through

different lenses and offers valuable advice to aspiring artist in the age of technology.

88 | ASTONISH

C o n t i n u e d o n page 9 5

ASTONISH | 89

mask Chromat

skirt ELWIRA HOROSZ, shoes ZARA, ring COCTAIL ME

90 | ASTONISH

ASTONISH | 91

headpiece CHROMAT, dress DINA BAR-EL, cage over dress CHROMAT, rings AYAKA NISHI

92 | ASTONISH

dress MUSLI, bracelets FURLA, bag FURLA neckpiece AYAKA NISHI, ASTONISH | 93

C o n t i n u e d f r o m page 8 8

Was there a key moment that inspired you to pursue photography?

When I was about eight or nine, I made a makeshift slide projector out of a shoebox and flashlight. Growing up in the Philippines, one had to be very creative with one’s toys. I dug out my fathers' kodachromes from his travels with the US

Is there a certain photographer that has influenced you greatly?

What specifically do you admire about this photographer?

Richard Avedon, his portraiture and use of space.

Helmut Newton, his sexiness and playfulness.

Cindy

Sherman,

her

storytelling.

Gregory

Crewdson, his lighting. Philip Lorca-dicorcia, his narrative.

being in a moment of decision.

Aside from the strong emotions evoked in some of the images, some of them have a more sexual and seductive side. They employ a lot of the tools that can be seen in advertising. However, the angles in which you decide to shoot and the position of the models tell a different story. What mentality did you have going into the shoot and what inspired you to shoot from these certain angles and perspectives?

The decision-making behind the art direction

Navy, threw a blanket over the family dinning table and invited my siblings to a show. Seeing their reaction to a blown up image and their emotional connection was key.

At what point in time did you realize that photography was a potential career choice?

I started shooting at an early age and knew that this was my calling.

Do you remember what your first camera was?

I was given my father's Minolta with a dusty mirror and a bold +/- arrow for exposure, but shortly lost that to my older sisters. In high school, my folks brought

"The digital world has really killed photography in so many ways. One must work harder than ever to find his voice.

We are bombarded with imagery at such a rate no other generation has experienced and the attention span of our audience is getting shorter and shorter."

me to a local camera store and we picked up the least expensive Nikon. It got me through art school.

What type of equipment do you shoot with now? And Why? I use various cameras, mainly the Canon 5d Mark II and the Canon 1ds Mark III. [I also have a] Leica HER: headpiece CHROMAT, dress DINA BAR-EL, cage over dress CHROMAT, jewelry AYAKA NISHI, shoes ROUGH JUSTICE HIM: shoulder pads SOTU, shirt ERIK BERGIN, pants +J BY JIL SANDER, shoes GOODOO

M3, an old 4x5 field camera and Hasselblad. I’m not much of a techy; I believe it is an instrument like anything else and the music really comes from behind your eye and not what is in front of it.

What was your favorite assignment to work on and why?

Being stuck out in White Sands Monument in New Mexico and making it back is a story we remember often. The hospitality of models and places that have helped us make the project a reality is also priceless. Every shot started as a dream or chance encounter so individually they are all so rewarding, picking one assignment is virtually impossible.

What are your aspirations and goals as a photographer?

To keep shooting, to keep creating work that has truth,

Meeting my wife Richeille, the missing piece of the puzzle. The way she completes me both personally and of course with photography. She is the pigment, the foundation, the unyielding vision and soundboard.

obvious and showing a more personal angle was something we aimed for. There are dynamic angles that just call to be shot, but making it as impromptu as possible is the key, and capturing an in-between shot is always the beauty.

How do you define outer beauty as?

Its like a flash of color, something that makes you

I think a woman is an automatic role model in

so many ways. One must work harder than ever to

most advertising, for some reason, we see them mostly in commercials and storytelling. It became

How would you describe your current style? Has it changed drastically over the years?

we didn't really aim for. The women we used

quieter.

was very organic, trying to stay away from the

Your photographs capture different emotions that mix sensuality with domination. In most of the images, the female model seems to hold dominance over the male model. It is almost as if you have switched the roles and objectified the male. What ideas were you conveying when placing the models in these certain positions?

to find the balance between fine art and commerce.

Cinematic Narrative, always trying to make it

94 | ASTONISH

Has there been any personal event that have led you to become a better photographer?

a subconscious decision and in a way something made their own presence and this is what you see. During shooting, we allowed our subject to be fairly free with what she wanted to show in the emotions, however the theme was set to continue the story telling with the subject of transience and

look twice.

What do you think is the difference between outer beauty and inner beauty?

A feeling versus a feast for the eyes.

Do you have any words of wisdom to offer some aspiring photographer?

The digital world has really killed photography in find his voice. We are bombarded with imagery at such a rate no other generation has experienced and the attention span of our audience is getting shorter and shorter. My one advice would be to use the new technology to your advantage, don't rely on Photoshop or other plugins, to create an image in camera. I think this is what the masters have done before us and that timeless quality comes from within from our inner beauty.

ASTONISH | 95

LEFT PAGE: HER: headpiece SOTU, bodysuit AMERICAN APPAREL HIM: mask SOTU RIGHT PAGE: rings AYAKA NISHI, dress YaaSerwaah by Akuoku

96 | ASTONISH

ASTONISH | 97

HER: necklace LISABERCK, dress DINA BAR-EL HER: necklace SOTU, rings AYAKA NISHI, dress OCTAVIO CARLIN, leg wear H&M, shoes ROUGH JUSTICE HIM: shirt, jacket and pants +JBYJILLSANDER, shoes GOODOO

98 | ASTONISH

ASTONISH | 99

representative for Malarkes Model & Talent

doing a shoot, aiming to always improve on the

time in the studio! I’m able to combine my intensity

Management – an emergent and diversified talent

last. I keep an archive of the photos I take so that I

with my passion for creation, which helps me to

agency based in London. My photography will

can reflect and evaluate how far I have come from

control a set and earn the respect and trust from

be showcased on their website. However, I am

my earlier days of photography.

the models and the team that I come in contact

seeking to get my photographs featured in art

From when I first began to the present, I would

with, and enjoy every shoot.

exhibitions, billboards, and magazines in Europe,

say that I have definitely gravitated toward fashion

US, Asia and Africa.

photography. I used to try my hand on other genres of photography such as documentary and still life

Have there been any specific events in your life that shaped you as a photographer?

There are a few events that have had a major impact on me as a photographer, but I would say the most significant of them all is going to

CMYK

university to study photography. I believe it helped

A

me understand aspects of photography that you would only learn in a classroom. Although a lot of the technical side of what I learned came from spending many hours in the university studio with

Interview by KAREN SONG, Photography by HAZE, Assistance by CALVIN MLILO Makeup and Hair by CHRISTIAN MERZ, Model NEIL NABARRO

my peers trying out different lighting techniques and sharpening our skills, the books and the lectures allowed me to love and appreciate photography on a different level. Three years and money well spent [laughs].

young gun and a relative newcomer to the teeming fashion scene, Haze hails from the boroughs of London, England. At only 24, Haze’s talent channels a current of creativity that is an amalgamation of everything sought by the wiles of an art-hungry generation.

at the beginning. I love documentary even until this day - it has elements that I like to include in my work. For my final piece at university I did a fashion photography

documentary

called

ZYGOSIS,

which documented the work of emerging fashion designer, Ara Jo, paying homage to the designer’s contributions to the fashion industry.

Your photographs evoke starkness and a composition of light and dark - what was your inspiration for this editorial?

For this editorial, makeup artist Christian Merz and I decided to go for a really artistic approach with model Nell Nabarro as our canvas. We set out to be as creative as possible without limits! Pushing

University of East London. My photography career began four years ago with the previous two years focused mostly on fashion and beauty. Before photography, I practiced graphic and web designs and often did work with small time model agencies. I would assist their photographer on shoots and from that experience is where I developed an interest in photography. At the time, I was very enthusiastic about trying new things. So knowing very little about how a camera works, I literally picked up a camera and figured out the ins and outs. After a short while, I found myself converting my older brother’s old bedroom into a makeshift studio.

I bought a decent DSLR and started shooting. I was 20 years of age at the time.

What are some of your accomplishments?

Has any of your work been recently published?

At this stage, I would say my main accomplishments are graduating from the university in photography and setting up my studio. As things stand, I have had a few low profile publications but really my CMYK editorial in ASTONISH is my biggest publication. On the other hand, I do have a few more publications

100 | ASTONISH

Right now I am working on a few exciting projects collaborating with some really talented designers, artist and also photographers. I am also in the process of planning a sequel for my Zygosis project. This time around, the body of work will have some really cool features. I can be found regularly at HZV Studios, located by the Thames Riverside in Woolwich. The doors are always open to all so if any photographers, designers, models, stylist and other creatives are in town and would like to put in some work feel free to get in touch.

From my travels around various cities in Europe I understand that it is not an easy task to set up fashion shoots so I am always up for helping out visiting talents.

“My work is always evolving into something better every time I'm doing a shoot, aiming to always improve on the last. I keep an archive ... so that I can reflect ... how far I have come from my earlier days ..."

What began your photography career?

Recently I have completed a Bachelor of Arts, Honors in Photography at the

What projects are you working on right now? Where can people find you in London, or internationally?

How do you explain your photography style, and what inspires you?

My style of photography is based around the use of lighting, shadows, angles and framing. In each shoot I try to find the right blend of all those elements mixed with a well-structured use of postproduction to give me my final image. I do not like to look at many photographers’ work for inspiration, as I find inspiration in a lot of things, but it is always a good way to get your mind thinking. I like the works of classical Vogue photographers such as Cecil Beaton, Horst P Horst, Richard Avedon and more recently Patrick Demarchelier, Nick Knight, Miles Aldridge to name a few.

How have you evolved as a photographer from when you first began? Have you gravitated towards fashion photography?

boundaries from simple to drastic. It was a very relaxed shoot in terms of preparation and really letting creativity take charge of the direction in which the shoot would finish. I aimed to capture

Internationally I have done shoots in a few European cities, including Helsinki and Basel, and my next planned trip is to Austria at the end of the year.

the vivid colors that were to be used in the make

How do you define outer beauty?

up so I opted for dark background to enable all the

Bearing in mind that first impressions are very

colors to pop.

important in life, for me outer beauty has more to it than simply how a person looks on the outside.

Could you describe your thought process when planning for a shoot?

When planning for a shoot, I like to make sketches and notes on all aspects of the shoot, from the model, outfits, angles and cropping down to the lighting techniques I will use. I make a “things to remember” list to remind myself specific things about the shoot that I feel are vital for me to capture.

On some shoots, the night before I would run a last minute test in the studio then set up for the first look

It also has to do with how a person carries him or herself. The ability to find your inner beauty and reflect it on the outside to people around you is the complete outer beauty for me. You often find that some people we find stunning have the most repulsive of characters, which for me turns their outer beauty into something unattractive. Outer beauty contains elements of inner beauty.

What do you think differentiates outer beauty from inner beauty?

so I am ready to go when it is time to shoot.

For me, character and personality differentiates judge a book by its cover or a person by their

coming out in the approaching months, which

Looking back at when I first started photography, I

is good, as it seems like the hard work is

would say that I have evolved both technically and

What's your favorite part about being a photographer?

starting to pay off.

mentally as a photographer. My work is always

Having opportunities to travel, meeting diverse

Recently I have been made a

evolving into something better every time I’m

and interesting people and of course, spending

outer beauty from inner beauty. You can never appearance. I find that in many situations these days appearance is the opposite of the reality.

ASTONISH | 101

102 | ASTONISH

ASTONISH | 103

104 | ASTONISH

ASTONISH | 105

106 | ASTONISH

ASTONISH | 107

108 | ASTONISH

ASTONISH | 109

110 | ASTONISH

ASTONISH | 111

DARK MATTER Written by JUDY LIEN Photography and Styled by ALI LUKIYANTO

Model MATEUSZ ROGENBUK @ STARSYSTEM WARSAW A singular soul peering from through the darkness, funky images in subdued

“Fashion photographers own a big share in the successful marketing of

colors, and a barren piece of landscape with an alluring subject, they all

fashion products. It’s a big deal, and the competition is quite tough,” according

characterizes Ali Lukiyanto’s photography. His ability to capture a sense of

to Ali Lukiyanto.

serenity in his works has elevated him to the status as one of Indonesia’s

Besides photography, Lukiyanto also dreams of raising the status of the

as well as ads for LG and Bulgari, Lukiyanto is a rising star in the arena of

vision and its concept is to showcase up-and-coming taste makers from the

fashion and beauty photographers.

fashion world. It is an inspiration to see Lukiyanto searching to expand his

With a chemical engineering background, Lukiyanto graduated from

own horizons as well as highlighting potential talents in an emerging area of

photography school in Milan 3 years ago. This seemingly contradiction has

interest in his home country.

merged into mastering photographic techniques as well capturing the organic

In the end, his works speak for themselves. He can capture sexy and fun

aspect of photography. Photography was a calling for him. Having only taking

subjects in one way and then produce hauntingly beautiful exotic subjects in

photos seriously about 7 years ago, a meteoric rise to become a sought after

another. A varied portfolio stamped with a distinct Ali Lukiyanto touch. With a

photographer is an achievement few accomplish.

single glance we can be captivated with the sloe eyed beauty peering at us

Immediately, jobs came along after his initial photos. Lukiyanto took up

from an angle or wandered into a strange wonderland due to the exquisite

various offers from friends and friends of friends. His vast photography

detail of the photo’s background. He takes his viewers and admirers on a

network has helped shape his fortune today. Knowing the monetary aspect of

journey we don’t want to turn away from.

noted photographers. With editorials in Vogue Italia and Harper’s Bazaar,

Indonesian fashion industry. As the Creative Director for DEW Magazine, his

selling beautiful pieces of his work, Lukiyanto became his own PR person. A self-made man in an industry where many have tried and could have been left out without smart business management.

sweater H&M

112 | ASTONISH

ASTONISH | 113

LEFT PAGE: jacket H&M, leggings CK, shoes VINTAGE RIGHT PAGE: sweater GIORDANO, pants NUDIE JEANS CO., shoes LIU TYLER 114 | ASTONISH

ASTONISH | 115

LEFT PAGE: jacket ZARA WITH VINTAGE BUTTON, sweater ZARA, jeans DIESEL, shoes BALI RIGHT PAGE: jacket ZARA, scarf TOP MAN, pants ARMANI

116 | ASTONISH

ASTONISH | 117

LEFT PAGE: PAUL AND BEAR, BERSHKA, MASSIMO DUTTI and TOP MAN RIGHT PAGE: jacket HUGO BOSS, sweater TIMBERLAND, accessories VINTAGE 118 | ASTONISH

ASTONISH | 119

EXPRESSIONS

Photography by CYRIL LAGEL, Makeup by LEBRETRON @ B4 AGENCY Hair by RICHARD BLANDEL @ B4 AGENCY, Model cindy @new madison sogweig Manicure by kamel b @ b4 agency

120 | ASTONISH

ASTONISH | 121

122 | ASTONISH

ASTONISH | 123

124 | ASTONISH

ASTONISH | 125

126 | ASTONISH

ASTONISH | 127

128 | ASTONISH

ASTONISH | 129

MIDNIGHT

Photography by MAXIM REPIN, Styled by CYNTHIA ALTORISO Makeup & Hair by SERGY LOGVINOV, Model OLGA R @ WOMEN-DIRECT NY

jacket, shirt and tie CRAIG ROBINSON NEW YORK, vintage top hat DAVID SAMUEL MENKES

130 | ASTONISH

ASTONISH | 131

LEFT PAGE: dress TOM & LINDA PLATT, rubber banding DAVID SAMUEL MENKES RIGHT PAGE: dress TOM & LINDA PLATT, rubber hat and cudgel stick DAVID SAMUEL MENKES, shoes GEORGINA GOODMAN

ASTONISH | 133

LEFT PAGE: dress TOM & LINDA PLATT, leather eye-patch, silver leather cuffs DAVID SAMUEL MENKES RIGHT PAGE: dress TOM & LINDA PLATT, leather accessories DAVID SAMUEL MENKES

ASTONISH | 135

LEFT PAGE: pants, vest CRAIG ROBINSON NEW YORK, leather straps and cuffs DAVID SAMUEL MENKES RIGHT PAGE: shirt CRAIG ROBINSON NEW YORK, leather accessories DAVID SAMUEL MEKES, shoes GEORGINA GOODMAN

136 | ASTONISH

ASTONISH | 137

LEFT PAGE: dress TOM & LINDA PLATT, leather accessories DAVID SAMUEL MENKES, shoes GEORGINA GOODMAN RIGHT PAGE: dress TOM & LINDA PLATT, leather arm straps, vintage aviator goggles DAVID SAMUEL MENKES both PAGEs: backdrop CHARLES BRODERSON

138 | ASTONISH

ASTONISH | 139

TRUE HAPPINESS Photography by LARETTA HOUSTON, Makeup by MIMI JOHNSON, Hair by LEE BARNES Model ANNA SALZILLO @ FACTOR WOMEN ATLANTA

140 | ASTONISH

face n body foundation, strobe cream, golden bronzer, humid eyeshadow MAC, albatross powder NARS, blackout mascara DIORSHOW,

face n body foundation, strobe cream, golden bronzer, smolder eyeliner MAC, albatross powder NARS, blackout mascara DIORSHOW, poppy

poppy lipliner PRESTIGE, rouge volupte 15 YSL

lipliner PRESTIGE, rouge volupte 13 YSL, 603 jumbo eye pencil NYX, gunmetal eyeshadow URBAN DECAY ASTONISH | 141

142 | ASTONISH

face n body foundation, strobe cream, golden bronzer, pink nouveau lipstick MAC, blackout mascara DIORSHOW,

face n body foundation, strobe cream, golden bronzer, ocre & white lipmix, parfait amour eyeshadow MAC, smolder eyeliner MAC,

albatross powder, angelika lipgloss, bad education lipgloss NARS

blackout mascara DIORSHOW, albatross powder NARS ASTONISH | 143

144 | ASTONISH

face n body foundation, strobe cream, golden bronzer, smolder eyeliner, pink nouveau lipstick MAC,

face n body foundation, strobe cream, golden bronzer, smolder eyeliner MAC, albatross powder NARS,

flash track eyeshadow MAC, albatross powder NARS, blackout mascara DIORSHOW

blackout mascara DIORSHOW, poppy lipliner PRESTIGE, rouge volupte 15 YSL, gun metal eyeshadow URBAN DECAY ASTONISH | 145

146 | ASTONISH

face n body foundation, strobe cream, golden bronzer, current lipliner, russian red lipstick MAC, blackout mascara DIORSHOW,

face n body foundation, strobe cream, golden bronzer, smolder eyeliner, current lipliner, russian red lipstick MAC,

albatross powder, bad education lipgloss NARS

blackout mascara DIORSHOW, albatross powder, bad education lipgloss NARS, zero eyeshadow URBAN DECAY ASTONISH | 147

You label yourself a "beauty photographer". Why beauty?

I think doing beauty shots is very interesting to me.

I believe the relationship between a model and a photographer is more important than the clothes, jewelries, accessories, and shoes. The model is my main subject.

What is the main inspiration for your shoots?

Sometimes ideas pop in my head while watching a movie or during shoots that I assist in. I would see certain props and an idea in my head would come up

FLOWERING NYMPH

Photography by DAVID MARVIER, Styled by CYNTHIA ALTORISO Makeup by CHARLOTTE LE CLERRE, Hair by SHUKO SUMIDA Model ALISON @ SILENT MODELS PARIS

D

avid Marvier is a Parisian photographer who specializes in beauty and fashion shoots. He comes from a beautiful small medieval village called

But my very main inspiration comes from talking with my team. I believe it is all about teamwork. We mix ideas together and everyone is happy.

How was the fashion industry in Paris for you?

For a young photographer, it is a bit complicated. It is hard getting gigs on your own. It is all about meeting and knowing the right people. Being an assistant to famous photographers allows you to meet people from modeling agencies and magazines. However, they would see me as an assistant, so it could be complicated to get in the right circles.

So it is all about meeting and knowing the right people.

Yes. You can’t just call someone you’ve never met for work. You have to meet them in person. Your potential client will feel your attitude and see your

So what happened next?

I quit my studies and did something else. I worked in the bars, for example. Then

I joined a photo club, met experienced photographers. Finally, I decided to come to

Paris and become an assistant for many famous photographers.

a beautiful model who had the perfect classic and soft look, and who was comfortable being naked.

What is your attitude towards nudity?

Nudity is fine, especially for artistic purpose. You’ll see lots in Paris fashion. It really depends on the cultural differences when it comes to nudity. Using

the body is a piece of art and may offend some people, but we don’t care.

What was your inspiration for 'Flowering Nymph'?

I'm a really big fan of David Hamilton's lighting. I don't like his subjects, I mean young teens naked, but I really admire his lighting. I love the softness created by daylight and the way he uses it. So, starting from there I decided to shoot a beauty story inspired of his work. Of course the result is really different but the style is quite close. I shoot in a big fashion studio in Paris called Daylight Studios and decided to use its space as the dancing room (similar to ones in Hamilton's pictures). The light there is amazing, coming from everywhere around you. You need to control it, of course, but it's like being in a giant light itself. Alison is a great model. She actually worked with Hamilton before (which I didn't know before the shooting) and was totally in the subject. She has no problem with her body. She's really efficient,

Where do you see yourself in five years?

to keep hair and makeup natural, thinking the body

build my business. I love interesting collaborations.

stopped by your hand.

of shoots. I did a jewelry story one time, and I had

motivation to work with them.

How did your photography career began?

from a camera look real and you can really express yourself without being

148 | ASTONISH

— thinking, maybe I can do a concept with this prop.

I want to perhaps continue working in Paris, or

at it. So photography was a good way for me to create pictures. The shots

I think different models are good for certain types

“I believe the relationship between a model and a photographer is more important than the clothes, jewelry, accessories, and shoes."

Issigeac, Dordogne.

I wanted to create pictures. I love painting and drawing, but I was pretty bad

What do you look for in a particular model for your beauty shoots?

everywhere in the world. I love traveling. I want to I want to only photograph for myself and live with

beautiful, expressive and cool as well! We decided takes more space here than the artifices.

And how do you find beauty? How do you define 'Outer Beauty'?

Outer beauty can't be separated from the inner one.

my photography.

I know it sounds cliché, but it's true. Everything is

Do you feel that your photography style reveals something about yourself?

mean or if she's unpleasant and rude - works for

Yes. I am a romantic guy. I love beauty, I love girls, and I want to capture that beauty from them.

connected. A really pretty girl can be awful if she's men too! Beauty takes its sense around the behavior and charm, which adds up to many things - looks, appearances, and feelings. Beauty is a difficult thing to explain, it's really subjective. Even in each civilization, people have their own beauty codes.

ASTONISH | 149

flower H&M, top OCCIDENTE ASTONISH | 151

Left page: chemisier ANTIK BATIK, soutien gorge occidente, jupe karine jean right page: caraco SWEET BLOSSOM , jupe VIVIENNE MOK, bas KIBIO 152 | ASTONISH

ASTONISH | 153

robe THEA 154 | ASTONISH

ASTONISH | 155

cape laine vintage culotte PRINCESSE TAMTAM SABOTS SWEDISH HASBEEN ASTONISH | 157

chemisier sweet blossom ASTONISH | 159

BLIND BEAUTY Photography by ARTEM SERDECHNY and MARINA MOROZOVA Makeup by MARINA MOROZOVA, Model MARINA MOROZOVA

bright fuschia pigment, clear lipglass, cyber lipstick (black collection) MAC, perfection lumier long-wear flawless fluid makeup spf 10,

show orchid lipstick, clear lipglass MAC, line smoothing concealer 03 CLINIQUE, perfection lumier long-wear flawless fluid

le vernis nail color (paradoxal), loose powder CHANEL

makeup spf 10, loose powder CHANEL ASTONISH | 161

162 | ASTONISH

le vernis nail color (vamp), perfection lumier long-wear flawless fluid makeup spf 10, loose powder CHANEL,

loose powder, perfection lumier long-wear flawless fluid makeup spf 10, le vernis nail color (orange fizz) CHANEL, velvet matte lip pencil

velvet matte lip pencil (damned) NARS, clear lipglass MAC, line smoothing concealer 03 CLINIQUE

(red square) NARS, clear lipglass MAC, line smoothing concealer 03 CLINIQUE ASTONISH | 163

164 | ASTONISH

le vernis nail color (vamp), loose powder, perfection lumier long-wear flawless fluid makeup spf 10 CHANEL, velvet matte

clear lipglass, show orchid lipstick MAC, line smoothing concealer 03 CLINIQUE, loose powder,

lip pencil (dragon girl) NARS, duo eye lashes glue MAC, creamy concealer BOBBI BROWN

perfection lumier long-wear flawless fluid makeup spf 10 CHANEL

166 | ASTONISH

loose powder, perfection lumier long-wear flawless fluid makeup spf 10 CHANEL,

3D effect clear gloss BOURJOIS, line smoothing concealer 03, high impact mascara CLINIQUE, loose powder,

velvet matte lip pencil cruella NARS, line smoothing concealer 03 CLINIQUE

perfection lumier long-wear flawless fluid makeup spf 10 CHANEL

velvet matte lip pencil NARS, perfection lumier long-wear flawless fluid makeup spf 10, loose powder CHANEL, duo eye lashes glue, show orchid lipstick, lip pencils (mouth off and chestnut), pigment (old gold) MAC, line smoothing concealer 03 CLINIQUE 168 | ASTONISH

perfection lumier long-wear flawless fluid makeup spf 10, loose powder CHANEL, velvet matte lip pencil (red square) NARS, line smoothing concealer 03 CLINIQUE ASTONISH | 169

ROYAL RAVEN Interviews by KAREN SONG, Photography by KOSUKE MATSUO Styled by LISA JARVIS and CALLIE ROTHERMEL Makeup by YU-KI HAYASHI, Hair by TAKASHI YUSA Creative Director SHU KOJIMA, Art Director NORISUKE YOSHIKA Model SANNE @IMG MODELS

C r eat i ve D i r ec t o r , S h u K o j i ma

is my most important job to create an artistic work

its interaction with the shadows created in its wake

When did you start your career as a Creative Director?

that not only contains strong individual parts, but

[made me] thought of the concept "Royal Raven."

carries within it a cohesiveness that is lasting and

I poured my effort into using this image to establish

impactful.

first the visual of a raven being a wicked symbol

SHU :

Originally, I worked as a director for a

company in Japan that covered the realms of advertising, publication, and the apparel industry.

As I witnessed the beginning to end of a single creative process, this translated into a mission to discover my worth as a creative director when I arrived in New York City. Right now I use my perspective to create various types of media (fashion editorials, advertisements, events, and cinematic) that embody my personal poetic

and how its establishment and interaction with

What was your approach to the editorial concept "Royal Raven"?

SHU :

We purposefully searched for a location that

was strong enough to almost eclipse the model.

The reason for our selection of this location was the industrial age feeling that it evoked. The location was a high-rise building where the center was cut out like a funnel and billowed up to the

the filtering light would direct the feeling of a dark "Outer Beauty".

Outer Beauty is traced from light and both are first created in the exact same moment. The relationship between light and shadow can be paralleled to that of inner and outer beauty.

approach.

glass roof that was interlaced with metalwork.

As the day went on, the light poured through

As a member of the team, what is your next step forward?

What is your position and strength within the team?

the glass creating different shadows through the

SHU :

metal framing. From the top floor all the way to

outdoes itself. Each new artistic story we create

the lowest point in the building, the light filtering

allows us a platform to present our vision to the world.

SHU :

Although this is a team, every member has an

individualistic approach. As the creative director, it 170 | ASTONISH

It is my intention to keep creating work that

through became weaker as it eeked down to the ground floor. This image of the trickling light and

top WESLEY NAULT, jacket SARAH VON EVERA, pants EMPORIO ARMANI, heels VERSACE, belt STYLIST’S OWN, necklaces TOM BINNS DESIGN

C o n t i n u e d o n page 1 7 5

ASTONISH | 171

gown PRABAL GURUNG, cardigan EMPORIO ARMANI, necklace TOM BINNS DESIGN, shoes BRIAN ATWOOD

172 | ASTONISH

C o n t i n u e d f r o m page 1 7 0

Graphic

De s i g n e r

and

Art

D i r ec t o r ,

Norisuke Yoshioka Ha i r S t y l i s t, Ta k a s h i Y u s a

Please tells us a little bit about your background before you joined the team?

TA K A SHI :

I have been pursuing a career as a hair

stylist for thirteen years. I spent nine years working mainly at a hair salon and the last four years in

When did you begin graphic designing and art directing?

NORISUK E :

I am a New York based graphic

designer and art director. I moved to New York from Tokyo in 2005. After I landed in New York, I quickly joined a French creative agency and since then I have been designing and art directing for

New York pursuing a more editorial related career.

advertisements, campaign visuals, packages,

What is your role on the team?

fields.

TA K A SHI :

My position on the team as the hair

websites, and brand identities in various industry

of the model's final appearance. My main role is to create the model's image for the shoot.

NORISUK E :

As the graphic designer for the

team, my main concern is with the fluidity and

What was your approach to "Royal Raven"?

TA K A SHI :

I feel that the team is seeking to create

a lasting image of a woman who carries a feminine strength with a slightly unusual elegance.

As a member of the team, what is your next step forward?

TA K A SHI :

Our work has to be published in order

for us to show our team's unique vision to the world.

M a k e u p A r t i s t, Y u - k i Haya s h i

When did you begin your career as a makeup artist?

YU - KI :

I attended beauty academy and worked

as a makeup artist in Tokyo. My work has been featured in many popular Japanese fashion and beauty magazines, as well as various runway shows. It was my passion to work in the fashion industry that brought me to New York City to continue my work as a makeup artist.

cohesiveness of the editorial's visual presentation.

My desire is for the reader's eye to flow from each image smoothly and to understand the rhyme and reason to my presentation.

What was your approach to this editorial?

NORISUK E :

With visual design, outer beauty (i.e.

appearance) is a main point for the visual design process. I approached this editorial challenge with a biased graphic and typographical background.

As a member of the team, what is your next step forward?

NORISUK E :

I have seen that the team can create

strong editorial images and stories, I wish to bring these images to the attention of the fashion industry. In my opinion, the current fashion industry is a closed and exclusive world difficult to place your feet in, however, it is my intention to wedge my foot in the door in hopes it will open for us.

S t y l i s t, L i s a J a r v i s

possesses a natural beauty. It is my role to

When did you begin styling?

Has fashion always been a big aspiration of yours?

enhance that beauty using my artistic eye and

LIS A :

skills.

when this interview comes out I will have been

What is your role on the team?

YU - KI :

I believe that each and every woman

LIS A :

[Laughs] Anybody who knows me will agree

with this: I tend to have at least four magazines/ projects constantly in the works, I honestly don’t have a day off. Right now I am working on various Asian and European publication editorials.

How would you describe your personal style?

LIS A :

What is your position and strength within the team?

stylist means that I have a large say in the direction

Are there any projects you will be working on or are working on right now?

I tend to live in tights and wedge heels from

the waist down, paired with dresses or layers as the weather in New York gets colder. I tend to have my short hair pinned back. The busier I get, the more my personal style goes all to hell. So right now I am not exactly at my fashion best.

What was your concept for styling this editorial? Where did you get all of the pieces?

LIS A :

My original intention was to go with clothing

that had a strong and almost hard feel to it.

However, I am learning that the story changes depending on what looks I am able to pull. This story was shot at a time right after all of the fashion weeks, so available samples were incredibly limited. The story turned dark and elegant as I started to realize the nature of the looks I was able to pull. The pieces all came from New York: PR companies, stores, or individual designers.

Could you describe the process of styling for a photo shoot?

LIS A :

There really is no predetermined process.

Sometimes the looks are determined beforehand, other times the styling can turn into last minute creative collaboration right on set. The most important thing is to create a fluid story that the reader can follow.

[Laughs] I will be generous and say that

styling for three months. That being said, I have

What was your approach to "Royal Raven"?

YU - KI :

As far as I'm concerned, outer beauty is

a mask. Everyone hides their real face by their beauty. I want to create an expression like that mask of beauty.

pants STYLIST’S OWN, boots PLEASER, vest RUNWAY COUTURE, jacket RUNWAY COUTURE, necklace SATORI BREONN, rings SATORI BREONN

174 | ASTONISH

As a member of the team, what is your next step forward?

YU - KI :

I just want to express our world. This world

should be one that we are able to create. I believe that every artist hopes and aspires to this visual, however, I believe that this team's imagination is infinite.

always found myself interested in the more extravagant and avant-garde looks that walk down the runway.

What inspires you as a stylist? Are there any fashion icons you look up to?

LIS A :

I take inspiration from many difference

places, it could be a memory to a casual conversation over drinks that inspire me. I don't really have any fashion icons that I look up to, although I admire the work of great stylists such as Katie Grand and Karl Templer.

ASTONISH | 175

long coat EMPORIO ARMANI, boots PLEASER, rings SATORI BREONN 176 | ASTONISH

ASTONISH | 177

LEFT PAGE: jacket ROBERTO CAVALLI, halter HMS LATEX RIGHT PAGE: dress WESLEY NAULT, belt ALEXANDER MCQUEEN, tights HMS LATEX, shoes BRIAN ATWOOD, 3 rings SATORI BREONN

178 | ASTONISH

ASTONISH | 179

coat VERSACE, belt VERSACE, necklace SARAH CON EVERA, shoes ROBERTO CAVALLI, sunglasses A-MORIR BY KERIN. ROSE, tights LEG AVENUE

180 | ASTONISH

Additional team credits: photographer assistant KOGO ARAKI stylist assistant BEVERLY OSEMWENKHAE special thanks to JUNCO HASEGAWA and MOTOYO KAWABATA

ASTONISH | 181

BLOOM

Photography by GL WOOD, Styled by NEWHEART OHANIAN Makeup & Hair by RONNIE PPETERSON Model EKE @ TRUMP MODELS

Right page: necklace CIRCA SIKTY

182 | ASTONISH

184 | ASTONISH

ASTONISH | 185

coveralls MONIKA IDZIKOWSKA, bag FURLA, bracelet ALEKSANDRA top LAKO BUKIA, cuff charles albert PRSYBYSZ, shoes RIVER ISLAND PRSYBYSZ, earrings ALEKSANDRA 186 | ASTONISH

dress MUSLI, bracelets FURLA, bag FURLA top LAKO BUKIA ASTONISH | 187

LEFT PAGE: jacket MANISH ARORA, knit paints LIE SANG BONG, necklace LARUICCI, ring charles albert RIGHT PAGE: dress LIE SANG BONG, necklace and ring LARUICCI, boots walter steiger

188 | ASTONISH

ASTONISH | 189

top LAKO BUKIA, cuff charles albert 190 | ASTONISH

MAJESTIC Interview and Styled by PHUONG MY Photography by ZHANG JINGNA Makeup by VALERIE VONPRISK, Hair by TAKEO SUZUKI Model KATYA KULYZHKA @ WOMEN DIRECT

The youngest recipient of

the Fellowship in the Master Photographers Association (UK) in 2009 at age 22, Jingna’s portfolio expanded to include names like Montblanc, Lancôme, Canon, Pond's, Wacom, Random House Publishing, as well as Elle Magazine. With works described as being romantic, ethereal and sensuous — Jingna's photographs exude a quiet and steady confidence with maturity belying her age.

z

hang Jingna was born in the suburbs of Beijing to a humble sporting family. At the age of 8, Jingna moved to Singapore where she attended Haig Girls’ School, a primary school fostering girls to develop their own creative sensibilities. Nine months after picking up an air rifle, Jingna broke the national record. At 14, Jingna joined Singapore’s national air rifle team. Three national titles later, she decided to pursue a degree in fashion design at Lasalle College of the Arts. Picking up the camera while studying fashion, Jingna eventually left the national rifle team to pursue photography full time. By the mere age of 20, Jingna shot her first major campaign for Mercedes Benz Taiwan with Ogilvy & Mather and became a

192 | ASTONISH

regular contributor to Harper's Bazaar Singapore.

Only 23 years old, her works have already been published in many major publications, including

Luxury, Female Brides, Photo Digital, Elle, Harper’s Bazaar, Tatler, L’Officiel as well as exhibitions in Japan, Singapore, and the U.S. Jingna is currently based in Los Angeles, California.

You seem to be very good at whatever you choose to do. What made you choose to do fashion instead?

dress loris diran, halter corset

It is a bit funny. In a very roundabout way, it

KO, rings MICHELLE MONROE

ALEXANDER MCQUEEN, shoulder jacket UNA BURKE, bracelets K2O BY KAREN

came from being interested in Japanese visual rock because of their heavily made-up looks and costumes. But it’s sort C o n t i n u e d

o n page 2 0 1

ASTONISH | 193

LEFT PAGE: dress ELIE SAAB COUTURE, necklace TRACIE HOWARTH, bracelet MICHELLE MONROE, shoes ALEXANDER MCQUEEN RIGHT PAGE: dress, shoes JAN TAMINIAUE, rings MICHELLE MONROE

194 | ASTONISH

ASTONISH | 195

C o n t i n u e d f r o m page 1 9 6

of funny because when I was first introduced to the genre I found those dramatic looks really scary and it wasn’t until quite a while later that I actually eased into it and it sort of went to the other extreme — I wanted to copy those looks and recreate those images. I just wanted to be able to recreate anything like that (costumes, photos, makeup) and fashion school was the most accessible at that time.

What made you decide to leave fashion school then?

Fashion school was really nice, but I always seemed to be really unlucky with school — when I was a semester from finishing my diploma, my school had just moved to a new campus and it was really disorganized. We had classes where we had no lecturers and the school had no intention of giving us make-up classes. Since I was also trying to balance the national team's travel and training schedules while my interest in photography

Did you go out of your way to contact them? Or did they find you?

Mercedez Benz found me. One of my images were used in the visual references for the campaign so it actually helped a lot in terms of confidence, since I knew I could do a good job remaking what I photographed before. Bazaar was through the

but without the pure intention of recreating them to look like an old painting or anything — and I think that is intriguing to people.

Are you a romantic and dreamy person like your art?

I absolutely am!

introduction of a model agency I’ve worked with for a while.

What would be some advice you can give to photographers who are just starting out?

Photograph a lot, and work very, very hard. And with the internet, I think a lot of it is also in our own hands to put ourselves out there, to showcase our works, submit them to places, to be seen, etc.

Sure it takes some luck, but a lot of it really also depends on hard work.

You seem to work really hard to get what you want, and of course,

Artists create a lot of work based on their muses, inspirations, and emotion. Do you think your art gets affected when you are in love or out of love?

[Laughs] I think it definitely does. I tend to create really, really sad photos after my break-ups.

Is there a day that was most memorable to you during your 5 years of photography?

I think one of the most memorable was working with Sugizo from Luna Sea/X Japan. He’s a musician,

“My work is always evolving into something better every time I'm doing a shoot, aiming to always improve on the last. I keep an archive ... so that I can reflect ... how far I have come from my earlier days ..." was growing, I decided to just focus entirely on photography instead.

You seem to always know what you want, and go for it without hesitating. Do you think photography is the right field for you, or do you think you might move to a different area in a few years?

I really enjoy photography and the process of creating. I think that's the biggest draw for me and I don't think it will be limited solely to photography.

I would definitely be interested in exploring other

BURKE, bracelets K2O BY KAREN KO, rings MICHELLE MONROE RIGHT PAGE: dress PHUONG MY, necklace dress PHUONG MY, necklace TRACIEHOWARTH HOWARTH TRACIE 196 | ASTONISH

since I started travelling extensively from around age 14 or so. It feels like things have always been

Bazaar Singapore.

rock influence periods) and it meant so much to me to collaborate with him on a personal shoot.

I’m working on trying to have a bit more fun though

At first when I heard the news that he accepted it I

(so I started managing a StarCraft 2 team).

was [nervous] but right before our shoot we met up after one of his solo concerts, we had supper and

Where do you usually get your inspiration from?

I grew up in a very artistic environment with a lot of

biggest influence and sources of inspiration for me

Taiwan; the other was shooting for Harper's

I was young (as when I talked about the Japanese

chose so I don't have any complaints or regrets.

up too fast and feel too old but this is the path I

What was your first big break? my first major commercial job for Mercedes Benz

guitarist/violinist and one of my muses from when

Did you spend a long time preparing for that shoot? Were you super nervous?

like this. Of course sometimes I feel like I just grew

friends who painted and made concept designs for

which I think gave me my big break. One was ALEXANDER MCQUEEN, shoulder jacket UNA

I don't know whether it affects my personal life

fields in the future too.

Two things happened around the same time, LEFT PAGE: dress loris diran, halter corset

always know what you want. Does it affect your personal life?

games, comics and movies. I think it's one of the more than anything else.

talked. He was so down-to-earth, kind, and treated me on an equal level with respect as an artist to another. After that, I really had no worries other than to do my best.

Where do you see yourself in the next 5 years?

I would love to shoot for major names like Vogue

People often describe your work as romantic, ethereal, and sensuous.

What do you think really makes people fall in love with your art?

I think the touch of fantasy to my photographs.

and Chanel one day, but I don't think any of us can predict how things will go and what we will end up doing. Who knows, maybe circumstances have it I end up taking a hiatus from fashion photography to participate in some other really exciting projects.

Sometimes my work looks somewhat painterly, ASTONISH | 197

LEFT PAGE: dress loris diran, halter corset ALEXANDER MCQUEEN, shoulder jacket UNA BURKE, bracelets K2O BY KAREN KO, rings MICHELLE MONROE RIGHT PAGE: dress ALEXANDER MCQUEEN, purse, rings MICHELLE MONROE

198 | ASTONISH

ASTONISH | 199

LEFT PAGE: dress CHRISTOPHE JOSSE, bracelet MICHELLE MONROE RIGHT PAGE: dress JULIA KALMANOVICH, jacket WESLEY NAULT, hat EVETTA PETTY, necklace CHRISHABANA, bracelet MICHELLE MONROE

200 | ASTONISH

ASTONISH | 201

O

nce inside the Penthouse, fashion insiders, models, artists, press and VIP guests enjoyed hip cocktails by Sakiri Vodka, fruity Lunae Moscato

by Biso Winery, Mediterranean delectables by

FEATURED Event

Bite Size New York and gourmet confections by Luxx Chocolat, all whilst dancing to the tunes of DJ Jay McElfresh.

Backstage, Engie Hassan and the team at EngieStyle worked with designer Phuong My and her atelier to fit and finalize garments on models.

Eric Altimore and the pitch-perfect team from Eric Alt Salon managed hair while key makeup artist Valerie Vonprisk worked with teams from Kett Cosmetics and Yaby Cosmetics to create a signature fresh, high-fashion face. Phuong My’s looks were finished with shoes by Pamela Quinzi and custom hats by milliner Kitty Andrews.

EngieStyle provided jewelry by the Royal Asscher Diamond Company and Jewelry Sponsor J. Rudy Lewis for featured looks and VIP guests.

After Yellow Sky Agency PR seated the VIP guests, DJ Von Kiss played music as Phuong My thrilled the crowd with 25 elegant, structural and inimitable ready-to-wear women’s looks and then 10 couture looks that showed off her mastery of manipulating shapes. An ovation of applause greeted designer Phuong My and ASTONISH Publisher Ryan Chua alike. Designer Phuong My embodies the magazine’s essential mission of showcasing the best emerging Fashion Artists

ASTONISH LAUNCH G A N S E V O O R T

P A R K

AV E N U E

H O T E L

of today.

The highly anticipated first print edition of ASTONISH Magazine hit major US newsstands on September 27, 2011. It is the answer to an industry starved for smart, unique and visually stimulating Fashion & Art content. Its goal is to inspire, reinvent and revolutionize the fading publication

industry

with

stunning

imagery,

insightful social commentary and interviews with emerging artists and industry professionals.

NEw York, New York. september 7, 2011. On

the eve of New York fashion week 300 guests received coveted invitations to the Launch Party for ASTONISH MAGAZINE and ASTONISHWorld.

VIP guests were treated to an exclusive event and an unforgettable fashion show by designer PHUONG MY.

ASTONISHWorld offers a unique experience for fashion students, photographers, designers, stylists, models, makeup artists, hairstylists and bloggers to participate in the magazine and connect them with fashion industry leaders in the United States, United Kingdom, France, Germany, Switzerland, Czech Republic, Russia, Japan, China, and Korea. Become a part of the movement at www.astonishworld.com.

S P ONSORED B Y

J. Rudy Lewis, Sakiri Vodka, Luxx Chocolat, Bite Size New York Catering, Biso Winery, Lunae Moscato, Gansevoort Park Avenue 202 | ASTONISH

ASTONISH | 203

Photography by Daniel RochÉ

ISSUE THREE: IMPERFECTION C o m ing

S oon :

S P R I N G

2 0 1 2

Advertise with us. Limited Space Available. Email: advertise@astonishworld.com

204 | ASTONISH

ASTONISH | 205

ASTONISH F A S H I O N

&

A R T

M A G A Z I N E

w w w . astonishmagazine . c om