Conglomerate Magazine

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2011

 C A N A D A’ S FA S H I O N W E E K M A G A Z I N E 

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2011

M E L I S S A W U S AT Y EDITOR-IN-CHIEF

ALLISON TOOHEY art D I R E C T O R

v inciane depape associate A rt D irector

SANDRA CROSS EXECUTIVE EDITOR

CONGLOMERATE is published bi-annually by Conglomerate Publishing Ltd. All rights reserved. No part of this publication may be reproduced in whole or in part without permission from the publisher.

The views expressed in Conglomerate are those of the respective contributors and are not necessarily shared by the publisher. Canada’s Fashion Week Magazine is a registered trademark of Conglomerate Publishing Ltd. ©

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CONTEMPORARY JEWELLERY DESIGN

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Editor’s Note – C O M M E N T A R Y 

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Shout Outs – C L I Q U E 

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Hanwen Shen + Alexandra Gross – C O M P L I M E N T S 

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N ot much of a D e b ate 

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F/W 2011 Runway Report – C O llections 

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icons   C A T C H - A Delicate Mystery

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 C A T C H - Color Trends

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 C R A F T - James Forchione

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Photographed by Founder Davis Factor at Smashbox Studios

THE f/w 2011 ISSUE The relationship between fashion and art has always been flirtatious but never devout.

The constant exchange,

blurring of boundaries, and occasional prolific moment, when the two worlds eventually collide to create something awe-inspiring, goes through cyclical phases of withdrawal and infatuation. Fashion is currently ablaze with designer retrospectives, collaborations and exhibitions - a phenomenon which is showing signs of longevity. Artists and their work have always permeated collections, swayed photographers and art directors, even kindled articulate designer reviews, but despite becoming less of a trend the relationship remains precarious.

The moment fashion and art begin to collapse upon each other, subtle privileging begins to take place and hierarchies are introduced. If we begin to consider fashion art, two questions need to be asked - what is worthy of display and who decides? The question itself is troublesome, and it is very easy to find yourself spun around so many times you cannot decipher your original position on the topic. Can only outlandish designs be displayed in a museum setting? And if this is the case, what happens to the remainder of the fashion industry and the designers that produce more wearable garments? There are obviously more questions than answers, which is something we aimed to address in our FW11 issue of Conglomerate.

Throughout the issue we have highlighted extraordinary talent that blur these distinctions, ultimately creating a fascinating dialogue concerning our expectations of fashion and its performed functions. We have also spoken to those that work directly inside the crevice between fashion and art, such as fashion illustrator James Forchione and conceptual designer Kat Marks, to help unearth new perspectives on this swelling debate as we are unsatisfied with dismissing the discussion as being black and white. I invite you to challenge the pages waiting before you, because after all, this is why we’re here - to stimulate conversation.

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M ichae l M orrison P H O T O G R A P H er

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Erysheva is a 26 year-old photography student from Belarus who likes to spend hours exploring her imagination, wondering how the world would look if it was something other than what it is. She attributes her fascination with alternate realities as her main reason for pursuing fashion photography. erysheva.com

C he l sea H ai l es P hotographer Inspired by fantasy and childhood connotations, Hailes is fascinated by time, nature, the human psyche, plus awkward and interesting spaces; she attempts to bring these ethereal qualities to all facets of her work from portraiture to fashion. chelseahailes.com

P hotographers Born in Poland and Saskatchewan respectively, Marta Wilkosz and Jeff Way met while studying photography at Alberta College of Art & Design. They have been working together under Wilkosz & Way for several years, and collaborate on every creative and technical aspect of their work. Focusing on fashion, beauty and portraiture, they are currently based in Calgary, Canada. www.wilkoszandway.com

Morrison’s images seek to engage the observer’s curiosity, capturing an essence of the beauty or intrigue he sees in his subject, luring the viewer into a momentary visual escape from reality. Exploring notions of desire, disgust, voyeurism and confrontation, as well as what is considered culturally appropriate and inappropriate, Morrison challenges his viewers to question traditional norms through the use of colour, irony, and strong visual narration. michael-morrison.com

Lena E r y sheva

Wi l k os z & Wa y

J essica P echet P hotographer After accumulating an impressive breadth of experience while travelling to 30+ countries as a tour manager, and running a successful event management company in Vancouver, Pechet traded her celebrity client list for a Nikon camera. Her dextrous skills in production has aided her ability to engineer fantastic photographic sets, allowing her to apply a unique level of inventiveness to each shoot she captures.

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J ames F orchione I llustrator Fashion illustrator and recipient of the prestigious Simon Burstein Browns Fashion Illustration Portfolio Award, Forchione has worked with notable fashion designers, capturing their live catwalk shows with his adroitly executed images. Sketching as he sees his images, Forchione has built a strong reputation for his striking and memorable street-style illustrations. jamesforchione.blogspot.com

Online BOutique

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H an w en S hen B Y J ennifer F riesen P hoto by zhiyong jiao With twists arching around the body like a cobra, Hanwen Shen’s chrome and precious metal jewellery collection almost demands a new vocabulary to describe.

A l exandra Gross B Y J ennifer F riesen P hoto by J on M eade

The glistening pieces curl around the neck, yawning around the body with a foreboding yet striking beauty. Each piece has a life of its own, yet when worn they seem like

For her graduating collection, avant-garde

– transforming it into a larger, unexpected

fantastic extensions of the body rather than

designer, Alexandra Gross, embarked on a

result,” almost like a ripple-effect which inspired

accessories, more suited to extraterrestrial

journey to challenge the traditional shape

her to encase the collection in unexpected

royalty than the human frame. Notably, the

of handbags. Moving beyond the standard

shapes. It was this fearlessness and daring

collection emphasizes the nape of the neck,

box shape handbags usually adhere to,

that gave her the spin and edge she had been

an area of the body Shen regards as one of

her intentionally chaotic designs push

hoping for. Through unconventional pattern

the most seductive on the female frame; a

boundaries and expected conventions. Each

techniques and structural manipulation at the

theme that her accessories embrace without

hand-sewn piece is constructed with fine,

bags’ conception, she created a distortion that

apology.

richly dyed bridle leather and lined with

twisted the shape into something entirely new.

The London-based designer moved from

suede, creating a delicate, ironic balance

Juxtaposing these ideas of chaos and

China to the U.K. to pursue originality in

between the traditional materials they are

control, tradition and originality, Gross’

fashion – a feat she has undeniably reached.

composed of and their unconventional

designs have attracted a fair bit of attention.

With inspiration stemming from the orchid,

shapes.

We are positive it won’t be long until her

the sensual flow of the jewellery mimics the

The geometric, multidimensional bags speak

smooth curves of the flower; they travel from

to the designer’s interest in the relationship

the collar up through the hair, as to combine

between chaos and control, “and more

the nape and the skull as one object. The

specifically the Butterfly Effect,” elaborates

effect is fearless, commanding heads to turn.

Gross. Taking a leap of faith, Gross began with

The demure need not apply, for these

the idea that a “small disruption in a system

artfully made pieces are delicate yet built

can cause a series of further disruptions

to impose. hanwenshen.com

designs are slung over shoulders, clutched in hands and carried throughout the world. alexandragross.com

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NOT MUCH OF A DEBATE FA S H I O N F I L M V E R S U S T H E R U N WAY

BY MELISSA RENWICK photograph by N ick K night for S H O W studio film stills by paul bates featured designs by kat marks

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SHOWstudio, the innovative fashion

pledging their allegiance, the industry

from the Fashion Artifact postgraduate

website founded by the legendary Nick

remained a private club; today, this now

program at the London College of Fashion,

Knight to challenge the relationship between

sounds like an evil, undiplomatic concept.

in 2009. Realizing its potential as a stirring

fashion and the digital world, quickly became

In a mere eleven years, everything has

and innovative alternative to the runway, she

known for their visually striking films which

changed. The bygone years of fashion were

produced her first video, The Yugas Elder,

You sit entranced, unable to look away. It’s no huge surprise - Kate Moss has that influence over people.

concentrated heavily on fashion and its

tactile. There was a greater sense of realism,

later that year. Marks has since embarked

Her face is angled and utterly dynamic, making anything she wears down the runway an afterthought. Her

creative counterparts. Heads began to

a demand for physical presence. In order to

on three other film projects. Most notably,

aura is seductive. This time, however, something is different. As she walks the clothing dances, taking on a

turn, and since 2000 SHOWstudio became

see the collections, attendance was required.

her recent collaboration with Knight, entitled

personality of its own. The sheer fabric wistfully flies up, falling down like a soft feather. The wind blows

an institution, being the first to introduce

Enter the digital revolution. A place where

The Karass, featuring her Fall/Winter 2011

the white silk from side-to-side and occasionally, the fabric sweeps between her legs; you notice the way it

film as a promotional strategy for fashion

fashion film is thriving, because face-to-face

collection worn by Lithuanian beauty Edita

moves, rather than the way she is parting her lips. This spectacle is different because you are not watching

brands. The combination portrayed fashion

interaction is no longer required to succeed.

Vilkeviciute. Marks described the experience

Moss live but online – in a fashion film.

in a less repetitive and predictable way.

Network technology and services company,

of working alongside those who inspired her

Straight-faced models became performers.

Cisco, reaffirms this shift of film popularity,

as surreal, noting that “It’s broadened my

The industry was mesmerized, prompting

predicting that two-thirds of the world’s

perspective of what I do, my personal craft.”

some designers, such as Gareth Pugh or

mobile data traffic will be video by 2015. It

Toronto-based womenswear designer,

Canadian, Nada Sheperd, to experiment

seems obvious that fashion film has a very

Shepherd, shares Marks’ point of view saying

and incorporate film into their brands with

permanent future within the industry, but

that film allows her to simultaneously convey

positive results.

what does the future hold for videos as a

the core objective of her collection to both

presentation format?

fashion professionals and enthusiasts. Killing

Fashion used to be an exclusive industry.

It was a world the average consumer craved

SHOWstudio was introduced to Kat Marks,

two birds with one stone one might say. The

to taste, but regardless of the thousands

a Canadian designer who recently graduated

designer goes on to explain that, “at the end

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of the day, they [the clients] are your bread and butter. They’re why you’re in business.”

More importantly, Shepherd raises a crucial decision most designers have to face - adapt to changes in the market or fail. “We now have ways of communicating to the masses,” she

to show, in feet-numbing, jaw-clenching

a heightened emotional connection with

states, “we no longer have to turn out these

5-inch heels versus sitting at home

the audience because it stimulates multiple

fashion shows that continue to get bigger

watching a live-stream.

senses.

and bigger - they’re just short of Broadway productions. There are options now.”

“You can record a runway show, edit it

Technology is an endless and wondrous

and put it on YouTube really easily, but how

world. While the 1960s “turn on, turn in and

In addition to reaching a larger audience,

do you write what the theme is?” Shepherd

drop out” counterculture implied something

film also adds depth to a collection as they

asks. “You just put a blurb in there? It kind

else entirely, the idea can be applied to our

weave a narrative, telling the story of the

of takes the sexiness out of it.”

contemporary, digital fixation. We turn on

woman or man behind the clothes, explains

Rather than being in a crowd of hundreds,

our computer, give ourselves over and drop

Marks. While she does commend film for

with heads swaying from side-to-side, trying

out of our surroundings, mesmerized by the

professionally, personally and artistically

to catch a glimpse between the cracks of

intangible world radiating from the screen.

expanding her scope, Marks unwaveringly

those in the front rows - film offers the viewer

The digital world has changed everything -

states that, “it would never replace the

access to the intimate details. When a film

this is not a revelation. We have learned to

runway in this business,” explaining further

resonates with its viewer, the clothing speaks.

embrace it because there is no other option.

that they are two separate mediums designed

A new language is created and it’s hard to

While others may express their concern, the

to accomplish two different goals.

look away. You identify with the designer.

online community has catapulted relatively

“Film is another creative outlet. It’s a way

Like if you met, you would be the best of

unknown designers and brands into the

to reach a much broader market in terms

friends. While you may be one of millions

limelight. They offer a sense of theatricality

of not just fashion lovers, but film lovers.

thinking the same thing, you would never

that entertains the malleable viewer. Fashion

The runway will always remain the runway

know, because the entire experience is

film will not overtake the runway, but it is a

– it’s too embedded in fashion culture to be

personal and contained.

medium that can influence people anywhere,

diminished so rapidly in the future. There’s

Evident pros and cons exist for both

too much tradition, too much culture, too

media, but instead of thinking about

many people in the industry who rely on it.”

one overriding the other, they cannot be

This sentiment is prevalent throughout the

compared. Although film has stirred a

industry and its various creative counterparts.

dramatic response in the industry, the truth

Rachel Lebeau, director of production

is in plain sight - film will never replace the

for Triptyqu3, a Montreal-based company

runway. Shepherd is even careful to note

designed as an interactive platform to

that her leave of absence from the runway

introduce emerging talent in art, fashion and

has more to do with the growth of her brand

design to the professional community, agrees

adding that, “there are only so many hours

with Marks, saying that nothing can replace

in a day.”

the emotions experienced at a live runway

Alternatively, Lebeau feels the two should

show. The truth cannot be denied. Feeling

be used to compliment each other - such

what a designer is conveying to their audience

as streaming the video during a show or

cannot be felt to its full potential watching

being used in tangent with lookbook images.

from a television or computer screen.

A

“Without the pictures, the video isn’t as

connection is lost. Only during a live show

good. And without the video, the pictures

can the deep beat of the music rush up your

fall flat,” she states. In agreement, Marks

spine and run through your hairline.

notes that “A photograph is great, but film

There is something more thrilling and

does so much more. It touches people in a

glamourous about trampling around show

different way,” explaining that film creates

anytime. [ C L O S E ]

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D E N I S B Y M elissa R enwick P hoto by A gence T u x edo There was talk that Denis Gagnon’s Fall/ Winter 2011 collection was inspired by ‘90s

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rave culture; a rumour that wouldn’t be put to rest easily. Think neon pink tights, furry knit bubblegum pink sweaters, bursts of neon blue underneath black waxed linen and floorlength netted dresses hemmed with fuchsia pink faux fur. It certainly appeared as though Gagnon was taking a trip down memory lane, searching for his lost, but newly found, secret raver. But “people say a lot of things,” because for this Montreal-based designer, fabric is all the inspiration he ever needs and despite unrelenting insistence that Gagnon’s collections must be driven by something deeper than textiles, it is simply just not the case. Gagnon’s collections always start the same way – a work table littered with fabric.

The ability to trust his eye makes Gagnon and his designs perplexing and unpredictable.

From season to season, Gagnon has proven that black goes unchallenged by other hues despite the rejuvenation of colour in recent seasons. One might assume that the integration of such loud green, blue, orange and pink might reflect his current attitude, however, the reserved designer was unable to comment, noting that it’s hard for him to express his emotions in French, let alone in English.

His favourite pieces, naturally, were the conversation starters. Voluminous utility jackets with bold and pronounced zippers built for wretched Canadian winters. Black faux fur head pieces that are reminiscent of an urbanized and modern Davy Crockett.

His revisiting of the Aldo shoe – adding corresponding pops of colour along the wedge of otherwise plain black shoes.

All these pieces create a Gagnon-esque harmony that flows from head to toe.

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M A R I E

S A I N T

P I E R R E B Y M elissa C how The sovereign of Canadian fashion, Marie Saint Pierre, returned to the runway to close Montreal Fashion Week’s 20th anniversary with a collection that exuded mystery. Appreciated by those familiar or unfamiliar with film noir, the collection was built around an architectural concept that stayed true to Saint Pierre’s vision of simple and pure silhouettes, translating the design mantra into a dynamic collection fit for the modern femme fatale.

The collection did not lack in any department.

For fall, the Saint Pierre woman is ready

The combination of statement coats, which

for action in a palette of black and gray

included a kimono silhouette and cut, fringe

accompanied by accents of orange, gold,

embellished wraps in melton wool, and

and silver. Key themes for the season were

luxurious numbers with fur collars made

apparent – from the long cape sweaters,

outerwear the strongest pieces in the

covered-up collarbones and the absence

collection. However, these pieces certainly

of heels came a refreshingly modest take

did not overshadow items such as the draped

on femininity. It was no surprise the felt

jersey dresses in shades of crimson, slate,

wool jackets were impeccably tailored, with

and cobalt. An eggplant hued maxi dress

smooth sculpted lines that followed the curve

with a plunging neckline was a definite

of the shoulder, while one modern, calf-

show stopper, especially when paired

grazing number in a punchy orange exhibited

with a bold, fur-trimmed coat reminiscent

a stronger cut with more angular details.

of old Hollywood glamour that carried a

The organza tank dresses rippled with soft

slight, effortless undercurrent. Progressing

constraint as the models walked, especially

from the oriental aesthetic that dominated

a dress layered with angular silk appliqués

previous seasons, such as Louis Vuitton

on the chest, delighting the audience with

and Christopher Kane’s Spring/Summer

its effortless execution.

Adding to the

collections, designers Pickersgill and Wong

collection’s perfect flair of mystique were the

have translated the trend to include more

accessories. Every look was accompanied

cozy opulence for Fall/Winter, focusing on

by the beloved fedora, which was worn

rich jewel-tone velvets, found in various

slightly askew by the models, updated with

skirts and scarves, and a fantastic sapphire

contrasting details in orange and gold, while

and merlot silk brocade pattern used on the

some wore shiny black chokers and quilted leather gloves, demonstrating a restrained but undeniably sexual appeal.

Overall, the collection paid maximum

G R E T A C O N S T A N T I N E

attention to detail without frills or being

The designers stated they “are inspired by a world in constant transition. The pace with which we are confronted by new ideas demands daily adaptation.” Their clientele,

overtly masculine. Saint Pierre stated, “there is a modern approach to my

platform wedges and boots.

B Y M elissa C how

garments.

whose wardrobe transcends geography and time, will embrace the finer details,

Clothes are a portable environment. I am

Marrying old world traditions and mod-

quality fabrics, practicality and comfort

interested in how they make you feel,” and

ern ideas is not an easy task, but for FW11

which is carefully woven into each of the

it is not hard to immediately see that any

Greta Constantine took on this challenge

pieces. With this design mantra in mind,

of these pieces would make any woman

by fusing elements of Far East craftsman-

it will be undoubtedly exciting to watch

feel powerful.

ship, through touches of silk brocades, and

Greta Constantine embrace the beautifully

the ease of American sensibility with floor-

turbulent world around us in upcoming

sweeping skirts.

seasons.

collections

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T E A T U M

J O E F F E R

J O N E S B Y R ae R ichard photo by K ristin V icari

B Y S andra C ross P hotos by C live C hiao

For FW11, design duo Catherine Teatum

Ask any modern women to describe her

and Rob Jones, returned to the past to

fashion and she will give you a multifaceted

exhume the pulse of their collection titled

answer dependent on setting, time, place, or

“Elsie & Mairi 1914.” Using the magnetic

mood. Enter Joeffer Caoc’s FW11 collection.

story of Elsie Knocker and Mairi Chisholm,

Inspired by “a modern day United States

two intelligent and selfless women who

of Tara – a woman who has multiple

survived the catastrophic events of World

personalities,” Caoc believes, “This is fitting

War I in Britain, Teatum Jones weaves their

for today’s modern woman ... in terms of

spirit through a narrative of bilberry-ink

being able to have options and become a

silks, midnight-navy crepes, waxed cotton

chameleon when it comes to her way of

outerwear, and dusty blue, worsted flannel

dressing.”

suits.

His muse became a woman bearing all of

The collection is finely poised between

these personalities, and hopefully his clothes:

authority, seen through traditional menswear

the lady, the dominatrix, the housewife, the

tailoring fabrics, and a blithe essence

boss, the innocently child-like, the masculine

captured though youthful tones of stone and

versus the feminine. Caoc’s collection will

rose water washed silks. The Teatum Jones

dress for the complexity of everyday life.

woman is tough, elegant, and sharp; she likes

However multifarious his inspiration can

to adorn herself in clothing that conceals but

be, Caoc’s most recent collection, on the

also displays her body, a nod to the vivacious

other hand, continues to demonstrate his

heroes and their unwavering dedication to

deft talents as a designer. That is to say,

survival, love, and the good of humankind.

although his pieces may be varied, they are

Sheer tonal paneling is used in various shirt

still timeless and classic, with eccentricity

dresses to reveal the strongest structure on

thrown in for good measure. A Caoc woman

a woman’s body - the shoulders; a clever

craves quality and perpetuity, but still wants

design feature that continues to draw upon

to stand out in a crowd. Caoc assures that

the root inspiration and strength of the

his, “designs evolve from one season to the

collection. The narrative, however, does not

next and things can be worn together when

end with adept cutting techniques, seen in

you mix up the seasons...there is a continuous

the marl wool Antwerp Coat, or beautifully

point of view.”

executed column silhouettes but continues

This season, his clothing is both luxurious and

with the fabric. Two intensely graphic prints

comfortable, with brocade fabrics, leather

explode into the collection, adding a slightly

and lace mixed with jerseys and knits; the

skewed beauty amongst the masculine lines.

duality continues within the textures used –

The Endurance print, echoes the hellish

matte versus sheen. Leather bustier-inspired

experience of the trenches where men’s

belts worn with dresses, masculine inspired

uniforms were not only subjected to the

suiting, and draped knits cinched at the waist

worst elements but were saturated from the

all lend to the dichotomy described through

hem upwards. The Disintegration print, is a

his muse.

homage to the aerial photography of Ernest

Caoc’s colour palette for the collection lies

Brooks, whose images of dust clouds inspired

mainly in blacks and greys, with punches of

its touching nature but also cruel reality.

red, and multi-coloured brocades of lilacs,

Poignant yet beautiful, Teatum Jones’

pinks and blues thrown in. Sexy. Elegant.

collection achieves a harmony that delicately

Witty. Caoc’s modern woman will not be

balances the masculine and feminine. Most

disappointed when filling her wardrobe with

notably, the collection is inspired by dire

such amazing pieces from this inspiring

circumstances but pays careful attention to

collection.

the beauty and marvelous lessons or bonds created by such conditions. The optimism is undeniably intoxicating.

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D E N N I S

M E R O T T O

B l ac k N oise , White rain B Y M elissa C how It may have been a blessing in disguise that Gareth Moody left his own label in 2005, now

B Y M elissa R enwick photo by chris nicholls

known as Ksubi, to roam around the globe to do some soul-searching. He was quite productive during his travels since what he

Dennis Merotto’s designs for FW11 are

discovered was the raw, intellectual, and

avant-garde within simple boundaries; a

earthy ethos of his future pursuit, Chronicles

beckoning call for women seeking refined

of Never.

and practical items with an idiosyncratic

FW11 is dark, but not gloomy and exudes

twist. For the past ten years, Toronto-based

an old world element Moody describes

designer, Merotto, had been designing under

as ‘tailored paganism.’

Lida Baday’s label, but recently began a new

undercurrent that runs through the entire

chapter, embarking on a journey to “discover

label, the menswear collection is for the

what the Dennis Merotto label is, and what

uber-cool guy who gravitates towards an

it’s going to represent to women going

unapologetic palette of black, monochrome

forward.”

grays, chocolate brown, and blue denim in

With his second collection, and first Fall/

styles that include naturally creased button

Winter season, the designer, who follows

downs and diaphanous crew neck shirts,

clean and simple aesthetics, wanted to think

worn with circular scarves.

about his own personal style. “My thought

standout pieces came in maroon, like a

process is to have pieces that can be worn

shrunken, second skin leather jacket, jersey

from 9:00 a.m. to 9:00 p.m,” which explains

cardigan wrap, and skinny jeans in the must-

why many of the fabrics move with the body

have colour of the season.

rather than restrict it. Merotto’s designs work

The designer states that his greatest

with the body. A digitally-printed, floral, silk

achievement is this ability “to be an individual

jersey tank gracefully follows the contours

who has the authority to govern his own

of the female form. Outerwear, such as a

land,” which is directly tied to his artistic

dark-beige trench coat, in a lightweight poly-

control within the label. Within this role he

cotton jersey, is not bulky or burdensome

creates and oversees everything including

despite being worn over other pieces.

jewelry, eyewear, footwear, and a diffusion

Dresses, like a royal blue lace number with a

line titled Black Noise/White Rain which

undeniably provocative neckline, perfect to

is comprised of jersey t-shirts and a range

display a glistening piece of jewellery, expose

of denim. Naturally, story-telling is fused

the female shape in an unapologetically

into Moody’s creative process, using verbal

tasteful manner - these are clothes meant

cues to convey his intrigue for fantasy and

to flaunt rather than conceal.

worship. With printed jersey shirts named

Merotto’s designs accommodate the

‘agnostic’ and a body-building man on a shirt

subdued, urban professional woman.

ironically named ‘boneless,’ Black Noise/

“They’re designed for women who are

White Rain has become the latest label to

comfortable with who they are and what they

idolize this season.

Matching the

For women,

want to wear ... it’s not like they’re wearing some Galliano design, where you see the outfit coming before the woman,” Mverotto stated, “It’s a kind of luxurious that’s so simple and dumb it makes a statement.”

C H R O N I C L E S

O F

N E V E R

collections

K A T

23

M A R K S

b rethren

T he Karass : F or A nais

by S tephanie O rr P hotos by P aul H ine millinery by niamh flanagan

evan b idde l l

If you have yet to hear about Kat Marks,

Evan Biddell is turning a new leaf. Never one

prepare to be blown away. This Canadian

to shy away from the unconventional, Biddell

expat - who jumped the pond and now

surprised the Toronto fashion community

resides in London, England - is taking the

this year when he picked up and relocated

fashion industry by storm with her jaw

to Vancouver, British Columbia. In the wake

dropping collections and knack for leaving

of this cross-country jump, the designer

audiences asking, “How on earth did she

(in usual Biddell fashion) has done the

come up with that?”

unexpected by taking a step back from the

Her latest collection, The Karass: For Anais

world of runway fashion, choosing instead to

is no exception to the rule. The Karass is

focus on a new creative direction.

comprised of a series of awe inspiring leather

Welcome to Brethren. In an effort to

bibs and hard chest plates, that Marks states

reach a wider demographic, Brethren has

are “made from hand finished laser cut

intentionally been created with accessibility

acrylic Perspex that [are] manipulated with

in mind. Boasting mini-collections with titles

heat and pressure.” The pieces are nothing

like “tankgirl”, “tonight”, “dUex EX” and

short of wearable art. The Karass dares the

“dune”, Brethren is taking aim at the every-

audience to challenge the constraints of what

woman, the sexy woman, the whimsical

is traditionally considered “wearable.” Marks

woman and the powerful woman. With an

herself even goes as far as trying to leave the

apparent nod to the 90s grunge movement,

words “wearable” and “traditional” out of her

the pieces emerge and take cue from an

vocabulary. To her, the words “describe two

inner city colour palette. Rusty oranges can

severe conventions of fashion design,” which

be found in deconstructed cropped tanks

she believes “limit the possibilities.”

and tees. Maxi dresses in rust, grey and black

The Karass blurs the line between future and

alternate features such as deep cut rib-and-

bygone eras, bringing to mind images from

back exposing sides, delicate draping and

Fritz Lang’s Metropolis. Expertly captured is

mesh trimmings. Floor-length skirts and

the timeless elegance and style of the tuxedo

jersey tops sport a peek-a-boo mesh panel

– which is then morphed into an ultramodern,

and sleeves. Cocktail dresses with pearlescent

futuristic armor. When asked how she imbued

shine demonstrate Biddell’s acute tailoring

the hard plastics with such precise, crisp

skills and ability to craft beautiful lines. All

lines, Marks described how she “developed

of the pieces just drip with cool.

a technique of tattooing the plastic by

Through Brethren, Biddell has even managed

engraving patterns on the surface and then

to maintain an element of exclusivity

flooding with an ink bath.” The chest plates

often reserved for elite high-end runway

are then treated with various applications of

collections – he produces select pieces

brass and leather detailing, which creates a

that are “one-of-a-kind and made by hand.”

stunning 3-dimentional effect.

In addition to all of this, for the release of

Marks’ creative approach has her intentionally

this capsule collection Biddell enlisted his

testing boundaries of all kinds, with her

fashion-savvy female friends to select a piece

ultimate goal being to “evoke some kind of

from the collection, style it to their personal

emotion in [her]self and others.” The Karass

taste and wear it to the premiere. This

does exactly that by being innovative,

gesture fearlessly demonstrates Brethren’s

outlandish, awe inspiring and extraordinary.

true versatility and Biddell’s commitment to

Bravo Miss Marks.

wholly and boldly “walk the talk.”

B Y S tephanie O rr P hoto by A le x andra B iddell

beaded skirt VALENTINO 

blouse ALEXANDER MCQUEEN

trousers DOLCE AND GABBANA

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necklace COHASSET 

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D u s t i n : m a r o o n o v e r s i z e D s h i r t J a l u  c h a r c o a l j a c k e t J a l u  j e a n s f r o m h o lt r e n f r e w  b o D y j e w e l l e r y T o u c h e  Pa u l s m i t h h at f r o m h o lt r e n f r e w  b r i t n e y: b l a c k b e l l s l e e v e D maxi Dress Jalu  skirt NRT  hooD NRT  hanD chain Touche

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Wil k os z & W a y

M O D E L s K a t S h a n d r u k , Ren a Don a l d son ( m o d e ) S T Y L I S T L i n d s ay

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H A I R Alic j a Wil k os z MAKEUP

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leggings & bodysuit A merican A ppare l ď Ź shoes from gravity pope O penin g C eremon y

Leigh Bowery

Leigh Bowery

David Hockney

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cdress from holt renfrew D iane von F ursten b er g

Jessica Stockholder

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Yoko Ono

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M arie S aint P ierre P erfumes B Y M elissa C how Adding to Saint Pierre’s to-do list this season includes the introduction of her fragrance line. Labelled B and C, the garden-inspired eau de perfumes come in black, lacquered bottles which not only add a touch of idiosyncrasy but contribute to their “delicate mystery.” Designed by Melanie Laplante, a unique piece of glass can be removed from the bottle and worn as a necklace or bracelet, keeping with the Saint Pierre tradition of form and function.

For those wanting a

more woodsy scent, the cedar, white flower and musky notes of C will be a seductive option while B appeals to sweeter tastes with a sensual mix of caramel, sandalwood and violet.

Available at all Marie Saint Pierre Boutiques, for more locations please visit mariesaintpierre.com

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james forchione B Y R ae R ichard There is something absolutely sincere

What influenced and provoked you to pursue

to run with the right client - and of course

and infectious about James Forchione’s

this path?

prepare for Spring/Summer 2012.

My strength has always been the human

There are many types of fashion illustration,

form, this is something I found came very

please talk us through what inspires you to

naturally to me. I remember one day catching

create your images

fashion illustrations. The aura of his simply sketched, but sharply captured subjects is slightly hard to pin down because of their unapologetic directness. The absence of whimsical flourishes, elaborate settings, or complicated subtext allows the spirit of the anonymous men and their attire come through in a manner that is nothing other than genuine.

The London College of

Fashion alumni and recipient of the Burstein Browns Fashion Illustration Portfolio Award, sat down with Conglomerate to

a runway show from the AW07 season on the television and thought how great it would be to try and capture the clothing and atmosphere. I felt fashion illustration was something I could connect to as opposed to general Illustration. So when I realised I could make a career out of it, I focused fully on applying myself.

speak about his craft, it’s future, and the

Now that you have graduated, what’s next

contagious ambition that has helped him

for you?

begin his career.

Tell us about yourself

London is a vibrant city which offers a wealth of individuality and style. I love capturing the way someone carries their style but also their personality.

Other than London, what also inspires you?

Creating something unique. New runway collections.

Street Style.

Music.

Italian

design.

Taking into consideration all these inspiring

During the final year of my degree,

factors, did it take you a while to develop

opportunities began to come my way

your signature style?

through clients that had seen my blog online

Well I am James, a London-based fashion

and were very interested in me collaborating

illustrator. Newly graduated from London

with them. I will be looking to either work

College of Fashion where I studied fashion

directly with designers as before, however, I

illustration for 3 years.

also have a magazine feature I will be looking

It takes a lot of experimenting before you find comfort in a style and we are always growing as individuals. I can see my style/ technique strengthening with every image I create.

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77

Are you able to describe your work in five

work on them later at my desk. I sketch what

There are more and more collaborations

words?

I see so I try not to drift away from reality.

happening

Fluid. Crisp. Bold. Simple. Confident.

Confident is actually one of the first words we would use to describe your work. Is this

In the last five years, fashion illustration has gone through a revival. What are your thoughts on this?

something you innately possessed? Or has

This is great for fashion illustration.

it been a gradual build?

what the industry needs. Whether you’re a

Confidence is a personal development.

You can never be too confident. I haven’t

It’s

designer or just a lover of fashion. Nothing inspires you more than a great Illustration.

always possessed this characteristic, I would

What is fashion illustration? This may seem

keep my work quite private as others may

like a silly question to ask, because the title

see fault with it, however, I started to gain

itself is so identifiable, but we’re unsatisfied

pride in my work when I launched my blog.

with it. How would you describe this creative

I was receiving lots of lovely comments and

field?

this was my fuel to create more. Sketching backstage and front row at fashion week was also a great step for me, being in an environment whereby I had to illustrate as

To me fashion illustration is a powerful, fresh and exciting representation of ones creativity.

fast as possible and with people watching

Do you think people are getting bored with

me do it. I had to just blank it out and keep

photography, and are turning to illustration

my pencil moving. I can see my confidence

as a means to get inspired?

growing with every illustration, its a journey and mine has only just started.

Photography has been favored over illustration for so long now that its become

Do you illustrate from memory, use live

dull. Fashion illustration has a stronger sense

subjects, or create characters from your

of attitude and emotion, which people can

imagination?

connect with.

There is nothing more exciting than

Illustration and photography seem to

illustrating live.

Its difficult to capture

be collaborating forces now rather than

someone’s character from memory. I am

opposing each other - is that the key to an

always scribbling down notes about colour or

illustrator’s success? The ability to work and

texture next to my illustrations when I don’t

collaborate with other artistic forms? Or is

have my colouring pencils with me, so I can

there more to it?

between

illustrators

and

photographers, however, I feel that fashion illustration is a strong enough art form to stand alone.

Collaborating with other artistic mediums is also another way to attract attention and build a reputation. What are the challenges of being a fashion illustrator?

Having your work noticed by others, confidence and making an impact in the industry.

What is your dream opportunity?

To illustrate in-house for one of the top fashion labels in the world.

What do you hate about fashion?

The price.

What do love about fashion?

The variety and the passion designers evoke in me through their collections.

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