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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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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. ©
J essica P ec h et P hoto E ditor
MELISSA CHOW F E AT U R E S E D I T O R
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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.
M E L I S S A W U S AT Y
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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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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
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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.
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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
V e r oni k a O ssi set desi g n
necklace COHASSET
HAIR crews
jewelry MADAME GOT ROCKS
S T Y L I S T F r a ncis U r r uti a
w h i t e b l o u s e C AT H E R I N E M A L A N D R I N O ta n b l o u s e I M P R O V D b l o u s e K R I S T I N C O S TA j a c k e t C A R R I B E A N C O N N E C T I O N r i n g & n e c k l a c e R A C H E L F E N N I M O R E b l o u s e K R I S T I N C O S TA j a c k e t C AT H E R I N E M A L A N D R I N O
Wen y a C h a ng MAKEUP
N a t a lie G e m p el , V ilte V i k to r a viciene MODELs
m ic h a el m o r r ison PHOTOGRAPHER
blouse M I S S O N I dress C A T H E R I N E M A L A N D R I N O drift wood necklace R E C U P E blouse G R Y P H O N vest F A R A H K H A N jewelry M A D A M E G O T R O C K S shoes M A L A N D R I N O
fin K R I S T I N C O S T A dress A R U K J V A A N I blouse & gloves K R I S T I N C O S T A tights W O L D F O R D shoes M A L A N D R I N O necklace & crown R A C H E L F E N N I M O R E jewelry M A D A M E G O T R O C K S
Ta c t i c s A n o r a k J a c k e t f r o m i s h a r a p l a s t i c I s l a n d 5 0 ’ s c r u i s e d r e s s M i n ta g e Wa i s t B e lt L u s h u z B o u t i q u e
beaded skirt VALENTINO
necklace COHASSET
jewelry MADAME GOT ROCKS
w h i t e b l o u s e C AT H E R I N E M A L A N D R I N O ta n b l o u s e I M P R O V D b l o u s e K R I S T I N C O S TA j a c k e t C A R R I B E A N C O N N E C T I O N r i n g & n e c k l a c e R A C H E L F E N N I M O R E b l o u s e K R I S T I N C O S TA j a c k e t C AT H E R I N E M A L A N D R I N O
blouse ALEXANDER MCQUEEN
trousers DOLCE AND GABBANA
LO W T I D E PHOTOGRAPHER MODEl
Chelsea hailes
Teneille lewis [lExinGTOn
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l i n d s e y w h i T Ta k e r
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Jennifer sChulz
S w e at e r f r o m o b a k k i i n g r i d Pa n t S f r o m o b a k k i L i V Pa n t s
b a n D o s t y L i s t ’ s o w n c a r D i g a n f r o m o b a k k i Va L e n t i n a S w e at e r f r o m o b a k k i c L a u d i a S h o e S f r o m J o h n f l u e v o g M u L h o L L a n d
b a n g l e S s t y L i s t ’ s o w n J a c k e t f r o m o b a k k i w r e n D r e S S f r o m o b a k k i L i Ly
k n i t S h o r t S a n D w r a P t o P s t y L i s t ’ s o w n S w i m c a P s t y L i s t ’ s o w n f l o r a l b l o u S e f r o m o b a k k i h a n n a h c o at f r o m o b a k k i M o c c a s i n S h o e S f r o m J o h n f l u e v o g Pa u L
o P P o S i t e Pa g e : S h o e S f r o m J o h n f l u e v o g Pa u L t h i S Pa g e : S t o c k i n g S a n D b e lt s t y L i s t ’ s o w n D r e S S f r o m o b a k k i z o e
D r e S S f r o m o b a k k i c L e o b o o t S f r o m J o h n f l u e v o g g r i f f i t h Pa r k J e w e l r y s t y L i s t ’ s o w n
t e s L i n Wa r D
J ay h i B B e r t
MAKEuP
HAiR J e n n i e Ly L e
D u st i n L Loy D & B r i t ta n y K i s h [ N u M A
sTYlisT MODEl Jessica Pechet
A R T c at h y s i m o n e
VisuAl PHOTOGRAPHER
MODEls]
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
h o o D N R T ď Ź b o D y c h a i n T o u c h e J e w e l l e R y ď Ź r o g u e j e a n s f r o m h o lt r e n f r e w
D u s t i n : h o o D N R T b o D y c h a i n T o u c h e J e w e l l e R y r o g u e j e a n s f r o m h o lt r e n f r e w f u r t r e n c h c o at e T R o b r i t n e y: m a r n i v e s t f r o m h o lt r e n f r e w h o lt r e f r e w s c a r f f r o m h o lt r e n f r e w b o D y c h a i n T o u c h e
b r i t n e y: s w e at e r f r o m h o lt r e n f r e w h e l m u T l a N g ta s s e l v e s t f r o m h o lt r e n f r e w R o b e R T o c ava l l i c r o P P e D l e at h e r v e s t f r o m h o lt r e n f r e w a l e x a N d e R w a N g h a r e m Pa n t s J a l u l a c e u P b o o t i e f r o m h o lt r e n f r e w m i c h a e l K o R s b o D y j e w e l l e r y T o u c h e D u s t i n : h o o D e D s w e at e r f r o m h o lt r e n f r e w v i N c e l e at h e r j a c k e t f r o m h o lt r e n f r e w R o g u e w o o l Pa n t s w i t h l e at h e r i n s e t s J a l u h o lt r e n f r e w g l o v e s f r o m h o lt r e n f r e w h e a D b a n D f r o m h o lt r e n f r e w J o h N va R vaT o s
D u s t i n : m a r o o n o v e r s i z e D h o o D e D s h i r t J a l u c h a r c o a l o v e r s i z e D 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 m a x i D r e s s J a l u s k i r t N R T h o o D N R T h a n D c h a i n T o u c h e
it’s oh, so quiet PHOTOGRAPHER MODEl
L e n a e rys h e va
n a s t ya ta r a s ova
STYlIST
L e n a e rys h e va & M a s h a Z ag i r ova
MAKEUP
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M a s h a Z ag i r ova
B A N D O s t y l i s t ’ s o w n c A r D i g A N f r O m O B A k k i va l e n t i n a s w e At e r f r O m O B A k k i c l a u d i a s h O e s f r O m J O h N f l u e v O g M u l h o l l a n d
w or k o f
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to
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artists
create
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and
leadin g
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inspired
f as h ion .
PHOTOGRAPHERs
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
S u tton
H A I R Alic j a Wil k os z MAKEUP
Alic j a Wil k os z
set desi g n
V e r oni k a O ssi
t o p f r o m h o lt r e n f r e w D i a n e v o n F u r s t e n b e r g b l o u s e f r o m h o lt r e n f r e w E l i z a b e t h & J a m e s B e lt h & m
the
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l e g g i n g s & b o d y s u i t A m e r i c a n A p pa r e l ď Ź s h o e s f r o m g r av i t y p o p e O p e n i n g C e r e m o n y
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
t o p, s k i r t , d r a p e d c a r d i g a n , s o c k s & b e l t A m e r i c a n A p p a r e l ď Ź s w e a t e r & b l o u s e O a k + F o r t ď Ź s h o e s f r o m g r a v i t y p o p e T r a c e y N e u l s a
cdress from holt renfrew D iane von F ursten b er g
Jessica Stockholder
Vanessa Beecroft a l l c l o t h i n g A m e r i c a n A p pa r e l s h o e s f r o m g r av i t y p o p e v i c w i g s f r e n c h t w i s t
SolJohn le Witt Baldessari
pa n t s m a r n i s h i r t f r o m h o lt r e n f r e w r a g & b o n e c a m i s o l e a m e r i c a n a p pa r e l v i n ta g e s l i p & s u n g l a s s e s s t y l i s t ’ s o w n
dress pin k tartan shoes from holt renfrew aud l e y tights & belt A merican A ppare l wigs french t w ist
dress top & socks from holt A merican renfrew A ppare E l i zla b eth pants & J ames from holt tights renfrew h&m pinshoes k tartan from shoes gravity from pope gravity T o & C opope vic
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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ART AS FASHION FASHION AS ART