Conglomerate Magazine by Melissa R Wusaty

F/ W

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

ALLISON TOOHEY ART DIRECTOR

V I N C I A N E D E PA P E A S S O C I AT E A R T D I R E C T O R

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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C O N G L O M E R AT E M A G . C O M

2011

CONTEMPORARY JEWELLERY DESIGN

W W W. A L I C E M E N T E R. C O. U K

Editor’s Note – C O M M E N T A R Y 

Shout Outs – C L I Q U E 

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

N O T M U C H O F A D E B AT E 

F/W 2011 Runway Report – C O L L E C T I O N S 

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 ANCHORED

 LOW TIDE

 RAW

IT’S OH, SO QUIET 

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

 C A T C H - Color Trends

 C R A F T - James Forchione

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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 weâ&#x20AC;&#x2122;re here - to stimulate conversation.

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M E L I S S A W U S AT Y

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MICHAEL MORRISON PHOTOGRAPHER

PHOTOGRAPHER

Erysheva is a 26 year-old photography student from Belarus who

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

JESSICA PECHET PHOTOGRAPHER 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.

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

CHELSEA HAILES PHOTOGRAPHER

PHOTOGRAPHERS 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 ERYSHEVA

W I L K O S Z & WAY

JAMES FORCHIONE I L L U S T R AT O R 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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HANWEN SHEN BY JENNIFER FRIESEN PHOTO BY ZHIYONG JIAO With twists arching around the body like a cobra, Hanwen Shenâ&#x20AC;&#x2122;s chrome and precious metal jewellery collection almost demands a new vocabulary to describe. 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 fantastic extensions of the body rather than accessories, more suited to extraterrestrial royalty than the human frame. Notably, the collection emphasizes the nape of the neck, an area of the body Shen regards as one of the most seductive on the female frame; a theme that her accessories embrace without apology. The London-based designer moved from China to the U.K. to pursue originality in fashion â&#x20AC;&#x201C; a feat she has undeniably reached. With inspiration stemming from the orchid, the sensual flow of the jewellery mimics the smooth curves of the flower; they travel from the collar up through the hair, as to combine the nape and the skull as one object. The effect is fearless, commanding heads to turn. The demure need not apply, for these artfully made pieces are delicate yet built to impose. hanwenshen.com

ALEXANDRA GROSS BY JENNIFER FRIESEN PHOTO BY JON MEADE For her graduating collection, avant-garde

– transforming it into a larger, unexpected

designer, Alexandra Gross, embarked on a

result,” almost like a ripple-effect which inspired

journey to challenge the traditional shape

her to encase the collection in unexpected

of handbags. Moving beyond the standard

shapes. It was this fearlessness and daring

box shape handbags usually adhere to,

that gave her the spin and edge she had been

her intentionally chaotic designs push

hoping for. Through unconventional pattern

boundaries and expected conventions.

techniques and structural manipulation at the

Each hand-sewn piece is constructed

bags’ conception, she created a distortion that

with fine, richly dyed bridle leather and

twisted the shape into something entirely new.

lined with suede, creating a delicate,

Juxtaposing these ideas of chaos and

ironic balance between the traditional

control, tradition and originality, Gross’

materials they are composed of and their

designs have attracted a fair bit of attention.

unconventional shapes.

We are positive it won’t be long until her

The geometric, multidimensional bags speak to the designer’s interest in the relationship

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

between chaos and control, “and more specifically the Butterfly Effect,” elaborates Gross. Taking a leap of faith, Gross began with the idea that a “small disruption in a system can cause a series of further disruptions

alexandragross.com

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 NICK KNIGHT FOR SHOWSTUDIO F I L M S T I L L S B Y PA U L B AT E S F E AT U R E D D E S I G N S B Y K AT M A R K S

You sit entranced, unable to look away. It’s no huge surprise - Kate Moss has that influence over people. Her face is angled and utterly dynamic, making anything she wears down the runway an afterthought. Her aura is seductive. This time, however, something is different. As she walks the clothing dances, taking on a personality of its own. The sheer fabric wistfully flies up, falling down like a soft feather. The wind blows the white silk from side-to-side and occasionally, the fabric sweeps between her legs; you notice the way it moves, rather than the way she is parting her lips. This spectacle is different because you are not watching Moss live but online – in a fashion film.

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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,

concentrated heavily on fashion and its

tactile. There was a greater sense of realism,

later that year. Marks has since embarked

creative counterparts. Heads began to

a demand for physical presence. In order to

on three other film projects. Most notably,

turn, and since 2000 SHOWstudio became

see the collections, attendance was required.

her recent collaboration with Knight, entitled

an institution, being the first to introduce

Enter the digital revolution. A place where

The Karass, featuring her Fall/Winter 2011

film as a promotional strategy for fashion

fashion film is thriving, because face-to-face

collection worn by Lithuanian beauty Edita

brands. The combination portrayed fashion

interaction is no longer required to succeed.

Vilkeviciute. Marks described the experience

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

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

states, “we no longer have to turn out these

5-inch heels versus sitting at home

fashion shows that continue to get bigger

watching a live-stream.

and bigger - they’re just short of Broadway

“You can record a runway show, edit it and put it on YouTube really easily, but how

productions. There are options now.” In addition to reaching a larger audience,

do you write what the theme is?” Shepherd

film also adds depth to a collection as they

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

weave a narrative, telling the story of the

of takes the sexiness out of it.”

woman or man behind the clothes, explains

Rather than being in a crowd of hundreds,

Marks. While she does commend film for

with heads swaying from side-to-side, trying

professionally, personally and artistically

to catch a glimpse between the cracks of

expanding her scope, Marks unwaveringly

those in the front rows - film offers the viewer

states that, “it would never replace the

access to the intimate details. When a film

runway in this business,” explaining further

resonates with its viewer, the clothing speaks.

that they are two separate mediums designed

A new language is created and it’s hard to

to accomplish two different goals.

look away. You identify with the designer.

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

Like if you met, you would be the best of

to reach a much broader market in terms

friends. While you may be one of millions

of not just fashion lovers, but film lovers.

thinking the same thing, you would never

The runway will always remain the runway

know, because the entire experience is

– it’s too embedded in fashion culture to be

personal and contained.

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 as

what a designer is conveying to their audience

streaming the video during a show or being

cannot be felt to its full potential watching

used in tangent with lookbook images.

from a television or computer screen.

“Without the pictures, the video isn’t as good.

connection is lost. Only during a live show

And without the video, the pictures fall flat,”

can the deep beat of the music rush up your

she states. In agreement, Marks notes that “A

spine and run through your hairline.

photograph is great, but film does so much

There is something more thrilling and

more. It touches people in a different way,”

glamourous about trampling around show

explaining that film creates a heightened

emotional connection with the audience because it stimulates multiple senses. Technology is an endless and wondrous world. While the 1960s â&#x20AC;&#x153;turn on, turn in and drop outâ&#x20AC;? counterculture implied something else entirely, the idea can be applied to our contemporary, digital fixation. We turn on our computer, give ourselves over and drop out of our surroundings, mesmerized by the intangible world radiating from the screen. The digital world has changed everything this is not a revelation. We have learned to embrace it because there is no other option. While others may express their concern, the online community has catapulted relatively unknown designers and brands into the limelight. They offer a sense of theatricality that entertains the malleable viewer. Fashion film will not overtake the runway, but it is a medium that can influence people anywhere, anytime. [ C L O S E ]

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D E N I S BY MELISSA RENWICK PHOTO BY AGENCE TUXEDO There was talk that Denis Gagnon’s Fall/ Winter 2011 collection was inspired by ‘90s 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 floor-length 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 BY MELISSA CHOW 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. For fall, the Saint Pierre woman is ready for action in a palette of black and gray accompanied by accents of orange, gold, and silver. Key themes for the season were apparent – from the long cape sweaters, covered-up collarbones and the absence of heels came a refreshingly modest take on femininity. It was no surprise the felt wool jackets were impeccably tailored, with smooth sculpted lines that followed the curve of the shoulder, while one modern, calfgrazing number in a punchy orange exhibited a stronger cut with more angular details. The organza tank dresses rippled with soft constraint as the models walked, especially a dress layered with angular silk appliqués on the chest, delighting the audience with its effortless execution.

Adding to the

collection’s perfect flair of mystique were the accessories. Every look was accompanied by the beloved fedora, which was worn slightly askew by the models, updated with contrasting details in orange and gold, while some wore shiny black chokers and quilted leather gloves, demonstrating a restrained but undeniably sexual appeal. Overall, the collection paid maximum attention to detail without frills or being overtly masculine. Saint Pierre stated, “there is a modern approach to my

garments.

Clothes are a portable environment. I am interested in how they make you feel,” and it is not hard to immediately see that any of these pieces would make any woman feel powerful.

The collection did not lack in any department. The combination of statement coats, which included a kimono silhouette and cut, fringe embellished wraps in melton wool, and luxurious numbers with fur collars made outerwear the strongest pieces in the collection. However, these pieces certainly did not overshadow items such as the draped jersey dresses in shades of crimson, slate, and cobalt. An eggplant hued maxi dress with a plunging neckline was a definite show stopper, especially when paired with a bold, fur-trimmed coat reminiscent of old Hollywood glamour that carried a slight, effortless undercurrent. Progressing from the oriental aesthetic that dominated previous seasons, such as Louis Vuitton and Christopher Kane’s Spring/Summer collections, designers Pickersgill and Wong have translated the trend to include more cozy opulence for Fall/Winter, focusing on rich jewel-tone velvets, found in various skirts and scarves, and a fantastic sapphire

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and merlot silk brocade pattern used on the platform wedges and boots. 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,

BY MELISSA CHOW

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

Marrying old world traditions and mod-

quality fabrics, practicality and comfort

ern ideas is not an easy task, but for FW11

which is carefully woven into each of the

Greta Constantine took on this challenge

pieces. With this design mantra in mind, it

by fusing elements of Far East craftsman-

will be undoubtedly exciting to watch Greta

ship, through touches of silk brocades, and

Constantine embrace the beautifully turbulent

the ease of American sensibility with floor-

world around us in upcoming seasons.

sweeping skirts.

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J O N E S BY RAE RICHARD PHOTO BY KRISTIN VICARI For FW11, design duo Catherine Teatum and Rob Jones, returned to the past to exhume the pulse of their collection titled “Elsie & Mairi 1914.” Using the magnetic story of Elsie Knocker and Mairi Chisholm, two intelligent and selfless women who survived the catastrophic events of World War I in Britain, Teatum Jones weaves their spirit through a narrative of bilberry-ink silks, midnight-navy crepes, waxed cotton outerwear, and dusty blue, worsted flannel suits.

The collection is finely poised between authority, seen through traditional menswear tailoring fabrics, and a blithe essence captured though youthful tones of stone and rose water washed silks. The Teatum Jones woman is tough, elegant, and sharp; she likes to adorn herself in clothing that conceals but also displays her body, a nod to the vivacious heroes and their unwavering dedication to survival, love, and the good of humankind. Sheer tonal paneling is used in various shirt dresses to reveal the strongest structure on a woman’s body - the shoulders; a clever design feature that continues to draw upon the root inspiration and strength of the collection. The narrative, however, does not end with adept cutting techniques, seen in the marl wool Antwerp Coat, or beautifully executed column silhouettes but continues with the fabric. Two intensely graphic prints explode into the collection, adding a slightly skewed beauty amongst the masculine lines. The Endurance print, echoes the hellish experience of the trenches where men’s uniforms were not only subjected to the worst elements but were saturated from the hem upwards. The Disintegration print, is a homage to the aerial photography of Ernest Brooks, whose images of dust clouds inspired its touching nature but also cruel reality. Poignant yet beautiful, Teatum Jones’ collection achieves a harmony that delicately balances the masculine and feminine. Most notably, the collection is inspired by dire circumstances but pays careful attention to the beauty and marvelous lessons or bonds created by such conditions. The optimism is undeniably intoxicating.

J O E F F E R BY SANDRA CROSS PHOTOS BY CLIVE CHIAO Ask any modern women to describe her fashion and she will give you a multifaceted answer dependent on setting, time, place, or mood.

Enter Joeffer Caoc’s FW11

collection. Inspired by “a modern day United States of Tara – a woman who has multiple personalities,” Caoc believes, “This is fitting for today’s modern woman ... in terms of being able to have options and become a chameleon when it comes to her way of dressing.” His muse became a woman bearing all of these personalities, and hopefully his clothes: the lady, the dominatrix, the housewife, the boss, the innocently child-like, the masculine versus the feminine. Caoc’s collection will dress for the complexity of everyday life. However multifarious his inspiration can be, Caoc’s most recent collection, on the other hand, continues to demonstrate his deft talents as a designer. That is to say, although his pieces may be varied, they are still timeless and classic, with eccentricity thrown in for good measure. A Caoc woman craves quality and perpetuity, but still wants to stand out in a crowd. Caoc assures that his, “designs evolve from one season to the next and things can be worn together when you mix up the seasons...there is a continuous point of view.” This season, his clothing is both luxurious and comfortable, with brocade fabrics, leather and lace mixed with jerseys and knits; the duality continues within the textures used – matte versus sheen. Leather bustier-inspired belts worn with dresses, masculine inspired suiting, and draped knits cinched at the waist all lend to the dichotomy described through his muse. Caoc’s colour palette for the collection lies mainly in blacks and greys, with punches of red, and multi-coloured brocades of lilacs, pinks and blues thrown in. Sexy. Elegant. Witty. Caoc’s modern woman will not be disappointed when filling her wardrobe with such amazing pieces from this inspiring collection.

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D E N N I S B Y M E L I S S A R E N W I C K PHOTO BY CHRIS NICHOLLS Dennis Merotto’s designs for FW11 are avantgarde within simple boundaries; a beckoning call for women seeking refined and practical items with an idiosyncratic twist. For the past ten years, Toronto-based designer, Merotto, had been designing under Lida Baday’s label, but recently began a new chapter, embarking on a journey to “discover what the Dennis Merotto label is, and what it’s going to represent to women going forward.” With his second collection, and first Fall/ Winter season, the designer, who follows clean and simple aesthetics, wanted to think about his own personal style. “My thought process is to have pieces that can be worn from 9:00 a.m. to 9:00 p.m,” which explains why many of the fabrics move with the body rather than restrict it. Merotto’s designs work with the body. A digitally-printed, floral, silk jersey tank gracefully follows the contours of the female form. Outerwear, such as a dark-beige trench coat, in a lightweight polycotton jersey, is not bulky or burdensome despite being worn over other pieces. Dresses, like a royal blue lace number with a undeniably provocative neckline, perfect to display a glistening piece of jewellery, expose the female shape in an unapologetically tasteful manner - these are clothes meant to flaunt rather than conceal. Merotto’s designs accommodate the subdued, urban professional woman. “They’re designed for women who are comfortable with who they are and what they 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.”

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BLACK NOISE, WHITE RAIN BY MELISSA CHOW It may have been a blessing in disguise that Gareth Moody left his own label in 2005, now known as Ksubi, to roam around the globe to do some soul-searching. He was quite productive during his travels since what he discovered was the raw, intellectual, and earthy ethos of his future pursuit, Chronicles of Never. FW11 is dark, but not gloomy and exudes an old world element Moody describes as ‘tailored paganism.’

Matching the

undercurrent that runs through the entire label, the menswear collection is for the uber-cool guy who gravitates towards an unapologetic palette of black, monochrome grays, chocolate brown, and blue denim in styles that include naturally creased button downs and diaphanous crew neck shirts, worn with circular scarves.

For women,

standout pieces came in maroon, like a shrunken, second skin leather jacket, jersey cardigan wrap, and skinny jeans in the musthave colour of the season. The designer states that his greatest achievement is this ability “to be an individual who has the authority to govern his own land,” which is directly tied to his artistic control within the label. Within this role he creates and oversees everything including jewelry, eyewear, footwear, and a diffusion line titled Black Noise/White Rain which is comprised of jersey t-shirts and a range of denim. Naturally, story-telling is fused into Moody’s creative process, using verbal cues to convey his intrigue for fantasy and worship. With printed jersey shirts named ‘agnostic’ and a body-building man on a shirt ironically named ‘boneless,’ Black Noise/ White Rain has become the latest label to idolize this season.

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THE KARASS: FOR ANAIS BY STEPHANIE ORR P H O T O S B Y P A U L H I N E MILLINERY BY NIAMH FLANAGAN If you have yet to hear about Kat Marks, prepare to be blown away. This Canadian expat - who jumped the pond and now resides in London, England - is taking the fashion industry by storm with her jaw dropping collections and knack for leaving audiences asking, “How on earth did she come up with that?” Her latest collection, The Karass: For Anais is no exception to the rule. The Karass is comprised of a series of awe inspiring leather bibs and hard chest plates, that Marks states are “made from hand finished laser cut acrylic Perspex that [are] manipulated with heat and pressure.” The pieces are nothing short of wearable art. The Karass dares the audience to challenge the constraints of what is traditionally considered “wearable.” Marks herself even goes as far as trying to leave the words “wearable” and “traditional” out of her vocabulary. To her, the words “describe two severe conventions of fashion design,” which she believes “limit the possibilities.” The Karass blurs the line between future and bygone eras, bringing to mind images from Fritz Lang’s Metropolis. Expertly captured is the timeless elegance and style of the tuxedo – which is then morphed into an ultramodern, futuristic armor. When asked how she imbued the hard plastics with such precise, crisp lines, Marks described how she “developed a technique of tattooing the plastic by engraving patterns on the surface and then flooding with an ink bath.” The chest plates are then treated with various applications of brass and leather detailing, which creates a stunning 3-dimentional effect. Marks’ creative approach has her intentionally testing boundaries of all kinds, with her ultimate goal being to “evoke some kind of emotion in [her]self and others.” The Karass does exactly that by being innovative, outlandish, awe inspiring and extraordinary. Bravo Miss Marks.

B R E T H R E N EVAN BIDDELL BY STEPHANIE ORR PHOTO BY ALEXANDRA BIDDELL Evan Biddell is turning a new leaf. Never one to shy away from the unconventional, Biddell surprised the Toronto fashion community this year when he picked up and relocated to Vancouver, British Columbia. In the wake of this cross-country jump, the designer (in usual Biddell fashion) has done the unexpected by taking a step back from the world of runway fashion, choosing instead to focus on a new creative direction. Welcome to Brethren. In an effort to reach a wider demographic, Brethren has intentionally been created with accessibility in mind. Boasting mini-collections with titles like “tankgirl”, “tonight”, “dUex EX” and “dune”, Brethren is taking aim at the everywoman, the sexy woman, the whimsical woman and the powerful woman. With an apparent nod to the 90s grunge movement, the pieces emerge and take cue from an inner city colour palette. Rusty oranges can be found in deconstructed cropped tanks and tees. Maxi dresses in rust, grey and black alternate features such as deep cut rib-andback exposing sides, delicate draping and mesh trimmings. Floor-length skirts and jersey tops sport a peek-a-boo mesh panel and sleeves. Cocktail dresses with pearlescent shine demonstrate Biddell’s acute tailoring skills and ability to craft beautiful lines. All of the pieces just drip with cool. Through Brethren, Biddell has even managed to maintain an element of exclusivity often reserved for elite high-end runway collections – he produces select pieces that are “one-of-a-kind and made by hand.” In addition to all of this, for the release of this capsule collection Biddell enlisted his fashion-savvy female friends to select a piece from the collection, style it to their personal taste and wear it to the premiere. This gesture fearlessly demonstrates Brethren’s true versatility and Biddell’s commitment to wholly and boldly “walk the talk.”

PHOTOGRAPHER MICHAEL MORRISON M O D E L S N ATA L I E G E M P E L , V I LT E V I K TO R AV I C I E N E STYLIST FRANCIS URRUTIA HAIR CREWS M A K E U P W E N YA C H A N G SET DESIGN VERONIKA OSSI

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  N E C K L A C E C O H A S S E T  T R O U S E R S D O L C E A N D G A B B A N A 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  B E A D E D S K I R T VA L E N T I N O  J E W E L R Y M A D A M E G O T R O C K S  B L O U S E A L E X A N D E R M C Q U E E N

F I N K R I S T I N C O S TA  D R E S S A R U K J VA A N I  B L O U S E & G L O V E S K R I S T I N C O S TA  T I G H T S W O L D F O R D  S H O E S M A L A N D R I N O  N E C K L A C E & C R O W N R A C H E L F E N N I M O R E  J E W E L R Y M A D A M E G O T R O C K S B L O U S E M I S S O N I  D R E S S C AT H E R I N E M A L A N D R I N O  D R I F T W O O D N E C K L A C E R E C U P E  B L O U S E G R Y P H O N  V E S T F A R A H K H A N  J E W E L R Y M A D A M E G O T R O C K S  S H O E S M A L A N D R I N O

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

PHOTOGRAPHER CHELSEA HAILES MODEL TENEILLE LEWIS [LEXINGTON ST Y L I ST L I N D S E Y W H I T TA K E R MAKEUP

HAIR JENNIFER SCHULZ

MODELS]

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

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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 r ys h e va

n a s t ya ta r a s ova

STYlIST

L e n a e r ys h e va & M a s h a Z ag i r ova

MAKEUP

H A I R 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

PHOTOGRAPHY

DUO

THE WORK OF SOME CONTEMPORARY FIGURES

OF THE

ARTISTS

TO C R E AT E

BY ART AND

WILKOSZ

WAY

REVISIT

WORLD’S

AND

LEADING

INFLUENTIAL

EDITORIAL INSPIRED

FASHION.

P H OTO G R A P H E R S W I L KO S Z & WAY M O D E L S KAT S H A N D R U K , R E N A D O N A L D S O N ( M O D E ) S T Y L I S T L I N D S AY S U T T O N HAIR ALICJA WILKOSZ MAKEUP ALICJA WILKOSZ

I C O N S

JEFF KOONS

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

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  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

LEIGH BOWERY

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  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

C D R E S S 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

DAVID HOCKNEY

JESSICA STOCKHOLDER

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  S W E A T E R & B L O U S E O A K + F O R T  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

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

SOL LE JOHN WITT BALDESSARI

T O P & S O C K S A M E R I C A N A P PA R E L  PA N T S F R O M H O LT R E N F R E W P I N K TA R TA N  S H O E S F R O M G R AV I T Y P O P E V I C DRESS P F RI N O KM THAORLTTA N R E N FSRHEOWE SE LFIRZOAM B EHT OH L & T RJ EANMFERSE W  A T IUGDHLTESY H& TMI GH T SS H&O B E SE LFTR AO M M E GR RI CAAV N ITA Y PPPOAPREE LT O &WCI G OS FRENCH TWIST

YOKO ONO

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

C A T C

MARIE SAINT PIERRE PERFUMES BY MELISSA CHOW 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

C A T C

R A

JAMES FORCHIONE BY RAE RICHARD There is something absolutely sincere

What influenced and provoked you to pursue

and infectious about James Forchione’s

this path?

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

My strength has always been the human form, this is something I found came very naturally to me. I remember one day catching 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

During the final year of my degree, opportunities began to come my way 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 to run with the right client - and of course prepare for Spring/Summer 2012.

There are many types of fashion illustration, please talk us through what inspires you to create your images 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 factors, did it take you a while to develop your signature style? 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. Are you able to describe your work in five words? Fluid. Crisp. Bold. Simple. Confident.

R A

Confident is actually one of the first words we would use to describe your work. Is this something you innately possessed? Or has it been a gradual build? Confidence is a personal development. You can never be too confident. I haven’t always possessed this characteristic, I would keep my work quite private as others may see fault with it, however, I started to gain pride in my work when I launched my blog. I was receiving lots of lovely comments and 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 fast as possible and with people watching me do it. I had to just blank it out and keep my pencil moving. I can see my confidence growing with every illustration, its a journey and mine has only just started. Do you illustrate from memory, use live subjects, or create characters from your imagination? There is nothing more exciting than illustrating live.

Its difficult to capture

someone’s character from memory. I am always scribbling down notes about colour or texture next to my illustrations when I don’t have my colouring pencils with me, so I can work on them later at my desk. I sketch what I see so I try not to drift away from reality.

In the last five years, fashion illustration

Collaborating with other artistic mediums

has gone through a revival. What are your

is also another way to attract attention and

thoughts on this?

build a reputation. What are the challenges

This is great for fashion illustration.

It’s

of being a fashion illustrator?

what the industry needs. Whether you’re a

Having your work noticed by others,

designer or just a lover of fashion. Nothing

confidence and making an impact in the

inspires you more than a great Illustration.

industry.

What is fashion illustration? This may seem

What is your dream opportunity?

like a silly question to ask, because the title itself is so identifiable, but we’re unsatisfied with it. How would you describe this creative

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

field?

What do you hate about fashion?

To me fashion illustration is a powerful,

The price.

fresh and exciting representation of ones creativity. Do you think people are getting bored with photography, and are turning to illustration as a means to get inspired? Photography has been favored over illustration for so long now that its become dull. Fashion illustration has a stronger sense of attitude and emotion, which people can connect with. Illustration and photography seem to be collaborating forces now rather than opposing each other - is that the key to an illustrator’s success? The ability to work and collaborate with other artistic forms? Or is there more to it? There are more and more collaborations happening

between

illustrators

and

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

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