Fashion Media Project Conde Nast College of Fashion & Design
Group 9 Bifani Cynthia, Magomedova Ekaterina, Nyanshi Melissa, Simonetti rafael, Whaley Shanna
THE COVERS
the up and coming issue
the up and coming issue
the up and coming issue
LOVE COVER STARS THE UP AND COMING ISSUE
Photographer : Pari Dukovic
Maria Borges Height 5' 11" Bust 32" Waist 24" Hips 34" Shoes 9 Hair Black Eyes Black
“she refers to her biggest supporters in the fashion industry (Riccardo Tisci, James Scully, and Katie Grand) as her “godfathers” and “godmothers.””
Adowa Aboah Height: 5'8 / 173cm Bust: 32" Waist: 24.5" / 62.23 cm Hips: 36" / 91.44 cm Shoes: UK 6.5 Dress Size(uk): 8 Hair: Brown Dark Eyes: Brown
Henrieth Paul Height 5'10 / 178 Waist 23 / 58 Hips 34 / 86 Shoe 40.5 / 7 Hair Color Brown Eyes Brown
THE NON-FASHION EDITORIALS
THE ARTICLE
On the Vespa The beach fight that fueled the most enduring British sub-culture. Meet the Mods.
It was 50 years ago, more specifically, in May 1964 that this phenomenon started. The clash between mods and rockers, in Brighton, gave notoriety to what was going to be Britain’s most enduring subculture. But what exactly happened? In short, it was a street fight between two distinct groups of youth. The rockers were influenced by the American 1950’s rock and roll style. They rode powerful motorbikes and wore leather jackets embellished with studs and nails. The style was very macho, the hair had grease on and they did not mind being scruffy. The musical influence was white American rock singers from the 50’s
such as Elvis Presley, Gene Vincent and Eddie Cochran. Rockers were not typically from the big centres and cities. The mods wore suits and rode Italian scooters (vespa or lambretta). They were seen as a fashion-obsessed and hedonistic cult of the hyper cool. They spent a lot of money on clothes and paid a lot of attention to style - details were very important. They listened to modern jazz, Jamaican music and African American R&B, as well as British groups The Who, The Small Faces and The Yardbirds. Their styled evolved from the bohemian beatniks and the dandy and narcissistic teddy boys (which also
influenced the rockers). Mods were generally from London, big centres and cities in the South. The 2 most common reasons given to the clash in May 1964 are boredom and too much money. In post-war affluent Britain, youngsters did not have to contribute at home with their after-school jobs’ wages anymore. The mods spent all their money on clothes, being very meticulous with their styles. The choice of a scooter over a motorbike relates to the fact that its design protected their stylish and expensive clothes from the weather and grease. The rockers considered this behaviour over the top and called the mods effeminate snobs. Both groups
had working class origins, but were dealing with the recently found prosperity in different ways. They were both groups of young people, expressing their autonomy. In fact, to be cool back in those days you had to be either a rocker or a mod. Perhaps that added fuel to start the confrontation – two extreme opposites, one claiming to be cooler than the other.
“ Clean living under difficult circumstances “ Pete Meaden’s (“ Modfather”) classic definition of Mod
During the chaos that took place, benches were destroyed, windows vandalised, stones used as weapons. However, the mass media played a big part on how this event was perceived by the nation. The events were exaggerated, sensationalised by newspapers and TV news. Consequently, a lot of attention was given to the clash between mods and rockers, the groups grew in importance. The mods had the ethos of being innovative, individual - mod is an abbreviation for modern. The rockers, on the other hand, were very attached to their 50’s allegory, which made them lose importance in the following years as a social influence.
Seeing past the vespas and the pristine outfits, the mods represented a turning point in British culture. After the war, the working class was earning more money and being somewhat more aspirational. The youngsters were earning their own money, having access to more and, as a consequence, wanting more. The idea of working class kids spending a lot of money in clothes, caring so much about style, mirroring the upper classes, could, in fact, be an indication of the desire for social mobility. The hedonistic and fashion oriented lifestyle could very well represent the working class wanting more – a call for democratisation. Another rather interesting facet of the mod culture is how men were allowed and encouraged to consume fashion and care about their styles. This has roots in the teddy boys movement. Before them, if a man was interested in fashion or clothes, they would be associated with the underground and flamboyant gay subculture. There was, as well, an aspect of social affront,
as some of the men wore eye shadow and even lipstick. There was the intention of pushing society’s boundaries. This paved the way for David Bowie’s gender challenging look. ‘You couldn’t tell the birds from the blokes’ was a common jibe of the rockers about the mods. From the macho standpoint of a rocker, the boy and girl mods were very similar. Some of the boys would wear makeup, whereas the girls would wear very little. The women would wear trousers, have short hair. Also there were more mod girls than rocker ones. Even the choice of transportation is woman friendly. If anything, the mod culture was more gender equalitarian, especially considering the time. There was a natural evolution of the mods. A branch of the hard mods, the original ones, evolved into the skinhead movement. This is quite far from the fascist skinheads of today. They were still living in the economically oppressed areas in South London and West Indian
“I think it’s quite subversive for kids who haven’t got a lot of money to dress up in a suit and look twice as good as someone who’s got three times as much money. It’s a social comment” Ian Page, Secret Affair
immigrant communities, and could not relate with the ethos of mods anymore – middle class intellectual and consumerism. They were drawn to ska, black culture, for it was underground. The rude boy look with pork pie hats, short Levi’s, Doc Martens and braces was their style. It is, to say the least, contradictory that the skinhead culture stands for what they do nowadays. The fact is that the mod culture never stopped influencing British culture. It changed throughout the decades, but it has always been present. There was a revival in the 70’s and another one in the 90’s, with the Britpop scene stirring with mod
influenced bands such as Oasis, Blur, Ocean Colour Scene and The Verve. Duffy was another singer that brought the mod influence back to the charts. There are websites, events and organisations that work towards keeping the mod lifestyle alive. In 2013, photographer Carlotta Cardana curated a personal project called Mod Couples. The work shows portraits of young couples that look and live like mods today. Whether it is literal or diluted in today’s society, the influence of the mods is still present. But, what makes it still appealing? Perhaps the idea of social mobility, democratisation and gender equality underlies it all. But,
ultimately, the notion of being a rebel, of going against what has been laid out to you is, undoubtedly, a youth magnet. Essentially, the mods with their boundary pushing, rule breaking and challenging behaviour are the epitome of cool. That is why the mod style is still the fall back of the youth, and it is always being referenced in fashion, music and pop culture. It still brings that sense of novelty, of individualism, of cool identity. Well, all I have to say is: not bad for a silver fox.
NON-FASHION IDEA
1
«You can’t be in paradise all the time.»
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«...s o out obviou s bein ome ot sly we’v h gm e ore er idea been t crea s r tive and ju ying ...» st
«...think Splashh but with a use of vintage synthesisers. There’s going to be a different feel to it.»
«...I was sitting at my Mum’s house in Sydney and I felt pretty comfortable...» «We’re pr etty excite df there’s de finitely a n or the next record ew directi got to kee on, you’ve p it intere s t ing you ca do the sam n’t just e thing, w e just nee it out. We d to figure ’re excited .»
t ’s s songs. I r u o y l l a w eady kno alternate n a ’s t i «They alr d n a f’ exposure it yoursel o ‘d e r o great for em ands to b without g n i way for b w o l l o le tain a f eing a litt b e k and to ob i l I t gned bu getting si s.» mysteriou
NON-FASHION IDEA
2
THE UP AND COMING ISSUE As this issue of LOVE tracks down what is up and coming, it asked up and coming models and artists to shoot and style the cover. This is a round-up of who these chosen people are and what they aspire to and want out of life.
The models ADOWA ABOAH
THINGS HAVE DEFINITELY MOVED ON, AND NOW WE SEE ALL DIFFERENT TYPES OF ETHNICITIES IN FASHION.
[...]
RECENTLY
I
WAS USED FOR A
SHOOT WHERE THEY HAD NEVER REALLY USED A GIRL OF COLOR
MARIA BORGES
SHE REFERS TO HER BIGGEST SUPPORTERS
(RICCARDO TISCI, JAMES SCULLY, AND KATIE GRAND) AS HER “GODFATHERS” AND “GODMOTHERS.” IN THE FASHION INDUSTRY
HERIETH PAUL
THE MENTION OF THE CALVIN KLEIN CAMPAIGN ELICITS A GIGGLE AND A BLUSH. “WE WENT TO NEW YORK TO SHOP AT CHRISTMAS. AT CALVIN KLEIN, I WAS RECOGNIZED IN THE STORE. I WAS TREATED LIKE A CELEBRITY!”
The photographer PARI DUKOVIC
IN SOME WAYS, I’M LIKE THE OPPOSITE OF ALL THAT LET’S-MAKE-ITMENTALI-
CLEAN TY.
THE DIRTIER IT GETS, THE BETTER IT IS FOR ME. RIGHT NOW, ALL OF THESE DIGITAL CAMERAS OUT THERE
ARE
SO
SHARP AND CLEAN AND
I
FEEL LIKE,
IN SOME WAYS, THE IMAGE LOSES EMOTION, IT LOSES ATMOSPHERE, AND IT JUST COMPRESSES THINGS.
The designer PHOEBE ENGLISH
WHAT ARE YOUR DESIGN SIGNATURES? CONSTRUCTED TEXTILES, COMMUNICATIVE SURFACES, CONCEPTUAL USE OF MATERIALS.
The stylist ELLIE GRACE CUMMINGS
“ELLIE HAS GREAT INTEGRITY AND PASSION FOR WHAT SHE DOES, SOMETHING THAT PEOPLE CANNOT HELP BUT RESPOND TO,” LONGTIME MENTOR ALISTER MACKIE TOLD BOF.
The hair stylist JOSE QUIJANO
‘JOSE QUIJANO, AT NEVILLE HAIR & BEAUTY DID MY HAIR.” - ALEXA CHUNG
The make up artist KARLA POWELL
“I HAVE PUSHED MYSELF OVER THE LAST 3 YEARS TO GET MY WORK NOTICED, NETWORKING WITH THE INDUSTRY PEOPLE AND BUILDING MY PORTFOLIO WHILE TEACHING MAKE-UP. I AM NOW LIVING THE DREAM WORKING IN LONDON AS A HEAD MAKE-UP ARTIST.”
THE FASHION EDITORIALS
ACCESSORIES SHOOT
LOVE is buZZing about insect jewelry...
Clockwise from top left.
FASHION IDEA
1
MALEFICUS
Alexander Wang
Alexander McQueen
Chanel
The Clothes
Louis Vuitton
A.F. Vandevorst
Akris
Alexander Wang
Iris Van Herpen
Ann Demeulemeester
Chanel
Chanel
Ann Demeulemeester
The Accessories
Louis Vuitton
Balmain
Balmain
Balmain
Alexander McQueen
The Hair and Make-up
Hair
Face Nails
Stephania Serrano HEIGHT 5’11 BUST 34” WAIST 24” HIPS 34” SHOES 7 HAIR BROWN EYES BROWN
The Models
Kamila Hansen HEIGHT 5’10.5 BUST 32” WAIST 24” HIPS 35” SHOES 7 HAIR DARK BROWN EYES GREEN
The Photographer
MERT + MARCUS
The Location
FASHION IDEA
2
THE ANTIPODE
Monique Lhuillier
Monique Lhuillier
Dolce and Gabbana
Marchesa
Jenny Packham
Jenny Packham
Elie Saab
Monique Lhuillier
Zuhaid Murad
The Clothes
Dolce and Gabbana
Balmain
A.F. Vandevorst
Dolce and Gabbana
Dolce and Gabbana
Dolce and Gabbana
The Accessories
Vintage Indian Necklace
Vintage Indian Necklace
Miu Miu
Dolce and Gabbana
Miu Miu
Miu Miu
Miu Miu
Maison Martin Margiela
The Hair and Make-up
Nails
Face Hair
Extras
Codie Young HEIGHT 5’10 BUST 32” WAIST 24” HIPS 34” SHOES 6.5 HAIR RED EYES GREEN
The Models
Emerald HEIGHT 5’11 BUST 32” WAIST 25” HIPS 36” SHOES 8 HAIR BLONDE EYES GREEN
The Photographer TIM WALKER
The Location
ADVERTISERS
Key Advertisers
RYAN LO
CLAIRE BARROW
THERE
WILL BE A COMPETITION TO ALLOW UP
AND COMING DESIGNERS TO HAVE ACCESS TO ADVERTISING SPACE WITHIN THE ISSUE THAT THEY WOULD NORMALLY NOT BE ABLE TO AFFORD DUE TO ITS HIGH PRICE.
WE ALSO ALLOWED THE DE-
SIGNERS WE USED IN THE UP AND COMING SHOOT TO HAVE ADVERTISING SPACE AT A LOW COST.
ASHLEY WILLIAMS
DIGITAL FEATURES