FADDY Magazine - Issue 26 Nov 2020 by FADDY Magazine

ISSUE 26 OCT 2020

Ellen Von Unwerth featuring Parker Winston

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FOLLOW, CONTACTS Instagram: faddymagazine Instagram Showcase: faddymag Facebook Page: faddymag Email: faddymagazine@gmail.com Web Page: http://faddymag.com EDITOR IN CHIEF Biagio De Giovanni SENIOR FASHION EDITOR & SVP SALES AND ADVERTISING Candice Valentine Solomon FADDY SHOWCASE REVIEW CHIEF Alessandra Galati JOURNALIST/WRITER Linda Arroz Gabrielle Smith Jamie Valentino Anneysa Gaille Nicole Vickers SENIOR FASHION EDITOR ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Massimo Storari GRAPHIC Giulio Cesare Silvestri & Biagio De Giovanni FADDY MAGAZINE HEADQUARTERS FERRARA - 44124 - Via Giglioli 28/A FADDY MAGAZINE US HEADQUARTERS 215 West 84th Street Suite 126 New York, NY 10024 5

Editor’s note I’d like to give a very warm and special mention to Candice Solomon our Senior Fashion Editor for the beautiful job on this issue and her continuous commitment to Faddy Magazine and all of the creative community who made this issue great. Her tireless commitment to everyone who she comes in contact with has grown our publication and audience ten fold. Thank you Candice Solomon. I would also like to thank our writers Linda Arroz, Jamie Valentino, Nicole Vickers, Anneysa Gaille and Gaby Smith for their wonderful work interviewing our inside features and cover story. Editor and Chief Biagio De Giovanni

andice Solomon a native

Candice Solomon has an accomplished and impeccable reputa-

New Yorker, resides in

tion in the world of fashion and fashion design as;

Manhattan with her fiancé

•

Creative director

and artist Robert Santore.

•

Design director

Candice is a world traveler and the

•

Editorial strategist & executive produce

quintessential Native New Yorker.

•

Stylist

She is a highly successful female

•

Content creator

entrepreneur running the oper-

•

Fashion merchandizing strategist

ations, “day-to-day” and strategic

•

Fashion and style trendsetter and Mentor

business offerings in the highly

•

Branding specialist

competitive and ever-changing landscape of the fashion industry.

•

Instagram & social media influencer & strategist

She is an award winning bridal and evening wear designer noted

•

LikeToKnowIt influencer

for her international and celebrity red carpet patrons. Candice is renown throughout the fashion industry as the “go She has been featured in People Magazine’s “Best Dressed” for

to girl” for “anything and everything” from sourcing incredible

dressing her distinguished clientele, most notably, Donna Ha-

location for editorial photo shoots, engaging with and securing

novers wedding dress in People Magazine and “Town And Coun-

the worlds best and acclaimed photographers, stylists, award

try” magazine.

winning hair and makeup professionals to securing multi-million

In addition, she was featured in multiple concurrent years in the

dollar apparel pulls for promotions and presentation, as well

highly prestigious “Best Of” in New York Magazine. Candice was

as working with an inclusive, multidimensional pool of talent as

regularly featured in the New York Times, “Style and Fashion”

models.

sections, and in many global publications, both print and digital editions.

She is passionate and a life-long supporter of the LGBT Community, Trans Lives and mentor to many talented young people who

She was the executive producer and an on-screen commentator for the award winning documentary “7 Years Underground” which focused on the early years of Rock & Roll, Jazz and Blues at the famous “Café A Go Go” located in Greenwich Village in New York City. “7 Years Underground” winning awards in film festivals around the world. Candice is the owner of a boutique consultancy/agency in New York City focusing on optimizing strategic placement, strategy and trend management for a broad cross section and inclusive segment of the fashion industry. She also operates a highly successful e-commerce showroom servicing blue ribbon customers globally. She is the Senior Fashion Editor for FADDY Magazine and the Sr. Vice President of Sales & Advertising.

F A D DY Mag

have become incredible successful under her guidance.

LINDA ARROZ - Writer Linda Arroz is a writer based in California. The first plus sized spokesmodel to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets. During her three years with Spiegel, she learned how to tell stories, discovered the story behind the story, the art and craft of the pitch, and how to produce and style a TV segment. Co-author of “Affordable Couture,” published in 2012, Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her portfolio of work has always been a voice of inclusivity. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Arroz is currently working a memoir of her years working on the assembly line at General Motors. GABRIELLE SMITH - Writer Gabrielle Smith is a freelance journalist and creative copywriter. The London College of Fashion alumna has written widely about fashion and culture, with her work published in numerous magazines such as; Harper’s Bazaar UK, House of Solo Magazine, French Fries Magazine, Overdue Magazine etc.

NICOLE VICKERS - Writer Nicole Vickers is a writer, journalist, poet, and editor born and raised in Houston, Texas. She was an avid reader from grade-school, heavily influenced by writers and poets such as E.E. Cummings, Neil Gaiman, Adrienne Rich, Chris Krauss, and Charlotte Bronte. She studied English Literature at St. Edward’s University in Austin, TX, where she was the Editor-in-Chief of the university’s academic journal. She has written for both River Oaks Lifestyle Magazine and Memorial Lifestyle Magazine, and has been published in The Opal Club Magazine based in New York, New York. She now lives in New York, and is currently working on poetry and short stories. ANNEYSA GAILLE - Writer Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago. She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.

JAMIE VALENTINO - Writer Colombian-born writer, Jamie Valentino is the Editor-at-large of POP Style TV, and his column Sexpert is published biweekly in PROVOKR. You can read his essays and interviews in Google Arts & Culture, W42ST Magazine, LUXE Magazine, The Queer Review, Vulkan Magazine, and more.

HELEN WILKEY - Assistant to Senior Fashion Editor Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.

table of contents 248

268

Anja Van Herle

Personal feature

60 124

Elle Street Art

Anthony Peto

Exclusive Interview

Kilian Hennessy Exclusive Interview

212

Brooke Shaden

Personal feature

160

Dita Von Teese

184

Le Turk

Exclusive Interview

Personal feature

F A D DY Mag

Ellen Von Unwerth

Featuring Parker Winston - Cover Story

104

New York en Noir

Frederick Anderson - exclusive interview

288

Soy Tierra

When Night Falls

Freddy Koh

Latitu Bags

Advertorial

228

Martial Lenoir

Personal feature

Candice Solomon

ELLEN VON UNWERTH FEATURING PARKER WINSTON

ACTRESS, MODEL AND MUSE

Photographer Ellen Von Unwerth @ellenvonunwerth Model Parker Winston @parkerwinston Stylist/Fashion Contributor Newheart Z. Ohanian @newheartnyc Make-up and Hair Mark Williamson @markwilliamson45 for Artist management Miami @artistmanagementmiami and Creative Space artists @creativespaceartists using @MacPro ,@maccosmetics ,@byartis @privehair Nail tech Misa Matsumura @http.misam Assistant MUA Joel Marriott @joelmarriottmakeup Fashion Assistant Ellen-Claire Newell @ellenclaire_newell Producer Candice Solomon @candicesolomonstyle Candice Solomon and FADDY Magazine team assistant Helen Wiley @been_to_helen_back 11

ELLEN VON

ELLEN VON UNWERTH EXCLUSIVE I N T E RV I E W B Y L I N D A A R RO Z

ired of being told to

she wanted to introduce

biggest frustration was that I

stand still and not

me to her. I fell in love with

was always told to stand still

show emotion during

Parker straight away! I was in

and be expressionless when

her modeling years, Ellen Von

New York City at the time, so

posing. When I started taking

Unwerth picked up a cam-

Candice and I met at a lovely

the pictures, I had the idea

era and never looked back.

Greek restaurant. We imme-

that I wanted to highlight ex-

Capturing moments and

diately connected. She pro-

actly that: people’s personali-

movement in time, portrayed

posed a big story in FADDY,

ty, expressiveness, self-worth

with playfulness, her images

introducing me and my work.

and beauty.

have the scent of strength in

So spontaneously I suggested

their sexiness. The creator of

we do a shoot with Parker

VON and VONLINE magazines

under very safe conditions, et

gives us a glimpse into her

voila!!

UNwERTH world.

When we look at your im-

ages, we feel happy. There seems to be a lot of joy

and fun shining through.

You were a model in your

Are you always happy

Ellen, let’s start with the

early career. What in-

when you’re working, and

story of how you came to

spired you to cross over to

do you think the mood or

work with FADDY maga-

the other side of the cam-

mindset of the photogra-

zine.

era?

pher affects the outcome?

Candice Solomon, the Senior

I did ten years of modeling, so

First of all, thank you! I guess

Fashion Editor, contacted me

I’ve seen plenty of shoots and

photographers offer their

a couple of times on Insta-

productions on that side of

point of view on life so in that

gram and was very charm-

the lens, too. I’m very spirited

way, yes, it is probably true

ing. She discovered a young

and would always let my per-

that I am more of a happy

model, Parker Winston, and

sonality show. For me, the

persona. I love creating in a

F A D DY Mag

VON UNwERTH positive environment. Pho-

there is a whiff of fetish.

Being well prepared is import-

tography is exploring your

Your work pushes the

ant for me, it gives me the

perspective on the world and

boundaries of what might

necessary structure to create.

sharing it with everyone. It is

be traditionally perceived

I always prepare my shoots

a world within a world. What

as dark and shines a bright

thoroughly. I review the loca-

could be better than to make

light, changing the mood.

tion, the intention, the mood

people happy?

How do you manage that?

boards, and the inspiration to be able to create a narrative

that is going to be interesting.

Your images succeed in

In my opinion, it is a question

evoking emotion and

of point of view. I like to shoot

often are full of motion. Is

sensuality as an empower-

this a technique that has

ing feeling for women. Being

evolved over the years or

sexy can mean being very

What are your favorite

were you seeking this type

strong. It also means being

clothing items to wear on

of result all along?

alive. The situations I like to

a set?

ELLEN

Being organized actually gives me space to improvise.

create are the result of both

I would not call my way of

shooting a technique as it has more to do with intention. I

love to capture life, moments, and people.

You manage to include so much into a shot. Sexuality and vulnerability are present even when

the narrative and the spontaneous actions on set. I think if you feel the personality of the model or talent, it really

brings a positive, lively, communicative outcome.

On set it is important to be comfortable, as I am kneeling, laying on the floor or climbing on ladders. So, I usually wear jeans and really loud shirts. But I always try to wear something which fits with

What are the ideal com-

the theme of the day or the

ponents for a successful

location.

shoot? 13

ELLEN VON When you’re putting

you’re not working? Do

I am a big admirer of Helmut

together a fashion shoot,

you have an archive of im-

Newton for his strong, capti-

how much control do you

ages that you have taken

vating women and I really love

maintain over set design

for yourself and if so, is

Jacques-Henri Lartigue’s for

and styling? Do you hire

there a prevailing theme?

his elegance, lightness and

UNwERTH the stylist? Do you have

input on the clothing and accessories?

humor.

I have a photographic eye,

and taking a photograph is

You were feted with a

like a reflex for me. I shoot ev-

fabulous exhibition “Devo-

I am like a movie director, I

ery day, versus only when I’m

tion! Thirty Years of Photo-

choose the people which are

working on a set. I take pic-

graphing Women.” Looking

right for the job, but then

tures of what I see, the peo-

through this retrospective

push them to be creative and

ple around me, my friends,

of your work, are you look-

bring in new ideas, surprise

family, the street scenes.

ing for new opportunities?

and inspire me.

Also, nature and things that inspire me or things that

Inspiration can be found

make me laugh.

everywhere if we are open

The Fotografiska exhibition is

such an honor, we opened in Stockholm about two years

to looking. Your camera

What photographers do

ago and then we opened

lens is an extension of

you admire and is there

the New York museum at

your eye, where do you

a single image that reso-

the beginning of 2020. The

point your lens when

nates with you?

exhibit will go to Tallinn,

F A D DY Mag

VON UNwERTH Estonia, and then to London.

do a lot of mood boards and

We noticed that your

It’s great to be able to share

create the layout slowly as the

prints sell for thousands of

thirty years of selected works

magazine is built. There’s our

dollars. You include a print

with curious people, who are

printed VON magazine, which

with each issue of Von.

photography lovers. Feedback

is themed, and then we have

Will these prints acquire

has been amazing, and it has

VONLINE, which allows me to

value?

created new opportunities to

share stories or portraits of

meet people and think about

amazing people much faster. I

projects to come. Now I’m

am constantly thinking about

ready to show a new selection

new people and ideas for

of pictures, old and new, and

shoots of musicians, artists,

moving on into new themes.

and performers.

ELLEN Your magazine “Von” re-

It’s really a fun experience

minds us of Andy Warhol’s

and an outlet to shoot people

“Interview.” How far in

and things other magazines

advance do you plan your

are not interested in, but yet

themes and layouts?

so interesting to see.

Yes, I do hope so, with time something less expensive can gain a lot of value. So, if you have one of the signed VON prints, make sure you keep it safely, it might come in handy one day!

It’s amazing to be able to run

We’re a small team, we’re usually working on several VON issues at the same time. We

an independent publication, a direct platform to connect with viewers. 15

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PARKER WINSTON PA R K E R W I N S T ON EXCLUSIVE I N T E RV I E W B Y J A M I E VA L E N T I N O

The modeling industry’s resil-

breaking into the industry,

I’m so thankful for Candice

ience to abrupt change could

Winston grew up in it. In my

Solomon to put that into mo-

have been predicted by the

conversation with the model,

tion. She found me through

ever-changing faces on fash-

her candor surprised me; her

a hairdresser because he

ion week runways throughout

experience read between the

posted a picture of me, and

the years. Covid-19 not only

lines.

eventually, we began talking.

affected the hospitality industry but physical interaction and consumerism entirely. However, it only expedited

the evolution of society into a digital culture.

Candice was really interested

Winston is keenly aware that we are entering a new era in the fashion world. The pan-

demic injected it with steroids. Nevertheless, like all true

artists, she embraces change

It happened at a serendipitous

as opportunity. With the help

time when millennials and gen

of a well-connected maga-

z already revolutionized the

zine editor, an impromptu

dynamics of modeling with

flight to New York from Paris,

social media, which is how

Unwerth’s iconic vision, and,

the seventeen-year-old model

of course, Winston’s striking

Parker Winston met German

beauty, the show must go on,

photographer Ellen Von

and so it did.

Unwerth. The latter needs no introduction.

in me doing a shoot for Faddy’s cover, and she put me

into contact with Ellen, who

flew into New York City from

Paris. Candice took her out to dinner, and the next morning suddenly, I had a test shoot with Ellen. Then, the shoot

for cover happened two days later. Basically, Candice put

together an entire shoot with an all-star team within a few moments, even more, difficult to do during a pandemic. Once we got together just a few days later, it was abso-

You had the rare oppor-

lutely incredible.”

tunity to shoot with one An Instagram photo of

of the most noted fashion

Winston posted by her hair-

photographers in the in-

dresser was seen by Faddy

dustry, Ellen von Unwerth.

Magazine’s Senior Editor

How was this like?

Candice Solomon, and so the dominos began to fall for the creation of the publication’s November cover. While many grow up with the dream of 38

F A D DY Mag

So, you’re officially a Von girl, which is even more exciting because you mention the shoot will be the cover of Faddy Magazine.

“I had the most amazing ex-

Do you know what shots

perience shooting with Ellen,

they are going to use?

what an opportunity, and

WINSTON PARKER “I actually haven’t seen any

she has such a phenomenal

way of Instagram. How did

pictures. I think Ellen and

vision.”

this happen?

That brings me to my next

“So, Candice knows Trevor

question! Ellen once told

Smith, my hair stylist, who

V Magazine: “I never force

posted a picture of me on

women to do anything,

Instagram. Once Candice saw

but I give them roles to

that photo, she immediately

play, so they are always

reached out and mentioned

She’s so good at empower-

active and empowered.”

the cover of her magazine.

ing her subjects to be sexy

How would you describe

This was late August, early

and bold in every picture.

your role in this shoot?

September of this year. Can-

Candice want to surprise me with the photos, haha. But

I’m so psyched about it and

can’t wait to see it. But, yeah, I don’t know what photos they are using yet.”

Did you have any surprises when working with her?

dice had this vision for Ellen

“Throughout any clothing I

wear or hair and makeup I

“I think I was just surprised by

have on, it develops me into

how amazing our chemistry

a character. Every single

was right off the bat. I love

look, every single set up and

modeling, and I look at it as a

backdrop that we had, put

form of taking on a character.

me in a scene, into a different

When it was the day of the

character, and Ellen’s amazing

shoot, Ellen set up an entire

vision and motivation were so

scene, like a mood for the

freeing. Shooting with such an

day or storyline. She set up

iconic photographer is such

that I would be this girl, who’s

high pressure, but Ellen is so

lustful and romantic, and

comfortable and my favorite

in a relationship, and then

photographer that I’ve ever

I have a mental breakdown

worked with.”

because I see my boyfriend cheating on me. Suddenly, I go dark and unhinged. It was such a fun way to carry myself through the entire shoot, and

and me to shoot. Once Ellen flew from Paris and went to dinner with Candice, this all

happened a few days later.” Did you have a particular shot or look that you felt was your favorite. I know you haven’t seen the photos, but did you have a moment where you felt like a queen?

“Yeah, there was this purple, puffy dress that I was put into, and we had black eyeshadow. It was supposed to

So, you mentioned the photoshoot materialized through the very modern

be a very unhinged, goth type of look. We were thinking, oh, how can we rough this up? How can this be more ‘bad 39

PARKER WINSTON girl,’ which it’s challenging to

You’re right, nowadays it’s

harden a purple, puffy dress.

not just enough to be tall

My mom suggested a ciga-

and beautiful and know

rette, and those shots were

how to pose and walk.

definitely my favorite.”

There’s this huge pressure

to foster a massive follow-

There are models who I

consider living icons: Nao-

mi, Cindy, Claudia, Helena. Then the next era of fash-

ing, and casting agents

will often make their final decisions based on Instagram presence.

ion: Gigi, Kendall, Cara,

“100%. I think, in a way, the

social sphere to modeling,

new generation of modeling

merging the craft com-

takes away from the art form.

pletely with the influence

The presence of a social

of celebrities. Would you

media resume now places

say you’re part of the new

followers above a unique

generation?

look. Just because someone has followers, they might be

the means of how this shoot happened. Social media is now a resume, you know, it’s now how others find out about you, how people get jobs. It’s a different way of modeling than it used to be. Castings are different, especially the pandemic affecting

page and putting yourself in a

position of being cast through social media is a big part of

the industry today. I know so many girls my age now cast through Instagram, being ion brands and such.”

You’re doing a great job, not only creating your

following but an authentic image. Is there a secret you would share?

rather than having a vision for

“What I’ve learned from doing

the model you’re looking for.

this for so long is that I used

I think that’s the backward

to care so much about every

sense of it, but we’ve never

single thing I posted and

been more connected and

make sure it was perfect.

had more opportunities in

Over time, I wanted my Ins-

other terms. Anyone can go

tagram to represent myself

on Instagram, and their life

and who I am, a different

can change.”

person from what Instagram portrayed. I started to make it

meetings is definitely a new

Would you say social me-

way of doing things.”

dia is the biggest challenge to breaking into the indus-

F A D DY Mag

Creating a great social media

considered for your brand

everything. Having zoom

“I would agree with that.

sent clothing items from fash-

all who introduced a new

“Yeah, I mean, just through

try today?

more artistic and reflect who I am on the inside. Since I took that notion, I found all these

WINSTON PARKER opportunities.”

Someone might roll their eyes hearing that you’ve been “doing this for so

long.” But you have been modeling since you were

five-years-old. Do you worry about becoming jaded in the industry?

born, I was an actress. I al-

You accomplish that with

ways loved putting on a show,

ease. What’s next for Parker

taking on a role. I think it’s my

Winston?

favorite way to cope through

“I’m going to keep on acting.

art. Acting is my favorite and

always has been. I can’t really do modeling without acting. I think with every shoot and

piece of clothing, I take on a character, and that reflects through my photos.”

That’s definitely what drives me at the end of the day. I

have a short film out that I

just won an Actor award for,

and I have a song coming out probably by the end of this

month. I’m just trying to keep

myself busy and working, and

“I’m not worried about

becoming jaded within the industry. I mean, there’s

nothing better than personal rejection like this. Since I was five, I’ve been torn apart by

We’re obviously living in

yeah!”

a very different time due

to Covid-19. How has this affected the modeling industry?

casting directors for this and that. It’s a difficult industry to

“Many of my photoshoots are

become jaded in, especially

now put together via email di-

with so many opportunities.”

rectly rather than going in for actual castings. They’ll have

I understand you’re a triple threat: model, singer, actress. Did you pursue a specific path first, and the others just came to fruition, or did you always want to do it all?

me send in photos, profiles, and so on. I just wish the “me” from seven months ago could see me having a photoshoot with everyone wearing a mask, everyone staying apart. I don’t even know what that girl would think. We’re all just trying to stay as safe as possi-

“Literally, I was a model first.

ble and do a great job.”

But I think since the day I was 41

Faddy Stories

s e i or

When Nigt falls photography by

ROCIO SEGURA

Photographer Rocio Segura @Rocio_segura_photography Models Natalya Piro @natalyapiro Elena Sartison @elenasartison Creative Director, Producer and Stylist Candice Solomon @candicesolomonstyle Hair Niko Weddle @Nikoweddle using Moroccanoil @moroccanoil Mua Marc Cornwall @marc_cornwall Nail Artist Misa Matsumura @http.misam 1st Assistant Stylist Helen Wiley @been_to_helen_back Assistant Stylist Holly Pan @hollyhpan A special thank you to Candice Solomon dear friend Al Tapper for his glorious Park Avenue Penthouse

When Night Falls

Model NATALYA PIRO: Beaded Gown and embroidered cape by NAEEM KHAN @naeemkhan Crystal Chandelier Earrings by ERICKSON BEAMON @ericksonbeamon

Model NATALYA PIRO: Beaded gown and Embroidered cape by NAEEM KHAN @naeemkhan Crystal earrings by ERICKSON BEAMON @ericksonbeamon <- on the left page: Model ELENA SARTINSON and NATALYA PIRO: Beaded cocktail dresses by NAEEM KHAN @naeemkhan Model ELENA SARTINSON: Head piece & earrings by ERICKSON BEAMON @ericksonbeamon

Model NATALYA PIRO: Golden Jumpsuit ELMADAWY NEW YORK @elmadawynewyork by FLYING SOLO @flyingsolonyc Gold Runway Crystal Chucker, Gold Runway Crystal Cuff and Signature Asymmetric Flower Ring GEORGINA HERRERA @georginajewelryofficial by FLYING SOLO @flyingsolonyc Model ELENA SARTINSON: Flower Crystal Jumpsuit by AUGUSTO MANZANARES @manzanaresny Yellow leather bondage Cuffs by ERICKSON BEAMON @ericksonbeamon

Model ELENA SARTISON: Smoky Crystal Chain Leotard by AUGUSTO MANZANARES @manzanaresny Crystal Ear Cuffs by ERICKSON BEAMON @ericksonbeamon <- on the left page: Model NATALYA PIRO: Beaded gown and Embroidered cape by NAEEM KHAN @naeemkhan Crystal earrings by ERICKSON BEAMON @ericksonbeamon Model ELENA SARTISON: Smoky Crystal Chain Leotard by AUGUSTO MANZANARES @manzanaresny Crystal Ear Cuffs by ERICKSON BEAMON @ericksonbeamon

Model NATALYA PIRO: Black Velvet cascading ruffled gown by CD GREENE @cd.greene <- on the left page: Model ELENA SARTISON: White lace gown by NAEEM KHAN @naeemkhan Crystal earrings and Jet Victorian bib by ERICKSON BEAMON @ericksonbeamon Model GUETCHA: Latex Bodysuit BLACK LICKORISH - Skirt DELISE’ ANA - Boots 803LIFE - Belt UPSTREETKID - Hat GLADYS TAMEZ MILLINERY

F A D DY Mag

Model NATALYA PIRO: Crystal DressÂ by ERICKSON BEAMON @ericksonbeamon Shoes BLONDISH by FLYING SOLO @blondishofficial @flyingsolonyc

Model NATALYA PIRO: Crystal DressÂ by ERICKSON BEAMON @ericksonbeamon Earrings CAPRICE DECADENT @capricedecadent by FLYING SOLO @flyingsolonyc -> on the right page: Model NATALYA PIRO: Black Velvet cascading chiffon rufflesand jet crystal straps by CD GREENE @cd.greene

Model NATALYA PIRO: Black Velvet cascading chiffon rufflesand jet crystal straps by CD GREENE @cd.greene Shoes PER FIDEM @perfidemleather by FLYING SOLO @flyingsolonyc

Model ALEXIS SHEREE: Dress DELISEâ&#x20AC;&#x2122; ANA

K I

wanted to bring the art of perfumery back to the pedestal, drawing on it to its most authentic truth; the way the

perfume was composed between the late nineteenth century and the beginning of the twentieth without giving up on adding a personal and contemporary touch Kilian Hennessy

ilian Hennessy exclusive interview

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y B I A G I O D E G I O VA N N I

Can you tell me a little bit about the

the simplest way to create a perfume. I

brand, can you describe it in 3 words?

wanted to go back to the 50’s and 60’s, when base notes were more important.

Heritage

Woods, Resins, Musks or Leather notes

Nightlife

make a perfume last longer. By focusing

Eco-luxury

on those base notes, perfumes with depth were created, which became my

You come from a family of illustrious

olfactive signature. The funny thing is

Cognac makers and producers, can

that I grew up with some of these base

you tell us if this has influenced your

notes like vanilla and wood. The sugar in

career and your love for fragrance

the alcohol of the cognac, the wood of

and how?

the barrels: familiar territory.

After my studies, I did a nose school

Before obtaining your degree, you

in Paris. As soon as I started smelling

wrote a thesis on the semantics of

raw materials and essential oils, I fell

perfume, in search of a common

in love with Perfume. When I started

“language” between gods and

in the industry, perfumes were mostly

mortals. You then remembered

composed around top and heart notes:

the “share of angels”, a story from

F A D DY Mag

build your brand? What lessons did

pushed you towards the world of

you take away from working with

perfumery. Can you tell me a little bit

each different fragrance house and/

more about this fascinating story?

or what did you think was missing there?

I believe that there are many similarities between creating a fine perfume and

I worked over the last 10 years in

creating a fine cognac. They are both

different groups for different brands,

complex creations, with many layers

always as a creative director designing

each of which develop over time – be

new scents. None were making me

it in a barrel or on the skin. It is true

very happy because it was too far from

that, in some way, my fragrances carry

what I felt a great perfume should be.

my childhood memories of the sugar

Before making the decision to start my

and the alcohol and the wood of the

own company, I was actually about to

cognac barrels. Remembering the

go work in fashion. I was really ready to

«angels’ share» as part of my heritage,

leave the perfume industry. One night

I was led into the world of perfumery.

I stopped by the Baccarat Museum in

The «angels’ share» is what the House

Paris. At that time they were exhibiting

of Hennessy calls the percentage that

one century of perfume in Baccarat

evaporates from cognac cellars, like an

bottles, and that’s when I realized the

offering to the gods.

level of craftsmanship and the attention to detail…it was gorgeous. It just felt

You’ve worked with some of the most

so right in terms of luxury feel. It felt

prestigious Perfume Houses in the

like this is what the customer should

world: Christian Dior, Paco Rabane,

deserve. The next day I canceled my

Giorgio Armani and Alexander

appointment with the fashion designers

McQueen; how has working with

to start my own company.

other houses helped you set up and

I feel terribly proud of what has been

Fragrances

your childhood, and it was this that

KILIAN HENNESSY accomplished so far but we are

tell me more about the link

Your fragrances are refillable.

nowhere close to where I want to

between fragrance and these

Could you tell me more about

be.

accessories?

your vision of sustainability

and its role within the brand?

You stated that “A luxury

The world we live in is so image-

To me, a favorite perfume is

product should boast in its

driven! In a way, what you cannot

bought only once and refilled for

DNA and genes the ability to be

see does not exist in today’s

life. All KILIAN perfume bottles are

handed down from generation

world. I always had the fantasy to

infinitely refillable by an easy-to-

to generation. True luxury

make perfume visible. I started

use vial system, sold separately

cannot be disposable!” Could

by housing my perfume bottles

and in reduced packaging since

you expand on this?

within a clutch. Because the

the launch of KILIAN thirteen

chances were that, if a woman

years ago.

True luxury should never be

is wearing my clutch, she’s also

Travel Sprays are also endlessly

thrown away, it should be

wearing one of the perfumes in

refillable. Reduced-packaging

passed on from one generation

the collection. Now you can buy a

glass vials can be quickly slipped

to another. All KILIAN bottles

KILIAN fragrance separately and

inside and switched up to have

are refillable, all boxes/cases

mix and match with the clutch of

one’s scent meet the mood,

are reusable as jewelry boxes

your choice.

season or travel destination.

or evening clutches making the

Makeup was in my mind for quite

We optimized our packaging to

brand a true statement of “eco-

some time as my goal has always

reduce our carbon footprint by

luxury”. When a customer buys

been to offer women beautiful

sourcing European suppliers.

a KILIAN product, they can keep

weapons of seduction and strong

While less waste and a lighter

it for their lifetime. I like the idea

shields of protection at once.

carbon imprint are the result of

that a woman comes to me for

And frankly, along with a great

doing things a little bit differently

beautiful luxury scented products

Scent, a great lipstick are the two

from the start, we understand

that she knows she will keep

strongest weapons of seduction a

that the gesture is small relative

forever. True luxury SHOULD last

woman can have!

to what remains to be done

forever.

We wanted to expand the brand

and the future evolutions of

into another category but keeping

the beauty industry in view.

Beside fragrances, your brand

with something I know how to do.

Sustainability—especially in the

offers a variety of different

The creation process to create

context of our unique approach

other accessories (carafes,

a scented lipstick is not that

to packaging already in place—

clutches, travel sprays as

different to creating a scent.

is an area where the brand

well as lipsticks); can you 64

F A D DY Mag

seeks constant self-revision and

HENNESSY KILIAN improvement.

I love so much wearing fragrances

of liquor in oak barrels that lifts,

that I actually have a wardrobe of

while aging, like a silent offering to

How did you see Kilian Paris

scents. Depending on my mood,

the gods.

evolve over the past ten years?

the way I am dressed, the season

Roses on Ice is the result of a

As mentionned earlier, we

etc. My favorite one right now is

first-time collaboration as well,

entered the makeup industry.

ANGELS’ SHARE…no surprise as it

this time with perfumer Franck

In addition to perfumes. I am

is my most personal yet

Voelkl. I wanted to recreate the

focusing more and more on

tasting of “Hendricks gin on the

makeup. And especially for the

What about your recent launch

rocks” with a splash of lime—

lips and the eyes. Because they

in October (The Liquors)?

recalling my wife’s favorite drink.

are women ultimate weapons of

What’s the inspiration behind

Roses on Ice opens with the

seduction.

the two fragrances and their

aquatic freshness of cucumber

We have strengthened our

packaging?

and the aromatic uplift of

engagement to sustainability

juniper berries, creating an icy

through new designs and creation

Angels’ Share is the result of

sensation, rounded in an accord

process, which was already since

my first-time collaboration

with voluptuous Rose Centifolia.

the beginning in the brands DNA.

with French perfumer Benoist

Upon a drydown of sandalwood

We opened beautiful stores

Lapouza, the fragrance contains

and musk, the scent expresses

round around the globe, recently

essence of Cognac derived from

the sharp—yet deeply infused—

we implanted the brand in China

the liquor to lend it a natural

character of gin consumed in its

with a stunning boutique in

caramel color. It opens with this

ideal.

Shanghai and Hong Kong.

cognac oil, upon a blend of oak

The Liquors perfume flacons are

And last but not least, we just

absolute, cinnamon essence and

trompe l’oeil objects reminiscent

launched last October a fifth

tonka bean absolute, the scent’s

of art deco barware. Styled

olfactive family named The

long-lasting notes of sandalwood,

as a speakeasy essential, a

Liquors, with the launch of two

praline and vanilla make for a

weighted glass engraved with the

new scents: Angels’ Share and

delicious finish. This is perhaps

emblematic K motif to throw and

Roses on Ice.

my most personal fragrance

catch light at all angles, finished

creation yet, inspired by my

with a golden, diamond-shaped

Do you wear a signature scent

olfactive memory of the Hennessy

plaque signed in white serigraphy.

or do you often vary from a

cellars. This creation goes

fragrance to another, and

deep into its most mysterious

which are they?

dimension: “la part des anges” or “angels’ share”— the evaporation 65

1945, Lugano, Switzerland, Elena

F A D DY Mag

Freddy Koh Soy Tierra

Director and Photographer Freddy Koh @freddy_koh Assistant Alberto Velasquez Model Daria Pershina Mua Anastasio Tuz Styling Adrian pavia Alejandra Iruegas Art Eugenia Lagarde Location Dreams Natura Spa Location Producer Charlie Lontano

Earrings FERNANDO RODRÍGUEZ - Blazer VERO DÍAZ

Accessories FERNANDO RODRÍGUEZ - Blouse VERO DÍAZ - Jumper and cape ARY MARRUFO

Accessories PAJAROS DE BARRO, Cellection Guru - Trousers JACOBO SIN A

Earrings FERNANDO RODRÍGUEZ - Blazer and Trousers VERO DÍAZ - Dress PIÑA COLADA

Earrings FERNANDO RODRÍGUEZ - choquer PICHU - Blouse VERO DÍAS - Skirt VERO DÍAZ - Cape JACOBO SIN A

Dress ARY MARRUFO, FERNANDO RODRÍGUEZ

Accessories PAJAROS DE BARRO - Trousers JACOBO SIN A

Dress ARY MARRUFO, FERNANDO RODRÍGUEZ

Accessories FERNANDO RODRÍGUEZ - Blazer ARY MARRUFO

Accessories Fernando Rodríguez - Blouse ARY MARRUFO - Trousers VERO DÍAZ - Overshirt JACOBO SIN A

Accessories PICHU, Colecciรณn Guru - Blouse JACOBO SIN A

Earrings and Collar FERNANDO RODRÍGUEZ - Spouse Dress VERO DÍAZ - Over Dress VERO DÍAZ

Accessories PAJAROS DE BARRO - Blouse VERO DÍAZ - Spouse Dress VERO DÍAZ - Spouse Cape VERO DÍAZ

Accessories FERNADNO RODRUIGUEZ - Blouse VERO DÍAZ - Spouse Dress VERO DÍAZ - Spouse Cape VERO DÍAZ

"I love women and design clothing to enhance and empower individuality. I believe fashion is your conversation with the world... If so then speak with an individual and authentic voice" FREDERICK ANDERSON

rederick Anderson New York en noir

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

FREDERICK ANDERSON is a man who is endlessly creating himself How long have you wanted to be a designer? You know, it’s interesting, I think it’s a process. I started at the North Carolina School of the arts in their dance and music program. That was my first study. When I was younger, my mom would sew a lot at home, so I learned how to sew from her. I knew how to make patterns and how to sew things

What fashion influenced you the most growing up and how has that changed?

since I was a kid.. I also always sketched as a little kid, so to me, it was a natural process. Even though I started in a different artistic endeavor , I think all of it is the same genre. After I graduated I moved to New York to pursue dancing and singing but ended up going to FIT to take some classes. Then in 1997, I launched my first collection with my ex. I was… 27

images in my head, those silhouettes, and I think “that’s the freedom of movement” I look at the movie Hair once every couple of months. The idea that we have Individuality and the freedom that comes through that individuality. I think that message also comes through in my clothing. There is a progression of it, and you can see that even with the girls I use. It’s funny now that we’re in this time where people are scrambling and saying “oh we need to use a black model or an Asian model”. And, I am multi-ethnic, black, white, and Indian. So I take all of those perspectives that I have and use that in my design, so I don’t have to come up with a fake influence. I grew up in a multicultural society and a very middle-class family; I had a kaleidoscope of influences.

Wow! When you said you would sketch as a kid, what was it that you drew? People? Objects? People. You know, I think I just always loved people. Because I was a dancer, I learned about the sensuality of the body and the shape of the body. So I felt it was the natural next step to begin dressing the body. A lot of dance was transforming your body into many shapes and controlling your body movements, so because I spent so much time thinking about the body and the movements of the body, and how things fall on the body and how it feels. I like wearing things that move with the body. I think it makes sense that I create the clothes that I do. Sometimes I look at them and think that I’m dancing again. It truly is a part of my history. As a woman, I appreciate clothes that move with my body instead of against it. Exactly. Clothes were meant to drape and contour the body, which is something that I still believe in. A lot of people now are into this “flat” idea of looking 106

very athletic, which I think is kinda giving up. It’s a harder process to dress the body. To create these shapes that flow on the human form, that’s the fun part, and also the art of it.

F A D DY Mag

You know, it’s funny, I’ll always be influenced by the 70s, which was the decade I grew up in. My first memories were of the 70s, so I always have those

I think that is so cool that your influences are really based on the ‘70s because it’s kinda come full circle. Like the cultural revolutions happening now were all too similar to the ones that were happening then. The influence of my spring collection was this exact concept. It was called “Hindsight is 2020”. Which is what happened in the ‘60s and ‘70s is what is happening now and what a pivotal moment we are in our society right now. We have to ask ourselves, “Is this going to change us? Or are we doomed to repeat the past? I hope something different happens this time. We

have to put in the work. Before 2020 I always remember thinking, “I want to live through a historic event, my life is so boring” and then this happened and… Yes! It’s not fun! It hurts. It’s a learning moment. You have to explain to people on their grounds for them to understand what’s happening around them and why the movement is important to be a part of. Exactly. There is so much going on. What do you think is lacking in women’s design and how could it be changed? I think it’s the thought pattern. We need to think about the way women are feeling. We have to stop thinking of them as objects and start thinking of them as people. I always think of it more like., clothing helps someone in their mood because your clothes are your conversation with the world before someone has even met you, they have sized you up based on what you are wearing at the time! And so with that idea, clothing is a conversation. Every day we have a conversation about what we put on. Some days I’ll wake up and feel horrible, and then I’ll put on my favorite shirt and my entire attitude will change. We all do things like that, and that’s proof that it influences your mood. One of the best examples of this is a client that I had- her story was that she had breast cancer when she first saw my clothes, and she told me “when I’m done with this, I’m going to buy one of your dresses”. And she did! She came back and bought it. She wears it all the time. That is so beautiful. That to me is transforming. That is what it’s all about.

Yes!! Tell me about the moment you knew you couldn’t do anything else but design. The moment when you knew you couldn’t go back. So, the collection that I launched with my ex-lover, it was so successful so quickly, that we didn’t even have time to think! We just had to start producing and creating that we had no time to process what was happening. I remember later one night we were talking, and we both realized “Oh my god, we’re actual designers”. It was probably 2 or 3 years later when we realized it. We hadn’t even had 5 minutes to stop and think about it! I think becoming a designer was always a process, and I’m still in that process. The design process doesn’t ever stop. Once you stop thinking, I can’t imagine what you would produce. I always only think of myself as “other versions of Frederick” and I look forward to the future ones! I never stay still. I’m always pushing myself because I’m aware of what moments mean to me. All of that should affect your clothing. There is going to be so much joy in my clothing next year because things are looking up. Optimism breeds profit. People are hiding from themselves because they’re uninspired. How did you come to meet Candice, our Senior Fashion Editor? We have been friends for a long time in and out of different phases of our lives, and we’re all still on our journey, and the connections that you make on that journey are like your chosen family after you’ve left your own. Speaking of community and family, the way new york felt this weekend felt like a breath of fresh air. Everyone was celebrating. I felt like I could finally breathe again. It was beautiful.

Fashion does permeate every part of our lives. 107

GEORGINA HERRERA Choker at Flying Solo

NORMA KAMALI black bathing suit - GEORGINA HERRERA choker and cuff at Flying Solo - SARAH PALMER shoes

LOVE MOSCHINO red dress - SOLOMEINA cuff at Flying Solo

Photographer Petros Kouiouris @petros_koy Designer\stylist Frederick Anderson @frederickanderson_designer MUA Romero Jennings for MAC cosmetics @romerojennings using: #89 Megastar eyelash, Dazzle shadow liquid /Diamond crumbles PowderKiss liquid lipstick, Clear Lip Glass, Flashing Ice highlighter/ Frosted Firework Hair Jenni Iva Wimmersteidt @ivainsane using: Bumble and Bumble @bumbleandbumble Models Veronika Collins @versace.ve with new icon models NY @newiconny Irene Bueso @irenedenisee with Hyphenate Management @hyphenate.management Lionel Hudson @king.leeu with Hyphenate Management @hyphenate.management Producer/Senior Fashion Editor for FADDY Magazine Candice Solomon @candicesolomonstyle Photo assistant Leiber Alvarez @leijan25 Assistant Stylist and Faddy Magazine Team Assistant Helen Wilkey @been_to_helen_back 123

ANTHONY PETO

Anthony Peto was born in London. He began his career in the English capital as the editor in chief of an art magazine and party planner. It was in the beginning of the 80â&#x20AC;&#x2122;s, time during which he settled in France, that his love for hats grew. He founded his atelier in the center of Paris, gathering all the necessary craftmanship to insure a qualitative, handmade and innovative production. His main goal: create fashionable and esthetic hats that are easy towear and comfortable. His first collections were dedicated to masculine shapes such as the fedora or the top hat. With time, he decided to take a more artistical and freespirited direction: feather wigs, cut out hats, oversized hats and unusual materials, while still keeping more traditional and day to day shapes. Anthony Peto has now a worldwide distribution and has three flagship stores, two in Paris and one in Dublin, where Anthony has been living for several years now. His inspirations come is a mix between English eccentricity and Parisian elegance. The range of colors reminds us of the Mediterraneanâ&#x20AC;&#x2122;s warm tons. Often requested by entertainment professionals or hat lovers from all around the world, Anthony Peto counts among his friends Jacques Audiard, Christian Louboutin, Mathieu Chedid, Justin Timberlake, Joey Starr and many more.

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EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y A N N E Y S A G A I L L E

Anneysa Gaille: I’d like to start by asking about

AG: How has your perception of the psychology of

what inspired you to become a chapelier.

hat making developed over the years?

Anthony Peto: That’s an interesting question

AP: Well, I started in the eighties and the eighties

because I think at the time it seemed like an

were far more exuberant era than we’re in now for

accident. Before I started doing hats, I was editing

all kinds of reasons. So, I think the people in that era

an art magazine in London. Then I moved to Paris

were basically partying, having a good time, showing

and started this business more or less on a whim. It

off, and having fun. I don’t think that they were too

just seemed like a fun thing to do, and I didn’t really

concerned about what they were expressing as long

think I would take it very far. I thought maybe it

as they’re expressing something. I think that now I

would just be making hats and selling them on the

feel it’s more important to express the personality

market or to friends. But it took off really quickly.

of the person than just to go out there and be out

So, I would say that on one hand it was an accident.

there. So, I think, yes, how I perceive the psychology

On the other hand, I think it’s something that is

of hat making has become more focused in that

probably innate in me. I had an aunt, Judith Lieber,

sense.

who made handbags. So, in the family we have a string of people like her who make things, and

As far as the average hat wearer is concerned, a lot

I think that I’ve always been attracted to making

of people are very shy. They want something that

practical things, not art. Art is an activity, and I

they could wear that will maybe not attract too much

would rather make something that people use

attention and is easy to wear, but little by little by

in their daily life. Maybe because I don’t think I’m

offering more choices, you can persuade them to go

worthy of being an artist. I don’t know; I don’t want

a little bit further to wear something that really will

to go into that. So, it happened, and I eased into it,

attract attention—but in a good way—and will make

but I think it was always meant to be.

them feel comfortable at the same time. That means working with the customer. I’m finding something that

What I really like about hats is the closeness to

they can wear and really want to wear. So, in terms

the face and the fact that a hat will do a lot for

of the actual customers, I think what I understand

the psychology of the wearer by expressing their

about what people want has developed quite a bit.

personality in a way that I don’t think any other item

Obviously. I mean, I’ve got more experience than

of clothing can do. You can accentuate qualities

when I started out.

that a person has, or dig up qualities a person didn’t know they have; you can express elements

For example, there was a jazz musician who came

of fantasy within someone’s personality. A woman

into the shop. He used to play on stage and he was

can put on a hat and suddenly she’s almost Greta

quite shy and didn’t really want to move around on

Garbo, or something like that. I’m exaggerating,

stage and attract attention to himself. The other

but there is this whole aspect of hat wearing that

people in the band said, “Go and get a hat. Maybe

I don’t see with shoes or other accessories, and

you feel differently.” So, he came to us and we found

the psychology of hat wearing is something I find

him a hat that expressed a totally different aspect

endlessly fascinating.

of his personality. I can’t remember what it was. It 125

Anthony Peto in his workshop

126

F A D DY Mag

In the hat shop

127

ANTHONY PETO might have been the top hat or

all these métiers: flower makers

the only hat makers. I mean, we

something like that. On the way

making flowers out of silk and

are the only hat makers like that

out, he danced out of the shop.

other materials, embroiderers,

in central Paris, but there are

That’s an extreme example, but

and so on. And these are all

plenty of hat makers around.

a hat really can change the way

different métiers which could

We’re not pretending we’re the

you think and feel. That’s what

have been made extinct by now

only people who know how to

interests me most about hats, I

because the cost of making

make a hat. But there is no school

think.

everything by hand has gone up

where you can learn how to be

so much in Western Europe. So,

a hat maker, making men’s hats.

AG: Yeah, it is truly

really what we’re doing is creating

There are plenty of schools where

phenomenal how one change

a kind of bubble in which these

one can learn to be a milliner to

can shift your entire outlook.

different métiers can exist, trying

make women’s hats. When I say

Something that I believe

to find a market for them and

women’s hats, I mean the fine

contributes to the powerful

training people. Many people

detail of the women’s hats, not

effect your hats have on

wouldn’t normally go into these

the hat itself; so, that’s something

their wearers is the amount

jobs—and certainly wouldn’t if

that is learnt all the time. But

of care invested in their

they didn’t exist. You have to find

the actual making a men’s hat or

construction. Your workshop

someone who is very dedicated

blocking a men’s hat on those

in the heart of Paris’s 2nd

and a little bit different from

French presses and so on, there

arrondissement near your two

other people who wants to put

is no school where you can learn

Parisian boutiques has been

their life in the direction of a very

that. So, we have to teach people.

described as a step back in

niche area.

And there are certain other things

time, and you are known for

128

that we do in the workshop that

your dedication to keeping hat

So, usually what happens is

we have to teach them, and I

making traditions alive. Why

that a big company like Chanel

don’t really see how they would

is conserving traditional hat

or Hermès who needs these

learn otherwise unless we taught

making methods important

different métiers will come in and

them, though perhaps it does

to you? How do you think this

probably buy up the companies

happen in another country. But

commitment contributes to

making things like silk flowers,

I’m talking about in Paris.

how the people who wear them

for example. That’s how they

feel?

survived, but we’re independent

AG: How long does this training

and haven’t been bought up

process take to complete?

AP: Well, across the whole of the

by anybody. So, it’s up to us to

What does it consist of?

fashion spectrum in Paris, there

preserve tradition, but we’re not

F A D DY Mag

In the hat shop

129

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F A D DY Mag

Parisian Workshop

131

ANTHONY PETO AP: Well, if you’re talking about

you can trust. They give, you

AG: Has living in Dublin

what I’ve just been saying,

know, certificates for everything;

affected your design process at

blocking hats on the French

you visit the factories or wherever

all? Have you found that where

press can be learnt fairly quickly

it is that the products are made.

you live significantly alters the

if the person has an aptitude for

And you stop using people when

style of hats you produce?

it. They have to have a mixture

there’s ever been an issue of

between an artistic sense and

any sort. It’s a constant process

AP: In a big way actually, yes. I

a very practical sense—sort of

because you could always be

was born in London and moved

halfway between a mechanic and

surprised. You have to be very,

to Paris in the mid- eighties. I

an artist. So, they have to have

very vigilant.

lived there until maybe ten years

that mixture of qualities, and if they are really good at it, they

One of the issues around hat

we opened shop in Dublin here,

can start making hats almost

making at the moment is that

which, unfortunately we have had

immediately. But really, to have

you want to be able to use more

to close because of Covid. But we

the proper skills, I would say 3 to

and more synthetic materials.

will be reopening. What was very

4 years.

A lot of people who are vegans

interesting to me is the difference

don’t want anything that has any

in attitude between the women,

AG: Something else that comes

animal product in it. However,

particularly in Dublin and in Paris.

to mind when I’m thinking

some people don’t have an

Now, Parisian women have a

about these more traditional

understanding of what counts

reputation for being extremely

processes and the concept

as an animal product and what

chic and being the best dressed

of slow fashion are the high

doesn’t. I remember, for example,

and so on. But actually, they’re

standards not only for the

dealing with a customer here in

quite conservative. They’re very

quality of materials used,

Dublin. He was vegan, and he

concerned about looking how

but also for the methods

wanted a hat. So, we made him a

you should—comme il faut—

by which said materials are

hat. Then, he said asked if there

and they’re rather concerned

sourced. How do you approach

were any animal products used in

about people staring at them or

the process of selecting and

the hat, to which we responded

thinking they’re ridiculous in any

sourcing the materials from

that there were none whatsoever;

way whatsoever. So, they don’t

which your hats are made?

then he said, “Well, can you put

like to go out on a limb, and it’s

some feathers in it?” So, you know

a little bit frustrating sometimes

AP: Overseas, but by working

there is a humorous side to it as

when you want to push them

with the suppliers because the

well.

into something that would make

suppliers have to be people that 132

or so ago. About five years ago

F A D DY Mag

them look really fabulous, but

PETO ANTHONY they won’t go there; whereas, in

be the eccentric side or a

say, more classical hats versus

Dublin, that’s not the case. A lot

willingness to not always be in

one of these less traditional,

of Irish women are quite feisty

the best possible taste; whereas

less inhibited hats such as

and they really don’t care about

on the French side—particularly

the one composed of a star-

people think—they just want to

when you have customers

spangled crescent moon or the

have a nice time and look good.

from Southern France—more

bejeweled felt crown, do you

It’s very refreshing, and that has

exuberant colors come in. One

approach the design process

encouraged me to push what I

of the things that I noticed while

differently than when you

could do a little bit more and to

showing my hats in America was

are designing, for example, a

make more extravagant hats.

that people were not sure if they

fedora?

And, funnily enough, some of

were for men or women because

that’s rebounded in Paris a little

they were so colorful. American

AP: No. The classic hats come

bit because some of those hats

men, if we’re talking about men

from two things. Firstly, the show

that I’ve created for Dublin have

now, tend to wear colors that

season: we show in Paris Fashion

been sold to Parisians.

are quite uniform: maybe khaki,

Week; we show at Pitti Uomo,

maybe a dusty brown—those

which is in in Florence for the

AG: So, would you say that your

kinds of colors. Whereas I, you

menswear; and so on. We know

experiences in Dublin have

know, often go with reds and

we have a certain demand for

contributed to your decision

purples and all kinds of stuff

classic hats. That’s something that

to offer many of your hats in

like that. So, I think color for me

is just one of the basic elements

a wide range of alluring hues

is a way of expressing yourself,

of our business, and we are

that can be chosen for the

not only to the shape of the

always trying to bring it up to date

material of the hat or even the

capital city’s colors. And as far

by introducing little touches that

silk flowers perched upon the

as Dublin is concerned, I think

will make a classic shape fresher.

band and crown? How do you

that the Dublin men are a bit

But, of course, they’re also more

decide which colors to offer for

shy—compared to the women,

extravagant things. For example,

each hat?

anyway. They probably wouldn’t

that moon you’re talking about

go for those more vibrant colors.

was for a fashion show we did

AP: Well, I think that what I

So, unfortunately, not. But Italy?

here in Dublin. So, if you have

would say about colors is that

Yes. South of France? Yes. And

an occasion or some particular

it reflects my position, really,

probably some places in South

reason for wanting to express

between being born in England

America.

yourself, you create hats to fit

and having lived in France for so long. The English side would

those moments and you leap at AG: So, when you’re designing,

any occasion you can to do that. 133

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Parisian Workshop

135

ANTHONY PETO never sell it, you do because of

Of course, the other thing is that

that moment in which someone

AP: It should, but it doesn’t. I

there are certain seasons like the

walks into the shop and responds

think we have enough hats that

racing season in Ireland or even

to it. Unfortunately, that is also

people can wear under present

big social events that will spur

why this is such a grim period

circumstances, and I hope the

you to make different kinds of

because those kinds of hats

second wave doesn’t go on so

hats. Sometimes you just want to

have no purpose at the moment

long that we need to produce yet

have some beautiful hats for the

during Covid. People are only

another Covid collection. I think

shop window or for photographs.

going to buy hats now for when

you have to be optimistic in life.

We do a lot of work with many

they are going on a walk to buy

I’m preparing for the time when

photographers and stylists who

their essential purchases at the

the whole world would explode

are always thinking, “Oh, yeah,

pharmacy or the food shop or

again! We will be going out

let’s do that.” And you never really

whatever. Though when Covid

partying and saying, “God, I can’t

worry about who’s going to buy

first started, people in places

believe that actually happened!

them—maybe no one will. Maybe

like the UK and Ireland used to

Actually, maybe it was just a bad

they will. I think that’s one of the

have hat parties or dressing-up

dream or something.” I want to be

greatest things, when you make

parties during the first lockdown.

ready for that moment.

something that you don’t think

At these parties, they would

anyone is going to buy and then

photograph themselves wearing

AG: I think that’s a good plan—

they do. That’s the most fantastic

hats and all kinds of stuff like that

hopefully people’s visions for

feeling.

on. Additionally, for the horse

a “roaring twenties” that were

races in Ireland, people are still

present at the start of 2020 will

AG: Yes, it’s quite moving when

having the same dressing-up

safely come to fruition sooner

someone responds positively

competitions and being judged

rather than later.

to a genuine externalization

like they would if they were

In addition to the less

of your inner creativity—

present at the race by sending in

traditional hats and more

particularly when you aren’t

photographs.

traditional hats that we have

sure if anyone is on the same wavelength.

136

been discussing thus far, you AG: So, would you say that

also have a couture range

Covid has affected your

of hats, Atelier 144. Can you

AP: Yeah, because in a way it’s all

creative process just because

describe what sets these hats

about connection, isn’t it? A hat is

of what kind of hats you think

apart from the other hats you

pretty personal. And even when

your customers want or what

make?

everybody has said that you’ll

events are going on?

F A D DY Mag

Photographer Daniel Holfeld - Stylist Roxanne Parker

ANTHONY PETO AP: Anthony Peto, the brand itself,

for miniscule, hand-painted

Alexander McQueen’s nephew,

started out as a men’s brand,

dots. Are there any artists

Gary McQueen. He shows at

and although it has now become

with whom you would like to

this gallery as well. So, it’s a very

unisex, the shapes are essentially

collaborate in the future or are

interesting mix of people. If we

those that traditionally would

currently working with?

can do something together, it

have been seen as being for men.

138

would be fantastic.

So, we’re talking about fedoras,

AP: Yeah, but of course! We

caps and so on. Atelier 144 is

currently have a project which is

AG: That would most certainly

completely different: it’s far more

on hold at the moment. I don’t

be fantastic. I also think that it

orientated towards what we call

know whether it will happen

is fantastic that despite the fact

military. So, we’re talking about

or not, but there’s a gallery in

that you are obviously busy

handmade, hand sewn, you know,

London called Runway Gallery.

employing your hat making

with decorations and so on—

You have a lot of very interesting

skills creatively through these

more for special occasions. Or, if

artists there who are working

collaborations, you also find

they’re for every day, they’re more

between art and fashion. I have

time to utilize those skills for

elaborate and don’t conform

discussed collaborating with

philanthropy by participating

to this idea of being a kind of a

some of these artists with the

in an annual fashion show

unisex hat. We’re trying to make

owner of the gallery. We’re talking

to help raise money for the

the sort of hat that people would

about some of the people who

National Maternity Hospital in

expect to find in a really nice hat

show there like Pam Hogg or

Dublin. What made you decide

shop in Paris. You know, you go

this is incredible artist called

to participate in this event? Is

to Paris and decide you want to

Pandemonia, who’s very tall

philanthropy something you

buy a hat. This is the kind of hat

and always wears this sort of

would like to focus on more in

that Atelier 144 all about. This

wig made out of balloons. It’s

the future?

kind of hat is not just a fedora—

absolutely crazy, and it would be

not that there’s anything wrong

fantastic to do something with

AP: The reason why I did that was

with fedoras. It’s just something

several of those people. But at

because they sought me out.

different.

the moment, I can’t really because

When you’re making anything,

it requires an event to launch

you’re always being sought out

AG: Speaking of creating

it. We can’t do this virtually, you

by charities who will ask you for

something different, in the past

know? I mean, I have so many

things, and I always help in any

you have collaborated with

people I want to collaborate

way I can. What I want to work

Noj Barker, a British abstract

with. There’s a great queue of

on the most is homelessness

painter with a predilection

people. One of the people is

here in Ireland. I’m trying to seek

F A D DY Mag

Photographer Daniel Holfeld - Stylist Roxanne Parker

ANTHONY PETO ways of doing something that

previously we would try to look

concept of how you express

is meaningful. I haven’t quite

at opening more shops—maybe

yourself with hats. For example,

worked it out yet because it’s a

somewhere like Milan or perhaps

a lot of people have hats on the

huge problem here and there

even in the States—but there’s

wall but don’t wear them; they

are a lot of people involved who

been such a complete reversal

have a huge hat collection, but

are trying to help in all kinds

of shopping habits. So, I think

they’re just hanging on the wall

of different ways. And yet the

that the idea of opening another

like paintings. We use hats a lot

problem just doesn’t go away

shop at the moment would just

in decoration, too: when we’re

here, it seems insuperable. So, I’d

be too daunting quite frankly.

making windows, when we’re

like to make some contribution,

Regardless, even if I don’t know

designing the merchandizing for

whether that would be towards

what the future has in store for

the shop, and so on. I don’t think

the housing itself or feeding

us, I believe there will always be a

that hats have to be worn it all.

them. I don’t know what it will

real role for the physical hat shop.

I think a hat can be a beautiful

be yet, but this is something I’m

Having the experience of coming

object in itself. So, having hats in

looking at.

into the shop and trying on hats

a gallery is a very interesting idea

is rather fun. If you have time, you

that I would like to explore.

AG: It’s great to hear that this

can spend as much time as you

is something you are keeping

like trying everything on, talking to

AG: Is there anything you wish

in mind as you move forward.

other customers and so on. This

someone would have told you

Are there any other sort of

cannot be replicated online. So,

when you started exploring

ventures you see yourself

I think having physical stores is

the hat making world and

pursuing in the future with

really important. But I am not at

began your own hat making

your hats or different stores

the moment thinking of opening

endeavors?

and kinds of spaces in which

any more, though I do want to

they would be exhibited, such

open another one in Dublin when

AP: Well, it would have been good

as galleries?

Covid is over.

for me to have done a business course, probably in fashion

140

AP: Well, at the moment, it’s

Galleries are a different matter

business, you know, so that I

not a good time to ask these

because I think if you can

would have understood how to

questions. I mean, it’s a fantastic

participate in any artistic event,

structure a fashion business.

question and I wish I could

as I was saying earlier, it’s very,

But having said all that, whatever

answer it in a more positive

very stimulating for me and

I would have learnt back then

way. But at the moment, we’re

stimulating for the people I work

would not be valid now. I mean, at

just trying to survive. However,

with. It also expands the whole

the moment, we are just learning

F A D DY Mag

PETO ANTHONY on the hoof and working it out.

say to myself that I will work out

just an abstract thing. I wasn’t just

how to do it. But I do touch wood.

making hats and then sticking

I also always wished that in the

So, I think that confidence comes

them in the shop, hoping that

early stages I had had more

from experience inevitably. But

shopkeeper would report back.

confidence in myself. If someone

it’s not just confidence—it’s this

I was seeing it for myself and

had just told me to do what I

whole business of really not

having fittings, asking them to

want and believe in myself, that

caring what other people think.

come in with their outfits trying to

would have been a very good

It’s too easy to say when you’re

adapt the hat to suit the outfits,

thing. I think that sometimes

in the fashion business, “What

saying “Let’s do this color,” and so

people think, “Oh, I can be quite

if they don’t like it?” You mustn’t

on. Working with them is a huge

good, I could be a reasonably

worry about that. You have to say,

difference, I think.

good hat maker,” but that’s really

“I don’t really care if people like it

not the right approach: you need

or if they don’t. I want them to like

AG: Do you frequently work on

to set out to be a really, really

it. But if they don’t, I’d rather have

customizing hats for clients?

fantastic hat maker and not be

tried it than not tried it.”

too modest.

AP: Yeah, I do. I really like to AG: Is there a moment you can

do that because that’s how you

Unfortunately, modesty is a

pinpoint when you became

learn, first of all, what people

quality which I think is a very

more confident or stopped

really want, and, secondly, you

attractive quality in people.

caring as much about what

get so many ideas from people.

But it doesn’t really help you

people thought, or is this an

Sometimes a customer might

very much when you’re in the

ethos you’ve had with you the

suggest something, and you think,

fashion business. It takes a lot of

whole time?

“God, why didn’t I think of that?”

confidence and perseverance.

You know, it’s a self- collaboration

Malcolm Gladwell said that you

AP: Wow, that’s an interesting

thing. There are a lot of things

need to have 10,000 hours of

question. I think that probably

being said at the moment about

continual work before you can

it’s really when I started to make

office working and how it’s

be successful or something,

hats in Dublin because I spent a

necessary in order to exchange

and I think that’s true. I have

lot of time in the shop and could

ideas. I like to exchange ideas

much more confidence in myself

see with my own two eyes the

with people because I can give

now because I have so much

way women reacted to trying

them but I can also get something

experience. You know, I’m not

these hats on. And I realized

from them. This happens in the

thinking, “Oh, my goodness. I

then that it was something that

workshop too.

don’t know if I can do that.” I just

connected with people. It wasn’t 141

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Photographer Daniel Holfeld - Stylist Roxanne Parker

143

ANTHONY PETO If there’s a hat we’re working

idea—just a top hat that has

what they are looking at has been

on—we have quite a few at the

gone wonky. It’s like the Tower

created by someone who knows

moment—I send a drawing in

of Pisa. So, basically the crown

what they’re doing.

and it can come back looking

is being put in at an angle and

pretty awful, just terrible. So, of

the brim is straight and it looks

It’s like the difference between

course, that’s a little discouraging.

terrible. It looks like it’s just badly

looking at a good painting and a

But of course, you know in

made, but I’ve worked out how

bad painting: if it’s a good painting

yourself that if you just work at

to make that hat look really

and you’re not quite sure about it

it long enough, you’ll transform

fantastic on through different

but have confidence in the artist

that awful thing into something

angles. When you get that sort of

and spend time looking at it, its

absolutely fantastic. This process

“aha!” moment, that’s when you’ve

craftsmanship will slowly sink in;

involves discussion with the

created something that you

if you can see it’s a bad painting,

people who are making them,

wouldn’t have been able to do

you won’t even bother to. It’s a

and some of it is just a matter of

had it worked out properly in the

little bit like that: you want to give

putting a drawing to the side and

first place because you have to

the impression straight away

sleeping on it before looking at it

correct the ugliness. I don’t know

that you knew what you were

the next day and fiddling around

if that makes sense, though.

doing as a hat maker, and then

with pencil. Then, all of a sudden,

the person will see that. So, the

you’ve got it. But sometimes you

AG: Yeah, definitely. It reminds

chaos aspect of it is a little bit

have to go through that process

me of Anne Carson’s idea about

frightening because you don’t

of making something that’s pretty

how the friction generated by

really want chaos, but you have to

ugly to get to something beautiful.

the tension between chaos and

go through it to get to order.

cliché can be used to develop In some ways, the beauty comes

something that’s truly new—or

AG: How long does this process

out of the ugliness because

at least somewhat refreshing.

of working both through the ugliness and with the hat

you’re trying to use the ugliness

144

to make something that’s new.

AP: Yes, I think that’s another

makers usually take? Does it

The ugliness in something can

way of expressing it. Chaos is

just vary from hat to hat?

be transformed, and beauty

something that you want, but

that comes through ugliness is

you are so frightened of because

AP: It should happen quite

more original than beauty that

you’re trying to create order in a

quickly. I would say 24 hours.

just comes from classic ideas

way. You want something that is

Once you put it aside for too long,

of beauty. For example, I’ve

striking but which still puts the

you probably will lose interest in

been working on a very simple

viewer at ease because they know

it. I like to solve the problem as

F A D DY Mag

PETO ANTHONY quickly as possible, to be honest.

regardless of said restraints

investigate the materials and so

So, usually if I have a bad day

in mind? Or do you just let the

on. You know, things like that. It’s

with a hat, by the following day, I

ideas come to you?

different because it’s driven by

have solved the problem. I have

necessity and is a more practical

to solve it because it upsets me. If

AP: Usually, what usually happens

approach.

I haven’t got it, then I move on to

is that you have your ideas at

the next one.

odd times when you’re doing

AG: When you’re initially

something completely different,

designing the hats, do you

AG: How often do you come up

and then you just have to take

use something like graphite

with new ideas for hats? Is this

them. It might just be something

that does not involve colors

something you work on daily?

very simple, like the way a

outside of the greyscale, or do

shadow falls across the lawn or

you work with vibrant colors

AP: Oh yeah, definitely. Every day

something. It could have nothing

even while you’re still in the

I have three or four ideas, but

to do with what you might wear.

sketching phase of design?

not all of them will see the light of

It could be a picture of a bird—it

day because there are only seven

could be anything. You just have

or eight people in the workshop

to remember it. And at that point

AP: I recently bought myself an

at the moment and they have

you don’t know what you’re going

iPad Pro, and I use the pen on

orders to make as well as shops

to do with it but you know you

that. I can draw very well with it—

to stock. A lot of hats need new

are going to do something with it.

easily rub something out or add

physical blocks so they can be

Then, you sit down and you start

colors. It’s perfect.

made, and that takes a lot of time.

to draw, which is when the idea

So, there’s a limit on how much

comes.

AG: Would you say that moving to digital drawing has made

can be made. You can’t make everything you have an idea for.

However, there is another way of

your creative process more

You have to commit to just do

doing it—particularly when you’re

effective?

the best ones, or maybe the most

doing a commercial collection—

commercial ones.

when you sit down and you think

AP: What it’s done is that it’s

about what we actually need

made it a lot easier for me to

AG: Interesting. When you sit

for a certain collection. What’s

think about what’s wrong with

down to work on your ideas,

missing? Do we need more rain

a hat because I can correct it

do you have those restraints

hats? Are people wearing wider

more easily on the iPad. It’s also

or even a general idea of what

brims again? Do we need more

made communicating with the

you would like to work on

floral patterns? Then you start to

workshop easier. Obviously, if 145

Photographer Daniel Holfeld - Stylist Roxanne Parker

ANTHONY PETO I’m at the workshop and I have

it is easier to control who comes

be so wonderful to experience

a vision, when the person I am

in and out, although they have a

all that again because I think

working with shows me their

problem with the border in the

people were actually getting a bit

progress I can say, “yeah, but

North. The infection rate there is

duller anyways before Covid came

you should do that, and put that

really high. And of course, people

along. But mainly I would just

here,” and so on. That is easy.

go easily from the UK to Northern

like to go to my favorite French

But when I’m not there—I haven’t

Ireland, without quarantine. But if

restaurant, Le Petit Lutetia, and

been there since March—then I

I come into Ireland from London, I

have a really nice meal, some

need to draw it and draw on what

have to quarantine for two weeks.

wine and a glass of champagne.

they send me. So, that’s really

They can’t afford not to impose

the only way it has affected my

such regulations. It’s a small

AG: That sounds lovely. It’s

creative process.

country, and they don’t have

good to stay positive by

the resources of, say, the British

imagining the kind of future

AG: So, is this a practice

who can just throw money at the

you want to live in. Hopefully

that has developed since

problem. I think it’s really fantastic

people will start understanding

quarantine began? Is Dublin

that Ireland is taking it seriously.

the importance of social

currently shutdown?

I wish that other countries would

distancing and wearing a

have done it sooner.

mask sooner rather than later—especially in the States

AP: Yes, this is a practice that has developed since quarantine

AG: Me too. Is there anything

right now. I just really do not

began and Dublin is shutdown.

in particular you’re looking

understand the resistance to

The pubs are closed unless they

forward to once shutdown

wearing a mask.

serve food. Shops are closed

ends?

unless it’s a pharmacy or food

148

AP: Well, it’s a symbol, isn’t it? It’s

shop. You’re allowed to go

AP: So many things. Well, I think

not the mask itself. It’s become

within five kilometers or so of

that we might be lucky and

a symbol—a symbol of the

your house. I think it was the

may have the kind of mentality

election. You know, having a mask

first government in Europe that

we had after the World War

on or a mask off—what does

brought in a lockdown. They are

I when people went out and

that say about you? You don’t

pretty sensible here, I have to

really enjoyed themselves. For a

have to wear a red baseball cap

say. The intention is to be the

limited period, they just let it all

anymore—you just need to not

first country in Europe to actually

go. That’s what I would really like:

have a mask on.

bring it under control, whatever

jollity, fun, dressing up, music,

that means. Because it’s an island,

everything like that. It would just

F A D DY Mag

AG: Yes, definitely. Hopefully

PETO ANTHONY this election will go well and

of do themselves down. They

not I should continue writing,

things will calm down.

don’t want to seem ridiculously

if there’s any point to doing

vain or pompous. But that’s not

so, etc. But then I realize that

AP: Yes, you just have to believe

what they think. It’s just humor

none of those questions really

that good will triumph over evil—

used to make it palatable to

matter because I can’t stop

sometimes it just takes a while to

other people. Successful people

writing despite how unpleasant

do it.

always do believe that they can

and frustrating it can be at

be successful, which ties into

times.

AG: Yes—we have to continue

what we were saying earlier about

asserting our rights and

hat making. The same is true for

AP: Yeah, that must be very hard

trusting that eventually our

everything: you have to believe

work. I can imagine how hard

voices will be heard and justice

that you can do it.

constantly working on that is;

will be served despite how

actually, I can’t imagine it. It must

grim the horizon may currently

I was recently talking to a friend

be absolutely heartrending to

appear. I think that if you stop

who is a photographer about the

be a poet. I don’t suppose it just

believing something is possible,

egotism of the artist and how a

comes out? You’ve really got to

there is a chance that you

lot of artists are egotistical. But

work at it.

could become trapped in a self-

is it really possible to be an artist

fulfilling prophecy.

if you’re not? Do you know what

AG: I’m definitely trying to.

I mean? If you don’t believe in

Writing can be very frustrating

AP: This is the true American

yourself excluding the opinions

because there’s always a

philosophy, isn’t it? The power

of everyone else, then what’s

somewhat disheartening

of positive thinking? It has a lot

the point? You might as well not

discrepancy between the idea

of sense—you certainly won’t

bother—you won’t be able to

I have in my head and what

be able to do things if you don’t

do it. You have to believe you’re

ends up on the page. Do you

think you can do them. It’s fairly

special in some way.

feel something similar while designing your hats?

obvious. And I think that it’s not just Americans that believe it, but

AG: That’s a really interesting

Americans are more forthright

perspective. I suppose one

AP: Yeah, I do. But as far as I’m

in using that kind of language to

could say this also ties into

concerned, I have an idea of how

explain how they think because

what we were discussing

I want it to feel when I got this

they can’t tolerate any negativity.

earlier about perseverance?

thing right. So, I’m guided more by

Whereas, a British person uses

I’m a poet, so I often think

emotions than anything else. The

self-denigrating humor to kind

about things like whether or

actual technique is just a means 149

ANTHONY PETO to get into the emotion. I don’t

reading Ulysses here—they dip

dressing up—the three of them

know it’s the same with poetry. I

in and out of it. Anyways, I think

are trying to show off to each

presume it is, but I don’t know.

there’s a lot of poetry around in

other. It’s a fantastic photograph.

the language spoken in Ireland

And to me, it sums up exactly

AG: I can’t speak for all poets,

and the cadence in the way

what I was trying to do in Ireland

but I approach composition

people speak. Before I lived here,

as far as men are concerned—

as a means by which one

I was always trying to work out

bring back that sort of playful

can access—or at the very

what was behind what was being

approach, which I think got lost a

least gesture towards—an

said—whether they were being

little bit with the 20th century.

affective core. So, yes, I would

serious or joking, being rude or

definitely say that I am guided

being polite. I don’t know if you

AG: Are there any historical

by emotions and believe that

have met a lot of Irish people, but

figures in particular beyond

technical dexterity can help

they have this way of expressing

Yeats and Joyce who inspire

one access them.

themselves which is quite unique.

you?

It’s taken me a while to get used

AP: Would you consider James

to it, but I love talking to Irish

AP: Well, not really: I’m more

Joyce to be a poet?

people. There’s nothing else like

interested in my idea of people

it. What Joyce does is take the way

rather than anything based on

AG: Though the distinction

normal people speak and make it

any kind of reality. So, a lot of

between poetry and prose

into art, you know? But it’s based

the people that might inspire

is becoming increasingly

on what people are like.

me could be fictional figures.

destabilized and I am not

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You know, they could never

sure how effective such

This idea of the slightly dandyish

actually walk the earth. But now

distinctions are, I do think one

Irish poet—which is a very vague

you mention it, I think that yeah,

can consider Joyce as a poet—

idea in my mind—is something

I quite like some of the people

though his work is presented

that I think about a lot. Over the

actually from not that far back.

and categorized as prose, he

counter in the shop we had in

approaches language with

Dublin, there was a black and

Popstars in the sixties used

what one might call a very

white photograph of W. B. Yeats

to wear hats with complete

poetic eye and ear.

as quite a young man wearing a

irreverence, and I find that quite

hat. On one side of him is a little

inspiring, the way Mick Jagger

AP: He’s very, very big in Dublin…

girl. On the other side is a little

used to wear a hat, for example.

although I’ve never actually met

boy. They’re all wearing hats,

You know, sometimes they would

anyone who’s ever finished

but they are kind of showing off,

wear women’s hat and look really,

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Photography Hsin-Hua Lee - Styling Charline Prat - Make up Angela Illiano - Model Olya from Agency Mademoiselle

ANTHONY PETO really good in them. To a lesser

ago, and they asked us to make a

process, I think.

extent, I liked the way Bob Dylan

hat. If you look at photos of her,

wore hats. It’s just that the way he

she’s always wearing a big felt

But having said that, I do

did it was less interesting. What

hat. So, we made that, and then

remember once going around the

I really like is that androgynous

they put it on sale in the shop

Uffizi and thinking, “My goodness!”

approach because it breaks

and so on. But I think a lot of

You just can’t go around the Uffizi

boundaries—like Brian Jones

appreciation of Georgia O’Keeffe

without being blown away by

wearing the sort of hat that

is not just her art, but her as a

Botticelli, for example, however

women would wear to church,

person, what she represented.

many times you may see it.

wearing the most ordinary thing

So, I think there’s an interest

But I’m not just talking about

and making it look really very cool.

in what she wore as well. It’s

Botticelli. I’m talking about other

That’s catnip for me. It makes me

difficult to imagine her without

paintings there and the way

think, “okay, how can I get some

the hat on somehow, you know?

Renaissance women would wear

guy to wear a hat like that? Not

So, I was really happy to make

flowers in their hair and so on.

the same hat, but something

that hat and feel like I’ve made

I must have been influenced by

similar, and look really good in a

some contribution towards the

some of these paintings. So, there

way he never thought he would.”

appreciation of her art.

are one or two hats which I would say definitely came out of that

AG: That’s great. I think that

AG: Would you say that the art

visit to the Uffizi. But that’s not

how something is worn can

you’re interested in informs

because of the artist, it’s because

make a huge difference.

your hat designs?

of what’s in the art. It’s not quite

And a lot of times what

the same thing. Flowers are a

we wear is perceived to be

AP: Probably not, actually. To be

massive cliché. They can look

an externalization of our

honest, I think it’s two different

really trite and old fashioned. But

interiority and personhood,

worlds. Obviously, you need

if you do it the right way, it could

particularly if you’re in the

to have your eyes trained by

be sumptuous. And that’s what

spotlight like those popstars

looking at art. You know, the

you’re looking for—how to make

whom you mentioned. Though

more you go around museums

it sumptuous.

I suppose in that case the how

and look at art and try to absorb

becomes more of a who.

a work of art, the more your eye will understand what creates

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AP: Yes. There was a Georgia

harmony, what does this or what

O’Keeffe exhibition at the Tate

does that, how you can create

Modern in London a few years

a certain effect. It’s an indirect

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Photography Hsin-Hua Lee - Styling Charline Prat - Make up Angela Illiano - Model Olya from Agency Mademoiselle

Photographer Daniel Holfeld - Stylist Roxanne Parker

Photographer Valentin Fabre - Stylisme Charline Prat - Make Up Axelle Jerina

A self-described Glamour Evangelist, Dita Von Teese once started a list of all the reasons to buy beautiful lingerie and ended up writing six pages. With a refreshing, down-toearth perspective, the Queen of Burlesque shares some of the stories that led her to this moment in time.

ita

Von Teese

Photo by Eric Brumfeld

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y L I N D A A R RO Z

How did the Dita Von Teese name came about? It was a happy accident. I was working in a strip club. I didn’t have any dreams of grandeur. I didn’t know that someday I would have to trademark my name. I was going by the name of Dita. There wasn’t anybody living at the time that had created this kind of career. Bettie Page, Gypsy Rose Lee, Sally Rand, they are all gone. Can you imagine if you had to choose a burlesque name now, when there are thousands of stars around the world? All the good names are taken. I landed a Playboy spread and I had to choose a last name. So, I found Von Treese in the phone book. During an interview, the journalist from Playboy magazine said, “Your name is calculated and contrived.” I remember arguing for Von Treese. And then when the article published, they had gotten the name wrong. I called them up to request a correction of the spelling and getting nowhere. And so, I thought, “Oh well.” I was 22, and it was my 15 minutes of Playboy fame. You openly speak of your days as a stripper. What was that like? I was working in a department store during the day, selling make up and lingerie. But I love to work, so, at night, I’d go to the strip club and dance from 6:00 pm to 1:00 in the morning. There was a golden age for strip joints during the 80s and 90s. Women were making tons of money to perform and no one was recording them with a smart phone. You got a paycheck and had health insurance. Performers were making good money, partly because men could still claim entertainment at a strip club as a business expense! I met really smart strippers; they were serious about it as a career. A lot of those women were stripping to pay their way through college. A few advised me to, “save your money.” One stripper gave me a book about investments. She told me if I just saved 15% of everything I earned, it would add up. I have to say I got better advice from those girls 162

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than I’ve gotten from other adults. What does it feel like to take your clothes off in front of people. I wanted to be a ballerina and studied ballet when I was younger. I was cast in “The Nutcracker” ballet. We were a bunch of teenagers and would have to change into our costumes in front of each other. Our ballet mistress would scream, “there is no time for modesty in ballet!” Stripping is dancing. So, my years of ballet helped me feel at ease with my body. Dance is all about using your body, and I was always in front of the mirror to see how it looked when I moved. The only times I think about nudity and being concerned with my body is when I have to pose for a photograph with a bunch of people on a fashion shoot. Often the lighting isn’t flattering, and I feel selfconscious. When I’m creating a Burlesque show, I get to control all that. If I’m not creating the performance, I’m out of my comfort zone. Burlesque is a place where you can create an illusion by controlling the atmosphere with lighting and costume. You’re friends with the enigmatic corsetier, Mr. Pearl. How did you two meet? I’ve always loved wearing a corset. I love the way clothes and corsets can be used to accentuate and manipulate the body. I’d heard about Mr. Pearl, he’s legendary for the work he’s done for Thierry Mugler and Jean Paul Gaultier, but he’s very elusive. Hamish Bowles from Vogue magazine called me. He wanted to do a story about corsetry. So, we did a photo shoot at the Ritz in Paris with Mr. Pearl and it was love at first sight. He brought me violets and we got along famously. Then he made a corset for my wedding and it started from there. Whenever I had some money to spend, I would commission a corset from him. When Jean Paul Gaultier asked me to walk in his shows, Mr. Pearl and I became good friends. He doesn’t give interviews, he just wants to make beautiful things, he only makes a few corsets a year.

Photos by Eric Brumfeld

DITA VON TEESE No one in the world can do what he does, he’s a master embroiderer, and nobody can even come close to creating anything similar. They’re exquisite works of art. He’s had protégés, but it doesn’t last long because they don’t have the focus or dedication to the symmetry and perfection of corsetry. When he’s gone, that degree of corsetry is finished. The idea of Dita Von Teese, as a character, reminds us of a classic Hollywood film. Typical themes featured strong female characters who wore beautiful clothing. Do you have a favorite film?

I really enjoy the 1940s era movies, they’re spectacular for the sheer beauty of technicolor. I feel about them the same way kids are connected to cartoons, for the fantasy and escapism. During the forties, there was the war, and patriotism, and the films from this period were often full of dance and song. It’s those films that made me fall in love with Betty Grable and Carmen Miranda. I love to read autobiographies and when you read about Betty, you find out that nobody ever said anything bad about her. Whether someone is singer or an actor, you can get

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an idea about them. She had an impact on me and has remained my favorite film star forever. But a lot of those films have do have some problematic scenes. It’s interesting to notice how far we’ve come.

Lingerie can transform the way a woman looks as well as the way she feels about herself. Fabric, comfort, fit and shape are all part of the formula for intimate apparel. Your lingerie collection is a big success, tell us about your philosophy.

Growing up, I was fascinated with my Mom’s collection of lingerie. I told myself that when I was older, I was going to have pretty lacy things too. Lingerie is a rite of passage to womanhood. I never really equated it sex or wearing it just for a man. My relationship with lingerie is about the beauty and femininity of it. Once, when I was a teenager, I worked in a lingerie store. My Dad saw my black lace lingerie hanging to dry in the bathroom. He was so mad, he kicked me out of the house. I didn’t understand it then. Over time, I started collecting vintage lingerie, I adore peach vintage satin pieces too. But lingerie is one of the reasons I started posing for pin-ups in

the early nineties. It’s timeless, sophisticated, elegant, and erotic. Can you share some of the creative process for designing these confections? First I find shapes that fit. Bras are my specialty. I come up with designs that translate into a shape that women like to wear. But the number one thing is choosing lace and trims that look expensive. I cancel lace that looks cheap. I don’t usually like to use stretch lace, but it’s not easy to sew lace that doesn’t stretch. When I’m looking at a pile of laces that are affordable, I seek out the ones that look rich and expensive. Sometimes I find one I like that looks fabulous in one color but cheap in another. I do a lot of jewel tones in the green and teal space. I’ve had to fight for that. In the beginning, retailers refused to order green lingerie. Finally, they gave one style a chance in green, and now some of my best-selling pieces are in these colors. One of my signatures is velvet. I use a lot of velvet trim for bows and straps. Lingerie made in the 1930s featured velvet touches, the interiors had velvet bits here and there. Another brand signature is my six-strap garter belt. Most garter belts have four straps and

VON TEESE DITA they are frivolous, they aren’t functional. My six strap garter belts, based on vintage styles, have become relevant, and popular. Bloomingdales says I singlehandedly changed their garter belt sales because mine actually work! I love wearing stockings. They make more sense than pantyhose. I can’t tell you how many times I’ve ruined an expensive pair of Wolford panty hose or tights just putting them on and getting a hole in them. You can buy two or three pairs of stockings and if you get a hole in one, you can just replace one of the pair. You get a run in a pair of panty hose and they are useless. And stockings are so much easier to wear. Plus, if you get a run in a stocking, you can spray some perfume on it and leave it in someone’s pocket. That wouldn’t be quite a sexy with a pair of pantyhose!

While it may seem like your lingerie business is an overnight success, you’ve had to overcome some challenges. What have you learned from that experience?

We started the company 12 years ago. We were doing really well. But four years in, my investors suddenly filed bankruptcy. I

discovered first-hand that filing bankruptcy is used by many businessmen as a smart move. So, my associates came together, and they quickly formed a new company. We managed to get all the existing stock and hold our own in the marketplace. I personally reached out to our buyers, like Bloomingdales and Nordstrom, to ask them to please not give away my floor space. It was a very stressful time and a hard lesson that I could never have anticipated. But we managed to keep our people together and the business intact. Right now, during COVID, we’re seeing our smaller retailers doing well, people are now choosing the smaller retailers. It’s an interesting shift. Share with us some moments in your journey to transform into a burlesque star. I was living in Paris around 2006 or 2007 and starting to get noticed. At the time, I was a brand ambassador for Cointreau and Perrier. France had embraced me, I was more known in France than the US, and I definitely felt like I had arrived. All the years of hard work were paying off and I was living the dream. Once upon a time, I used to have cut-out copies of prints of my

favorite paintings on the walls, and now I own the originals. I feel very grateful, but I always feel like I’m struggling. Honestly, it’s never been an easy feat. What’s a typical day like for you during COVID. My normal day is mostly taking care of my existing brands. Since my world Burlesque tour was canceled due to COVID, and insurance doesn’t cover the loss, this year has been a definite upheaval. I’ve had to rethink things, especially in terms of my team and the people who were counting on the tour. About a year ago, we started filming a documentary of the tour. The documentary covers the arc of my career over a period of three years. We filmed in New Zealand and had plans to film the tour in Europe, but COVID got in the way. We had sold-out shows booked at the London Palladium and the Folies Bergère in Paris. Last year, we filmed the process of creating the show, along with the New Years’ Gala I do every year. We’re now getting back into it, picking up where we left off, but it’s not a good idea to rush a documentary. We want to capture the exciting stage moments in other countries, so we’re not in any hurry to finish. 165

DITA VON TEESE So many night clubs and restaurants have closed. I think about hospitality and entertainment, and all the dancers, performers, and restaurants workers who have lost their jobs. There has been tremendous loss during COVID, everyone’s taking a hit. I sit here and think, “what can I do to keep my employees.” I’m grateful for this year in a lot of ways. It’s made me see things differently. I’m paying more attention to the numbers and the behind the scenes of the business. Of course, I prefer to do all the fun stuff, but I like making sure that things are on the up and up. I’m also considering new projects now, because it’s always so easy to say no when you’re busy.

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I’m looking at all the projects I’ve always wanted to do. Before COVID I was so busy, it was hard to make writing another book a priority. I now have more time me to work on this book, it’s part of my legacy. I’m having some fun too, now that I have time, sorting through things I’ve collected over the years that have been stuffed into storage units. My assistant and I are selling some of these items on Depop. We stage the shoot; we dress the mannequin and write a bit about each piece. There’s a lot of sentimentality to the process. I can usually find a photo of me wearing whatever we’re going to sell, and I include a signed certificate of authenticity. DEPOP.COM/DITAVONTEESE

Are you still in touch with people you grew up with or do you find that your trajectory into super stardom prevents you from relating to your past? I was very shy when I was younger, but yes, I’m still in touch with my friend, Brooke. We’ve known each other since we were 14. Recently, I wanted to find my childhood friend, Alison. She went from having a unique last name to a common married name, but I finally found her on Facebook. It was fun to see how her life has unfolded. She was surprised to hear from me. When it’s safe to travel, I’ll go back to my hometown and visit her.

Photos by Albert Sanchez

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Photo by Albert Sanchez

Photos by Albert Sanchez

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Photo by Albert Sanchez

Le Turk

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orn in 1983, Le Turk,

of sets and accessories and

was first passionate

invents a world of cardboard

about drawing,

pulp in a very Meliès king

then he studied music and

of way. He tells us stories

composition at the University

through large colorful

and the Conservatoire of

productions, inspired from

Tours, France. He directs

Fellini movies, burlesque

an arts center in which he

theatres or paintings by

discovered photography in

Jerome Bosch. Quickly

2009. Quickly, he founded

noticed by the galleries, he

his photo studio and decided

exhibits his work from Paris

to live only by it, building

to Hong Kong, Belgium and

his own sets, with wood,

Germany. He creates the

cardboard, polystyrene,

visual campaign of ready-

paint, halfway between

to-wear brands where he

craftsman and artist. He first

keeps imposing his singular

transposes in his pictures

signature. New figure in

his dramatic desires and

French photography, Le Turk,

his pictorial obsessions,

with the release of his book

influenced by comics and

«Opera Mundi» in 2015 also

painting. From then on,

reaches a wider audience.

he’ve locked himself in his

Since then, he has shared

studio, sometimes in Leipzig

his time between his

- the german city of his idol

masterclasses where he likes

Johann Sebastian Bach -

to pass on his experience,

and sometimes in Sologne,

film projects around Georges

the French region of his

Méliès and a new photo

childhood. He dedicates all

series that will lead to a

his time to the construction

second book.

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rooke Shaden

rooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself

and becomes the characters of dreams inspired by a childhood of intense imagination and fear. Being the creator and the actor, Brooke controls her darkness and confronts those fears. After studying films for years in college, she realized her love of storytelling was universal. She started photography then in 2008, excited to create in solitude and take on character roles herself. Brooke works from a place of theme, often gravitating toward death and rebirth or beauty and decay. Ultimately, her process is more discovery than creation. She follows her curiosity into the unknown to see whom her characters might become. Brooke believes the greatest gift an artist has is the ability to channel fears, hopes and experience into a representation of oneâ&#x20AC;&#x2122;s potential. While her images come from a personal place of exploration, the goal in creating is not only to satisfy herself; her greatest wish is to show others a part of themselves. Art is a mirror for the creator and the observer . Brookeâ&#x20AC;&#x2122;s passion is storytelling, and her life is engulfed in it. From creating self-portraits and writing to international adventures and motivational speeches, she wants to live a thousand lives in one. She keeps her curiosity burning to live a truly interesting story. Self Description: Intensely anxious, powerful little creative soul. Favorite Memory: Flying into the sky before she lost her wings at the age of 5. Greatest Achievement: Starting The Light Space, a photography school for survivors of human trafficking in India and now Thailand. Greatest Fear: Whales. Favorite Book: Dune by Frank Herbert.

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artial

Lenoir

artial Lenoir, fashion photographer

In 2012, he began his series Les reflets du

and portrait painter, was born in 1971

désordre, which he closed in 2014 with the exhi-

in the Basque Country.

bition at the Galerie Schwab Beaubourg and the

He lives and works in Paris. He acquired his first camera, an RB 67 (medium format), in October

publication of the book co-edited with La Musardine editions.

2001. Today, he works for various magazines such as Graduated from the EFET school (École supérieure de Photographie et d’Audiovisuel) in 2003, he became an assistant photographer at Studio Daguerre in Paris, with photographers such as Nacer Messili, Gérard Harten and Francis Hammond. He won his first fashion tests for

Normal, Inked, Tantalum ... and collaborates with the Mise en cage and Maison close lingerie lines. His erotic and contemporary scenes have been sold at Drouot and are regularly exhibited in galleries. He is currently working on his new nude series When men are gone and Pure concrete.

the Metropolitan, Elite, Madisson and Success agencies.

Recently Martial published the Book ”No More Hiding” in which he brings together 5 years of

In 2009, he won an award at the Arles European Nude Photography Festival with his series La

photographic work around the body in natural light.

loge des rats. www.martiallenoir.com In 2011, he won the ILFORD film award. The same year, he exhibited his series Les Garçonnes at the European Nude Photography Festival in Arles at the Chapelle Sainte-Anne.

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nja

Van Herle

sudden flash of bright, vivid eyes. A toss of

ion design led her to a career in the arts. In 1987,

exquisitely styled hair and chic, oversized

she enrolled in Belgium’s prestigious Higher Institute

sunglasses with a touch of Swarovski crys-

for Art Education where she earned a Master’s of

tals. These are the timeless moments when we en-

Fine Arts in Painting. In 2003, Anja relocated to Los

counter high fashion, and artist Anja Van Herle has

Angeles, where she now concentrates on playful

caught them all and more in her remarkable body of

figurative paintings that combine a European sense

work mixing both classical and contemporary ideas

of high fashion with an American sense of wonder.

of fashion. Anja specializes in large-scale paintings

As timelessly chic as Audrey Hepburn in Breakfast at

featuring beautiful, idealized faces, often framed

Tiffany’s, Anja’s women are playfully sexy, and their

with elegant eyewear. “If the eyes are the window to

expressions and eyes tell stories that go far beyond

the soul, then glasses are more than just an acces-

the simple exhibition of fine fashion. In Anja’s mas-

sory; they’re an extension of one’s personality. The

terful hands, fashion becomes alive.

use of sunglasses in my work allows me to define my

“These women—they feel.”

subjects and infuse each composition with a vibrant juxtaposition of color.” Born in Belgium in 1969, Anja’s early interest in fash250

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http://www.studioanja.com/

Chain on You 38”x50”

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Call me Mellow Yellow 42”x42”

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Cancan 48”x48”

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Diamond Dreams 48”x48”

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His and Hers 48”x48”

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Orange Hush 32”x42”

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Don’t Tangle with my Angle 60”x60”

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Faux Fur for Her 42”x42”

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Zip It 36”x36”

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Girl Power 36”x48”

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Grace Kelly

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Progress Painting

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ELLE STREET ART

LLE’s work is evocative,

tall projection onto the facade of

borate with sportswear brand

alluring, lavish, outrageous,

the New Museum in New York.

Reebok. The brief was to take

purposeful and informative.

Vogue Australia featured ELLE’s

her energetic street style and

Although she began as an illegal

recent artworks in “32 pieces of

apply it to clothing. The result, the

graffiti artist in New York, ELLE is

Melbourne street art to see before

ELLExReebok graffiti legging and

now considered one of the top

you die,” and her graffiti is featured

subsequently, the ELLExReebok

touring street artists. “ELLE has

in the Tom Clancy video game: The

yoga capsule collection.

created some of the most memo-

Division. “She holds specific and

rable walls in all streetart” - Wo-

hard to find creative talent which

Within the New Nike Headquarters

men Street Artists, book by Xavier

cannot be taught nor replicated.”

in Melbourne, one will find a 40

Tapies.

The Taboo Group. Her artwork has

meter wrap around painting by

been published in dozens of books

ELLE. If in Berlin, one might see an

Her work has been exhibited in

on streetart along with hundreds

Augmented reality installation with

the prestigious Saatchi Gallery in

of online publications and articles.

Samsung, as well as a 5 story wall

London, Urban Nation Museum in Berlin, and as a two hundred foot

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along Gorlizer park commissioned ELLE was approached to colla-

by Berlin Mural Festival. She joined

Steve Aoki headlining in an Asics

Space for Sinners,” followed by a

“Brooklyn’s ELLE is at the front of

Campaign “I Move Me” speaking

joint Exhibition and painting of a

a pack of female street and graffiti

on how her creativity is inspired

large scale public sculpture with

artists clawing their way into what

by movement, and starred along-

renowned artist Judith Wierseman

has historically been a male-run art

side Dani Leigh in an episode of a

in Amsterdam at Vroom and Varos-

scene”.

Graffiti Artists x Rappers TV show.

sieau Gallery in 2019.

She touts a past global collaboration with Ikea, invitations to work

Elle finished 2020 by painting four

with Kanye West’s creative agency,

large murals for Ralph Lauren in

Curio, and more.

Tribeca NY, a 3,000 square foot painting at the base of the infa-

ELLE was invited to be Artist in Re-

mous Vessel structure in New York

sidence inside of the Rialto Towers

City along the highline, as well as a

precinct in Melbourne where she

four story high tribute painting to

had her first Solo exhibition in

Ruth Bader Ginsberg in the lower

Australia in December of 2018, “A

east side, NYC.

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