Faint Issue 02: Prince

MAGAZI NE FEBRUARY2011

ISSUE 02

PRINCE f eat ur i ng Al e j andr oCa v al l o/Gabr i e l l aDiMu r o/HansEr i c k s s o n/La ur e n Wi t hr ow/Mar t i nBi ng/Ca tPowe r/Dav i dKi ns e y/Na t h anPa s k Al e x and r eDubo i s/Lu c yEl ano rBr own/Le r i amGo nz a l e z Au s r aOs i p av i c i ut e/Cor wi nPr e s c ot t/Mat t h e wBu r g e s s

FAINT MAGAZINE

www.faintmag.com

ISSUE 02

“PRINCE” 10.02.11

CONTACT DETAILS:

Alexandre Dubois Faint Magazine Editor & Art Director editor@faintmag.com All General Enquiries: info@faintmag.com Submission Enquiries: submission@faintmag.com Advertise In Faint: advertising@faintmag.com

In this issue Alejandro Cavallo / Gabriella Di Muro / Hans Ericksson / Lauren Withrow / Martin Bing / Cat Power / David Kinsey / Nathan Pask Alexandre Dubois / Lucy Elanor Brown / Leriam Gonzalez Ausra Osipaviciute / Corwin Prescott / Matthew Burgess

ABN 74 276 062 403

FROM “POLARIS RISING” BY ALEXANDRE DUBOIS www.alexduboisphotography.com

Cover shot by Leriam Gonzalez Styling Mia Tucker Williams Model April @ RED Model Management

ORPHAN QUEENS

by Lara Jade Make Up by Megumi Matsuno Hair by Ben @ Gregory Dean Featuring Valeria @ Premier Models London & Nati @ Select Models London

R OYAL ROUGE

BY LE R I A M GON ZAL EZ ST Y LIST Mia T ucke r Wil l i a m s HA IR & M A K E U P Br i t t Co chr a n f e atu r ing Apr il @ RED M ODEL M ANAG EM ENT

THIS PAGE Blazer with chain detail RACHEL RACHEL ROY Leather panel dress (worn as skirt) SOCIETY FOR RATIONAL DRESS Headpiece ARTURO RIOS PREVIOUS PAGE Black Crown (Stylist’s Own) Coat (worn upside down) FIFTH AVENUE SHOE REPAIR

Force Jacket in Pinstrip VEDA Dress FIFTH AVENUE SHOE REPAIR Spring Cacoon Neckpiece in Silver (worn as headpiece) ANAIKKA

Corset H&M Roman Pant with Suspenders ANOTHER IMPORTANT CULTURE Villian Wedge in black suede JEFFREY CAMPBELL Faux Leather Trim (worn as bracelet) Stylist’s Own

Blazer VINTAGE DAVID HAYES Pant HUDSON Maharani Necklace in Gold Tone ANAIKKA Shoes CANDELA

Black Crown (Stylist’s Own) Coat (worn upside down) FIFTH AVENUE SHOE REPAIR

Bubble Phobia Collar in Silver Tone ANAIKKA

MILITISSA B Y A U S R A A U S I PAV I C I U T E

Featuring a wardrobe by

Ieva Daugirdaite and Dovile Cibulskaite Make up & styling IEVA Daugirdaite Faturing Justina @ PMST

( w w w . a o g r a p h y. c o m )

Roel wears Jacket BOSS ORANGE T-shirt BETTY BARKLAY Jeans DIESEL Hair-ribbon PATOUF Scarf (worn as belt) BENETTON Jack wears Vest And Shoes ACNE Shorts HOPE

TOO FAST FOR LOVE

BY HANS ERICKSSON STYLING Gorjan Lauseger HAIR & MAKE UP Pari Damani FEATURING Roel, Oskar @ Nisch Management Jack/ Stockholmsgruppen

WWW.HANSERICKSSON.COM

OPPOSITE PAGE Roel wears Zebra print cape VERONICA B VALLENES Pants JOFAMA Shoes SAND Socks FALKE Rings CK Necklace CORNELI Sunglasses YSL Oskar wears Hat ZADIG & VOLTIER Jacket and pants ACNE Shoes SAND Necklace VIVECA BERGSTORM Jack wears Top CHICK WITH GUNS Jeans WEEKDAY Shoes BOSS BLACK Bracelet DIESEL

THIS PAGE Jacket ACNE Tights JOSEFIN STRID Necklace CK Shoes PALLADIUM with NEIL BARRETT

Jack wears Shirt SAMSøE & SAMSøE / LEE Shorts NN07 Hair-ribbon ACNE Necklace MALENE BIRGER Roel wears Shirt LEVIS Vest PUDEL Jeans FILIPPA K Necklace THOMAS SABO Scarf (worn as belt) DIESEL Oskar wears Jacket PEPE JEANS Shorts REPLAY WHITE SEAL Short necklace CK Long necklace TEMPLE OF SPIRITED LIVING

From left Thick bracelet NEW YORKER Thin blacelet with skulls BJøRG JEWELLERY Bracelet CORNELIA Ring on forefinger THOMAS SABO Ring on thumb BJøRG JEWELLERY Snake ring BJøRG JEWELLERY Bat ring MARIA NILSDOTTER Necklace around wrist VINTANG Bracelet BJøRG JEWELLERY Belt DIESEL Tights SNEAKY FOX

Vest ACNE Jeans FILIPPA K Ring BJøRG JEWELLERY Necklace THOMAS SABO

Scarf RA-RE N ecklace MARIA NILSDOTTER

Jeans LEE Shirt RA-RE Cardigan FILIPPA K Belt MCS / SADDLER / RA-RE Ring BJøRG JEWELLERY

T-shirt ACNE Shorts MARC O POLO Tights SNEAKY FOX Scarf FRIIS & CO. Sunglasses EMPORIO ARMANI Belt SADDLER Necklace CORNELIA Bracelet BJøRG JEWELLERY

Shirt JOFAMA Tights SNEAKY FOX Boots MCS Scarf BETTY BARKLAY T-hsirt (worn on head) BOSS ORANGE Sunglasses YVES SAINT LAURENT Necklace TEMPLE OF SPIRITED LIVING

Jacket JOFAMA Short necklace COOEE Long necklace VINTANG Sunglasses ACNE

D DAVID KINSEY www.kinseyvisual.com Words and Interview

Tempe Nakiska

David Kinsey is the artistic voice of a generation.

He has listened, communicated and consistently inspired us to rethink and relearn our outlook on life.

Whether working on fine contemporary art for gallery exhibitions or using the street as his diverse canvas, Kinsey has used his distinctive style and understanding of urban culture to establish his longevity on the art and communications scenes. He has listened to many voices, and in turn those voices have provided scope not only for a lifetime of powerful artwork, but also for facilitating the escalation of these calls to a level at which social change can take place.

Kinsey formed BLK/MRKT with Shepard Fairey (OBEY) and Philip Dewolff in 1996, their understanding of youth subcultures forging the way for commercial communication to enter a new era. The brand

identities of Ezekiel clothing, Epitaph Records and DC Shoes were developed through BLK/MRKT visuals, leaving a sizeable imprint on the popular culture of today.

Aside from BLK/MRKT, Kinsey’s own work as a fine artist has always maintained a high level of continuity, whether inside the white walls of a gallery or while ambushing the urban landscape with characters and messages. His style is instantly recognisable from its honestly blunt portrayals of humanity, often through the dark depictions of world-weary men and beasts. Kinsey’s ‘Unlearn’ message is another feature, urging the world to question its values and look at life from a different perspective. The twisted characters that appear throughout Kinsey’s portfolio are often derived from the ‘Unlearn’ concept, inspiring their viewers to open their eyes to their apathetic environments, discover hope and communicate a need for change.

After living in Pittsburgh and Atlanta, you moved to California and started BLK/MRKT. What kind of influence did each different culture and environment have on you and how did it effect your work?

I’d say the biggest influence the various environments had on me was contributing to my interest in street culture—in Pittsburgh where I started art school, I became aware of and interested in graffiti and hiphop. Then I went to Atlanta to finish up school and started painting murals in nightclubs for extra cash, designing for rappers and record labels and experimenting with graffiti myself. I basically became immersed in the culture. When I got an offer to art direct in San Diego, it was a bit of a shock—sunshine seemed to have an adverse affect on the graffiti culture there, [laughs].

The street scene was a lot different—more skate and surf if you know what I mean. I started experi-

DAVID KINSEY

Woman In Repose

2010

menting with wheat-pasting about that time because it just seemed to work better there. I also started concentrating on my studio work once I got to California, although I think that was more about the timing than the location.

BLK/MRKT was founded after you said you observed a widening gap between the youth market and corporate marketing techniques. In what ways are you decreasing this gap, and how do you see the current situation?

Coming from our roots in street culture we felt we could reach out and grab an important portion of the youth market’s attention; basically reaching them on their own turf, and, in turn, effectively shaping trends. We basically convinced agencies and clients like Nike, Pepsi and Earthlink to allow us to implement our artistic voice while staying true to the core of the culture. And it worked. In the last decade, I think the advertising world in general has paid attention to the importance of a real vs. fake-sounding message when promoting brands and products, hiring creatives or consultants that are more aligned with the consumer than the average suit. Obviously some brands do it better than others. It’s always good to remember that no matter how well intentioned your product, the people you really want to reach are always going to be the most cynical.

Would you also say that you started BLK/MRKT because you felt the art and street art culture was being exploited wrongly by other commercial agencies?

Quite the opposite—we started BLK/MRKT because street culture in 1997 was being ignored in the commercial arena altogether even though there was a lot of energy building up in the youth movement; a lot of new art, music etc ... If anything it’s now being exploited, but that’s just a symptom of hype.

DAVID KINSEY

Mizaru, Kikaza

aru, Iwazaru

Do you consciously separate or differentiate the work of BLK/MRKT from Dave Kinsey?

I don’t separate the two. Sometimes though a design project requires a certain type of style and that’s when I become a chameleon. It’s nice at times to design something and not have to put my signature style on it—I enjoy that kind of anonymity and exploration—it’s always helped me grow as an artist.

Social issues have always been a strong element of your art—what makes you feel strongly about these elements of our world?

Engaging reality in an almost satirical way by offsetting all the mayhem in this complex world is my attempt to better decipher it. As far back as I can remember, I’ve always resorted to drawing as a means of inspecting and dissecting my view of the human experience.

A lot of your work is character driven. How do these characters impact upon or assist in the driving of your message?

I like to use the human form to communicate emotion through gesture, motion and expression—kind of exploring the way we can communicate without using words. I also like how the viewer can interpret that kind of imagery in a variety of ways. Sometimes I’ll create a painting that means something completely different to two different people than what I initially intended, and that’s an important part of what I want to do as an artist.

2008

Works like Black Diamonds and Mizaru, Kikazaru, Iwazaru seem to carry the theme of a lot of your work – dominated by world-weary or older and often grotesque men.

Is this inspiration derived from your view on masculinity, or of somebody in your life?

DAVID KINSEY

Black Diamonds

“Engaging reality in an almost satirical way by offsetting all the mayhem in this complex world is my attempt to better decipher it�

2009

I

mainly choose to paint male figures because of their multiplex faces and wrinkles that reveal a life-map of the pains and joys of living. I make up the people as I go; they aren’t based on anyone in particular, more of a representation of humanity.

You have become well known for your art in the urban landscape. How do the streets inspire or affect your art?

I’m moved by the textures of the street, the sad and bizarre nature of street people, and the ever-changing diversity of human life within the urban environment. Major metropolitan cities are great places to see humanity in all its glamour and grim diversity. I can’t help but have it inform my content and expression.

Street art also brings up the question of ownership of public space. With the situation rapidly changing in cities like London and New York, what future do you see for street artists and those inspired by street art?

This is a complex issue and can’t be answered in just a sentence or two, but I do see the role of street art changing for the better with the help of some truly talented people like JR who was recently awarded the 2011 TED Prize.

How have your inspirations and the issues or concepts that inspire your art evolved throughout your career? Where do you see your work and inspirations heading in future?

In a sense, I’ve become more in tune with everything in general as I’ve gotten older; art, nature, life. I feel that, more than anything, is shaping my art in terms of what I want to convey when I get in the studio. I’ve always enjoyed exploring new content and ways of interpreting ideas, so my goal is to continue to grow and evolve as a person and an artist.

DAVID KINSEY

Terminal Solopsism

2007

WATERCOLOUR

D R E A M S

BY L AU R E N W ITHR OW www.l aur e nwi t hr ow. com

S t yl ing L auren W ithr ow a nd Nata l ie Ge m pe l M ake up and Hair by L aur e n Wi t hr ow a nd Nata l ie Ge m pe l War dr obe pr ovided by Nata l ie G e m pe l a nd L a ur e n Wi t hr ow Photog r aphers a ssi sta nt I r i s Mo g l Featuring Mode l i s Nata l ie Ge m pe l

A G E S

O F

E N E R G Y

T H E U P S A N D D O W N S O F W H AT M A K E S U S G O

P H O T O G R A P H S

A L E J A N D R O

B Y

C AVA L L O

Fashion by Stella Gosteva Hair and Make up Pace Chen Featuring Laura @ Oxygen Models & Kara @ Oxygen Models Photography assistants Quincy Scott and Vincent Cui Production assistant Veronica del Valle

Music Review

C AT P O W E R Wo r d s b y N i k k i - L e e W i l l i a m s Photo courtesy of Steve Gullick

w w w. c a t p o w e r m u s i c . c o m

i

t’s an unmistakable voice. When Chan Marshall saunters onto the stage of the beautiful Melbourne Forum, alone- picks up her guitar and begins her smoky rendition of the Stones ‘(I can’t get no) Satisfaction’ the anticipation of an audience that has been growing impatient in an extended break is instantly sated. That voice fills every corner of this romantic venue, as she lingers on words and extends phrases, drawing the audience in and reminding us just what it is that drew us to her in the first place.

When her suitably laconic band joins her, notably the Dirty Three’s Jim White and Judah Bauer of Jon Spencer Blues Explosion I’ll admit I felt a little disappointed that we weren’t going to be treated to a more exposed Chan Marshall. But there is something about Marshall up there, surrounded by an instinctive and supportive group of musicians that settles that disappointment. As she sets her guitar aside, she begins to move about the stage with slight unease. But by the third tune, her haunting interpretation of Billie Holiday’s ‘Don’t Explain’ a more confident Cat Power takes hold and leads us into a set that surprisingly, given the emotional intensity of many of the tunes, is neither dark nor depressive.

They are delivered to us with an emotional maturity, with a more knowing and satisfied honesty than we may have had in her earlier years. The aching and almost mournful rendition of her tune ‘The Greatest’ set shivers running through my body. With it’s back tempo drag, it pulls you in and crashes to a stormy climax and leaves you totally exilherated. Followed by Eartha Kitt’s ‘Angelitos Negros’, the drama and beauty Marshall evokes with an almost desperate drawl is enough to leave you breathless. A perfect conclusion to the first set. But, where is the new material?

I ask you what it is you want from Marshall’s new album? And I guess that depends on when and where you found her. In recent years she has kicked the booze and seemingly, her own songs, in an exploration of more traditional genres- taking to covers with a southern blues/soul bent supported by a cream of the crop supporting band. Compare this to the Cat Power that we were first exposed to- an insecure and erratic performer who you were most likely to find playing her own delicate, stormy and splintered songs of aching love, pain and regret solo or with a very minimal crew. The last few years have definitely deviated from her original style, though that mysterious and alluring quality that is uniquely hers has not been lost in all of this. The first batch of originals since her 2006 release ‘You Are Free’ still maintain that uber personal, melancholic air- but it seems the structure and feel she has been playing with in recent times have given a new, and welcome inspiration to her song writing. That beautiful and soulful voice is thankfully, heading back to its personal soapbox and one thing I can say for sure, is that I’m not disappointed. Bring on another sound track for the romantic and weary heart, and please don’t spare the wisdom.

Chain-necklace VAARA CLOTHING Silk shirt ROBERTO CHIMENTI DEZANI

C AV A L R Y QUEEN

BY GABRIELLA Di MURO w w w. g a b r i e l l a d i m u r o . c o m

Stylist Martina Martiala S t y l i s t A s s i s ta n t E l i s a d e M a rc o M a k e U p Au ro r a A l l e g r a F e a t u r i n g S h aw n d a A n d e r s o n

THIS PAGE Jacket APRIL77 Skirt WALTER DANG Neckpiece VAARA CLOTHING OPPOSITE PAGE Vest (Vintage) Necklace (stylist’s own)

Skirt ANGELO LAPI Tube Necklace SILVIA BECCARIA Knitted cross necklace VAARA CLOTHING

crystal cocoon Photographys By

M AT T H E W B U R G E S S www.matthewburgess.net

Assistant Hannah Spence Hair and makeup Erin O’Brien Paper stylist Tarryn Handcock Stylist Greg Dennis Styling Assistant Emma Westblade Featuring James Varley @ Chadwicks, Kirsten Cameron @ Maverick, Evan Gilchrist

RE

BY M

Styling K

F e at u r Thomas H www .imm www.mar

all outfits & Romain B

EFLECTION A RT I N B I N G

Ken Crombez

ing Sverre Denis @IMM brussels Hoefnagels @IMM brussels mbruxelles.com rtinbing.com

s designed by Giuseppe Virgone Brau

GOLDEN SLUMBERS

FILL YOUR EYES

By Natalia Borecka Styling Melanie Norian Makeup Dianna Quagenti Hair Nancy Brown Featuring Tessa Morrissey

THIS PAGE Sequin Dress ALIVE + OLIVIA Cuffs ANTHROPOLOGIE Chain Ring CLUB MONACO Earning MONET Shoes BOUTIQUE 9 OPPOSITE PAGE Dress (worn as blouse) YOANNA BARASCHI Chain Skirt THEORY Bracelets LOW LUV by ERIN WASSON Ring LOW LUV by ERIN WASSON Crystal Wrapped Ring BANANA REPUBLIC Double Amber Ring (Vintage/Stylist’s Own) Shoes BOUTIQUE 9

Dress LANVIN for H&M Cuffs Vintage BRANCH Bracelet LOW LUV by ERIN WASSON

TESSA WEARS Gold Button-down Shirt RALPH LAUREN Dress H&M Shoes LAMB Cluster Ring BANANA REPUBLIC Chain Ring CLUB MONACO Necklace ABS

Gold Leather Jacket JUICY COUTURE Pants CLUB MONACO Headpiece (Stylist’s own) Chain Ring CLUB MONACO Cluster Ring BANANA REPUBLIC Cuff KENNETH COLE Woven Bracelet GP Italy

FA N T P L A S T I QU E

by Ausra Osipaviciute

Stylist MIMI.C / Milda Cergelyte B o d y p a i n t i n g a n d m a k e u p a r t i s t G R E TA B A B A R S K A I T E Featuring Indre Grigaliunaite@BMM w w w. a o g r a p h y. c o m

I NEVER KNEW HER NAME

By Nathan Pask www.nathanpask.com

Stylist Siouxsie www.siouxsiestylist.com Photographer Assistant Andras Bartok Photographer Assistant Amy Parton Stylist Assistant Jess Stewart Stylist Assistant Ksenia Lesnykh Make-up Sandra Bermingham Hair Sheridan Ward Featuring Hanna Paat @ Premier Model Management Many thanks to the Sanctum Soho Hotel, London www.sanctumsoho.com

PREVIOUS PAGE Pink Organza chemise ZAMBESI All in one bra and brief playsuit, (worn underneath) NICHOLE DE CARLE Sheer blouse PIERRE GARROUDI Fur coat and lace gloves (stylists own) Head scarf ATHENA PRECOCIOUS Purple spike collar MERLE O’GRADY Gold cuff NICHOLAS KING Tights MY TIGHTS Shoes NICHOLAS KIRKWOOD Black luggage MCM THIS PAGE Dress and button necklace PIERRE GARROUDI Black plunge playsuit (worn under dress) NICHOLE DE CARLE Earrings AMRAPALI

Silk watermark top ERDEM Pale blue buttons necklace PIERRE GARROUDI Cuffs JACOB KIMMIE PREVIOUS PAGE Dress ALICE PALMER Studded black shoulder dress (worn underneath) ELLIOT JOSEPH RENTZ Hat LOUIS MARIETTE Belt TOPSHOP Crystal necklace AMRAPALI Cuff RUTHI ORLIN Shoes GEORGINA GOODMAN

Stone asymmetric dress TOSHA Vintage lace dress (stylists own) Stone and crystal earrings AMRAPALI Spike bone gold and silver cuff RUTHI ORLIN Nude suede splash heels CHRISTIAN LOUBOUTIN NEXT PAGE Long black jersey dress MAISON MARTIN MARGIELA at Start London Neck piece (worn in hair) RUTHI ORLIN Black and crystal flower cuff NICHOLAS KING Earrings AMRAPALI Leopard print heels YVES SAINT LAURENT

DESIGNER PROFILE

{ VA U N T D } Photographs by Corwin Prescott w w w. c o r w i n p r e s c o t t . c o m

Amy Fries I n t e r v i e w e d b y T U L L Y WA L T E R

Hair a. fries Makeup Kempf Featuring Sera Errata

You’re SS/11 collection is titled NIST, What does this stand for? The print running throughout NIST reminds me of Jackson Pollock’s line paintings; do the visual arts inspire your work? Tell us about the philosophy behind the collection?

The name N I S T is taken from the last four letters of “Abstract Expressionist,” which is the inspiration for all of the pieces- Pollock was definitely a main contributer! Sometimes I think I’m just a frustrated painter. I’ve always loved abstract art, the highest of which to me are those modern masters (so far the looks are based on Lee Krasner’s Gaea, Jackson Pollock’s One: Number 31, 1950, his White Light, and his Number 7, 1950, as well as Willem de Kooning’s Painting). I was reminded of their work and the frustration I have with “white cube” galleries/museums when I saw Abstract Expressionist New York (running October 3,2010-April 25,2011) at the MOMA during the holidays. These paintings are so tactile in nature, so organic in their process, that it’s a crime that they can’t be touched. So I set out to make a line based on close-ups I shot of 5 works that would be inherently touchable- fashion, after all, is meant to be worn and felt and experienced. I printed out & analyzed the colors from each and then replicated them as closely as possible using latex sheeting as the base and liquid rubber that I custom mixed to the approximate colors as the detailing on top. Each dress took about two days to complete: the first to cut out and glue the basic pattern and apply the rubber (using a variety of tools like paintbrushes, screwdrivers, and my fingers), the second to combine the now dry pieces together into a finished garment and add the non-latex elements such as zippers, knotted rope, and fringe.

Why latex & rubber? Because it is the anti-thesis of the untouchable- it conforms to the wearer like a second skin, so close that it transmits body heat within a minute of being adorned. It is hot where paint is cold, it is alive where paintings

hung on a wall are dead. And while my mission is not to deride fine art, or put myself on the same level as acclaimed artists, I do think that this is a perfect example of how craft can be more meaningful than art. Because this craft of apparel, the nuance of fashion, needs humanity to fill it out. It needs the body to truly exist.

I am very inspired by the visual arts, paintings mostly but also music video and certain cinema. Music is my least inspiration- while I love listening to acquire mood, it’s too much of a jump for me to translate into the worn form.

How would you describe the VauntD aesthetic?

Feminine, fetishistic, and occasionally funny.

Moodiness is paramount!

Sexuality, in particular fetishism, seems to be an underlying theme throughout not only your current collection but the essence of your past work and the inspiration that you draw. What is it about sex that drives you?

I think the underlying basis for my obsession with sex is curiosity- I want to know and experience what turns people on, what they feel passion for. It’s personal sexual anthropologymy work cataloging my desires and fantasies as well as talking about other peoples’. I’m also drawn to pleasure (I think most people are) but in a very physical way. Sex and sexuality are the main means that I relate to others, and it’s been like that since I was a kid. It’s very playful for me but I realize it can be extremely provocative to the majority- and I like that as well! I like my work to make a statement and challenge people.

What else inspires you?

Materials inspire me, especially if they are unusual. My tactile senses are the strongest so I love the slickness of rubber, the weight and heft of leather, the delicate

“

I think the underlying basis for my obsession with sex is curiosityI want to know and experience what turns people on, what they feel passion for.�

“It is hot where paint is cold, it is alive where paintings hung on a wall are dead. And while my mission is not to deride fine art, or put myself on the same level as acclaimed artists, I do think that this is a perfect example of how craft can be more meaningful than art.�

buoyancy of organza, the knobby lines of prices are absurd and prove nothing except that plastic, the thick varieties of upholstery. your bottom line comes first. Fashion is a business, but it doesn’t have to be an elitist one.

Do you identify a difference between the realms of contemporary art and the fashion? You studied at Rhode Island School of Design, what did you learn?

I do differentiate between contemporary art and fashion, but the line is very very thin. They in- How to talk about art and look at it critically. form each other, but they are not one in the same. How to machine knit and make wet plate colI think the main difference for me is wearable lodion prints. How business & money can ruin vs. observant- art is design without the body, friendships if you let it. How to throw stonemeant to be seen but not experienced, and fash- ware plates on a wheel and fire pictures of ion is design that would be nothing without the disgusting porn on them. How loft parties are body to fill it out. Fashion also strives to be the best when the music is loud and you can beautiful- no matter how grungy the look, beau- feel the bass. How school isn’t necessary to ty is always the foundation. Art meanwhile can create great art, but it sure helps to be around be absolutely hideous and still be successful. 500+ other similar-minded artists your age.

How to collaborate with peers, and take what What comes first to you, form or your teachers say with a grain of salt. How to ornamentation? be aware of your reasons for doing what you do. How art can have responsibility, and how Ornamentation is my first design concern when it can mean nothing. How to make sure you I start a piece, but the form of the human body is tell people how much you like their work. a constant in my mind. There’s no beginning or How to get what you want simply by asking. end to it, and it all centers on the waist. The waist is very import to me, both the size and propor- And then life after college , Are you still tion to the rest of the body. Even with men the learning? shoulder to waist ratio becomes of importance.

Always! Learning something new can be inYou have described yourself as a fashion so- fatuating. I didn’t go to school for apparel cialist? What does that mean? though, so I often feel like I’m constantly playing catch up. It’s a source of frustration The term “fashion socialist” is a condensed but it also frees me from standards of “the term to describe my philosophy that fashion right way” to do things. There’s so many should be for everyone. In this industry it’s un- subject to explore, all of which I could apfortunate that couture is priced so highly that ply to my designs. I’m particularly interested the average person can’t afford it- it’s the exact in metalworking and wood carving- I’d love same barrier that goes up between art shown in to make more jewelry and neckwear. I’m obmuseums and the people who feel too intimi- sessed with laser cutting as well, I wish I had dated to go and view it. It’s a matter of class, a huge one that I could just play around with. in a lot of ways. You want to be part, but your societal standing makes it impossible for you The medium and materials you explore to be involved. This is not to say that I don’t are brave, and completely exciting, howthink designers and artists should be paid a fair ever expanding the boundaries of convenprice for their labor and creativity, they ab- tional fabrication would come with physisolutely should. I just think that overinflated cal challenges I’m sure? Working with

latex, does that require a whole new skill set? How do you generate new ideas?

Working with latex definitely requires a whole different set of skills. I was lucky to get the Windgate Fellowship for Craft when I graduated school, and that allowed me to intern with Laura at Vex Clothing who taught me almost everything I know about latex construction.

There’s no actual sewing involved (it’s all glued with a particular solvent-based adhesive), so you need tools and materials that a traditional designer would never have to rely on. The pattern drafting is essentially the same, but seam allowances are almost non-existent as rubber will stretch about 3-4 inches in every direction. The nice thing is that a design is skin tight but can fit more than one body shape.

I’d love to see design schools offer a Latex 101 class- with it becoming more mainstream I think there’s going to be a serious educational demand in less than 5 years (if there isn’t already). Now to just convinces the universities...

You describe the development of your work as organic? Describe your design process?

I like to feel out what I’m doing, experiment, let the medium dictate where it wants to go. I love making patterns- next to nothing I’ve done has been with a pre-fabricated shape. I’m also a huge fan of draping- I think it’s a much more practical way to design than a 2D mock-up or sketch. I find that useless actually, since something can look great on paper and just not be possible in real life. My work has to be both in my head and in my hands at the same time. I’m lucky enough to have a big space to work in and I have two industrial sewing machines, a plexiglass table for cutting and gluing, a wood table for pattern construction, a knitting machine, and two storage spaces for trims/hardware/ fabric. It’s quite the haul but I wouldn’t have it any other way- I’m a big believer in physical space allowing you to expand mentally.

I’m influenced by so much really, from clouds to metal to erotica to taxidermy, that coming up with new ideas is the easy part. It’s following through on them to their resolution that’s hard! I’m also trying to be more conscious about my work instead of just making what I think looks cool- N I S T & Fetholstery were both created that way and I think it shows. They actually say something.

You say trends aren’t all that important to you, what is?

My gut is the number one most important thing in my life when it comes to making decisions.

If I pay attention, I can tell what my truth about a design is. It sounds really “New Age”-y, but my intuition has never led me astray. Trends come and go so easily, and to me they’re just an easy way for people who don’t think enough for themselves to have a creative compass. If you really think about your work, about your motivations, about your likes and dislikes, you won’t need trends to make good work.

Vaunt D has become a castle, built within a kingdom of social media. How has the use of social media helped build your career?

I think having a personal website that you have complete control over is really important- castle is a perfect word for it. It should be your home base and I try to keep mine as updated as possible. I love being on Twitter too- it’s simply the easiest way to contact and get to know people you wouldn’t have access to otherwise.

It’s a great equalizer and I’ve gotten quite a few custom orders because of it. I’m on the fence when it comes to Facebook- they have such strict “adult” polices that I can’t post half my work, so it’s half useless. I seriously love Tumblr but I also find it kind of scary with how images are just taken and proliferated everywhere- I use it more to gather information and

inspiration than to promote myself. The next more of their limited edition shoes, using my practical step is to make an online store, which signature drip latex technique or even just I’m considering doing through WordPresss. talk with them, pick brains together. I feel like their work is so cinematic and moveWhat is coming up for Vaunt D next? ment oriented, with the colors and draping they do, that collaborating on a large installaI just finished designing my physical look tion would be great too. Not a fashion show book and so my next move is to seriously per se, but a spectacle. It would be incredible pound some pavement. I really think that’s if we could get SHOW Studio on board toothe way to high-level success- get out, meet they were the first fashion based company to people, make appointments at boutiques really fuse art and fashion and video in a way and agencies, interact with the industry as a I felt was powerful and beautiful, and those whole. It’s too easy for me to just stay home are things that I both admire and aspire to. and work, but I need to push myself farther so the pieces don’t exist in a vaccuum. I need to leave my comfort zone. I’m lucky to have a partner though who is also an artist with a distinct photographic vision, so I want to explore END ideas more with him and see what happens.

In terms of design, my current project is a readyto-wear line of mini-skirts with prints of constellations, modified t-shirt dresses, and rune belts; I’m also working on expanding N I S T to include separates. Then a black & white knitwear line with latex/fringe/malleable metal accents, then a leather & toile line, the list goes on...

Where do you hope your work takes you?

It’s so cliche, but I do want my work to be famous, although fame for me really just means the highest realm of success possible not having people recognize me walking down the street. I want to be involved in fashion week in a serious way, video shorts, showing in avant garde editorials. I want to be part of beauty, imbued in it, and able to live comfortably doing so. So everything I’m doing now is working towards that.

You say almost anybody could contend as a possible collaborator? Set us up your dream collaboration.

I just found Iris Van Herpen’s work, and was blown away. I would love to collaborate on

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THIS PAGE (Lorna wears) Long-sleeved sequined dress DAN JONES (Tully wears) Silk dress with bow (worn as skirt) CARMEN NEWTON OPPOSITE PAGE Black and yellow Chaps JASON HEWITT Shorts (worn underneath) JASON HEWITT

THIS PAGE (Tully wears) Beaded top DAN JONES Necklace (worn underneath) SOSUME Jacket (Vintage stylist’s own) OPPOSITE PAGE Long-sleeved sequined dress DAN JONES

THIS PAGE (Lorna wears) Sleeveless leather dress, belt and neckpiece CARMEN NEWTON Shoes (customised by) JASON HEWITT (Tully wears) CARMEN NEWTON Orange neck-piece SOSUME OPPOSITE PAGE Ostrich feather top in black DAN JONES Skirt and cape CARMEN NEWTON

Long-sleeved sequin dress DAN JONES