Flanelle magazine #13 - Genderless edition

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THE GENDERLESS EDITION

A L E X G I L B E R T - A N N A- L E N A K R AU S E - I E VA L A S M A N E - R A D H O U R A N I K A R I N E VA N A S S E - J I M M I F R A N CO E U R - O L I V I A FO L E Y - R E N E E B E VA N - S U M I N PA R K



Dear readers, This issue is about what defines us as humans beyond the limitations of gender-norms. When we’re faced with the choice of following convention or being comfortable in our own skin, isn’t the right choice clear? This issue began with the simple idea of looking at the emerging trend and forms coming out from progressive, non-gendered society. What we found, however, was more than just a stylistic movement. Beyond the clothing itself, there was a hidden persona lying beneath the blurred lines in the space between menswear and womenswear - the person wearing the clothes, and not the other way around. In-between raw gender-neutral fashion, to more delicate yet denuded poses, she is confident but laid-back. She doesn’t want to be labeled by anyone, about anything. She simply is herself, free and unrestrained. The blurred line between her feminity and masculinity makes her even more appealing. Bold and fearless, she doesn’t care about all the tiny meaningless things. She feels beautiful, because of who she is and what she believes in. With this brave new image of the modern, gender-neutral figure, we hope you too can find the same fierce, non-binary freedom that these incredible designers are unleashing in new and exciting ways. Sarah-Eve Leduc

editor’s letter



index 8

she + i

18

28

unise(x)

born a different cloud

34

homesick

42

flux

52

62

karin

70

nashe

80

dĂŠcalcomanie

90

iwan

100

110

rad hourani

5

fashionably late

disjecta membra / scattered fragments


13 the genderless edition

Founder / Editor-in-Chief

Art Director

Graphic Designer

Sarah-Eve Leduc

Stephanie Serfaty

Garrett Naccarato

Contributing Writer

Director of Marketing

Fashion Editor

Morgane Kendall

Sarah-Eve Leduc

Lindsay Cooper

Copy Editor

Contributing Photographers

Contributing Artists & Designers

Michael Bloom

Aleksandra Zaborowska

Elisa C Rossow

Alex Gilbert

Hotel Bleu

Anna-Lena Krause

James R. Palmisano

Ieva Lasmane

Karine Vanasse

Jimmi Francoeur

OIL by Olive

Kane Ocean

Rad Hourani

Olivia Foley

Vladimir Karalev

Renee Bevan Ryan Segedi Sarah O’Driscoll Su min Park

Flanelle Magazine

General Inquiries, Press & Marketing

Facebook: flanellemag

info@flanellemag.com

Instagram: @flanellemagazine Pinterest: flanellemag

Online and Print submissions submission@flanellemag.com

Cover : Karine Vanasse by Alex Gilbert

flanellemag.com



she + i Photographer Olivia Foley Stylist Bakhita Fok Makeup Andrew Denton Models Liza Molnar Body London, Laura Idrisova Linden Staub

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unise(X) vladimir karaleev and contemporary gender Text by Lindsay Cooper

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This year, H&M joined Zara in releasing a unisex collection. Ateliers like Gucci and Yves Saint Laurent incorporated binary-disrupting details while Maison Margiela cast androgynous models like Maarten Convens on the runways. British department store giant, Selfridges, followed suit with a new “Agender” concept space. Even the Canadian Ministry of Immigration, Refugees and Citizenship added a third gender option, (X), for those who don’t subscribe to the binary. It’s an exciting time to be human. And as barriers are broken and rigid identifiers eschewed, that “human” label has proven to be the one that matters most. “The gender topic gets more and more relevant and at the same time fewer and fewer people care if a certain garment is gender specific,” observes designer Vladimir Karaleev, whose eponymous clothing line far predates the current trend of ungendering. With a renegade spirit and a healthy rebellious streak, it’s no wonder you can find Karaleev’s label at the beginning of the binary breakdown. He’s been offering clothes that defy mainstream femininity and masculinity from his Berlin workshop for the better part of a decade. Offering womenswear, menswear, and wares that lie somewhere in between, Karaleev’s clean lines and architecturally inspired silhouettes are for everyone. “When I was younger, I was looking for controversy. It was the conservative society I grew up in, it was very easy to be provocative. Post-soviet society is so very patriarchal that playing with different gender identity was scandalous,” he notes of his upbringing in Bulgaria. “This is my cultural background; I was used to breaking the norm and I liked it. I consider testing the boundaries part of the working process. It was never about a revolution, but an evolution process, which is also a group achievement. Everyone participates in their own way; I’ve got mine.”

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After seven years in the design field, Karaleev’s way is very well defined. “The way I design is not gender specific because our fit is very loose, which is considered unisex in a way. When I start to design a shirt, for example, I don’t know if it will be for men or women. Often we switch pieces from men’s to a women’s looks for the show if it works better,” he comments. These swaps can be made easily and up until the last minute, as Karaleev has all his designs, regardless of the gender they were originally conceptualized for, premier in the same show. His refusal to segregate his designs only further emphasizes his lack of regard for gender. “Sometimes it amuses me how menswear insists on different finishings to make it more masculine. But this is another field I can use to experiment.” It isn’t just gender norms Karaleev is experimenting with: it’s any norm. His clothing mixes unconventional colours, puts delicate pleats in heavy wools, he’s centred an autumn/winter collection upon pastel silk, and rolled out long sleeves and padded figures for spring/summer. “I’m interested in examining possibilities of unconventional shape and how far this can be pushed in commercial boundaries. This depends on all social trends and what is ‘allowed’ in fashion in general,” he explains. “The human body is the wearer and the purpose of the garment. It has to do with construction and functionality combined with aesthetic concept. Should the body be covered completely? How should this be proportioned? How important is the space between the body and the fabric? Those questions are all connected with each designer’s relation to society, culture, zeitgeist, and his own aesthetic vision and innovation.”

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And the innovation and evolution Karaleev references seem to be a theme among young designers today. Perhaps it’s the strange political climate brewing worldwide, or our newly discovered (or rediscovered) obsession with authenticity, or maybe the trend was an inevitability. Regardless of reason, we are undeniably living in a time of social change. As Karaleev argues, “now it is a very exciting moment for men’s fashion. There are so many rules to be broken when ‘unisexing’ fashion.” But it isn’t all progress. Earlier this year, Vogue misused the term “genderfluid” to reference the styling of August cover stars Gigi Hadid and Zayn Malik, neither of whom identify as such. Last year, a politically incorrect and proud University of Toronto professor openly spoke out against using students’ preferred pronouns. Debates over gender-neutral bathrooms were as controversial as talks of gun control in America’s recent election. Amid sartorial trends, it’s important to question how far acceptance extends. Will the ungendered trend find its way out of our closets to enact change? Only time will tell, but Karaleev seems optimistic regarding his brand and others like it. “The future is bright!”

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born

a

Photographer Jimmi Francoeur Stylist Guillaume Laflamme Makeup Martine L’Heureux Model Hugo (Folio Montreal)

different 28

cloud


(Left) Shirt COS; Pants ASOS; Shoes REEF (Right) Jacket H&M; Kimono Simons; Choker H&M;

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Turtleneck Simons; Shirt Uniqlo; Pants Muji (Japon); Pants Japan; Shoes REEF;

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Top Simons; Belt Zara; Pants ASOS;

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(Left) T-shirt Urban Outfitters ; Necklace COS; Pants Alexander McQueen; (Top right) Jacket and t-shirt Simons; Pants Boy London; Shoes Vans; (Bottom right) Coat Vintage; Pants Boy London; Shoes Doc Martens;

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homesick Photography Ieva Lasmane Styling Amanda Ler Model Isaac (AMCK)

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(Left) Shirt Yeji Park; (Right) Shirt and coat Yeji Pa;

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Blazer, jumper and trousers COS ; Belt Stylist’s own;

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Shirt Yeji Park; Trousers and shoes Zara;

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Shirt Yeji Park; Trousers and shoes Zara;

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Jumper and belt Stylist’s own; Trousers COS; Shoes Zara

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flux Photographer Renee Bevan Stylist Sasha Troshchynska Hair Dan Nguyen Makeup Toru Sakanishi (Joe Management) Model Martyna Frankow (Elite Models NYC)

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Dress Nicholas K;

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Top Nicholas K; Skirt Banana Republic;

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Dress Alejandra Burguette;

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Shirtdress Max Mara; Pants INC; Coats and boots Nicholas K;

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Blouse Vintage; Pants INC;

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rad hourani rad hourani unisex collection Available Exclusively at radhourani.com Text by Morgane Kendall

With a refined practice that mediates a sensibility of neutrality

The young creative has garnered a lot of attention internationally

paired with architectural designs, Rad Hourani has shaped

with his label, most notably as the first Canadian and unisex

himself as a unique and prominent figure in an industry that has a

designer to receive consideration as an advising member of haute

pervasive desire to conform. “Until now, would ask what [I] think

couture by the renowned Chambre Syndicale de la Haute Couture

about gender blending and the no-gender movement, and for

in Paris. Some of Hourani’s garments take up to one month to

me, none of this equates to unisex. This is making women look

construct and perfect, being recreated at least four to eight times.

masculine [and vice versa]. It’s like crossing borders, and that is

Of his designs, he states, “I have always been a perfectionist about

not what I’m interested in. I’m interested in a neutral canvas in

quality and construction in everything I do but I never thought my

which I take the male and female anatomy and assemble both

name, or a unisex label for that matter, would ever be thought of

to create something purely unisex,” states Hourani. His designs

in the same regards as haute couture. It can be mathematically

evade the stereotypes of femininity and masculinity, a state

complex and doing the construction has a certain intricacy as

where these common implications do not exist, creating an

well.”

incumbent state of neutrality. With the subject of androgyny and gender fluidity being a “It’s interesting how [innate] ways of life and shared values

rising topic of conversation in the media, it is crucial to have a

amongst different cultures come to [fruition] and can be [adopted]

figure present to convey the true identity of neutrality amongst

in different societies,” outlines Hourani. “I won’t say it inspired

gender within fashion. His designs give a voice to those who

me, but that it made me take neutrality to a different level and

defy stereotypes of gender normative roles portrayed through

push it even more. Constantly travelling and living in new spaces

a conventional uniform. “I find that recently [there] have been

has made me realize the [fluidity of culture] and its notions – its

very intense interviews about notions of gender. Most say I’m

impact on society.” Jordan-born and Canadian raised, Hourani’s

an ambassador of unisex but what I find disappointing is that I’m

cultural upbringing has had a profound impact on his career.

not seeing unisex. I find brands are making women’s clothes on

These inherent implications of gender coding have allowed

men, and men’s clothes on women, or mixing both together but

Hourani to question its effect on a societal dress code, stating

the feminine and masculine elements are all there. I don’t see

that his garments can often be seen as armor deterring labels

anything that is purely unisex. It has to be a neutral object that

while fostering confidence to protect ones uniqueness: “I want

gives [an] option to the person to make it feminine or masculine.

my garments to promote a lifestyle that has no limitations.”

Just saying genderless or gender fluid, I find it almost insulting somehow.” 52


Photo Kane Ocean

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Photos Sarah O’Driscoll

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After the establishment of his eponymous label, Hourani feels it is only now that he is really starting to communicate the notion of unisex through his designs. “The first five years were really hard work in terms of communication. Our clients were not used to the notion of unisex [in terms] of design and construction. In the past there was always a distinction between menswear and womenswear and I think it took a while to understand a brand that really offered pure unisex garments to all genders.” It is not easy nor is it common for a designer to create a successful unisex pattern. With no formal training or education in design and what Hourani describes as a “naïve dream,” the young creative spent his time studying the human anatomy, a meticulous task requiring nearly two years to perfect his gender-neutral canvas, which has become an intrinsic element to his architectural figures. With a documentary and retrospective on his Ten Years of Unisex, Hourani is focusing on perfecting his namesake label, investing in their online and in-store presence to cultivate a deeper understanding of his realm of a-seasonal designs.

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Karin Photographer Alex Gilbert Art Director Sarah White Mua Emy Filteau (Folio Montreal) Stylist FrĂŠdĂŠrique Gauthier Assistant Photographer Fani Claire Assitant Stylist Elodie Birs Model Karine Vanasse

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Top COS; Dress Elisa C-Rossow;

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(Left) Ring Tiffany; Top COS; (Right) Blouse Elisa C-Rossow; Bracelet Tiffany; Pants COS; Trench COS;

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(Left) Dress Elisa C-Rossow; Earrings COS; (Right) Dress Elisa C-Rossow; Top COS; Ring Tiffany;

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Blouse Elisa C-Rossow; Trench COS; Bracelet Tiffany;

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Coat Elisa C-Rossow; Dress COS;

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nashe Clothing Nashe Photographer Yan Yugai Creative Consultant & stylist Vasilisa Gusarova Models Anton Kiyashev (Desired Model Management), Irina Chernukha, Dmitriy Stukovnikov, Neil Shadow, Evgeny Okorokov, Alexander Balashov, Egor Danilov, Marina Volga

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DĂŠcalcomanie Photographer Su min Park Stylist Monika Wajda Makeup Yuriko Saijo Hair Yurika Makino Nails Nicole Kang Models Kristina Ruy, Marius Survila

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Coat & top MatĂŠriel;

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(Left) Sweater Seokwoon Yoon; Pants Seokwoon Yoon; Top Seokwoon Yoon; Pants Calvin Klein; (Right) Coat Seokwoon Yoon;

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(Left) Vest Seokwoon Yoon; (Right) Coats Søsken Studios; Hat Brown Hat;

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Jacket Saint Vivian Wrath; Jeans Lee Jeans;

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(On Marius) Shirt MatĂŠriel; Pants Seokwoon Yoon; (On Kristina) Shirt Liana Camba by FDL; Pants Seokwoon Yoon;

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iwan Photography Aleksandra Zaborowska Styling Dominik Więcek Makeup Bartek Osowczyk Hair Patrycja Michera Model Iwan Zalewski (MODEL PLUS) Set Design Wojciech Perzyna /Rekwizytornia Assistant Dawid Surowy Location Fabryczne Atelier

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Jacket Karolina MIKO; Top Pull&Bear; Top Stradivarius; Shorts H&M; Tights Stylist’s own;

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Top H&M; Ballet shoes Stylist’s own;

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(Left) Top Roh’an; (Right) Jacket H&M; Shirt Zara; Top Stradivarius; Underwear & tights Vintage;

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(Left) Jacket Karolina MIKO; (Right) Jacket Karolina MIKO; Top Pull&Bear; Top Stradivarius; Shorts H&M;

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Mask Maria Kompf; Jacket Karolina MIKO;

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Dress Kalina Kocemba; Top Bershka; Wig cap Smiffy;

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fashionably late Designs by James R. Palmisano Photographer Ryan Segedi Models Michael Lorz & Vincent Cooper

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james r. palmisano takes inspiration from eras passed to remind us of fashion’s transformative nature Text by Lindsay Cooper

Gender revolutions, racial tensions, and huge industrial transformations. These are the socio-economic trends that defined the 1920’s. It was an era of liberation caused by increased wealth and social mobility as well as the realization of the goals of the social movements through legislature. And with a more empowered population, a new dress code was in order: feminine beading, boyish haircuts, luxurious fabrics, and general frivolity. And following the war and strict rationing, your great-grandparents deserved it. Does any of this sound familiar: women marching for their rights, oppressed racial minorities finding their voices again, an adapting economy? If so, you likely grew up in the same climate as recent fashion design grad James R. Palmisano. Fixated on fashion’s transformative abilities, he’s been exploring how clothing can alter your perception of the wearer using 1920’s sartorial trends. Reading both historic and hyper contemporary, the Prince Charming Collection mixes traditional menswear elements from the period with delicate fabrics and beading. Palmisano marries elements from the 1920s gender revolution with the hedonistic nature of the flapper era in a much-needed reminder: frivolity, fashion, and the fight aren’t mutually exclusive.

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Can you explain what your relationship with fashion was like before becoming a designer? I knew so little of fashion, there was no relationship; at least not an intentional one. It never occurred to me that fashion, as a means for individuality or as art, could be pursued. And certainly not that I could do the pursuing. What about after? For me, fashion existed as award shows’ red carpets, Vogue editorials, and film costumes. Typical, probably, but these things brought me a lot of joy. They still inspire me. But now, clothes, perhaps differently than the fantasies of fashion, mean so much more. Creatively and individually, clothes are personal and reflect our real lives. Clothes convey and create the way I want to look and feel. You actually studied fine arts for two years before switching over to fashion. What motivated the change? I dabbled a bit. Art students are made to explore

Your Prince Charming collection mixes elements

different mediums at the start. Before I decided to begin

of men’s and womenswear from the 1920’s. What

anew with fashion, I seriously wanted to do production

attracted you to that decade?

design for film. Film gets me jazzed and is so fun. When I changed my mind - even though both film and fashion

It’s embellished; women look a bit boyish. There is

are super collaborative - I felt that with fashion I could

movement and ease. I suppose it is the womenswear

learn a craft with which I could produce and control

that I am always first attracted to. Anne Hollander, in Sex

my own object. Garment making is a tactile, precise

and Suits, describes the 1920s and 30s as a time when

process that I really enjoy.

women dressed their own bodies with their own visions. And for the first time! Though in a different scheme than

And do you see your education in fine arts informing

men, again borrowing from Ms. Hollander, women

your design choices at all?

achieved modernity in clothes comparable to a man’s suit. Both visually and thematically, I am inspired by that

I learned how to look at art, how to actively interact with

brief shift and tension.

visuals. Composition is really important. And what inspired you to bring feminine touches into a menswear collection? While designing, I referenced men’s military attire and women’s evening dress silhouettes, with the intention to combine them. Silhouette and embellishment came from both references, but, yes, the embellishment, exaggerated in contemporary menswear, is feminine.

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“More so than ever before, fashion’s power comes from real people; real people who are diverse and beautiful and valuable. Fashion can raise them up. “

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For men wearing your designs, how do you hope these feminine touches- this embrace of their feminine sides - will make them feel? And what about the masculine elements? Gender neutral design; body specific fit. These are my two goals in designing. It is not necessarily my intention to satisfy a man’s feminine side. Admittedly, I don’t quite like that way of putting it. It is my hope to raise people up. If my feminine menswear does that for a man, fantastic. Or for a woman, fantastic. I’m simply trying to provide an option for others, and for myself. The masculine or feminine elements really are only a means to get someone to feel good and to be creative. And really, whether a look or garment is masculine or feminine, depends hugely on the wearer, how they present themselves and how they styles those pieces. Considering today’s social climate, it’s easy to interpret this collection as a statement on gender. Could you explain the larger concept, what it stands for? I play with gender, and will continue to, but more than that I want to celebrate design. It’s a shame that menswear lacks color and embellishment. And at the same time, it is silly that womenswear lacks function like real pockets. I want to combine the merits of both menswear and womenswear to celebrate people’s personalities. As someone addressing gender through design, what kind of power do you think fashion has to make a difference? What can the fashion industry achieve? More so than ever before, fashion’s power comes from real people - real people who are diverse and beautiful and valuable. Fashion can raise them up.

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disjecta / membra scattered fragments Photography Anna-Lena Krause Styling Dominik Humeres Hair and Makeup Nadja Jeberien Models Dominik Humeres ,Sam Dye, Sonja Klinge All clothing and accessories OIL by Olive Shoes Pleaser

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