Art Meets Fashion Magazine by Heidi Gress

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ART MEETS FASHION CONTENTS

EDITORâ&#x20AC;&#x2122;S LETTER

FEATURED DESIGNER

LOCAL DESIGNER SHOWCASE

FARASHA SPOTLIGHT

FEATURED ARTIST

ARTICLE: MCCUNE MANSION

ARTICLE: CAFE COLOMBIANO

ARTICLE: THE ART OF BREWING

FASHION EDITORIALS

GET IN TOUCH

Cover Image: Photographer Kia Hartelius

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IV O F F I C I A L B E A U T Y PA R T N E R O F A RT M E E T S FA S H I O N

210 N University Ave, Provo, UT 84601

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EDITOR’S LETTER

aying it’s been an interesting year is an understatement. We as a country, are facing challenges that seem at times insurmountable. Our political system is broken, our education is failing and there’s a constant looming threat of the removal of art funding in it’s entirety. Every year, the team at Art Meets Fashion selects a designer from a country that we feel not only is an exceptional talent, but also is relevant to the challenges we face as an artistic community. It only seemed appropriate to go a south to country that has also made it through some darker times and is emerging as an creative force. Colombia, controlled by corrupt politicians and Narcos for decades, is a country with a rich cultural past. When combatants lay down their weapons, it’s merely the beginning of peace. The harder task, especially in a conflict that has dragged on for decades, is to find social peace. When Spanish photographer Alvaro Ybarra visited Colombia, he told New York Times magazine, “Colombia gave me so much. I lost friends. It shaped me as a photographer. It’s a country where I have seen the best and worst of human beings. I will always be indebted.” Art really transforms society, such that the structural conditions that prompted the violence in the first place are eliminated so the violence doesn’t happen again. Commissioned by the government, Bogotá stands out for one particular sight: its graffiti scene. Vibrant colors span the walls in El Parque de Los Periodistas; Colombian coffee and the slow food movement of Pijao is hoping to encourage more culinary tourism; and COLOMBIAMODA, Colombia’s fashion week, boasts of a large roster of amazingly talented designers. We were lucky enough to have a preview at McCune Mansion of designer David Alfonso for ERIKÓ before he premiered at COLOMBIAMODA. We urge you to get involved, whether creating a beautiful piece of art that starts conversation, donating time or money to a nonprofit or spreading the knowledge beyond what is simply presented to us. We have the opportunity to take a page from Colombia, to write new chapters in global history, those of strength, perseverance and intolerance to violence and ignorance. I hope we embrace what makes us unique as individuals, because that is what makes us powerful as a society.

Heidi M. Gress EDITOR ART MEETS FASHION MAGAZINE

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FEATURED DESIGNER ERIKÓ

very year, the team at Art Meets Fashion selects an International designer to be featured at our annual event. The selection this year set the stage for vibrant colors, eccentric patterns and blurred gender lines. His premiere Menswear collection at the McCune Mansion showcased oversized knits, slim fit suits and even high heels on both sexes. ERIKÓ by David Alfonso perfectly embodies the spirit of Bogotá, Colombia’s artistic renaissance. Bogotá, is now considered one of the most exciting global cities for contemporary art, and is awash with contemporary art galleries and has its own influential annual arts fair: ArtBo. Yet it’s not only Bogotá that’s culturally buzzing. The Cartagena Biennial also promotes Colombia’s contemporary art, and the country as a whole is experiencing a cultural renaissance. ERIKÓ has been featured in Vogue España, Colombiamoda: COLOMBIA FASHION WEEK, and receently has opened a new showroom. We highly recommend if you find yourself wandering the streets of Bogotá taking in the amazing street art or enjoying the many culinary delights of Colombia, make an appointment and let David Alfonso suit you up .

ERIKO by David Alfonso C ALLE 8 4 # 18-38 OFC 706 / BOGOTÅ , COLOMBIA

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ART MEETS FASHION / ISSUE THREE Natalie Wynn @nataliewynndesigns

LOCAL DESIGNER SHOWCASE

Sterling Bitsue. @sterlingsterling

Rebecca Fenton

Mary Rino

@hauntedheadfashion

@lilybridedesigns

Art Meets Fashion Spring Runway Event Local Designer Showcase at McCune Mansion. Jordan Havlersen

PHOTOS BY RYAN HOUSTON

McKell Maddox @mckellmaddox

Danny Nappi @dannynappi

Rachael Domingo @moth.styling.design

DesNeiges Gregory

Davis Hong

Kimberly Dunn

Filippo Rippe

@houseofdesneiges

@iartdavish

@dianne_de_vil

@filipporippe

Nephi Garcia @designerdaddy_

Bullets and Bees @bulletsandbeesboutique

INTERIOR SPACE DESIGNERS

SHELLY HUYNH

DARBY SOCIETY

RACHAEL ELLEN EVENTS

IN THE EVENT

Floral Artist

Installation Artist Brady Petersen

Floral and Event Designer

Event Decor and Design

shellyhuynh.com

thedarbysociety.com

rachaelellenevents.com

intheevent.com

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FARASHA SPOTLIGHT

FA R A S H A I S A FU LL S E RV I C E FA S H I O N CO N S U LTI N G CO M PA N Y I N PA R K C IT Y, U TA H . IN ADDITION , FAR A SHA OPER ATE S A S A SHOWROOM FOR EMERG ING NATIONAL AND INTERNATIONAL DE SIG NERS .

UNDRA CELESTE NEW YORK Undra Celeste New York, is a new ready-to-wear brand for modern woman. Our goal is to design contemporary clothing that makes women feel bold, beautiful and inspired to live their very best life. We believe if she looks good and feels good, her confidence is boosted, making her more equipped conquer her dreams. UCNY garments are beautifully crafted for a women’s body. The aesthetic is grounded in high-end, on-trend designs, great fabrications and impeccable fit – all are at an attainable price. All garments are made in New York & Los Angeles.

NARCES NARCES is a Toronto-based womenswear line that specializes in special occasion, evening wear, prom, and bridal dresses. Designer and Creative Director Nikki Wirthensohn Yassemi brings her international background to her aesthetic, having been born in Austria and growing

FARASHA RUNWAY: NARCES

up in Iran and the UK before moving to Canada, where she now resides. Throughout her upbringing, Nikki was surrounded by design, art, and fashion. Her mother worked with esteemed British tailor to the Royal Family, Victor Edelstein who is renowned for having created some of Princess Diana’s most iconic gowns. NARCES atelier is located in downtown Toronto.

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FARASHA RUNWAY: UCNY

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PROUD SUPPORTER OF AMF FOUNDATION ACME CAMERA RENTAL 1993 S 1100 E Salt Lake City, UT 84106 ART MEETS FASHION229-4077 / ISSUE THREE Phone:(385) acmecamerarental.com

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NICOLAS COURDY ART MEE TS FA SHION FE ATURED ARTIS T

Nicholas Courdy explores the ways in which the internetâ&#x20AC;&#x2122;s availability of media and social interaction shape the complexities within the spectrum of our romantic desires and perpetuate the maximum threshold of romantic fantasy. The artist creates videos using a variety of digital media sources, mostly from the public domain, that explore narratives which portray romantic relationships, passions, and impulses from different perspectives. Metaphornography is a culmination of these explorations and presents the viewer with an over-stimulation of visual metaphors that depict the emotional tensions found in love and lust. The works serve as an invitation to the viewer to personally reflect upon their own relationship with the digital landscape and how it has influenced their sensualities, desires, and compulsions.

2016/2017 Exhibitions: UMOCA - Salt Lake City, Utah | VERA Fine Art Festival - Lisbon, Portugal | Contemporary Istanbul - Istanbul, Turkey | BAR Open Studios - Beirut, Lebanon | Spring/Break Art Show - New York City, New York | Asia Contemporary Hong Kong ART MEETS FASHION / ISSUE THREE

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PLACE OF WORSHIP. “It has been said that, at its best, preservation engages the past in a conversation with the present over a mutual concern for the future.” – William Murtagh, first Keeper of the National Register for Historic Places

AUTHOR: MONICA DRAPER PHOTOGRAPHER: KERRY FUKUI

CITYHOME COLLECTIVE WWW.CITYHOMECOLLECTIVE.COM FB:CITYHOMECOLLECTIVE

ake no mistake--modern is good. We love those crisply-designed spaces for all their sleek, clean lines and blank slate-type possibility. But. We certainly have a sweet spot for vintage, as well. (And the two are, perhaps, at their most magical when they’re set side by side.) Alas, modernity often comes at the expense of the rich and ornate historical buildings that established the glitzy days of yore. But, like a fine Fabergé egg that’s been perfectly preserved within a decadent shell, the McCune Mansion sits high on a hill, keeping watch over our city--an all-but-untouched glimpse into the days of decadence, when the concept of more is more reigned supreme. “I have the nicest office in Salt Lake City,” says Shawn Fletcher, the humble orchestrator of the mansion. His office is adorned with a large turret, along with windows that provide a panoramic view of downtown SLC. Originally modeled after a home located in New York, whose picture still remains on Shawn’s office wall, the mansion is classic in every sense of the word (yet, with precise details in every room, the home easily blends diverse style from Austria, Germany, Italy, France--all with elaborate Victorian sensibilities). »

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The original owners of the house were Elizabeth and Alfred McCune. Alfred, an entrepreneur, dabbled in railroad, mining, cattle, and Timber, but one of his great successes was a mining venture in Peru on which he partnered with JP Morgan, William Randolph Hearst, and the Vanderbilt family (which is still one of the largest silver producing mines in the world). He and Elizabeth sought to bring a sliver of Europe to rural Utah, to be easily accessed and adored by the community. A gift, if you will. So how exactly does a mansion in Salt Lake City mirror the beauty and elegance of old world Europe? Precision, dedication, an eye for design, and lots (and lots) of money. Once the Lady McCune had commissioned reference photographs of the inspirational home across the country, she sent her architect from Utah to Europe to curate rare objets d’arte and building materials (all

“ The enormous mirror could not be delivered to the home due to the lack of an existing train car large enough to support. Instead of cutting it in half, Alfred to commissioned two engineers to design and build a train car that could carry the mirror to Salt Lake City. “

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told, the hunt took two years). A few noteworthy details, plucked from every ostentatious corner of the earth: Utah onyx, Nubian and Irish marble, French tapestries, South American mahogany, Russian leather, rooftop tiles from the Netherlands, a few exotic woods (Birdseye Maple, South American Blond Mahogany, and 400-year-old English oak), and German mirrors. Shawn tells the now-legendary tale of an enormous mirror that, once shipped to the United States, could not be delivered to the home due to the lack of an existing train car large enough to support it. Alfred was told by officials that they would have to cut the mirror in half, but the idea did not suit him. Instead, he commissioned two engineers to design and build a train car that could carry the mirror to Salt Lake City. When the mirror wouldn’t fit through the door? He removed a bit of wall. The home’s 4,000 lb. Cleopatra statue had to be fork-lifted

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and detailed artwork with century-old brushtrokes are met with original, Russian impressionist paintings and warm wood finishes. Every detail was meticulously thought out, and the grandeur juxtaposed against its modern counterparts calls upon those who enter the space to be in a constant state of reflection between the past and present.

over the upstairs balcony. No expense was spared, and the result matches the effort in terms of sheer magnificence. One of the most ornate rooms in the three-story mansion is, naturally, the ballroom. The golden, hand-gilded ceilings create a conversation with their inspiration in Florence, Italy. While one room mimics italiano, another tends to feign towards the French. The drawing room was deemed by architect C.S. Dallas to, “suggest the French palaces of Louis XIV,” which has led to it being affectionately referred to as the “Louis the XIV,” room. In one room, Alfred wanted marble floors, but knew they were too

heavy for the structure to support. So he hired a German architect, who designed a lighter, marble-esque flooring for over nine months. The McCune’s sacrificed little of their original vision for their home on the hill, and while none of the rooms completely lend themselves to a particular school of design, the home does have a dignity in its accumulation of styles. Shawn has a theory that this was all done intentionally. He believes Elizabeth was trying to give the Western United States something to care about, and to engage it in the discourse of the classical world of Europe. The McCunes were building something to be worshiped. Gold leaf hand gilding, exquisite murals, decorative scagliola,

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From ground-breaking to the last artfully-hung piece, the creation of the mansion--all 22,000 sq. ft. of it--took three years, from 1898-1901, and it was the first $1 million home in Utah. The McCunes kept the home for 20 years before being seduced by the warmer climate of Los Angeles. When they left, they donated the home to the LDS Church, which then turned it into the McCune School of Music and Art. Ownership of the space changed hands a total of seven times before it was finally purchased by the current owners, the McCarthey family, in 1999. Through all the home’s transitions, the only rooms that were disturbed were the library and the kitchen, which were repurposed to provide a stage and the Dean’s office for the music school. The McCune mansion is still over 70% original, and the current owners have an enormous interest in preserving the heritage found in the mansion. “We lose this stuff on a daily basis,” says Shawn. “This place is 115 years old...that’s nothing.” Yes, we regretfully know first hand that updates and upgrades often times mean losing touch with the very foundation on which our American heritage was built. The McCune mansion is a gift--a prize piece, proudly sitting on the mantel of Salt Lake City. Next time you pass, give a nod; let Alfred and Elizabeth know that a solid vision and good taste never go out of style.

www.rachaelellenevents.com ART MEETS (801)-419-5748 FASHION / ISSUE THREE

@rachaelellenevents

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FINE ART FOR YOUR FLOORS.

TRADITIONAL - TRANSITIONAL - CONTEMPORARY

ARTSOUTH MEETS FASHION / ISSUE THREEDRIVE 3092 HIGHLAND SALT LAKE CITY, UTAH 84106 801-484-6364

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CAFE´ COLOMBIANO The History behind Colombia’s largest agricultural export. PHOTOGR APHER MATHILDE COUÉ

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XXIII 1835 the first commercial production was registered with 2,560 green coffee bags that were exported from the port of Cucuta, near the border with Venezuela. A priest named Francisco Romero is attributed to have been very influential in the propagation of the crop in the northeast region of the country. After hearing the confession of the parishioners of the town of Salazar de la Palmas, he required as penance the cultivation of coffee. Coffee became established in the departments of Santander and North Santander, Cundinamarca, Antioquia, and the historic region of Caldas. Despite these early developments, the consolidation of coffee as a Colombian export did not come about until the second half of the 19th century. The great expansion that the world economy underwent at that time allowed Colombian landowners to find attractive opportunities in international markets. Little by little, the United States became the most important consumer of coffee in the world, while Germany and France became the most important markets in Europe. The coffee plant had spread to Colombia by 1790. The oldest written testimony of the presence of coffee in Colombia is attributed to a Jesuit priest, José Gumilla. In his book The Orinoco Illustrated (1730), he registered the presence of coffee in the mission of Saint Teresa of Tabajé, near where the Meta river empties into the Orinoco. Further testimony comes from the archbishopviceroy Caballero y Gongora (1787) who registered the presence of the crop in the north east of the country near Giron (Santander) and Muzo (Boyaca) in a report that he provided to the Spanish authorities.

“ Little by little, the United States became the most important consumer of coffee in the world. “

The first coffee crops were planted in the eastern part of the country. In

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The then large Colombian landowners had already tried to exploit the new opportunities that the expansion of the international markets offered. Between 1850 and 1857 the country experienced a significant increase in tobacco and quinine exports, and thereafter leather and live cattle. These early efforts in the export of agricultural commodities turned out too fragile; they in fact were only reactionary attempts to find the greatest profitability from the high international prices of the time, rather than attempts to create a solid and diversified export platform. The production of these sectors went into period of decline when the respective bonanza of their international prices terminated, hence a true industrial consolidation was prevented. With the fall of international prices, that registered the transition from the 19th to the 20th century, the profitability of the large estates plummeted. As if this was not enough, the Thousand Days War, which took place during the first years of the new century, also negatively influenced the important landowners, making it impossible for them to maintain their plantations in good conditions; this circumstance summed to the fact that these producers had incurred in large amounts of foreign debt in order to further develop their plantations, which finally ruined them. The coffee estates of Santander and North Santander entered into crisis and the estates of Cundinamarca and Antioquia stalled. The crisis that affected the large estates brought with it one of the most significant changes of the Colombian coffee industry. Since 1875 the number of small coffee producers had begun to

â&#x20AC;&#x153; The cultivation of the coffee was a very attractive option for local farmers, as it offered the possibility of making permanent and intensive use of the land. â&#x20AC;&#x153;

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grow in Santander as well as in some regions of Antioquia and in the region referred to as Viejo or Old Caldas. In the first decades of the 20th century a new model to develop coffee exports based on the rural economy had already been consolidated, supported by internal migration and the colonization of new territories in the center and western regions of the country, principally in the departments of Antioquia, Caldas, Valle, and in the northern part of Tolima. Both the expansion of this new coffee model and the crisis that affected the large estates allowed the western regions of Colombia to take the lead in the development of the coffee industry in the country.

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This transformation was very favorable for the owners of the small coffee estates that were entering the coffee market. The cultivation of coffee was a very attractive option for local farmers, as it offered the possibility of making permanent and intensive use of the land. Under this productive model of the traditional agriculture, based on the slash and burn method, the land remained unproductive for long periods of time. In contrast, coffee offered the possibility of having an intense agriculture, without major technical requirements and without sacrificing the cultivation of subsistence crops, thus generating the conditions for the expansion of a new coffee culture, dominated by small farms.

“ Regional climate change associated with global warming has caused Colombian coffee to drastically decline. “

Although this new breed of coffee made of country farmers demonstrated a significant capacity to grow at the margin of current international prices, Colombia did not have a relatively important dynamism in the global market of this product. During the period between 1905 and 1935 the coffee industry in Colombia grew dynamically thanks to the vision and long term politics derived from the creation of the Federación Nacional de Cafeteros de Colombia (National Federation of Coffee Growers of Colombia) in 1927. Regional climate change associated with global warming has caused Colombian coffee production to decline since 2006 from 12 million

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132-pound bags, the standard measure, to 9 million bags in 2010. Average temperatures have risen 1 degree Celsius between 1980 and 2010, with average precipitation increasing 25 percent in the last few years, disrupting the specific climatic requirements of the Coffea arabica bean. The National Federation of Coffee Growers of Colombia is a non-profit business association is combating these challenges and currently represents more than 500,000 producers. The Federation was founded with three objectives: 1) to protect the industry, 2) to study its problems, and 3) to further its interests. For more information on how to support the foundation and independent coffee growers at large visit their website: federaciondecafeteros.org.

*statistics from Wikipedia

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FLORAL ARTIST

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THE ART OF BREWING

(AND SCIENCE)

An inside look at beermaking with Master Brewer Kevin Templin of Red Rock Brewery PHOTOGRAPHERHEIDI M. GRESS

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XXXII beers have earned over 100 regional and national awards, including ‘Brew Pub of the Year’ by Brewpub Magazine and ‘Large Brewpub of the Year’ by the Great American Beer Festival. To fully understand the art of brewing, let’s start with the basic science behind beer. It can be brought down to simple, or not so simple, calculations of how it all works. Thanks to Kevin, I will break it down for in a few simple scientific steps for those of us who haven’t quite delved into the home beer kits yet. The first thing is it’s going to go through the malting process. You take the barley, soak it in water and that’s to start the germination or the sprouting process. This germination will break the starches down into smaller bits that then go to the kiln where these broken down starches are baked dry. Then after that, it’s mashed. Mashing is taking that malted barley and putting it in hot water to activate the enzymes that break down the starches into sugars.

Beer! It’s one of the world’s oldest beverages and surprisingly the fastest growing beverage in Utah. Now, while many people scoff at Utah’s continual liquor law changes, beer has been a staple in the community for well over a century. Prior to prohibition, Utah was home to three major Breweries. Becker, Fisher Brewing and Salt Lake Brewing Company were all world-class operations along with 15 other breweries of various size and character. Only Becker survived prohibition by bottling non-alcoholic beer selections and Coca-Cola products. However, this all changed when Greg Schirf decided to open Utah’s first brewery in nearly 20 years, The Schirf Brewing Company, brewing Wasatch Beer. Greg Schirf was initially

responsible for getting the Utah liquor law changed which allowed small breweries to sell their own products. Schirf opened Squatters, serving the local brew in 1986 in Park City and a second in Salt Lake 1989. A few years later, Red Rock Brewing company opened and now, Salt Lake City has almost fully returned to pre-prohibition status as home to 12 independent brew houses. Although I like to think my taste for beer is bordering on expert level, my knowledge of the art of creating the delicious drink is novice level at best. I decided to spend some time with Master Brewer Kevin Templin of Red Rock Brewery, one of the oldest and truly local breweries in Utah. Their

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After mashing down the malted barley comes the boiling process. This is where a great deal of flavor is added. Any hops the brewer wants to add to give the beer a distinctive bitter taste and balance out the sweetness are added. Kevin was working on one that had hints of cinnamon at the time. Then it’s moved to the fermentation tank where it’s cooled down, yeast is added and the yeast essentially eats the sugar and breaks it down into carbon dioxide and ethanol, creating fizz and the alcohol content. Some brewers add an additional fermentation step to further alter the taste of the beer. The secondary fermentation siphons the beer out into a clean sterile tank, and then the yeast further breaks down the sugars down to alcohol and carbon dioxide, and it just gives a cleaner and crisper flavor, and color to the beer.

XXXIII Since the only necessary ingredients in beer are water, yeast, barley and hops and the steps are basically the same, that’s where the aspect of art comes into play. How are the brews coming out of craft breweries artistic? It’s the combination of those four ingredients and their variants that produce different beer flavors. Throw in additional ingredients, and you start getting into a whole new beer. It’s that variation where brewers can get artistic and get adventurous in the way they develop beers. Much like the combination of different paints on a painter’s palette make different colors.

There’s an element of neurogastronomy to brewing. In layman’s terms, that’s knowing how flavors and textures affect the brain; and knowing how to manipulate a beer when developing a flavor profile is just as vital to knowing how to brew it at all. When tasting a test batch of a new beer, brewers consider what they can do to the aspects of beers they do not agree with in the batches that’ll follow, to make changes to the final version of that beer. That’s where the consideration of how the brain is wired comes into play.

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Maybe what craft beer really comes down to is that synergy between the art and the science and the artist fully understanding how to manipulate the elements to achieve the final outcome, a painting for the senses if you will. RED ROCK BREWERY 443 North 400 West redrockbrewing.com

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MADAME BY PHOTOGRAPHER KEVIN ALEXANDER

Fashion Design: STEVE TRUJILLO @ LEON DESIGNS Make up: KATELYN SIMKINS Hair: RON LOPEZ Model

Gemma Reins at Donna Baldwin Agency

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Photograpapher: Kevin Alexander I have always been a visual artist, and movement has always been part of my life. As a kid, I attended Karate for six years along with painting, drawing and computer classes. I purchased my first camera when I was a sophomore in high school. I grew up when social media was developing, and at that time Myspace was “in”, it was all about how you presented your self to the virtual community, but to me, it was the perfect situation to work on my skills and abilities. Through Social media I met a lot of collage students, that were currently attending the Art Institute of Colorado to specialize in fashion photography, and most of them were always looking for models to test with. I was one of them! by being in front of the camera I got to see what goes down behind and In front and fell in love with it. I knew I was not going to be able to pay to attend collage, so I just started absorbing as much as I could while being their test subject. Kevin Alexander www.kalexanderfotography.com IG: Kalexander_Fotography

I have been testing with modeling agencies, fashion stylist and designers for quite a while now. I like to take criticism and hear other people’s ideas and opinions to take in considerations for my next project. With social media and access to the internet at any time and anywhere its easier to keep up with the latest trends and styles. With that in mind, it’s up to me to interpret them with my own vision and ideas for my projects. “Me” as the photographer, have the control of whats being done in the shoot most of the time, and if you know exactly the direction that you want to go to, you might end up with a beautiful collection of images.

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URSULA BY

PHOTOGRAPHER KIA HARTELIUS MAKEUP: AYOE NISSEN WARDROBE: TOPSHOP ART MEETS FASHION / ISSUE THREE MODEL: URSULA MAK WITH Ã&#x2030;TOILE MODELS

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URSULA PHOTOGRAPHER KIA HARTELIUS STYLING BY NANNA BOB

MAKE-UP AND HAIR BY AYOE NISSEN

MODEL IS URSULA @ETOILE MODELS

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Photographer: Kia Hartelius I grew up with a dad who always had a camera around his neck, photographing every step we as kids took. Later in my life I started to be interested in photography when I lived in Paris, studying Sociology at University. I soon realised that photography was the right place for me to be, and after my BA in Sociology I dropped my studies to dedicate myself completely to photography. I’ve always been interested in fashion in the sense that I always cared about my own looks. Fashion photography was something that came on much later in my life. The first photographer I assisted (in London) was shooting fashion, and I was fascinated by the way the team worked together on creating a specific vibe and story contributing with each their speciality. And this continues to fascinate me today, how when everything comes together in a higher unity it’s complete joy a satisfaction. I always try to push myself and my team towards exploring new aspects of our perceptions of beauty and style. I like things that are ugly rather than pretty and I like models with character rather than just a beautiful face. To be honest I’m not really sure that I’m that unique. Not that I don’t try to make some images and stories that stand out, but as photographers we’re constantly affected by each other and by the market. But if I should point something out that makes me unique it’s probably my use of colours, my lighting that I never compromise on, and the detailed retouch that I never outsource, cause I don’t trust anyone but myself. Kia Hartelius www.kiahartelius.com / mail@kiahartelius.com Instagram: kiahartelius facebook: /kiahartelius

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Photography: MAXWELL POTH Models: ANNIE and DYLAN with NIYA MODELS

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BOGOTÁ Photographer: CASTEL DIAZ

Stylist: FILIPPO RIPPE & CAMILO DUQUE Hair and Makeup: JULIAN ROMERO Assistant: CAMILO OSORIO Models: VALENTINA AGUDELO & VANESSA CARREÑO with LA AGENCIA MODELS Shoes: LE ZAPATIERE Wardrobe: CATALINA AZUERO by VOCÉ ART MEETS FASHION / ISSUE THREE

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D O W N T O W N • PA R K C I T Y • FA S H I O N P L A C E ART MEETS FASHION / ISSUE THREE

ART MEETS FASHION / ISSUE THREE

MODELO RUBIEL TABORDA MUA CAMILO GARCIA WARDROBE/STYLING ERIKÒ BY DAVID ALFONSO LOCACIÓN MANHATTAN NYC ART MEETS FASHION / ISSUE THREE

ART MEETS FASHION / ISSUE THREE

PHOTOGRAPHER CESAR BALCAZAR

NYC NIGHTS

ART MEETS FASHION / ISSUE THREE

EUREKA PHOTOGRAPHER HEIDI M. GRESS

Make up: BRAD VAN DYKE Hair: HEGGY GONZALEZ Fashion Styling: PHOEBE DAVENPORT Models

Ashlyn Cardoza & Spencer Burhoe Location: Eureka, Utah in Partnership with Aveda Institutes

ART MEETS FASHION / ISSUE THREE

ART MEETS FASHION / ISSUE THREE Her: Dress, Jordan Halversen

Him: Jacket; Amabile. Shirt and Pant, Jordan Halversen

ART MEETS FASHION / ISSUE THREE

Her: Dress, Narces @ Farasha

Him: Pant, Jordan Halversen ; Shoe, Adidas

ART MEETS FASHION / ISSUE THREE

ART MEETS FASHION / ISSUE THREE Her: Dress, Heggy Gonzalez

Him: Shirt and Pant, Jordan Halversen

ART MEETS FASHION / ISSUE THREE

Him: Underwear: DKNY; Shirt, Jordan Halversen

Her: Robe, Maeberry Vintage; Pant, Heggy Gonzalez

ART MEETS FASHION / ISSUE THREE

Him: Shirt, Jordan Halversen Her: Dress. Narces @ Farasha

ART MEETS FASHION / ISSUE THREE

ART MEETS FASHION

AMFFOUNDATION.ORG IG: AMFFOUNDATION FB: ARTMEETSFASHIONFOUNDATION INFO@AMFFOUNDATION.ORG

ART MEETS FASHION / ISSUE THREE