Issue no. 18

GREAT AGAIN 18

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FALL/WINTER 2016 MIRA HAYEK ANDRAYA FARRA - BEDOUIN SARAH HERMEZ AND TRACY MOUSSI - SECOND ST MARINA QURESHI TATIANA FAYAD AND JOANNE HAYEK - VANINA MELISSA LOSADA AND MARCELA VELEZ - M2MALLETIER SAHAG KHAJADOURIAN AMATO COUTURE ALAA MINAWI VLADIMIR KURUMILIAN

IN Magazine PUBLISHER & EDITOR-IN-CHIEF

AHMED ABOU NAJA CREATIVE DIRECTOR

MARWA ABOU NAJA EDITOR

NAHLA SAMAHA FASHION EDITOR & STYLIST

RACHA ABOU NAJA OPERATIONS EXECUTIVE

ELIE FAHED

EDITORIAL ENQUIRY, CONTRIBUTION & SUBMISSION Unexplored Publishing Dubai, United Arab Emirates write@unexploredpublishing.com T +971 4 283 3254 INmagme

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UNEXPLORED PUBLISHING IN Magazine, ISSN 2076-8605, is produced bi-annually by Unexplored Publishing. Reproduction in whole or part without written permission is strictly prohibited. IN Magazine copies are strictly prohibited to be sold. All credits in this demonstration are accurate but are subject to change. IN Magazine is fully independent and its views are not those of any company mentioned herein. This copy of IN Magazine is a digital copy and it is not for sale. This copy of IN Magazine is used for the communication purposes only and it is not used to generate any benefits or market competitions. IN Magazine accepts no responsibility for inaccuracies or complains arising from advertisement featured complimentary within the magazine or even paid. All copyrights and trademarks are recognized to its owners and all images rights are reserved to its owners. Manuscripts, photos, drawings, advertisement artworks and all other materials are submitted to IN Magazine. This digital copy may reveal all color and text tones to be semi accurate to the original production.

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© Image courtesy of Munsif Molu

EDITOR’S LETTER Dear readers, Great Again!

With 2016 in our rearview mirror, we are looking towards the future, one filled with reINvention, reINvigoration, and remakINg. As 2016 was winding down, we took a look back at our past year’s highlights, along with the lowlights… the standout moments, and the ones that will need propping up in 2017, and we realized something. That after all the reviewing and evaluation, we simply had a great year.

And now, our focus is to make this one Great Again.

Continuing with our core philosophy of uniqueness, standing against the wind, swimming against the current, and all the other metaphors you can think of, we are arduously searching for like-minded souls. Designers and artists, who defy convention, resist all the trappings of trend and conformity, and who fight heart and soul to bring a new vision into the light… those are our people. Standing against sameness, against blending IN, and against being but a drowned out “baaaaah!” in a herd of “baaaaahs”.

No sheep here.

Here, you will find warriors of art, and lovers of design, supporting new talent and new voices, providing them a platform from which they too can standout and shine.

This year also brings a redirectINg of focus onto our social media presence. Watch our series of short-documentaries on www.inmagazineme.com, bringing you the behind-the-scenes inner workings of designers, dreamers, artists and their craft, as well as our cache of special videos selected from the World Wide Web just for our unique reader.

Avoiding the crowd and treading our own path has always served us well… and this year we’re hoping to do more of the same, with an extra edge that gets sharper every year, bigger dreams, and a bigger fire fueling our passion.

Make 2017 Great Again for yourself, and we promise to keep IN Magazine Great Again and again!

Ahmed R. Abounaja ahmed@inmagazineme.com

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IN.SIDE

IN.FASHION

IN.SHOOTS

06 SECOND ST. FASHION WITH PURPOSE 12 ANDRAYA FARRAG THE HEAD AND THE HEART BEHIND BEDOUIN 16 JAPANESE MINIMALISM AND COLORFUL ORIGAMI MIRA HAYEK ON HER LATEST COLLECTION 18 MARINA QURESHI ELEGANT ROMANCE WITH AN EDGE 20 VANINA SOCIALLY CONSCIOUS FASHION

28 VICIOUS

BY OLIVER DORAN 36 ROOM 238

BY BITA CUARTAS 44 CALFORNIA VICE

BY FILBERT KUNG 54 AVANT GARDEN

BY FRANZ SZONY 62 CHILD INSIDE

BY HERVE DUNOYER

IN.TRENDS 24 SAHAG JEWELRY ORGANIC GEOMETRY 26 M2MALLETIER SLICK AND CHIC LUXURY HANDBAGS

IN.ART 70 OF LIGHT AND CULTURAL CONTEXT VISUAL ARTIST ALAA MINAWI

IN.DESIGN 72 VLADIMIR KURUMILIAN A MULTI-DISCIPLINARY ARTIST

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IN.FASHION

SECOND ST. FASHION WITH PURPOSE Second ST. is a socially-conscious fashion brand that reimagines the classic shirt in subtly unconventional ways.

Conceived on the namesake street, Second ST. was born of the drive to steer off of the conventional consumerist fashion path. Second ST. has successfully carved out an alternative fashion path through the production of urban and dynamic clothing designed by up and coming designers. The design duo behind Second ST., Sarah Hermez and Tracy Moussi, both graduates of Parsons the New School for Design, are avid supporters of free creative education, made possible through their partnership with Creative Space Beirut, a nonprofit school for fashion design. IN Magazine met with the design duo to learn more.

Tell us about your beginnings when Second ST. was first conceived?

The idea started brewing in NYC, where we both lived while attending Parsons the New School for Design. I was doing design and management and Sarah was studying fashion design. We were, however, disillusioned with the fiercely consumer-driven nature of the fashion world and did not want to contribute to its cycle without doing something positive as well. Eventually, as Sarah came up with the idea to start a school, the two ideas merged and we thought our brand could help form an alternative path through which the production of urban and dynamic clothing could help foster the talent of others.

How has your partnership with Creative Space Beirut impacted your label? What has been achieved so far through this partnership?

Thirty percent of Second ST. profits go back to CSB. We share the same space, we attend the same exhibitions and we hire students on a project basis. We’re also hoping to hire some of the students as designers for Second ST. once they graduate, creating a sustainable ecosystem of education and work opportunities.

You create unconventional designs of a conventional item of clothing, the button-down shirt. Why have you chosen to focus on this garment?

We decided to start a brand focusing on one product, the shirt. We chose the shirt because it is a classic product for both men and women and has lots of room for creativity.

The triangle Kimono is one of our first shirt designs and is our signature.

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Your FW 16-17 collection plays with geometric shapes and takes the traditional stripe up a notch. What inspired this collection?

We deconstructed the kimono shirt into triangular pieces.

Second ST.’s signature Loose Fit, Medium Fit and Kimono shirts are available in black, burgundy, deep teals and greys. The edgy mix of grids, lines, cuts and patchwork recall geometric cityscapes. Nylon accents appear in large pockets, patches and blocks, adding liveliness to the sleek, urban feel. Long shirts and hip hoody-shirts are added to the mix.

Who is your customer?

The idea behind our shirts is that they are items that you can wear anywhere, to work, to happy hour, or out at night. Our customers are modern, urban and fun!

What is the work dynamic between the two of you, Sarah and Tracy like? Is there a division of responsibilities or do you collaborate on everything?

We’re a good team because we each compensate for what the other lacks and share similar ideas about fashion and aesthetics! We never divided responsibilities, we pick fabric together, we create designs together, shoot the collection etc., and then the rest comes naturally How do you envision the Second St. brand growing in the next 5 years?

Within five years, We would like to introduce SECOND. ST shirts into concept stores all around the world such as Dover Street Market (London/NYC), Opening Ceremony (NYC), The Broken Arm (Paris), Totokaelo (Seattle/ NYC), Tres Bien (Sweden), Grandpa (Sweden), Storm (Copenhagen), Nomad (Toronto). Additionally, open our first flagship short within ten years in NYC.

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The Long Shirt

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IN.FASHION

ANDRAYA FARRAG THE HEAD AND THE HEART BEHIND BEDOUIN Andraya Farrag is a graduate of Central Saint Martins, holding a BA in Fashion Design with Marketing. Armed with a degree from one of the world’s most prestigious fashion design schools, Farrag forged her own way in the fashion industry with the launch of her own label BEDOUIN. Designed and developed by Farrag, BEDOUIN takes its cue from the people it is named after: selfsufficient, independent, living in a world without borders.

Born and raised in the UK to an English mother and Egyptian father, Farrag’s experience at Central Saint Martins pushed her to, “Think big, be creative and most of all determined,” she says.

Farrag later lived and worked in New York and India, the contrast and cultural diversity combined with design has always been a big inspiration to Farrag. Amassing worldly experience led Farrag to launch BEDOUIN, “I am by no means a traditional person however I think it is important to celebrate the world and remember our history. This eventually led me to develop BEDOUIN a brand that finds a harmony between traditional and contemporary,” she explains.

I AM BY NO MEANS A TRADITIONAL PERSON HOWEVER I THINK IT IS IMPORTANT TO CELEBRATE THE WORLD AND REMEMBER OUR HISTORY. “BEDOUIN really began while I was living in India. It was there that I realized that I wanted to focus on making easy-to-wear pieces that can be paired with many items in a wardrobe. I am so inspired by the world therefore wanted to make a brand that celebrates culture and allows women to honor their style no matter where in the word they are.”

So what is the main focus of Farrag’s designs? “Inspired by the beautiful nomadic existence of desert dwelling communities, BEDOUIN’s collections encapsulate values such as independence, simplicity, travel and strength.

Each season, it embraces history, culture and diversity, reimagined for the contemporary woman and her global lifestyle. In short, BEDOUIN is a celebration of tradition, contrast and the immense beauty of the world combined with flattering easy-to-wear silhouettes and travel friendly fabrics. Each collection is all about contrast, either transforming an urban silhouette with Italian jacquard or an elegant dress with a more effortless approach.”

BEDOUIN’S AW 16 collection combines ease with elegance, and a certain fluidity with interesting textiles like lace and metallic color, it is urban, feminine, mysterious and sexy. Where does Farrag go to for inspiration? “Each season is inspired by a different culture, environment or destination combined with contemporary design and luxurious fabrics. Our AW16 collection drew inspiration from the intriguing culture of Japan, combining urban street style with traditional geometric patterns and architecture,” she says.

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“Top-stitching and exaggerated flared sleeves were inspired by our update on the Samurai. I also took a lot of inspiration from art focusing on landscapes, resulting in the collection featuring wave-like layers of embroidery and brush strokes representing the mountains and waterscapes of Japan.”

The reflective metallic fabric featured in her collection stands out among the more subdued tones and forms, why does this fabric feature in every BEDOUIN collection? “I love to give these fabrics a fresh silhouette by applying them to a classic trench or a traditional parka jacket. The metallic pieces allow our customer to make a statement while still looking cool and carefree.”

As for the BEDOUIN woman, she is “A contemporary global woman with a love for travel, clean design and music. As a social and independent woman, she loves the world and gets inspired by people and diversity. Our woman is always on the go, whether she is a career woman, a mother of three or a hard working student she has big dreams and aspirations.

BEDOUIN is there to help give the inner confidence she needs to be more spontaneous.”

OU R WOMAN IS ALWAYS ON THE GO, WHETHER SHE IS A CAREER WOMAN, A MOTHER OF THREE OR A HARD WORKING STU DENT SHE HAS BIG DREAMS AND ASPIRATIONS. Farrag participated in Fashion Forward Dubai with BEDOUIN’s SS16 collection and more recently with the AW16 collection, with plans to show again in the 8th installment of FFWD in October 2016. “As Dubai’s fashion industry is still evolving,” says Farrag, “Fashion Forward is an exciting event for designers, industry professionals and consumers allowing us to present to a captive audience that is excited about the growth of the Middle East. I love showing at this event as it allows people to connect to the brand more emotionally and feels more like a celebration!”

With an overwhelming and positive feedback from FFWD, Farrag is excited. “I love being able to share what I have been working on with the people of this amazing city. Of course we also receive constructive criticism but that is what strives me to do better and gives me the confidence that I can keep surprising my customer each season with bigger and better collections. I have received such a lot of support from the region and this is my way of allowing everyone to be a part of the journey.”

Farrag will continue showing during London and Paris Fashion Week and Fashion Forward in hopes of making the brand more accessible to women from all over the world. “My personal goal is to continue surprising my customer with fresh collections each season that help them to feel flattered and confident.”

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IN.FASHION

JAPANESE MINIMALISM AND COLORFUL ORIGAMI

MIRA HAYEK ON HER LATEST COLLECTION Lebanese-born fashion designer Mira Hayek was a STARCH foundation selection in 2011 for designing her own prêt-à-porter collection under the mirahayek label. Hayek began her design journey at the Lebanese American University in Beirut where she studied graphic design. After graduating with Honors, Hayek expanded her artistic foray when she studied fashion design at Istituto Marangoni in Milan. After completing a Master Research Study Program in Fashion and Textile Design at Istituto Europeo di Design with distinction, Hayek interned at Elie Saab, Beirut and at Erdem, London. IN Magazine chatted with the up-and-coming designer about her architectural yet playful FW 16/17 collection, and more.

Your beginnings were in graphic design, how heavily does your graphic design background feature in your fashion design?

The background in graphic design helps me in creating shapes and geometrical cuts, which are present in each of my collections. Moreover, having the ability to visualize these shapes, asymmetry and cuts before being executed is also due to my graphic design background. Finally, fashion illustrations are all done using graphical tools, an important technique to adapt while creating a collection.

After studying graphic design at LAU, why did you choose to branch off into studying fashion design? What was the allure of that field that took you off the graphic design path?

I got the urge to venture into fashion design after discovering a newfound love for fashion illustration during my studies in graphic design. I moved to Milan to pursue my studies in fashion design at Istituto Marangoni. Hungry for more, I completed a Masters degree in Fashion and Textile Design at Istituto Europeo Di Design. I returned back home in 2009 and launched the first Mira Hayek collection in 2011.

How close is your career path now to the one you had planned out in your head ten years ago?

I cannot give a clear statement in regards to how close!

But I am definitely confident enough to share that the brand is on the way of establishing itself as a sportswear brand within the global fashion industry with a positive and upward commercial growth and media acknowledgement.

Your FW1617 collection is perhaps more architectural than your previous lines, despite seeing many of your recurring themes pop up. There is more form, definition, clean lines, and an urban flavor about that line. And yet, there is an element of fun and flirtation that you somehow inject into these stern silhouettes… Where did you draw inspiration from when working on this collection?

The sharp lines are inspired by Japanese minimalism, and colorful origami dolls inspire the playful side. The FW1617 KamiDoll collection is inspired by Japanese paper dolls.

Voluminous silhouettes, sharp geometric cuts and playful folds are key elements translated from the paper figurines to the collection.

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What about your color palette? Deep jewel tones with the occasional dichotomous black and white… Where did you look for color inspiration?

In the winter collection, we started with monochorome of black and white and added touches of color. Staple colors like green, bordeaux, and pink cherry blossom are inspired by a Japanese garden.

THE MIRAHAYEK BRAND IS A COMBINATION OF SPORTY ELEMENTS COUPLED WITH FEMININE SILHOUETTES TO TAKE YOU FROM DAY TO NIGHT. There is a stark “masculine” element in some of the garments in your FW1617 collection, immediately contrasted with a soft and “feminine” garment in the same look… Is this a representation of your own personal soft and hard side?

The mirahayek brand is a combination of sporty elements coupled with feminine silhouettes to take you from day to night. In each collection, you will notice the dominance of soft versus rigid looks and bold cuts that are easily coupled with lighter garments to invoke the mirahayek look.

Do you design the textiles of your collections?

I draw and design the prints in each of the collections.

Each print is exclusive to the brand with its own distinctive characteristics and patterns.

Who is the woman you are designing for?

A woman that enjoys venturing into the unknown without limitations – an urban, creative and free-spirited woman who is strongly influenced by music and dance. In other words, three terms to describe the MH woman: a l’aise, confident, playful.

What has been a highlight of your career so far; a career turning point?

Being nominated twice for the International Woolmark Prize and showcasing my collection at FFWD Dubai in front of the industry’s most influential players in the Middle East. Those were both achievements that I am extremely proud of.

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IN.FASHION

MARINA QURESHI ELEGANT ROMANCE WITH AN EDGE

Torn between fashion design and interior design, Marina Qureshi began her fashion journey at age 15, and enrolled at ESMOD at age 17. Synonymous with elegant eveningwear and romantic formal gowns, Qureshi’s namesake label has carved a very cozy niche in a market saturated with “trendy” fashions that live temporarily. Qureshi’s timeless designs are a sophisticated marriage of classic and contemporary, romance and edginess. Here, Qureshi tells IN Magazine about her journey from tomboy to sequins, and everything in between.

What draws you to the elegant and embellished design aesthetic as opposed to a more casual or laid back street-wear style?

When I was growing up, I was definitely what you would call a “tomboy” as I always wanted to be a boy, but now I love who I am, and I have finally accepted reality. I admire the most beautiful side of a woman: elegance, femininity, class… and that’s what inspires me to do what I do.

How important is fabric selection to your design process?

Fabric selection is a very Important and integral part.

It’s the backbone of the collection, though it’s a small part of the design process, but it can have a big impact on client satisfaction. I travel to Paris and China every season to select fabrics. It takes me 1-2 months to do the research on colors, fabrics and trend.

Your latest collection fuses rich fabrics with edgier styles, while retaining feminine silhouettes and feminine fabrics.

What was your inspiration for the design collection?

The classic feminine silhouettes are broken to either induce a different color vertically/horizontally, or merge of another texture; fringes are enriched with unexpected color. Tweed and faux leather have been introduced this season following the color theme. The collection takes inspiration from broken nature.

THE COLLECTION TAKES INSPIRATION FROM BROKEN NATURE NOT ONLY IN DEFORMED PATTERNS, BUT ALSO IN THE STRONG AND BOLD COLOR PALETTE.

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Gem tones and drama feature prominently in your collection. What inspired the color story of this collection?

The collection takes inspiration from broken nature not only in deformed patterns, but also in the strong and bold color palette: dark burgundy, purple, black, and teal; a chemically discolored forest.

The collection feels dramatic, edgy, and feminine.

Is that who the Marina Qureshi woman is?

The Collection is exactly what the Marina Qureshi woman is: one who carries herself with confidence and grace. She is elegant yet exciting.

What prominent personalities have you dressed? And who would you like to work with?

Marina Qureshi designs have been worn by Florence Welch, Amada Seyfried, Elie Goulding and Lara Stone.

What have been some career highlights so far?

Being featured on Vogue.co.uk has been a stepping-stone, the Red Dress at the Oscar’s, Florence Welch performing in Marina Qureshi twice, also dressing Ellie Goulding and Lara Stone.

So where do you see the Marina Qureshi label in the next five years, both regionally and internationally?

I see the brand growing a lot in five years, but I don’t know where it will take me. I am also always considering options like creating a luxury footwear collection or perhaps a diffusion line to appeal to a more contemporary kind of girl.

What can we look out for in your next collection?

I am currently working on the AW2017 Collection, which I believe will be one of my strongest collections yet. I am introducing jersey in this collection along with metallic tweed. We will also be releasing a line for Girls age 2-13 years old as we have a lot of request for young girls.

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IN.FASHION

VANINA

SOCIALLY CONSCIOUS FASHION What began as a childhood friendship between Tatiana Fayad and Joanne Hayek soon blossomed into a socially conscious creative partnership. In 2007, Fayad and Hayek launched a jewelry line that grew into a lifestyle label. Vanina is a jewelry, apparel and accessories label proudly sourced and produced in Lebanon.

Fueled by a passion for social and environmental change, the duo pours their sense of activism into their label, creating visual art in the form of fashion and jewelry that carry cultural messages.

How does fashion, social consciousness, and jewelry all merge together? We learn more from the dynamic design duo.

You first launched Vanina as a jewelry line at the ripe age of 19. Some would say too young for the industry. How did you both manage and cope?

It was very spontaneous. We embarked in an entrepreneurial journey without really knowing it. We were simply doing it with love and passion. One thing led to the other and here we were, managing a company and distributing internationally.

It happened faster than we thought at first. But we were very dedicated to making it successful and sustainable.

In a way, the fact that we were so young gave us courage. We thought everything was possible. We had no worries. We just went for it, and did it our way.

How was the name Vanina developed?

It’s the title of a song by Dave that we both like, for its playfulness and fun rhymes! Very much aligned with the Vanina spirit.

What started as a jewelry line grew into a “lifestyle label”, what kind of lifestyle is Vanina about?

The lifestyle we represent is about the many synergies that we explore through our work; passionately marrying fashion and sustainability, industry with handcraft, technology with heritage, waste with luxury, and innocence with responsibility.

So Tatiana Fayad and Joanne Hayek, the powerhouse duo behind Vanina…. Who brings what to the table?

We come from different backgrounds (Tatiana’s a marketer, and Joanne’s an architect), which makes our teamwork uniquely complementary. We have different design approaches and techniques, but we love exploring the process together, leading to creations that reflect both of our personalities and styles.

How is Vanina being utilized as a tool for social and environmental change?

Vanina is a social enterprise that engages in community development through handcraft and innovative design concepts.

One hundred percent of our products are handcrafted in Lebanon at our ateliers and affiliated workshops, engaging more than 60 people in the production. A big majority of our products are also based on the reuse and transformation of discarded materials.

We also collaborate with local NGOs for the sourcing of these materials and their transformation into statement fashion pieces.

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Tell us about the Vanina Fall/Winter 16/17 collection. What were the inspirations behind it? What new element(s) did you bring to your label with this collection?

The Fall/Winter 16/17 collection has a strong edge in terms of style and concept. This season, we introduced ‘Conserved’, a collection of accessories made out of up-cycled tin-cans, beautifully married to vintage chains, Swarovski crystals, beads and cotton tassels. We’ve also explored a new technique of hand-weaving, which we’ve elaborated in our apparel line.

Your collection reads like an eclectic mix: pearl and tassels, chains and oversized earrings, soft satins and flowing garments alongside edgier silhouettes and monochrome prints. Who is the Vanina woman?

The Vanina woman is certainly audacious, curious, and sensible.

What prominent personalities who’s fashion aesthetic you respect would you like to work with in the future?

Stella Jean What are some of your most memorable collaborations?

Our collaborative project with SAWA is one of our most memorable. SAWA is a local NGO that supports communities of Syrian refugees, mainly in the Bekaa valley. With their help, we recently opened an atelier in one of their camps, in which the manufacturing of our ‘Conserved’ collection is being done.

Through this project, we created over 20 job opportunities, and this number is growing every month. This project proved to us once again that fashion can be a strong tool for social change, and this is what Vanina is all about.

What are some dream projects you would like to develop?

We are dreamers. Our passion for the work we do grows day after day through new encounters and collaborations. We hope to be able to continue to strengthen our sustainable methods and impact, and promote a beautiful image of Lebanon through our project.

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IN.TRENDS

SAHAG JEWELRY

ORGANIC GEOMETRY Having received insight into jewelry making at a very young age, Sahag Khajadourian combined the knowledge he acquired growing up in jewelry-crafting circles, along with a design certification from the Gemological Institute of America in London to launch his label in 2013, from Saifi Village in Beirut.

Khajadourian has also worked with some of the most prominent local jewelry brands: directing, managing, and overseeing workshops and design process for them. In his repertoire also is working with private customers in the Middle East in designing and crafting unique pieces.

The allure of jewelry making for Khajadourian lies in the charm and elegance of a piece of jewelry, as well as, “The overall transformation that a statement jewelry adds to the overall look,” he says, “[that] is mostly what drives me to jewelry design.”

THE OVERALL TRANSFORMATION THAT A STATEMENT JEWELRY ADDS TO THE OVERALL LOOK… [THAT] IS MOSTLY WHAT DRIVES ME TO JEWELRY DESIGN. When the urge hit him to showcase his own style to a niche clientele, Khajadourian began planning his own jewelry line.

“To reach such a clientele, I needed to have my own product and design and this is one of the many reasons I have decided to venture into my own label,” he explains.

The Sahag collection has an element of ease and a subtlety to it; something difficult to come by living in the hyper-trendy culture we do today. “Inspiration comes from creating a story and a mood,” says Khajadourian, “Everything else that comes after becomes a routine and a procedure. It is the idea and making sure it is a strong idea that goes hand in hand with your brand identity which is the soundest essence of the design process.”

And Khajadourian has been able to achieve just that, with a brand whose identity is unmistakable in its essence and personality.

The latest collection from Sahag, called Bones, is comprised of pieces that are geometric yet organic. Khajadourian describes this collection as, “Lines of molten skeleton, clad in gold and diamond.” The diamonds add a layer of subtle richness to the understated design, marrying simple and ornate, minimal and maximal. “These vertebral pieces support the beauty of each hand with triangular geometry and arithmetic,” thus the beautiful fusion of form and fluidity in Bones. Khajadourian himself describes his design aesthetic as, “Unique, structured, geometric and valiant.”

Khajadourian designs for an avant-garde and bold woman, someone who is unafraid to venture into the unconventional, while taking with her a certain classic and feminine outlook.

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Also a seasoned painter, Khajadourian translates his passion for painting into his jewelry design. “It is all about the brush strokes that drive my inspiration to create my jewelry pieces,” he says, “Moreover, the color palettes that arise while painting and the mixing of different textures also play a role in the overall inspiration and final collection.”

Something that may be evident to him only, making the final outcome of a passion translated into jewelry pieces glaringly obvious to the wearer.

THE COLOR PALETTES THAT ARISE WHILE PAINTING AND THE MIXING OF DIFFERENT TEXTURES ALSO PLAY A ROLE IN THE OVERALL INSPIRATION AND FINAL COLLECTION. Led not only by inspiration, but also by his feelings and emotions, Khajadourian designs. “A mood board is not what defines my collection for the sole reason that while creating, I can reminisce on a moment that can transform the design from one end of the spectrum to the other,” thus calling on all of his history, experiences, and memories to fuel the idea behind every single piece.

A MOOD BOARD IS NOT WHAT DEFINES MY COLLECTION FOR THE SOLE REASON THAT WHILE CREATING, I CAN REMINISCE ON A MOMENT THAT CAN TRANSFORM THE DESIGN FROM ONE END OF THE SPECTRUM TO THE OTHER. With his eyes on the future, Khajadourian has several projects in the pipeline, with the one currently in the works being an expansion into the Russian market via points of sale.

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IN.TRENDS

M2MALLETIER SLICK AND CHIC LUXURY HANDBAGS Melissa Losada and Marcela Velez met while both were studying at Parsons School of Design. Losada then moved to Paris and London while Velez stayed in NYC. A chance encounter at a New Years Eve party in Cartagena sparked the beginning of a design partnership.

Six months later, both designers were living in Barcelona where they launched the luxury handbag label M2Malletier. IN Magazine gets a crash course from the design duo and learns more about what it takes to carve a path in the world of luxury accessories.

How has both your (Melissa’s and Marcela’s) Colombian heritage influenced your design aesthetic?

We have been very interested in tradition, craftsmanship and heritage. Colombia has a growing leather and craftsmanship industry and we have been involved in it since we were young.

What is the design philosophy behind M2Malletier?

We like a very clean, simple and minimal aesthetic. We prefer understated luxury and focus a lot on amazing quality materials.

How do you see today’s fashion industry?

It is very diversified and with the advances in technology I think that it is giving those who work in the industry many tools to become more creative and expand distribution channels. It is a challenging but interesting time that we are living.

What are the main influences behind your designs?

We love the work of Jean Michel Frank, Catalan Architect Ricardo Bofill and wonderful stylists such as Marie-Laure de Noailles.

Why have you chosen to specialize in leather goods?

Since I (Marcela) was young, I was always interested in leather goods and accessories. My family in Colombia is in the industry so I grew up in leather good factories and even selling in the stores.

Your latest collection blends geometric shapes with femininity, and structured metal accessories with playful colors and neutrals. The result is a complex and multilayered message. What is the design journey behind this collection?

We wanted to create a collection that was very fresh, feminine and romantic. We wanted our presentation to be a Garden Party and for our pieces to look like they were taken straight out of the garden. All of this, mixed with our geometric shapes gave the pieces the perfect balance. We also wanted to innovate with various finishes such as embroideries, original in-house prints and embossing.

So Melissa and Marcela, who brings what to the table?

Melissa focuses more on the creative direction and I focus on operations, business and sales aspects of the company.

Where do you see M2Malletier in the next 5 years?

We would like to expand our accessories line as well as open pop up stores in main cities.

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IN.SHOOTS

VICIOUS

Photography OLIVER DORAN Art Direction EMILIANO ARGANARAZ Hair & Make-up JOJO DANTESPADUA Wardrobe AMATO COUTURE BY FURNE ONE Models MERI, MALGOSIA, ELENA, JO AND ELIZA (FEMALE)

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IN.SHOOTS

ROOM 238

Photography BITA CUARTAS Stylist ANA ZULUAGA Hair & Make-up ANA NARANJO Models CAMERON MATTHEW AND MADY CAMELO Wardrobe SANTIAGO ÚTTIMA PUMPS AND BOOTS BY ROMINA LU

CAMERON MATTHEW Jacket & Pants SANTIAGO ÚTTIMA Sweater, Hym & Pumps ROMINA LU MADY CAMELO Sweater & Pants SANTIAGO ÚTTIMA Boots ZARA

CAMERON MATTHEW Dress SANTIAGO ÚTTIMA MADY CAMELO Dress SANTIAGO ÚTTIMA Pumps ROMINA LU

CAMERON MATTHEW Dress SANTIAGO ÚTTIMA MADY CAMELO Dress SANTIAGO ÚTTIMA

CAMERON MATTHEW Dress SANTIAGO ÚTTIMA Boots ROMINA LU MADY CAMELO Dress SANTIAGO ÚTTIMA Boots ZARA

CAMERON MATTHEW Vest, Pants & Top SANTIAGO ÚTTIMA Boots ZARA MADY CAMELO Dress SANTIAGO ÚTTIMA Boots ROMINA LU

CAMERON MATTHEW Jacket & Pants SANTIAGO ÚTTIMA Sweater, Hym & Pumps ROMINA LU

MADY CAMELO Dress SANTIAGO ÚTTIMA

IN.SHOOTS

CALFORNIA VICE

Photography FILBERT KUNG Grooming KEVIN LIM Wardrobe KIM SHEREE MASON Model JULIAN RAMOS OF CLICK MODELS NEW YORKÂ

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White Leather Top UMA BURKE

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Sunglasses STYLIST'S OWN Quilted Coat B JAMES THE AMERICAN DESIGNER FALL/WINTER 2016

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IN.SHOOTS

AVANT GARDEN Photography FRANZ SZONY Photography Assistant CONNER SORENSEN Stylist EMILY LANDERS Hair & Make-up JOSEPH ADIVARI Model ALLISON HARVARDÂ Jewelery MICHAEL SCHMIDT STUDIOS AND MARIANNA HARUTUNIAN Special Thanks RUNWAY ARCHIVES AND SHOWROOM FOR THE STARS SHOWROOM

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CHILD INSIDE

Photography HERVE DUNOYER Photography Assistant GREGORY DALLEAU Art Direction & Stylist AUDREY JEHANNO Hair JEAN-MICHEL HENRY Make-up FLORENCE DESPETELLEÂ

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Top DAVID VINCENT CAMUGLIO Trousers ESCADA Earrings CABINET OSEO Bracelet THIERRY MUGLER AT DDS VINTAGE Belt & Shoes ROLAND MOURET FALL/WINTER 2016

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IN.ART

OF LIGHT AND CULTURAL CONTEXT

VISUAL ARTIST ALAA MINAWI Alaa Minawi is a master of light, playing with it and manipulating it to create different worlds on stage and creative installations elsewhere.

He is a Palestinian-Lebanese visual artist who is renowned across the region through the 300 plus performances he has participated in.

Minawi has put on several hats in these performances, sometimes the lighting designer, sometimes the technical director, and sometimes the main attraction: performing. With several regional and international theatre workshops and festivals under his belt, Minawi takes on one new project after the next, pushing the creative boundaries and challenging our own imaginations. In an intimate tête-à-tête , IN Magazine learned about Minawi’s love of light, his work, and his future plans.

When someone asks you, “What do you do?” how do you respond?

In the beginning it was hard for me to decide on which medium I am interested in focusing on, so I tried different forms like acting, directing, and production management, in addition to lighting design. In 2010, I found out that the best way to describe what I’m doing is by calling it 'visual arts', as my work is basically related to what we see and the aesthetics of it. Now I say I’m a visual artist.

What have been one or two of the major turning points in your career so far?

The first one was A Piano in My Pillow, which is a collaboration with pianist Vladimir Kurumilian. It was a light and sound experiment where Vladimir improvised music inspired by the changes of light that I was doing. This was my first major experiment with light, and it pushed me to dig deeper in that direction.

Explain to us the fascination you have with light, and your continued need to understand it through your projects and installations.

Everything we see in this life is a reflection of light. This is a scientific fact. In other words our total visual experience as human beings is based on a reflection of light on objects. For me, this is the power and magic of light. It is this mysterious intangible medium that affects us deeply. If Plato’s allegory of the cave proves right, then the truth of our existence would be by finding the source of all the reflections we see. And for me understanding light is one step further towards that quest. The absence of light from our lives would have changed our perception of the world.

The second is My Light is Your Light, an installation that I created in 2014 and is still in the midst of its world tour. The installation made me reach many realizations about the kind of artwork that I am personally interested in pursuing; which is installations that reflect the area I come from.

OUR TOTAL VISUAL EXPERIENCE AS HUMAN BEINGS IS BASED ON A REFLECTION OF LIGHT ON OBJECTS.

And the second one was the opening night of presenting My Light is Your Light in Beirut. It took so much effort and energy to present this installation in Beirut that it felt like an achievement when it was finally there.

In the beginning I was interested in understanding light its' self, the way it functions, and the way it reflects on surfaces creating this beauty. But now I am interested in observing the impact of light on us as people. Why does a sunset bring a soothing nostalgic feeling within us? Why does it create some kind of comfort? Why does a diffused sun light by the clouds in winter bring in a gloomy, tiring feeling? Why do we feel scared from the dark? Is it because when it is dark we are alone with ourselves? And when we are alone, are we confronted with some deep questions?

I WAS INTERESTED IN UNDERSTANDING LIGHT ITS’ SELF, THE WAY IT FUNCTIONS, AND THE WAY IT REFLECTS ON SURFACES CREATING THIS BEAUTY. BUT NOW I AM INTERESTED IN OBSERVING THE IMPACT OF LIGHT ON US AS PEOPLE.

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What have been some of the most memorable moments, however small and subtle, of the projects you’ve worked on so far?

The most memorable moments were acting on stage – actually the intense emotions that rush through my body right before the theatre doors open for the audience.

What are some of the differences for you between being part of a street festival, and being part of a stage production?

A stage production is made in the classical context of a theatre.

You have a venue, performers, and an audience who made a decision to come and attend the performance.

Street festivals have a different sense. We, the performance team, are going to the people, to their environment, and we are changing this street to a stage. Dealing with the aesthetics of a street is much different and more challenging than in a contained theatre were the scenographer creates his/her set design and thus world.

In the street a person needs to respect the existing aesthetics: the pavement, the buildings, the stop signs, the sky, the sun, and moon. The team will need to consider the surrounding as part of the performance and respect that presence.

Do you have a single career ambition? Or are your career ambitions fluid?

Fluidity has worked for me so far. The only thing I do is never say no to a new challenge or experience, which proved to be of great help in evolving my career. There are targets though, and those targets keep on getting upgraded.

How does your cultural heritage influence your point of view do you think?

After My Light is Your Light, I found out that the context I am living in is my muse. Even when I go to existential and individualistic-like questions, they prove to be a result of the context. The main question is what is a ‘cultural heritage’?

Am I only an Arab? Or did studying in an American university have an impact on my build up? And by the way, isn’t Arabic culture a fusion and accumulation of many other cultures molded together? Does living in a country like Lebanon make me understand Arabic culture in a different context? Am I half Palestinian half Lebanese? Or did living in the gulf for few years followed by traveling a lot have a major impact on my identity? What is my cultural heritage? This is the question.

I believe we are the result of what we get exposed to, and in this era we get exposed to a variety of cultures, that is why I use the word ‘context’ more than ‘heritage’. Then yes, the context is the inspiration that starts building inside of us and eventually formulates into a need to express in some art form.

I BELIEVE WE ARE THE RESULT OF WHAT WE GET EXPOSED TO, AND IN THIS ERA WE GET EXPOSED TO A VARIETY OF CULTURES, THAT IS WHY I USE THE WORD ‘CONTEXT’ MORE THAN ‘HERITAGE’.

Tell us about your blogs Almost There and Sharing Observations… Are they still running? What motivated you to start them?

There is a blog in which I write notes; they are poem-like notes that I have been writing since 2006, but that I only recently published. I am not sure why, but these writings are quite personal and there is a sense of freedom when they get published and shared with other people. It has been few months since I last wrote anything. I am not sure why.

Sharing Observations is a blog were I write articles about performances in which I designed the lighting. How I thought about the concept, the challenges and how it got implemented. I made this blog assuming it might help new comers to the light design field. It is a slow blog in a sense that I publish an article every few months.

What are the “series of experimentations relating light to music, history, and space,” that you recently started?

In terms of music the experiment A Piano in My Pillow was the first one where it was based on finding the impact of light on the creativity of an improvisational pianist like Vladimir Kurumilian. I am working on a new project with Luca Longobardy also relating light and music.

In terms of history and space there is a project that I have been working on for two years, but I can’t say much about it until it gets on track.

What is your ultimate dream project?

Lighting a city.

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IN.DESIGN

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Beirut. A city that has served as muse for many an artist and a dreamer. The case is no less different for multi-disciplinary artist Vladimir Kurumilian who draws inspiration from it. Immersed in art as a young child, Kurumilian was born to an architect father. His induction into the arts came in the form of piano lessons from a very young age, which led to being mentored by Michael Ashjian at the Lebanese National Conservatory. Like his father, Kurumilian studied interior architecture at Académie Libanaise Des Beaux-Arts (ALBA).

A musician, composer, visual artist and self proclaimed “improvisation pianist”, Kurumilian has found a realm in which he can seamlessly fuse his music and visual conceptualizations. IN Magazine had the pleasure of chatting with the artist to learn more of his craft and his life.

Living in a world that is in hyper-stimulation mode, where do you draw clear inspiration?

I’ve studied both interior architecture and piano; I use one or the other as a medium/technical skill to express a certain idea. I draw my inspiration from my direct surrounding through sounds, photos, stories, movies, books, colors, music, and people… also from my getaways. But mostly, my inspiration comes from the moon and its’ cycles, since I usually work at night. I have my sketchbook wherever I go; I sketch and write down literally everything that comes to my mind. I frequently go back to my sketchbooks. I have plenty; I feel they help me organize my eclectic thinking. Whenever I stumble upon a specific idea that keeps on coming back, I start pushing it further. The process is more like a mix and match of ideas that might end up being a performance, a spatial feature, or both together.

Do you feel that music and the visual are two parts of a whole or two wholes that merge into one? Meaning, can they exist separately?

I really like the link between music and visuals.

Most of my performances had visuals. I do improvisation music, and it usually comes from a certain need/urge to express a certain state of mind or an experience I’m going through. The process is reversed: I work on the visuals and they help me get all the emotions out when I play. But again, it’s a personal choice to use both of them in one place.

I DO IMPROVISATION MUSIC, AND IT USUALLY COMES FROM A CERTAIN NEED/URGE TO EXPRESS A CERTAIN STATE OF MIND OR AN EXPERIENCE I’M GOING THROUGH. What have been some of the projects you were a part of that have left the most impact on you and why?

Working on the music of the surrealist movie What’s Going On by the journalist and amazing film director Jocelyne Saab had a major impact on my career as a pianist. Improvising music for a big screen release was a huge step for me. I remember we were in the USJ theatre, I was watching the final version of the movie and I had to react directly to the visuals on the piano.

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In my collaboration with visual artist and lighting designer Alaa Minawi - A Piano In My Pillow – the interaction between music and visuals (in this case: light) was tackled differently: I didn’t see the light Alaa designed before hand, nor Alaa heard the sounds I was going to play. It was a sound and light improvisation performance, and that was quite a challenge for both of us.

As for Starch, the experience in itself was enriching on so many levels. It gave me the opportunity to understand how a team functions while focusing each on his personal identity; it was a chance to exchange stories with other designers, and to meet new people. I learned how to express myself, and have a strong speech defending what I am working on. Starch is the platform I needed to understand myself, to know what I want, and how I want it to be expressed in terms of space and functionality. I am grateful to the founders of Starch, Tala Hajjar and Rabih Keyrouz for their unfaltering belief in my art and their continuous support.

STARCH IS THE PLATFORM I NEEDED TO UNDERSTAND MYSELF, TO KNOW WHAT I WANT, AND HOW I WANT IT TO BE EXPRESSED IN TERMS OF SPACE AND FUNCTIONALITY. Tell us about your design of the Starch 2016-2107 Boutique titled INTORVERT // EXTROVERT. Our mind works as a hard drive that we fill with information and data every day. At some point we need to empty the load to make place for new ideas. When I got accepted to Starch, I knew it was going to be a major turning point in my career, so I decided to bring together 5 personal life-changing experiences that happened before Starch. INTROVERT // EXTROVERT talks about the death of my father, my identity, my connections, my music, and my relationship. I felt that I needed to talk about these main stories for me to move forward after Starch, and work on new ideas. The idea hit me during one of my getaways to Istanbul and I came up with the whole thing in 3 days. I had presented 4 other ideas previously, but this one was pretty much the clearest in my head. I thought I was very introverted for a while, and that I had to use this opportunity to bring these stories out.

OUR MIND WORKS AS A HARD DRIVE THAT WE FILL WITH INFORMATION AND DATA EVERY DAY. AT SOME POINT WE NEED TO EMPTY THE LOAD TO MAKE PLACE FOR NEW IDEAS. Your ‘Two Men’ sketch series influenced your mirror, what is the series about?

‘Two Men’ is a series of sketches that talk about a love story with all its ups and downs. It’s a diary of a relationship, specific moments I need to remember. These sketches are the only ones I removed from my sketchbooks; I feel they belong in a place of their own. They are my escape to express emotions I wouldn’t be able to express with words.

You seem to have a signature ability to adapt your piano to various influences and styles, who or what have been some musical influences in the past and today?

I’ve always been inspired by what artists like Björk do. I listen to a lot of music, I even have my guilty pleasures, but if I was to talk about influences, I would list a few: Björk, Radiohead, Jeff Buckley, Grimes, Goldfrapp, Lana Del Rey, Massive Attack, Röyksopp, Soapkills, Universal Hall Pass, Feiruz, Emel Mathlouthi, Beethoven, Liszt, Bach, Hello Psychaleppo.

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I ALSO ALWAYS TRY TO DISCOVER NEW ARTISTS TO SEE HOW MUSIC IS EVOLVING; I LIKE TO FOLLOW THE PROCESS AND THE EXPERIMENTATIONS THESE MUSICIANS ARE WORKING ON. What about design influences? Who or what are some of them?

I like the Japanese approach to architecture, from Tadao Ando to Shigeru Ban and Toyo Ito. But I also admire the work of Iannis Xenakis (who actually worked on music and architecture), Le Corbusier, Mies Van Der Rohe, Calatrava, Louis Kahn, Oscar Niemeyer, to name a few.

Your ability to make the piano a clement and gentle sound is quite emotive, as is the case in ‘Improvisation 28.2.2016’. Where is your mind when you are composing or improvising?

Someone once told me after A Piano In My Pillow that he couldn’t distinguish me from the piano, and that he felt like I was making love to the instrument and not just playing.

I like that. I’ve also been told I look like an insect referring to my posture on the piano. When I’m composing, mostly improvising, I feel my piano and I become one. I’m totally elsewhere. It’s more of a spiritual connection, a getaway.

What are some of your favorite musical collaborations that you were a part of?

Collaborations are really enriching, especially when it comes to music, it’s an exchange of emotions and not just sounds.

One of my favorites is my collaboration with Assil Ayyash on Thaghara. We had poems written by Karim Farah, and I used to improvise on the piano while Assil improvised singing the lyrics on my music. We wrote a few awesome songs together.

I’ve also always been a big fan of electronic music, and my collaboration with electronic musician Liliane Chlela on a few performances is one of the best projects I've worked on.

I really like the contrast between the acoustic sound of the piano and electronic beats.

I’VE ALSO ALWAYS BEEN A BIG FAN OF ELECTRONIC MUSIC, AND MY COLLABORATION WITH ELECTRONIC MUSICIAN LILIANE CHLELA ON A FEW PERFORMANCES IS ONE OF THE BEST PROJECTS I’VE WORKED ON. Some of the tracks you feature on your SoundCloud are accompanied by artwork. Is that artwork yours? And is it created specifically for that track? Tell us about your choice of artwork.

Most of the time it’s mine especially for the latest tracks I’ve posted. Like everything I work on, it’s a mix and match of things. When I improvise a tune, it puts me in a specific state of mind that would remind me of a certain sketch I did, so I assign them to each other.

So what are you working on now?

I’m currently discussing a few collaborations and brainstorming on my upcoming performances and projects.

However, I don’t like to rush things, I tend to give every project the time it deserves.

To see more of Vladimir Kurumilian work, log in to his website www.vladimirkurumilian.com

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