Fashion - April 2017

April 2017

Face Off With

COCO r oc h a #IRL VS. URL

When these worlds collide, it’s...

Play Time

April 2017

April 2017

April 2017

April 2017

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Contents April 2017

SOcIAl

How can we manage fasHion expectations wHen we are constantly seeing our Heart’s desire on social media?

50

Feature Coach is

courting fashion’s new star: the free-spirited girl who likes a style adventure.

AlwAys in fAshion ON tHe cOver

Photography by Owen Bruce, styling by George Antonopoulos.

Coco Rocha wears a top and necklace, price upon request, Louis Vuitton. For all clothing credits, see page 60.

Hair, Matthew Collins for P1M.ca/L’Oréal Professionnel. Makeup, Sir John Barnett, celebrity makeup artist, L’Oréal Paris USA. Nails, Leeanne Colley for P1M.ca/Tips Nail Bar. Fashion assistant, Lucia Perna.

30 34 36 38 40

Buzz Letter from the Editor Behind the Scenes Contributors Readers’ Letters

fAshion

News #TBT is IRL with three brands reissuing much-loved lines; the Golden Square Mile is the new home for luxury in Montreal; shoe designer Francesco Russo makes looks for every body type; and Amber Witcomb is having a model moment.

44

52 Eco The Conscious Exclusive is H&M’s testing ground for sustainable and stylish fashion.

56

Spotlight Spring’s juicy

accessories.

60 Digital Savant We had a fashion and beauty faceoff with Coco Rocha. She won.

54

Tech Eight looks with

a cute-kooky tech spin; the company that’s using its technology to help fashion fix the world.

26 F A S H I O N | april 2017

fashionmagazine.com

photography: rocha by owen bruce (Styling, george antonopouloS) top, $1,035, tibi. SunglaSSeS, $500, Karen walKer. Silver bootS, $120, topShop. clutch, price upon requeSt, chanel. Key chain, $65, coach.

46

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Contents April 2017

Fix Charlotte Tilbury hosts an epic sleepover in honour of her new dry mask; delete your nail polish mishaps; and makeup for the selfie set.

72

84

Skin A meeting with a French

cosmetic doctor exposes the difference between aging skin and an aging face.

86

Hair Are we on a break with

air-dried waves? After seasons of laissez-faire hair, razor-sharp blunt cuts are back.

90

Skin There is mounting

evidence that constantly staring at your phone—whether you’re posing for selfies or frowning while scrolling through Instagram—can actually damage your skin.

94 Fitness Can your smartphone replace your personal trainer?

98

Health Diving deep into the

digital world is the new normal, but sometimes a detox is in order.

78

99 Health The pros and cons of digital vs. real-life health practices.

Fragrance Scent is the last

frontier of IRL experiences; a visit to Paris’s Le Grand Musée du Parfum; Mon Guerlain makes a statement; and L’Occitane bottles the golden hour in Provence.

culture

Interview DJ Juliana Huxtable is a post-Internet-art darling who isn’t afraid to get outside her algorithmic bubble.

101

Index The heavenly sounds of St. Vincent; the lucky and lovely Claudia O’Doherty. Plus, Jillian Tamaki’s cartoon world.

104

Feature When female singers don’t choose to have a perfect digitized voice, it’s a feminist act that connects us to reality.

108

features

Dress Code Techie-fabrics and 3-D accessories bring a digital beat to fashion. Photography by Javier Lovera.

114

eXPlOre 134

Road Trip Two newlyweds

get behind the wheel to explore the Napa Valley and San Francisco, home of their engagement.

Virtual Can virtual reality possibly come close to what we experience during a real-life travel experience?

136

124 Big Time

Play with proportions in pumped-up silhouettes.

Photography by Richard Bernardin.

photography: model by richard bernardin (Styling, Zeina eSmail) jumpSuit, $910, dKny.

beauty

Buy It Where to buy everything in this issue.

140

Patriot Love The latest in 3-D printing is how Daniel Christian Tang creates kind accessories of perfection.

142

138

OTG Three dreamy

destinations where you can disconnect and decompress.

28 F A S H I O N | april 2017

fashionmagazine.com

©2017 COACH¨

2

tHe JuNO AwArdS

DISCOver, experIeNCe AND CelebrAte CANADA’S tAleNt ON pASSpOrt2017.CA.

VIctOrIA beckHAm’S 43rd bIrtHdAy We met her as Posh Spice 21 years ago (!!!) .

16

easter Sunday

it falls on a Monday this year?

1

NAtIONAl pet dAy Give your four-legged friends some extra love.

17

The documentary film festival is back in town!

AprIl FOOl’S dAy Don’t forget to capture your best pranks on Snapchat.

15

HAppy bIrtHdAy, emmA wAtSON! The actress and activist turns 27.

Alber elbAz x FrédérIc mAlle

11

Bring on the chocolate!

April 27–May 7 Hot docs 2017

3

World Party day So what if

Called Superstitious, this scent is the first collab between the former Lanvin designer and the fragrance brand.

22

APRIL 18–23 CAnAdIAn MuSIC Week Celebrating the best in Canadian talent

HBd, Channing Tatum!

The actor turns 37 today.

26

earth day Do something good for our planet today.

29

HAppy SIxtH ANNIVerSAry, wIll ANd k Ate! #goals

Want more Fashion? Visit us at:

Fash ion m ag a z i n e .com @FASHIONCanada

30 F A S H I O N | AprIl 2017

@FASHIONCan

FASHIONMagazine fashionmagazine.com

photography: celebrities by getty; eggs, world, film and cushion by istock

Buzz

Your APRIL guIde to what’s happening on the scene. iCals at the ready!

MUGLER.CA

editor-in-chief noreen flanagan executive editor jacquelyn francis senior editor, fashion news sarah casselman fashion editor-at-large zeina esmail contributing editor george antonopoulos fashion market editor caitlan moneta associate fashion editor eliza grossman beauty director lesa hannah beauty editor-at-large sarah daniel associate beauty editor souzan michael assistant beauty editor renée tse health and copy editor emilie dingfeld assistant editor/research d’loraine miranda photo editor erin reynolds designer hilary hatt associate designer nicole livey western editor joy pecknold staff photographer carlo mendoza tablet producer monique savin

fashionmagazine.com

director, digital women’s group steven kawalit creative director, digital matthew warland editorial interns yasmin arnaout, meghan mckenna, lauren polyak, tiffany voiadzis contributors caitlin agnew, alexandra breen, rebecca brown, madelyn chung, shawna cohen, leeanne colley, malina corpadean, lynn crosbie, siofan davies, mary dickie, erin dunlop, brendan fisher, eva friede, caroline gault, lisa hannam, vanessa heins, liza herz, gabor jurina, grace lee, david livingstone, kari molvar, lorca moore, chris nicholls, dan parsons, susie sheffman, olivia stren, lindsay tapscott, stephanie thompson, natasha v. director of production maria mendes production manager caroline potter production coordinator alexandra egan prepress coordinator kathleen fregillana

vice-president & group publisher jacqueline loch general manager, advertising sales kelly whitelock senior national account managers deidre marinelli, susan mulvihill director, retail advertising sales sandy sternthal retail account manager sue freeman senior sales coordinator sandra dasilva national account manager, interactive susey harmer montreal eastern general manager bettina magliocco senior national account manager suzanne farago national account & retail sales manager suzie carrier sales coordinators jennifer raffi (on leave), christine elvidge (on leave) calgary & edmonton retail account manager stephanie reshaur 403-299-1890, 877-999-1890 vancouver retail sales & national account manager sandra beaton 604-736-5586 ext. 213, 866-727-5586 marketing & communications manager jacqueline kendall marketing & communications coordinators drydon chow, krista gagliano marketing & communications interns jennifer freedman, sarah zhao director, integrated client solutions nevien azzam director, digital services angie mckaig director, digital sheldon sawchuk project managers asmahan garrib, ada tat digital designers jennifer abela-froese, scott rankin web administrator ian jackson web manager adam campbell digital manager damion nurse sales project coordinator ethan kates sales project designer glenn pritchard newsstand/consumer marketing director annie gabrielian consumer marketing director rui costa consumer marketing manager/web larry wyatt consumer marketing assistant amanda graham credit manager carmen greene collection specialist patricia tsoporis controller dora brenndorfer accountant maryanne foti accounts payable specialist ruth muirhead payroll manager helia aiello human resources & payroll coordinator lisa alli office services supervisor glenn cullen office services garfield stoddard administrative assistant carol bieler i.t. senior manager jp timmerman i.t. manager eagle huang st. joseph communications, media Group chairman tony gagliano president douglas knight general manager & v.p. finance karl percy v.p. consumer marketing & production darlene storey v.p. strategic development duncan clark senior v.p. strategic content labs douglas kelly v.p. research clarence poirier fashion magazine 111 queen st. e., suite 320, toronto, on m 5c 1 s2 phone 416-364-3333 fax 416-594-3374 montreal office 1155 boulevard robert-bourassa, suite 1301 , montreal, qc h 3b 3a7 phone 514-284-2552 fax 514-284-4492 vancouver office 510 – 1755 west broadway, vancouver, bc v6j 4 s 5 phone 604-736-5586 fax 604-736-3465 fashion magazine april 2017 · volume 52 issue 4 · printing: st. joseph printing · date of issue: march 2017 · subscription inquiries: 800-757-3977

fashion magazine annual subscription price: $15.95 plus hst (10 issues, published february, march, april, may, summer, august, september, october, november and winter). single copies: $4.99. united states, one year: $22.95. all other countries: $27.95. to change your subscription address, please send your new and old addresses to: subscription department, fashion magazine, p.o. box 825, stn. main, markham, on l 3p 8c8, at least six weeks in advance. the publisher accepts no responsibility for advertiser claims, or unsolicited manuscripts, transparencies or other materials. no part of this magazine may be reproduced in any form without written permission of the publishers. copyright 2017 st. joseph media inc. all rights reserved. we acknowledge the financial support of the government of canada. circulation audited by alliance for audited media. publications mail agreement no. 42494512. return undeliverable canadian addresses to p.o. box 825, stn. main, markham, on l 3p 8c8. fashion magazine is distributed by coast to coast newsstand services limited. issn 1496-578 x. through partners in growth®, fashion magazine is helping st. joseph communications, media group and scouts canada replenish the environment. a seedling will be planted on behalf of every ton of paper used in the printing of this magazine.

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EDITOR’S letter

W

34 F A S H I O N | april 2017

turns out there may be a skin-damaging side effect to putting in too many hours perfecting your perfect profile pout.

But there are some things in life that shouldn’t be—or even can’t be—digitized.

In “Vocal Reaction” (page 108) Sarah Liss writes about female performers like Katie Stelmanis, Emilie Carrey and Tanya Tagaq whose “real” voices don’t conform to digitally enhanced conventions. Liss describes their unfiltered sound as a feminist act that reconnects us to reality.

In “Say My Name” (page 80) Sarah Bancroft discusses why smelling a fragrance is still one of the purest IRL sensory experiences a woman can have. Thierry Wasser, Guerlain’s master perfumer, told Bancroft that perfume can’t be digitized because it’s too ritualistic and too personal. “Perfume is a social medium,” he said. A fragrance may have its loyal followers, but it’s at least one “social” platform you can join without having to be obsessed with likes and hashtags!

NoreeN FlaNagaN, editor-iN-cHieF follow me on t wit ter and instagram @noreen_flanagan

FasHioN Flip book

Our IRL-vs.-URL-themed issue starts with the lift-and-flip cover execution that we did with Coco Rocha—a model who brilliantly bridges her IRL/URL worlds (see “Digital Savant” on page 60). To create this tactile experience, we shot five covers and divided each of them into thirds.

By mixing and matching the different sections, you can create up to 35 different covers. Each combo puts a different spin on the gorgeous makeup looks that Sir John Barnett, L’Oréal Paris USA celebrity makeup artist, did on Rocha. We’re not the first magazine to do this. In fact, this old-school “interactive” technique dates back to the late 1800s. Have your own faceoff with Rocha and post your fave combo on Instagram with the tag #FMIRLvsURL (bonus points if you post any of the nine combinations not shown above).

fashionmagazine.com

photography by owen bruce

e’re living in a post-digital magazine era where online “fake news” dominates and non-linear reading habits are measured in milliseconds. The printed page, for some, is like an old friend you’ve lost touch with. Literally.

The mere act of touching paper is a form of haptic communication. (That’s a term used to describe how tactile experiences communicate ideas and emotions.)

Numerous studies have shown that reading from a printed page versus a screen activates neurological pathways that generate stronger emotional connections and recall. Some of these studies were funded by postal agencies—so there’s a potential for bias—but look at your own life. If you want to read something carefully—or you need to remember something—do you print it out? I do. I also know that a handwritten note brings me to tears or makes me laugh more intensely than anything I read or watch online. (One exception: the memes inspired by the 19-second handshake between Japanese Prime Minister Shinzo Abe and President Donald Trump. #cringeworthy.)

Understanding how and when our IRL and URL lives intersect—or don’t—is the inspiration for this issue. One of my favourite examples of how these two worlds come together is Gimme360, a Toronto-based social entrepreneurial company that creates virtual reality hoodies (see “Bridge Software” on page 54). Use your phone to tap the logo on the hoodie, and it launches a video about the people in Cambodia who made the item.

One of the unexpected IRL downsides to spending too much time in your URL world is revealed in Caitlin Agnew’s “Note to Selfie” (page 90). It

aprilbts

Face Time

Mega-model and mom Coco Rocha shows us how to be a fashion chameleon. rocha doesn’t let an eclectic outfit steal the spotlight.

Get tHe look

L’OréAL pArIS infallible lip paints ($13) in “orange envy”

L’OréAL pArIS infallible total cover foundation ($20)

L’OréAL pArIS infallible eyeshadow paints ($13) in “valiant blue”

miX and match is the name of the game for our 35 cover options.

guccI

Spring 2017

Shop the Shoot

36 F A S H I O N | april 2017

Mix loud botanical prints with molten metallics.

VALeNtINO $2,440

ted bAker $425

SArAH mAgId $220 H&m $100

fashionmagazine.com

photography: behind the scenes by tiffany Voiadzis; makeup products by carlo mendoza; runway by imaxtree

When using red in such a dramatic way, cancel out redness elsewhere with foundation.

CÉLINE CF Toronto Eaton Centre 416.507.3100.

Contribs Coco Rocha

“It’s funny that some of the same people who told me I was ‘ruining the mystique’ are now posting incessantly about what they ate for breakfast.” tHE SOCIAL LIFE

@cocorocha

Our favourite ’grams of our April cover star

jAVIER LOVERA

@javierlovera For “Dress Code” (page 114), this Toronto-based photographer built the light structures, filmed a 360° video and created a beautiful narrative video story—all while shooting stills!

38 F A S H I O N | april 2017

SAR AH LISS

@lisstless This Torontobased “enthusiastic karaokeist” wrote “Vocal Reaction” (page 108). “Having an opportunity to think critically about the gender and cultural politics of female outliers in pop seemed like a gold mine.”

MICHAEL-OLIVER HARDING

@moharding Before heading to Buenos Aires for his next project, this Montrealbased writer interviewed Juliana Huxtable (“The PostInternet Trailblazer,” page 101) and Jillian Tamaki (“Inconvenient Truths,” page 107).

SIR jOHN bARNEtt

@sirjohnofficial When he’s not doing Beyoncé’s makeup, the L’Oréal Paris USA celeb makeup artist creates looks for Vanity Fair and Vogue. Check out “Digital Savant” (page 60) for the inspo behind our five Coco Rocha covers.

fashionmagazine.com

photography: behind the scenes by tiffany Voiadzis

60

CHLOË Grace MORETZ Introducing The NEW FRAGRANCE for HER

Letters Reader of the Month

Bravo, FASHION! This was by far the most substantial content I have ever seen in your magazine. I read more of this issue than I have of any other and really enjoyed the feminist content, particularly the “how to act locally” bit. It was relevant and inspiring without being whiny.

Well done. I look forward to the next issue.

—Lisa M. (Toronto)

Aw SHuckS

TO THe reScue

The Sophie cover and story (March 2017) is magnificent. Congratulations! That is a historic cover, and she is SO beautifully styled (love George Antonopoulos!). The interview was 120 per cent on point.

—Deborah Belcourt (Toronto)

NAked TruTHS?

Thank you for helping this health-care worker make it through nightshifts! Our medical facility subscribes to your magazine for our patients to read while they wait, but my guilty pleasure is taking it on my lunch break during a night shift and reading it from cover to cover. Keep up the awesome work!

—Carey Flynn (Vancouver Island, BC)

I was enjoying the article on Sophie Trudeau and the “State of Sisterhood” but was dismayed to turn a few pages and see a woman topless and looking sad on page 139. How is that empowerment? Did the model approach the photographer to pose topless? I doubt it.

I’m sure she posed because she knew the job would go to someone else if she didn’t. The photo is gratuitous. This juxtaposed with your “feminist” articles is stomach-churning.

—C Cameron

I could really identify with your article “Sleep Mode” in the Winter 2017 issue. I have suffered from insomnia since I was a child. I have memories of my parents having friends over on a Saturday night and not being able to get to sleep until they’d all gone home. I especially appreciated the tips from Natasha Turner, some of which were new to me.

—Christine Haegeman (Etobicoke, Ont.)

40 F A S H I O N | APRIL 2017

@sarah.lafontaine

@yomanchic

PercHANce TO dreAm... @rachelhkoh

T weeTS/INSTAS @FashionCanada: thank you 4 such an empowering & informative March issue.

Women’s mags should always be this crunchy!

—@alisongj The cover of @FashionCanada took my breath away! Loved reading about the ever so inspiring @ sophiegregoiretrudeau.

—@blairalex

fashionmagazine.com

photography by carlo mendoza

Lisa M. wins a Marc Cain wallet (mArc-cAIN.cOm) valued at $360. We’ll give away another great prize next month, but you have to write in to win: letters@fashionmagazine.com

regrAm Handle it: @FasHioncanada

Montreal Ottawa Toronto Calgary Vancouver judithandcharles.com

editor: jacquelyn fr ancis

fa s h i o n d e c o d i n g

w o r l d

o f

s t y l e

Doomsday peril and Tina Turner in Mad Max Beyond Thunderdome, 1985

Iris van Herpen’s techie designs caught the attention of Lady Gaga in 2012.

Mugler riffed on computer circuit boards for some looks in the Fall 2015 collection.

MAISON MArgIelA cOuture Spring 2017

Space exploration gave rise to Courrèges’s “Space Age” collection in 1964.

Fashion insiders like Anna Wintour have embraced the Apple Watch, 2015. photography: runway by imaxtree

t h e

Claire Danes in an organza and fibre optic Zac Posen gown at the 2016 Met Gala

Technovision

When Maison Margiela showed a Snapchat-rainbow-vomit overlay at couture week, it was a reminder that designers often use technology, or our perception of the future, to create and confound. fashionmagazine.com

april 2017 | F A S H I O N

43

fashionnews

Time After Time

editor: Jacquely n f r a ncis

W

e love a good capsule collection, but how about a time-capsule collection? Taking a page from the popularity of the #tbt tradition on Instagram—at press time, the hashtag was used in more than 350 million posts—three of our favourite denim-heavy brands are throwing it back to the glory days with revival collections inspired by their archives.

Here’s a timeline of truly timeless styles. —Caitlin Agnew

Inspired by the peace-and-love days of Janis Joplin, Joni Mitchell and Joan Baez, the Le vI’S Orange Tab collection celebrates the counterculture spirit of the 1960s, just in time for 2017’s wave of political activism.

The remastered pieces include a pair of overalls, retro logo tees and a march-ready zip-up trucker jacket.

1980s

GueSS flaunted the inherent sex appeal of jeans with its Guess Girl ad campaigns featuring Claudia Schiffer. The L.A.-based brand turns 35 this year, and it’s celebrating the milestone with the Guess Originals 1981 Anniversary Capsule collection. It’s a throwback to the brand’s stonewashed denim, trianglelogo tees and embellished denim jackets.

Ogilvy department stOre and christOfle paris (earrings) are in mOntreal’s gOlden square mile.

44 F A S H I O N | april 2017

1990s

GAp ’s The Archive Reissue ’90s Collection brings back limited-edition pieces pulled straight from its archives.

The minimalist Kate Moss-era basics include plain white tanks, soft grey hoodies and black bodysuits. Models like Patti Hansen and Naomi Sims set the foundation for choker necklaces and flannel shirts.

Mountain Climbers There’s a new sheen to Montreal’s Golden Square Mile thanks to an influx of retail along pretty Rue de L A MONtAGNe, known for its stately Victorian architecture. For starters, Holt Renfrew and Ogilvy will merge into one mega-location bordering SteCatherine Street, next to the Four Seasons Hotel, scheduled to open in late 2018. One block north of these luxury developments are newcomers including former pop-up Montagne, Abe & Mary’s, Suitsuppy and Christofle Paris. “We picked de la Montagne because we believe it is the future of luxury in Montreal,’’ says Christofle director Roberto Reino, adding that the location is helped by high-end stalwarts Tiffany, Montblanc, Château D’Ivoire and the Ritz-Cartlon. Marie Saint Pierre, Anthropologie and Diesel have called the street home for years, and there’s an intimate bar called Cloakroom, which is part of the Maison Cloakroom menswear and barbershop emporium. —Eva Friede

fashionmagazine.com

photography: runway by imaxtree; jenner by getty

1960s

fashionnews

fashionmagazine.com

drIeS vAN NOteN

2017

célINe

bAleNcIAgA

Model MoMent: AMber witcoMb

“When Prada asks you to cut your hair, you just go with it,” wrote Amber wItcOmb on Instagram during the Spring 2017 shows. Lead hairstylist Guido Palau had just chopped her long curly locks into a blunt chin-length bob—et voilà, the 22-yearold newcomer was immediately proclaimed “one to watch.”

Originally from just outside of Niagara-on-the-Lake, Ont., Witcomb, who grew up reading fashion magazines and watching America’s Next Top Model, was discovered at a music festival at the age of 19. The five-foot-11 brunette was studying at Brock University, in St. Catharines, Ont., and made the atypical decision to put off modelling full-time until after graduation.

Three years later, with a quick stint in Sydney and a few local shoots under her belt, Witcomb made her European runway debut at J.W. Anderson’s Spring 2017 presentation, followed by turns at Mulberry, Alberta Ferretti and Roberto Cavalli. And then Prada happened. Cue immediate bookings for Marni, Balenciaga, Céline and Givenchy, not to mention opening the Dries Van Noten show. Need more proof that this hometown girl has hit the big time? This spring, look for Witcomb’s quirky-cool-meets-aristocratic features in Céline’s Juergen Teller-shot summer campaign. —Nancy Won

Pr AdA Spring

kendall jenner in francesco russo (inse t) heels

w

earing high heels was like a transformation of movement,” says shoe designer Fr ANceScO rUSSO from his home in Paris. He’s recalling childhood memories spent watching his mother, a seamstress, at work. In many ways, Russo has spent his career working to recreate that final moment. He honed his skills at Costume National and Miu Miu and worked for Tom Ford and Stefano Pilati at Yves Saint Laurent, where he earned a reputation as a master craftsman when he designed the house’s iconic Cage Boot and Tribute Sandal.

In 2013, he launched his namesake collection of luxury shoes, which became a hit with famous fans like Kendall Jenner and Victoria Beckham, who reportedly loves his shoes so much that she once bought every single pair she could get in her size.

How does he make so many women fall head over heels? With sexy lace-up booties, smart slingback pumps and leopard-heeled boots made for women of all shapes and sizes. Though Russo has come around to online shopping, he’s on a mission to make his personal-shopping offering unparalleled. It’s the only option for his premium made-to-order service, available exclusively at Holt Renfrew Bloor Street and Vancouver locations. The program references the bespoke services of the ’50s and ’60s, while Russo redefines his seasonal classics in three materials and in up to 20 colours (from $2,920).

Custom or otherwise, to Russo, shoe choice always comes down to fit. “If you wear high-heel shoes and they’re too tight or too large, then you are uncomfortable, your face starts to have a weird expression and you move ridiculously,” he says. “You need to be completely confident.” —Carly Ostroff

J.w. ANderSON

“

If the Shoe Fits

april 2017 | F A S H I O N

45

fashionsocial

designer ulla johnson’s dreamy instagram feed reveals as much about her lifest yle as her fashions.

You Must Remember This

Fashion once occupied boutique windows and mail-order catalogues.

In this digital age, we can see desirable objects anytime, anywhere.

I

By Olivia Stren

t was springtime in Paris. Horse-chestnut and almond trees were in white, fluffy bloom, and children were floating toy sailboats across the Jardin du Luxembourg’s Grand Bassin. I was about 12 years old, and I was in giddy, heartfluttering love—with a bag. My mom and I were visiting my aunt, and the three of us were strolling along the Rue du Four in the city’s 6th arrondissement. Perched in the vitrine of a small shop was a bucket bag, embroidered in a folkloric happy-coloured pattern. (It was the late ’80s, when artisanal hippiedom was making a comeback and patchouli-scented stores like Toronto’s Inti Crafts were a teenager’s fashion mecca.) As soon as I laid eyes on this marvel, I mentioned to my mom that I liked it, trying to sound casual. She liked the bag, too, she replied, and then we all walked past it. I knew that if I didn’t take immediate action, someone else would be with my bag. I couldn’t sleep that night. I also felt ashamed

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of the intensity of my longing. I summoned the courage to admit my feelings to my mom, who indulged me and bought the bag. I wore it to school until the straps frayed.

This, it turned out, was how I always liked to shop—not for necessity but for love—wandering around searching for the coup de foudre. But now, in this age of Instagram, I tend to fall in love online and spend weeks in anticipatory excitement, fantasizing about life with objects that have seduced me from the screen of my iPhone. If I feel temporarily altered and uplifted, it’s because I am. David Sulzer, professor of neurobiology at New York’s Columbia University, explains that the prospect of buying something new, associated with an “unexpected reward,” excites a surge of feel-good dopamine, the neurotransmitter associated with pleasure and addiction. About your brain on Instagram, Sulzer suggests: “Something like gambling or Instagram is sporadic enough that you don’t know when you will be ‘rewarded,’ so it is well designed to activate the dopamine system and keep you interested, or ‘hooked.’” »

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fashionsocial

I

t’s safe to say that I’m hooked. I have spent a humiliating amount of time scrolling through the Instagram accounts of my fashion crushes (Ulla Johnson, Clare Vivier, Apiece Apart, Jesse Kamm, etc.) and nurturing love affairs with clothes and bags and the fantasy of the life required to accessorize them. With the time I’ve spent on the Ulla Johnson and Clare Vivier sites alone, I could have enrolled in design school and launched my own fashion line—or at least unloaded the dishwasher.

On a recent trip to Los Angeles, I visited Clare Vivier’s lovely Silverlake boutique and exclaimed: “Oh, is that Jeanne? Wow, she is beautiful!” I was referring to a handbag. I knew her (as in the bag) by name. I had first met her on Instagram. Like a celebrity, she was more petite in person.

Of course, fashion has always been about fantasy, projection and unrequited love. I used to rely on the J.Crew catalogue for these pathologies. But Instagram is an ever-refreshed daily catalogue, dispatching postcards from the better-lit life you wish you had. Jenna Jacobson, a social media researcher in the faculty of information at the University of Toronto, says: “We’re wanting further connectivity. It’s not enough to have a catalogue, say, once a month; it’s about what’s new today. Regular advertising or marketing was about pushing products on a target group of people. But [Instagram and social media] are about cultivating a connection with a certain group of people.

It’s about saying ‘We like the same things.’ It’s about a lifestyle.

You’re buying into a lifestyle. We’re buying these products or these clothes because that brand understands us; it understands who we are and what we like.”

And what—or who—I currently like is Natalia: a destabilizingly lovely Ulla Johnson silk embroidered peasant-style mididress. I spotted her on Instagram and shared my feelings with a friend, another Ulla Johnson fan and follower. (Ulla Johnson claims about 59.4 K of us.) “Oh, I love her clothes so much,” she said. “She makes me lie—to myself!”

Instagram has made celebrities, or “micro-celebrities,” out of smaller-scale designers like Johnson and Vivier (with 71.6 K followers). Part of Instagram’s power lies in its ability to foster a sense of intimacy. “There is a perceived closeness that is afforded to us by social media because it affords two-way communication,” says Jacobson. “So even if the person doesn’t respond to us, we are still able to message them and we feel that there is a personal connection. There’s the illusion of publicity and disclosure with social media. People are willing to

Get to know me: desiGner Clare vivier’s soCial feed

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share parts of their lives that maybe would have been considered private.” We now admire not only the designers’ clothes but also their children, homes, dogs, holidays and breakfasts.

About this illusion (delusion?) of intimacy, Johnson herself says it’s not all that delusional. “We know much more about designers’ points of view and passions and interests than we ever did,” she says. “Storytelling has become increasingly important in understanding a brand’s ethos, and Instagram has really helped to give that voice.” Instagram, says Johnson, has hugely influenced her business. “It was the first time I really had direct access to our clientele. I think that being able to elaborate on both our brand and my lifestyle—family, travel, my home, the personal and poetic moments of our design process—created a whole new understanding of our point of view.”

It has also, arguably, created fresh ground for commerce.

Instagram, like Pinterest, now has click-to-buy buttons. Like a sort of Tinder for fashion, it allows you to immediately connect with a dress or bag that once might have required some degree of courting. Buy-now sales, however, have been flat, which leads one to wonder if there is more romance in the remote.

But if Instagram provides a new province for profit and fantasy, it also provides fresh opportunities for disappointment.

Last fall, after much flirting with Clementine (a floral-printed Ulla Johnson dress), I finally met her in person at a Barneys in New York. I made a beeline for her, as if meeting a lover after a protracted long-distance correspondence. As charming as Clementine was, we were ultimately incompatible.

There is, it turns out, nothing quite like Instagram when it comes to despair. One (non-Instagrammable) day not long ago, when my son and I were both felled by the kind of hideous flu that not even the hardest working filter can make pretty, I scrolled through my Instagram feed in the hope of finding a mood-lifting distraction. I then wondered why I was clearly the only person not holidaying in the French Caribbean with a fedora and a blond child.

The way romantic comedies might have a lot to answer for when it comes to our (unachievable) expectations of love, Instagram now has a lot to answer for when it comes to our (absurd) expectations of what our lives should look like. But this particular brand of Instagram-fuelled inferiority complex is nothing a little love affair can’t fix. Spring is just around the corner, the perfect time for a fling, and there is still hope for Natalia. (We have not yet met.) And, oh, the summer I might have with Lune. Or Madi. Or Virginie. Or Clare Vivier’s fetching Henri.

How happy we might be. Maybe we’ll go to Paris.

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fashionfeature

our faVes: bags with rexy and spaceships; dresses that fit with the ease of a t-shirt; and sweaters with a needlepoint dog named judy

Youth Quake

Coach courts eclectic, free-spirited fashion adventurers.

protest patches, cartoonish trompe-l’oeil bows and bot tle-cap embellishments reflect stuart VeVers’s cheek y take on luxury. “it doesn’t haVe to be sumptuous or glit tering,” he says. “it’s about haVing a sense of humour.”

T

By Noreen Flanagan

he quirky girl is having a moment in fashion—and one of her champions is Stuart Vevers. The affable British-born executive creative director for Coach is credited with reimagining this 75-yearold American brand, but he humbly suggests that he’s only bringing back the eclectic charm that designer Bonnie Cashin brought to the house in the ’60s.

“I wanted to capture her idiosyncrasies,” he says.

“When you go into the Coach archive, you can see the moment she walked in the door. Her names for products were charming and fun like the ‘Cashin’ carry bag. You can also see the moment she leaves the house because things start to get brown and black.”

Vevers’s affection for Cashin—who is considered one of the pioneers of American sportswear—isn’t merely for show. There’s a photograph of her on the mood board behind his desk. “I feel like she’s keeping an eye on me,” he says with a smile. She passed away in 2000, but if Vevers could have lunch with her today, he would thank her for being such an inspiration. “I’d want her to know about the legacy she left—not just for Coach but for American women,” he says. “I’d also give her a big hug—and I’d introduce her to Rexy. I think she’d fall in love with her.”

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Rexy is the playful T. Rex mascot that Vevers unveiled in 2015. She appears on everything from key chains to bags. There’s even a giant inflatable Rexy in the corner of Vevers’s New York office. Like the photo of Cashin, it’s there to remind Vevers to infuse the brand’s approach to luxury with a certain whimsy.

“I think we’re much more open to contradictions of style,” explains Vevers. “You can have a beautifully styled leather bag with a playful space graphic or bottlecap-inspired embellishments. As an American luxury brand we can do things differently.”

Vevers has a rather sepia-toned attachment to the idea of America. Growing up in England, he says he was obsessed with American film, music and TV. “I loved Fame,” he says, laughing. “I loved Little House on the Prairie, Working Girl and Jaws. I also love Terrence Malick films. I get swept up in the romance of those big, open landscapes.”

That romantic view was celebrated last December at the Coach 1941 Pre-Fall 2017 show at Pier 94 in New York. The set was an evocative recreation of a late-’60s roadside diner and motel, complete with Cutlass and Continental rides. Vevers says he wanted the show— which happened weeks after Trump’s presidential win— to be a celebration of American optimism.

“I wanted to create a setting where cinema and romance come into play. The beautiful and airy photos from William Eggleston, Joel Sternfeld and Stephen Shore also influenced me. You never know what is going to spark moments of creativity and culture. I think a shift—whether political or whatever—can have a big impact on creativity.”

In light of the global protest marches following Trump’s election and subsequent controversial executive orders, the “Give a Damn” embroidered patch—which is stitched onto the collection’s shearling biker jacket— seems especially prescient.

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fashioneco

a conscious exclusive illustration; campaign star natalia vodianova on se t (right)

Green Light a print inspired by german abstract artist gerhard richter

The Conscious Exclusive collection keeps H&M on sustainable ground.

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sequins and Featherlight earrings (below) are made From recycled plastics

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By Jacquelyn Francis

arrive in Stockholm to preview H&M’s latest Conscious Exclusive, the Swedish brand’s line of earth-friendly eveningwear; I’m barely in the door and I’m already smitten. On the other side of the room—backlit against a wall of glass overlooking the city’s cobblestone streets—I spot a sleeveless, full-length evening gown in millennial pink. It has cascading floral ruffles that fall into a pool of bubble gum pleats. It reminds me of the vintage blouse that inspired my wedding dress, but instead of silk, it’s made from Bionic, a new polyester material created from plastic picked from shoreline waste in China.

H&M launched Conscious Exclusive in 2011 as a way to experiment with recycled and organic materials, explains creative adviser Ann-Sofie Johansson, adding that the company then “trickles its learnings from making the collection down into the rest of H&M.” One example is its use of recycled polyester.

It was first used in the Garden collection in 2010 (a precursor to Conscious Exclusive) but is now used year-round in the other lines. Today the brand is the second biggest buyer of recycled polyester and Tencel, which is an organic material made from eucalyptus trees. H&M has also been using organic cotton since 2004 and is the largest purchaser of responsible down.

The 56 pieces in the 2017 Conscious Exclusive collection will be available online, but only in 160 stores worldwide, starting on April 20. New this year are six children’s party outfits and a set of perfume oils for women. Clothing price points are slightly higher—between $35 for a pair of earrings made from

recycled plastics and $350 for the online-exclusive deep-V-front wedding dress made of 100 per cent recycled polyester tulle. In keeping with its customers’ desire to know more about the conditions in overseas factories, H&M has started to post profiles online of the people who produce the clothes.

During my tour of the collection with Anna Gedda, head of sustainability, I am drawn to a pink sequined minidress with a ribbon-tie neck that looks like something Edie Sedgwick might have worn in her heyday. The lining is 100 per cent recycled polyester, and the paillettes are 70 per cent recycled plastics. Beside it is an asymmetrical bias-cut gown in organic silk, Lenzing viscose and recycled polyester that Gedda told me was inspired by the work of German abstract painter Gerhard Richter.

Another standout in the collection is the tuxedo jacket made from organic silk and Tencel.

At one point in the preview, Cecilia Strömblad Brännsten, H&M’s sustainability expert, discusses the importance of taking proper care of clothes and being mindful to either pass items on or recycle them. This is something Gedda knows well: A few years ago when she was getting married, she wanted to wear a white dress from a past Conscious Exclusive collection, but the dress had long been sold out.

Instead of having one made, she went online and did a very sustainable thing: She bought it on eBay. “When you do something as spectacular as get married, you should really choose something that has a great value—not only in terms of fashion but also in how it has been produced.”

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fashiontech Bridge Software

cHANel Spring 2017

pr ADA $2,335

Web Design

We’ve come a long way since André Courrèges’s 1960s space-age-inspired designs.

Today’s tech craze and smartphone screens have replaced Judy Jetson’s once-revolutionary geometric dresses and gravity-defying ponytail with kitschy keyboard clutches, austere alien-like hoods and graphic pixel prints. Can social media from your sleeve be far behind? —Caitlan Moneta mArk crOSS $4,235

DIOr $1,600

pr ADA $305

n today’s political climate of walls and borders, Gimme360 is all about building bridges. The Canadian wearable-tech company marries humanitarian aid with fashion through its smartmeets-chic Coordinates Collection.

Each piece of apparel comes embedded with near-field communication, the same technology that supports the handy tap function on your credit card, to connect wearers to the aid project their purchase has funded. “You just tap your phone on our logo and you’ll see a video pop up,” says Josiah Crombie, the company’s CEO and a political science student at Wilfrid Laurier University.

He and his partners, Lucas Bruno and Daniel Bokun, had experience working with humanitarian aid organizations but noticed a disconnect between making a donation and seeing the end result. “A lot of people would ask us ‘Where is the money going?’” he says. “We wanted to make it easy for people to see their impact.”

There’s no need to download an app—one quick tap of your phone will virtually take you to Cambodia, where Gimme360 spent over two weeks filming the work of 1001 Fontaines, a French NGO that has the goal of bringing clean water to one million people by 2020. For every Gimme360 garment sold, at least one person will get clean water through the work of 1001 Fontaines. “There’s an opportunity for tech to build an emotional connection,” says Crombie. “It plays a huge role in accelerating the impact that fashion has.” —Caitlin Agnew gimme360 links consumers with water projects in cambodia.

cHANel $1,175

A.w.A.k.e. $530 gIuSeppe z ANOt tI $1,255

54 F A S H I O N | april 2017

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photography: runway by imaxtree; gimme360 by carlo mendoza

I

cHANel $3,825

April 2017

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editor: caitl an mone ta

Cherry Picked

Top up your glass and toast spring’s juiciest accessories.

Necklace, $2,280, Gucci.

Photography by Carlo Mendoza Styling by Paige Weir

56 F A S H I O N | april 2017

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Never say goodbye to another pair.

Stay up to 3x longer in high heels.*

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*When using Dr. Scholl’s® For Her™ High Heel insoles. © Bayer Inc., 2017

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Sweet maraschinos raise the bar on a structured satchel.

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Bag, $3,100, altuzarra. ShoeS, $1,675, ChriStian louBoutin.

No cocktail is complete without a gorgeous garnish, like a pair of fresh, fruity pumps.

Cheers!

April 2017 | F A S H I O N

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fashioncover

Dig i ta l Savant

Coco Rocha was an early adopter of all things social.

She brings a dose of reality to the filtered online world.

By Noreen Flanagan Photography by Owen Bruce Styling by George Antonopoulos

L’OréAL pArIS colour riche le gloss ($10) in “naturally nude” and infallible silkissime eyeliner ($12) in “black”

liquid lids

We worked with Sir John Barnett, celebrity makeup artist for L’Oréal Paris USA, to create these spring runway-inspired beauty looks for our five Coco covers. For this look, we layered a jelly-like grease over black liner to break it down and make it move. “Only the eyes have a sense of motion,” says Sir John, who paired them with barely-there baby pink lips.

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Jacket, $2,255, pants, $1,745, earrings (on left), $1,040, and earrings (on right), $510, Marni.

Top, and necklace, price on request, Louis Vuitton.

fashioncover Ice QUeeN “This is very ethereal,” says Sir John. To keep silvery-white eyes cool, he used the same pastel tone on lips and cheeks and topped the look off with tons of mascara.

“Mascara on steroids,” he says.

l’OréAl pArIS infallible eyeshadow paints ($13) in “Jet se t Jaune”

The fashion industry was supposed to be a fantasy world that was unattainable. ithin 48 hours of Coco Rocha posting a 15-second video of herself posing for our live cover shoot, it had garnered 350,000+ views from her 1.1 million Instagram followers. It’s a simple clip of Rocha morphing from one pose to the next, until her earring drops and she catches it while continuing to work her angles. She called it her “#jedicatch.” “It was a silly little moment, but it got a lot of attention,” Rocha recounts a few days later. “It was pretty surprising.”

It’s not the only time a seemingly insignificant moment in this top model’s life has caught the attention of her followers. In fact, the very first time was back in January 2009, when she posted an image of a bird she’d photographed in Australia on her first blog account, Ohsococo (1.0). Today she and her

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husband/manager, James Conran, co-manage eight social media platforms with a combined following of 17 million, but back then she was one of the first models to embrace blogging. “There was nothing special about the bird photo; it was meant for friends and family,” says Rocha. “But when I got so many reactions and comments from followers, I realized ‘Hey, there’s something here; I’m not sure what, exactly, but people are interested in my life.’”

At the time, Rocha was taking a few months off from fashion. She had been travelling the globe for the past two years doing campaigns and photo shoots and wanted to get as far away from the fashion capitals as she could. Looking back, Rocha says the response to the post emboldened her to embrace this “new thing called social media.” It also signalled a shift in the power structure in the modelling world. “All of a sudden, readers and fans were letting the major brands and magazines know who their favourite models were and who they wanted to see in images and on runways,” she says. »

april 2017 | F A S H I O N

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fashioncover FUll FlUsh

Whether you use cream or powder, the key to blush draping is that the colour has a continuous harmony, from the temples to the sockets of the eyes to the cheeks. “You don’t see lines where it starts and stops,” says Sir John. “When you think you’ve blended, blend again.”

L’OréAL pArIS colour riche la palet te lip ($20) in “ruby 01” (used as blush) and infallible lip paints ($13) in “diy red”

R

ocha continued to chronicle her experiences online, becoming one of the first models to have more than one million followers on Google+.

Today, in addition to her considerable Instagram following, she has 1.57+ million followers on Twitter and six million on the Chinese platform Sina Weibo. Although today it’s expected that models embrace social media, that wasn’t the situation for Rocha in the beginning. “At that time, everything was hush-hush,” she explains.

“The fashion industry was supposed to be a fantasy world that was unattainable and aspirational. And the model was part of that. You wouldn’t really know anything about her or her personality, and here I was trying to change that. It’s funny that some of the same people who told me I was ‘ruining the mystique’ at the time are now posting incessantly about what they ate for breakfast.”

What Rocha also discovered was that people were not only interested in her life; they wanted to

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hear her opinions on the industry from an insider’s perspective. In February 2010, she posted a blog on her Tumblr account in response to the critical comments that had been made about her size in The New York Times and the New York Daily News.

She wrote: “I’m a 21 year old model, 6 inches taller and 10 sizes smaller than the average American woman. Yet in another parallel universe I’m considered ‘fat’.... This was the subject of major discussion this week and the story that was spun was: ‘Coco Rocha is too fat for the runway.’ Is that the case? No. I am still used and in demand as a model. In fact I find myself busier than ever....”

She went on to criticize the incongruencies between deploring the employment of children in sweatshops and the addictiveness of cigarettes yet encouraging young women to go to extremes to achieve a certain weight in the fashion world. She said designers, stylists or agents who push children to take measures that lead to anorexia or other health problems are ignoring their “moral conscience in favor of the art.” »

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This page: Jacket, $8,465, skirt, $4,950, and shoes, $910, Gucci. Earrings, $775, Erickson Beamon.

Ring (on left), $350, Swarovski. Ring (on right), $145, Gillian Steinhardt. Socks, $4, We Love Colors.

Opposite page: Earrings, $120, and ring $350, Swarovski.

Top, $1,035, pants, $1,430, and earrings, $880, Tibi.

Sunglasses, $500, Karen Walker.

fashioncover Watch your mouth

“This is bringing a little disco into the daytime,” says Sir John. Although he used star appliqués over lip colour, you can replicate the look with gloss and high-pigment shadow. “It’s about a convertible nature when it comes to your products,” he says.

“And don’t take this look too seriously.”

l’OréAl pArIS infallible lip paints ($13) in “spicy blush”

IRL vs. URL

We asked Coco Rocha to spill on her fave moments in real life as well as her virtual #dreams.

YOur dre Am deStINAtION IN re Al lIFe? “Fiji or Bali.”

YOur dre Am deStINAtION IN vIrtuAl re AlIt Y? “England, during the reign of George III, the age of Jane Eyre!

I’m obsessed with historical English royalty. We live in a time where everything is captured on camera, but this era is more of a mystery, so I would love to see what it was really about.” tHe muSIcIAN YOu’d mOSt lIke tO meet IN perSON ANd SINg wItH? “I would have loved to meet David Bowie.

We’d sing ‘Fashion,’ but I would have lip-synched because I am a horrible singer!” tHe muSIc YOu cAN’t lIve wItHOut ON YOur IpHONe? “Right now, it’s Lana Del Rey’s ‘Old Money.’ It’s not one of her popular songs, but it’s a good one.”

YOur FAvOurIte pHr ASe? “‘Love you,’ as said by [my daughter] Ioni.”

YOur FAvOurIte emOtIcON? “Fire.” wHAt’S tHe FIrSt tHINg YOu dO IN tHe mOrNINg? “Run into Ioni’s room for cuddles.” wHAt’S tHe FIrSt tHINg YOu dO ONlINe? “Check my Instagram feed.” wHAt’S tHe l ASt tHINg YOu dO beFOre bed? “Kiss Ioni on the forehead.” wHAt’S tHe l ASt tHINg YOu dO ONlINe? “Make sure I didn’t miss any crucial emails.” wHAt’S YOur guIlt Y ple ASure Irl? “Staying in PJs all day when I can.”

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L

ast fall, the 28-year-old model used her social platforms to show support for Bella and Gigi Hadid, who were being accused of having achieved success only because of their fame and not their talent. On an Instagram post, Rocha wrote: “I’ve been doing this modeling thing for a minute and I’d just like to say, for the record, @gigihadid and @bellahadid are the REAL DEAL. #Supermodels are back and I never thought it was possible.”

Rocha says that she wrote the note hoping to help counter some of the negativity being directed at the sisters, adding that they told her they appreciated her sticking up for them. “Some people felt they were privileged girls and that they didn’t deserve their fame, but we don’t know their lives or what they’ve gone through,” she says. “I think they’ve worked very hard to be where they are.”

She adds that, unlike her heyday on the runway (which she describes as the “top model” era), social media has fuelled a return to the supermodel period, in which the attention is more on the models than on the clothes. “I’m happy to see that happen to girls again,” she says.

Rocha says she will encourage this awareness and respect with the 60 young women and men that she and her husband now represent as part owners of the global modelling agency Nomad Mgmt. They’re »

april 2017 | F A S H I O N

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fashioncover Graphic art

After applying your eye colour, use a pointed cotton bud to really carve out a shape. “Go in and clean your edges,” says Sir John. “That’s where the graphicness comes into play.”

l’OréAl pArIS infallible lip paints ($13) in “Orange envy” and infallible eyeshadOw paints ($13) in “valiant blUe”

We’re looking for girls with personality, which is why social media is great for models. working alongside Damon Rutland, who founded Nomad in 2001, and Roman Young, who was Rocha’s agent when he was director at Wilhelmina Models.

“We’re not just looking for one sort of body type— everyone wants variety now,” she says, adding that social media is where they do much of their scouting.

“We’re also looking for girls with personality, which is why social media is great for models.”

Rocha also coaches her models to approach their online profiles as a business and to use the global platform to protect their brand. “I’m not an emotional poster,” she says. “I don’t randomly start posting things and say how I feel right off the bat. I don’t think that’s smart. I’m also not always going to tell my followers what’s on my mind all the time. I have to think carefully about what goes up.”

It’s this thoughtful approach and strategy that guided the decisions she made after ELLE Brazil Photoshopped out the bodysuit she was wearing on its April 2012 cover. Nudity, or even partial nudity, is something Rocha, a devout Jehovah’s Witness,

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doesn’t do. After much consideration, she took to her Tumblr blog to express her concern. “I strongly believe every model has a right to set rules for how she is portrayed and for me these rules were clearly circumvented,” she wrote.

It has been almost five years, yet the experience still bothers her. “I could have left it alone; because when you tell people you don’t like something, that’s when they search for it the most,” she says. “What do you do? Leave it alone and let most of Brazil see it or talk about it and then most of the world will see it? It was a hard decision, but we decided to post a response because I wasn’t proud of that cover.”

Rocha adds that she’s grateful that her followers and most of the tabloids and press supported her. “Who wouldn’t?” she asks. “Imagine if you were walking down the street and all of a sudden someone came up to you and ripped off your shirt. I was making the same point. If that had happened in the early 2000s, I wouldn’t have been able to tell the world what I thought. Thanks to social media, I had a voice.”

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This page: Top, skirt, belt and earrings, price on request, Altuzarra.

Ring, $70, Botkier at Hudson’s Bay. Opposite page: Earrings, $290, Gillian Steinhardt.

Hair, Matthew Collins for P1M. ca/L’Oréal Professionnel.

Makeup, Sir John Barnett, celebrity makeup artist, L’Oréal Paris USA. Nails, Leeanne Colley for P1M.ca/ Tips Nail Bar.

PU T LIF E BAC K I NTO YO UR H AI R - NOURISH AND STRENGTHEN HAIR AND NAILS -

You deserve the best, NUTRICAP. Well-known. Loved. Unsurpassed for over 25 years.

D I S COV E R O U R P R O D U C T L I N E | N U T R I C A P.C A

editor: lesa hannah

BE AU T Y

r e p o r t i n g

o n

t h e

n e x t

t r e n d s

a n d

i n n o v a t i o n s

Come into Bloom Just like seedlings, cheery floral tones are a welcome sight come spring.

Photography by Carlo Mendoza Styling by Breanna Gow

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april 2017 | F A S H I O N

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beautyFIX

by souzan mIchael

Out to Dry Darlings, it’s a waterless sheet mask that leaves no goop behind.

M

akeup artist cHArlOt te tIlbury arrived at the penthouse suite of The Standard hotel in New York City’s East Village wearing form-fitting pink monogrammed silk pyjamas—the same ones that 30 or so beauty editors were gifted upon arrival—ready to host one hell of a sleepover. From a screening of Some Like It Hot to a popcorn machine to dating advice dished out by the platform-heel-teetering Tilbury herself (OH: “Everyone needs to have a slutty phase”), this was a hangout of epic proportions. But it wasn’t just pillows and giggles; we had gathered for a preview of her multi-use Instant Magic Facial Dry Sheet Mask ($27). You put the sheet on, securing it with loops around your ears, and the heat created by massaging your face for a few seconds releases the actives. That’s when micro-vectors—tiny bubbles that can penetrate the epidermis—get to work, delivering 85 per cent active ingredients. “With wet masks [where water is the main ingredient], you only get two to three per cent,” says Karine Théberge, founder of Biomod, the Canadian lab behind the innovation. “I’m always looking for breakthrough technology,” says Tilbury, who is a self-professed multi-tasker. “I’ve worn it in the back of taxis, while doing my work and in office meetings.”

Tilbury used her dry mask To prep nicole kidman’s skin for The golden globes.

Sheer Force

Matte lipstick and its multi-step process (balm, liner, liquid lipstick) is taking a back seat as sheer coats of your-lips-but-better shades make their way into the spotlight. y veS SAINt l AureNt’s Volupté Tint-in-Balm ($45 each) promises mirror-free application with an outer layer that delivers subtle colour and an adorable lip-shaped core that moisturizes.

72 F A S H I O N | april 2017

Is there anything more infuriating than ruining a fresh manicure— especially one that you paid for? The answer is, without question, 100 per cent no. Kur’s Instant Smudge Fix ($18) deserves a permanent spot in your nail kit for its ability to act like a delete button, erasing everything from smudges to nicks. Five diluents smooth down the original polish and redistribute it over the nail, making mistakes unnoticeable.

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photography: products by carlo mendoza

FIXer-upper

beautyfix

Freshen Up It’s like dry cleaning for your hair.

O

uAI ’s Dry Shampoo Foam ($35) is celeb hairstylist Jen Atkin’s latest gamechanging innovation. Unlike traditional dry shampoo, which is powder based, Atkin’s waterless foam sops up product buildup and impurities with ingredients like diatomaceous earth, a naturally occurring silica rock that acts as an absorbent. Hair will feel and look clean, not powdery and matte.

Pose Down

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Power Plant

KjAer WeIS ’s The Beautiful Oil Facial Oil ($225) includes the usual go-tos—oils derived from rosehip, sweet almond and jojoba seeds and olives—but the hero ingredient is from the root of dioscorea batatas, a member of the yam family. Used medicinally in ancient cultures, the ingredient has instinctive healing properties. “It has an intuitiveness; it goes in and heals whatever issues your skin is having, whether it’s dry skin, sun damage or irritation,” says brand founder Kirsten Kjaer Weis. —Lesa Hannah

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photography: products by carlo mendoza

Beauty brands have gotten selfies down to a science, creating makeup that addresses the flicker and flash of a camera. Wet N WIld’s Photo Focus Foundation ($8) is made with no-flashback technology so that white particles in makeup don’t appear when you point and shoot. PHySIcIANS FOrmul A’s #InstaReady Full Coverage Concealer ($15) uses light-reflecting sphere pigments to absorb, reflect and diffuse light, erasing imperfections. And urbAN decAy’s Optical Illusion Complexion Primer’s ($38) translucent finish blurs lines where needed and scatters light everywhere else, so your pores IRL will cease to exist in the digital world.

© Procter & Gamble 2017

DON’T PIT OUT WHEN YOU STRESS OUT.

beautyNAILS

HEAV Y METAL

Judging by the shoulder pads, lamé and leggings on spring’s runways, the 80s are back. This throwback trend extends to the nails, too, with bold metallic and opalescent polishes taking the spotlight. Black nails may seem too moody for warm weather, but a minimalist nail design with black accents is a great way to wear this look without going to the dark side. Nail contouring (a wide line of polish brushed from the cuticle to the tip) is a fun and easy way to experiment with nail art—plus it gives the illusion of longer nails. Apply essie’s tribal text-styles down the centre of each nail to achieve a runway look IRL.

82 F A S H I O N | APRIL 2017

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GUEST E XPERT RITA REMARK

FASHION X essie

LIVEN UP TIPS WITH ESSIE’S FRENCH AFFAIR

Hue New RITA REMARK shares what’s hot this spring in the world of nails

L

ittle girls love to play dress-up with pink nail polish, but this season it’s the unexpected runway star of New York fashion week. This super saturated colour that everyone is crushing on marks a fresh, new direction in fashion and beauty. When you see street style girls now, they’re all wearing pink polish―it makes a strong statement. Chalk pink (think cool undertones) is undeniably cool; it’s not glittery or glossy, just a bold, edgy colour. If you’re looking to paint the town pink, make sure to keep your nails short to achieve the cool-girl effect. Opt for a versatile polish like essie’s muchi muchi, to find your perfect match: One coat creates a pretty sheer look, two coats gives a glossy cream-jelly finish, and three coats is fully opaque.

Swipe on a topcoat (both high shine and matte are still trending) and you’re good to go.

ABOVE: SPRING’S PRET T Y YET POWERFUL NAILS; LEF T: ESSIE NAIL ARTIST RITA REMARK; BELOW: A LOOK FROM REBECCA MINKOFF’S SPRING COLLECTION GET THE LOOK WITH ESSIE’S MUCHI MUCHI

UP THE GLAM WITH ESSIE’S NO PLACE LIKE CHROME

CURRENT MOOD Rebecca Minkoff’s essie spring polishes were inspired by a California road trip. The cheerful colours, which include a bubble gum pink, pair perfectly with her 70’s So-Cal-inspired ready-towear collection. Pink may be the new must-have, but avoid going matchy-matchy with your outfit and polish. For a chic spring statement, pair a pretty print maxi dress with a peachy nude shade like essie’s excuse me, sur.

WHITE ON

Bright, white nails are an easy 80s-inspired trend to try this season.

It’s a bold, clean look that goes with everything. One of the coolest new ways to wear this knockout neutral is with a hint of metallic. Try dry brushing a subtle silver design, like dots or stripes, on top of nails lacquered in essie’s blanc.

beautyfragrance

Waiting to Inhale

CloCkwise (from top lef t): CHlOÉ fleur de parfum ($122); TOm FOrd private blend sole di positano ($260); SAlvATOre FerrAgAmO signorina in fiore ($86); bOSS the sCent for her ($120); ArmANI prIvÉ iris Céladon ($295 ); YveS SAINT lAureNT mon paris star edition ($115 ); mIu mIu l’eau bleue ($105 )

Scent is the last frontier of IRL experiences.

I

f our retinas could talk—in between scanning the news, scrolling through images or watching whatever video, meme or GIF is dominating our feeds, that is—they’d probably complain of exhaustion and near burnout just like the bodies they inhabit.

“The digital world is able to take direct advantage of our visual and audio processing,” says Dr. Rachel Herz, a neuroscientist and scent-psychology expert and the author of The Scent of Desire. Smell, on the other hand, forces us to slow down and connect in a way we don’t always have the chance to do in our daily lives. “When we smell something, we are much more intimately and personally engaged,” explains Herz. “We are more viscerally involved in the experience than we are in pretty much any other sensory experience.” That’s why, says Herz, “wearing or smelling a scent you love is a really excellent way of re-grounding yourself in your own senses, quite literally, and in your own self.”

There’s a reason why smell is so evocative and emotional.

When scientists began investigating the olfactory system, they traced nerve tissue in the nose up into the brain, explains Dr. Avery Gilbert, author of What the Nose Knows: The Science »

78 F A S H I O N | april 2017

photography: Bottles By carlo mendoza

By Sarah Daniel

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of Scent in Everyday Life. “One of the things they noticed is that it goes to two places. The first is the amygdala, which is an area that does very rapid processing of emotional content,” he says. “So even before you recognize a smell or can name it, you’re [thinking] ‘I like it’ or ‘That’s bad’—you make that decision in literally 10 milliseconds.” The other part of the brain it travels to—the hippocampus—is responsible for new memory formation. This explains the moments, places and people that flood back with 4K clarity when we encounter fragrances associated with them, no matter how many years later.

W

hile our eyes are fixed on the screens in front of us, our noses are working 24-7, too—we just don’t realize it. To use an analog analogy, our olfactory hardware is not unlike a boom box making a mixtape of our life. “We don’t remember trying to remember smell because our brain is always recording,” says Gilbert. It’s documenting everything from “background noise,” like the cloud of industrial cleaning supplies infiltrating your office lobby, to positive scent memories, like a loved one’s shampoo.

The fragrance industry does an excellent job playing up the emotional aspect of scent, despite the fact that perfume advertising has the tough task of persuading consumers to purchase a bottle without knowing what it smells like (the IRL exception being scent strips that run in magazines). Recently, brands like Prada, Serge Lutens and Charlotte Tilbury have attempted to find a way around that obstacle by launching virtual reality campaigns that offer an immersive and interactive experience. The idea is that enlisting the other senses by using different textures, sights and sounds will help fill in those fragrance blanks. And soon, perhaps those very fragrance brands will take a page from Montreal’s Élixir Marketing Olfactif, an agency that created bus shelter billboards that release the aroma of orange trees when sensors detect commuters are standing in front of its ad for OJ, in the hopes that their subconscious will instruct them to buy a carton the next time they’re at the grocery store.

While Silicon Valley is hard at work on technologies that will bring scent into the VR world, Herz has doubts that any will be successful “because of a variety of basic logistical things about how our sense of smell works,” she says. So until someone figures out a way for us to smell through our Kindle or cellphone, our noses could remain the last bastion of experiences you need to have IRL.

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SaY MY naMe

“When I first started at Guerlain, I smelled my mother everywhere,” says Isabelle Artus, editorial director at Guerl AIN. She is making a reference to the 90-year-old Shalimar, the iconic fragrance that liberated women wore in the 1960s and ’70s.

At Guerlain’s perfume factory 40 minutes outside of Paris, the company is unveiling Mon Guerlain ($119), which the brand hopes will have the same kind of impact.

The spokesperson for Mon Guerlain is Angelina Jolie, and she remembers her late mother wearing a “fancy” Guerlain powder.

The company sent Jolie every powder it made, which she inhaled until she found “the one” and allegedly broke into a huge smile.

It’s not a flight of fancy that perfume can transport us through time and space: Smell is the only sense that has a direct passageway to the limbic system of the brain, where memory and emotions are stored. The new perfume’s quadrilobe bottle, adapted from one in the archives from 1908, is fire polished in Burma so that it gleams. The scent seems to say “I’ve arrived,” in both the physical and metaphorical sense.

Perfume cannot be digitized because it is too ritualistic, too personal, says Thierry Wasser, Guerlain’s master perfumer. The name Mon Guerlain was chosen for this reason. He sees the scent’s formula as a portrait of a woman, as the pillar of society, fighting for her convictions and balancing her roles. The lavender represents her empathy and truth, vanilla her generous and maternal side, jasmine her passion and sandalwood her strength and resilience.

“There are a thousand different ways of wearing perfume and a million motivations,” he continues, and chief among them is self-expression. “Perfume is a social medium. It’s how a woman communicates with her environment.” And what might this new scent say? “Women fought to be equal,” says Wasser. “It says ‘We’re going to fight for it.’” —Sarah Bancroft

jolie is donatinG her entire salary From Guerlain to charit y.

photography: bottles by carlo mendoza; rose petals by Isabelle chapuIs et alexIs pIchot

From top: VIktOr & rOlF Flowerbomb bloom ($160); JeAN PAul GAultIer classique essence de parFum spray ($138); eB FlOrAlS By erIc ButerBAuGH KinGston osmanthus ($450)

beautyfragrance

IrL: INter Act wItH NOteS

“P

Scent from PariS

eople associate fragrance with luxury goods, but it is so much more than that,” says Sandra Armstrong, director and co-founder of Le Gr ANd MuSée du PArFuM in Paris. “It is emblematic of French culture and art de vivre.” Here, in the former HQ of the Christian Lacroix couture house, a stunning 17th-century mansion at 73 Rue du Faubourg Saint-Honoré, she leads me through three light-filled floors that are built around a private garden and designed so that visitors can experience fragrance in an immersive and interactive way. “Fragrance is also about seduction, spirituality and medicine,” she explains. Armstrong and three others opened the museum last December with seven million euros in private funding from 40 French families so it would be independent from particular brands.

She draws my nose toward a diffuser of tonkin musk worn by the court of Louis XIV. It reeks of urine and sweat. In the Seducers’ Gallery, I learn that Napoleon used 40 litres of cologne per month and even drank a few drops before battle for protection. Upstairs, we explore the playful aspect of fragrance in games where you can send your seatmate a scent to guess. The museum is resolutely contemporary in its technology, if only to drive home the idea that fragrance is universal—in our past, present and future. In the Garden of Scents, I close my eyes while I stand under giant white flowerlike sculptures and breathe in the scents of a lit fireplace, a glass of rum and raspberries. Perfumers like Jean-Claude Ellena have contributed installations, such as alcoves with individual scents—including absinthe—as well as one in which the scents are blended together. The most impressive exhibit, built by British industrial design firm Harvey & John, features wooden spheres suspended from the ceiling that contain 25 of the 1,500 most essential components of perfume, which you smell and then select on an iPod touch. Later, in the concept store, your favourites are matched with real perfumes from diverse brands, 70 of which are for sale. Armstrong gravitates toward amber, I to white jasmine, while we both agree that regardless of the brand, shopping for perfume is an experience that is best enjoyed in person. —S.B.

from top: the garden of scents; a wooden sphere containing a raw material; the garden side of the museum; reading about plant life

IrL: INHALe A SuNSet

Light Show “The golden hour”—just after sunrise and just before sunset—is a poetic and fleeting time of day. Van Gogh prized its soft light, shadows and tones, as do photographers and filmmakers like Terrence Malick, who shoots almost exclusively during this time.

In the French region where L’OccItANe was founded, the golden hour is also a unique time aromatically. “It’s when the scents of Provence—and we have confirmation from perfumers—are at their best because they’ve been drinking in this beautiful light,” says Alessandra Elia, global head of fragrance development for L’Occitane.

Terre de Lumière ($105) seeks to capture this experience in a bottle. For inspiration, perfumer Shyamala Maisondieu recalls a memory she has of visiting the village of Gordes and discovering lavender honey. “It’s unique because it’s not very liquid; it’s very creamy, so you scrape it instead of pour it,” she says. “It’s very Provençal. So I built an accord around that idea.”

Maisondieu also wanted to convey the mix of coolness and warmth that occurs when a slice of sunlight is either sinking down or rising up. Working with two other perfumers, Nadège Le Garlantezec and Calice Becker, she created two opposing accords: a fresh, aromatic essence and a gourmand one. “So you can imagine the sun going down, the smell of the herbs coming out,” she says, which contrasts with the “delicious, warm” part of the fragrance.

Creating a perfume that aims to replicate a specific time and place speaks to how much fragrance is, at its heart, shaped by human experience. For one, perfumers create scents based on their own influences and experiences. “We always go back to a certain memory and build on it,” says Maisondieu. But for anyone either wearing a fragrance or simply inhaling it, it’s just a matter of time before the scent is assigned an association.

Either way, this connection can’t be imprinted through a screen and Maisondieu is against the idea of trying. “Fragrances are part of memories, and it’s something very emotional,” she says.

“I can’t see it in bits and bytes. It’s like making fragrance into zeros and ones. It’s too complex for that.” —Lesa Hannah

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SPRING With a little hydrating help from nature Is your beauty routine begging for a spring-clean? Make a fresh start with nature’s number one miracle worker–hydration. This season, it’s all about all-natural moisturizers like goji berries, pomegranate, cactus and chamomile to keep your skin and strands glowing ‘til summer.

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beautyskin

Facing Up

A

s skin ages, it becomes thinner, loses its volume and is a road map of all of your harmful lifestyle choices, many of which accelerate the aging process. Preventive care will delay proof of another birthday passing, but after a while, there’s only so much that a cream can do. “Once signs of aging settle in, topicals and good future skin practices will only modestly improve the altered texture, deep lines and pigmentary concerns that are already evident,” says Dr. Julie Karen, a New York-based dermatologist. At the end of the day, there’s simply no fighting biology. “Facial changes really occur as a result of sagging muscles and the fat volume slipping downward with them and/or ‘melting’ to give a gaunt look,” says Dr. Jean-Louis Sebagh.

Non-invasive treatments can address these issues. Fillers restore volume: A skin-plumping gel containing hyaluronic acid is injected into deeper layers of the skin. There’s also the “non-surgical facelift,” a procedure that tightens and tones skin through heat generated by radio frequency, which stimulates collagen growth and production. Intense Pulsed Light (IPL) treatments target and treat age-related skin conditions, including sun damage, rosacea and hormonal pigmentation. And, of course, there’s Botox, the famous muscle relaxant that smooths creases in the forehead, eye, chin and neck areas. When it was approved in 2002, it ushered in a new era of quick procedures that stop the clock without the dramatic results, and downtime, of a facelift. —Caitlin Agnew

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Y

By Lesa Hannah

ou have good bone structure, very good bone structure.” “Have you lost weight?”

“I’m sure in pictures of you 10 years younger you had more volume here.”

Dr. Jean-Louis Sebagh glides the back of his hand across my cheeks and forehead. “Your skin is perfect,” says the French cosmetic surgeon. “You need to carry on feeding it because you obviously have a good skin regimen.” Coming from Sebagh— whose clientele ranges from socialites to models including Cindy Crawford—this is probably the most validating verbal high-five I’ve ever received with regard to my skincare habits.

Sebagh, who has practices in both London and Paris, is in Toronto to promote his skincare line at Gee Beauty, but I’ve been lucky enough to snag a one-onone interview, and I am taking full advantage of the moment. I had read in The Telegraph that just like looking into a crystal ball, he can predict what will droop or sag, so I’ve asked him to evaluate my face and suggest a course of action. I’m not bracing myself for what he says about my skin. I’m ready. I want to know.

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photography: model by trunk archive; product by carlo mendoza

Aging Face

A visit with an esteemed French cosmetic surgeon reveals the difference between aging skin and an aging face.

beautyskin About three years ago, I started to notice subtle changes in my face. The deep creases (a.k.a. “11s”) between my eyebrows were taking a deeper hold.

The fine lines around my eyes were increasing in number. But the most shocking (as well as horrifying) observations were the additional wrinkles next to my nasolabial folds and what seemed like extra skin collecting along the lower corners of my jawline: the blooming buds of baby jowls. It was like my face was slowly sliding away. I would periodically find myself filling my cheeks with air, as if that would somehow re-inflate what had disappeared.

“You lost a bit of volume here,” Sebagh says, pointing to the area my husband used to affectionately call “apple cheeks” because of its roundness. “And your muscles have started sagging within here, so there is a bit of jowling here, and the fat that was there has started sweeping downward. So you need to work on the muscle layer and the fat-pad layer.” He recommends filler to plump up my cheeks, Ultherapy (high-frequency ultrasound) to shorten and tighten the muscles in my jawline and Botox to smooth the lines between my eyebrows and around my eyes. It is an eye-opening amount of information to process, but I actually feel enlightened. I am now armed with solid intel should I decide to venture down this path that, if I’m being honest, I’ve always been hesitant about due to a mix of conflicted feelings but mostly because I just can’t fathom the cost.

Sebagh makes it clear that he is in favour of restoration, not augmentation: reinstating what you’re missing rather than adding more than what was originally there. “All of this has to be harmonious,” he says. “It’s not about looking like someone else.” But just for argument’s sake, I ask “What if I don’t want to do any of it?”

“Then I’m sorry. What can I do? Nothing!” he scoffs, throwing his hands up in the air. And then he makes a distinction that I’ve never heard, much less contemplated, before: There is a huge difference between aging skin and an aging face. “An aging face is a combination of bone, muscle, fat and skin,” he says. “Skin is only one layer, the most visible layer. And skincare isn’t going to tighten your muscles or restore your fat pads.”

This is basically my beauty come-to-Jesus moment. It doesn’t matter how meticulous and devoted I am to my skincare routine; it won’t have any impact on the issues Sebagh has outlined. There is actually something freeing in this understanding. I won’t pin any false hopes on anything I apply—or look for any marked signs of improvement afterwards. I am simply maintaining basic skin health and perhaps slowing the brakes on physiological changes, but for anything beyond that, I will have to submit to lasers, lights and needles.

Still, I wonder if Sebagh has a visceral response to an aging face and is put off by it. Does he see any beauty in a woman whose face is no longer plump and defined? “Aging has nothing to do with beauty,” he says. “My mother was beautiful. She never had one treatment with me. Don’t mix beauty and maintenance. They’re different.”

Aging Skin

A

s your body’s largest organ, skin requires appropriate and consistent care. “Healthy skin has radiance, or a glow, good elasticity and minimal signs of photo-aging, and is well hydrated,” says Dr. Julie Karen. But since it’s your body’s armour, it’s constantly being bombarded by harmful elements. “Sun exposure, diet, pollution, smoking, et cetera, all result in the appearance of lines, pigmentation and loss of elasticity,” says Dr. Jean-Louis Sebagh. Maintain the health of your skin by choosing the right skincare products from an early age. “It is very important, from the teenage years onward, that good skincare and cosmeceutical products with active ingredients are used,” says Sebagh.

Wearing SPF 30 daily, all year round, is step number one.

Then it’s important to feed skin with the right ingredients to make sure it has what it needs. Maintain the barrier function with moisturizers that combine hydrating humectants (like hyaluronic acid, glycerine and other emollients), so that it’s resistant to things like redness and irritation.

Proper hydration will help maximize your inner glow, as will fighting the effects of the elements with vitamins C and E and green-tea polyphenols, which have been shown to protect against UV-induced damage caused by free radicals. Exfoliation with chemical exfoliants like alpha-hydroxy acids will also help to keep skin tone uniform. —C.A.

druNk elepHANt virgin mArulA luxury fACiAl oil ($90)

cOppertONe CleArly sheer lotion for fACe ($9)

dr SebAgH serum repAir hyAluroniC ACid ($211)

clINIque fresh pressed dAily booster with pure vitAmin C 10% ($26)

April 2017 | F A S H I O N

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beautyhair

To Be Blunt After seasons of laid-back hair, there’s a new order for spring: straight-edge bobs chiselled with a razor and graphic sculpted updos.

86 F A S H I O N | april 2017

I

had only one directive for my hairstylist as I slipped into her chair and sized up my piece-y, shoulder-length mane. “Cut it really blunt,” I told her. She paused, surprised, with her scissors in mid-air above my head.

“Like a blunt bob?” she asked. I took it she hadn’t heard that request in a while—probably not since the ’90s, when the single-layer, sharpedged cut had its heyday among the era’s defining beauties like Claire Danes in My So-Called Life, Uma Thurman in Pulp Fiction and Gwyneth Paltrow back when she smoked and dated Brad Pitt.

But the retro look had something of a revival on the spring runways, where blunt ends appeared in varying lengths at Acne Studios, Céline and Prada.

At the latter show, editorial hairstylist Guido Palau cut chin-grazing bobs on eight models just moments before the presentation. “It was a palate cleanser,” he says of the beautifully contoured, squared-off style, which stood out in chic contrast to the undone waves and shaggy layers that have dominated the runways in recent seasons. “It’s fun to see that kind of classic, simple cut again.” The crop was also spotted in the front row, with It girl Lily-Rose Depp and French model and Chanel muse Ines de la Fressange embracing its tomboyish charm.

The return to clean lines comes as a relief to New York City hairstylist Garren—the mastermind behind Karlie Kloss’s career-catapulting bob. “I love this because we get to cut hair again,” he says. With its graphic shape and tailored finish, a blunt cut is »

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photography: runway by imaxtree; scissors by istock

cHrIStIAN DIOr Spring 2017 PrADA Spring 2017

AcNe StuDIOS Spring 2017

By Kari Molvar

OPPEN’S Fashion Specialist for Sizes 12-26

4828 Bo u l. St-lau rent, M o ntreal | 514.844.9159 | o ppenS.ca

beautyhair

N

claire danes

Uma thUrman

gw yne th paltrow

razor sharp

K ylie Jenner

Jemima KirKe

lily-rose depp

a more polished and put-together alternative to the tousled lobs and languid manes of late. “I think women are really looking for something that has a definite defined style that matches their personality,” he says. A decisive chop is an act of self-expression that sets you apart from the pack—IRL and on your social feeds, where, as Garren notes, “you need more of a ‘look’ rather than no hairstyle at all.”

Still, the minimalist cut can be complex to pull off. “The shorter you go, the thicker your hair gets,” says Dre Donoghue, a Manhattan stylist whose clients include downtown cool girls Makenzie Leigh and Cleo Wade. Her technique is to subtly remove bulk from the underlayers with a razor to prevent the bob from turning triangle shaped for those with curly or wavy hair. “I can still get a really great line, but it takes the weight out of the cut.” For Wes Sharpton, creative director and lead haircutter at Hairstory Studio in New York, the bob works on all hair lengths but is most flattering when “it hits the jawline” and is sculpted but not too stiff or helmet-like. The trick, he says, is to gently and intentionally shred the tips a tiny bit. “A tighter and smaller up-and-down motion of the razor gives a stronger line but also a softer line,” he explains. “It allows the ends to move and melt into the rest of the hair.” How you style it also matters: Don’t blow it perfectly smooth or curl the ends under or you’ll head into mom-bob territory. Instead, let the individual pieces turn a little this way and that to contrast the structure of the cut. “It’s hair that looks interesting but also neat and kept,” says Sharpton, adding that he likes to tousle strands with a texture spray for a rough blow-dry. And for a playful Margot Tenenbaum aesthetic, pull one side back with a bobby pin.

“It’s classic and fresh,” says Sharpton. (Eyeliner and brooding attitude optional).

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ot that chopping off your hair is the only way to carve out a cool look. The right updo makes a powerful statement, too. This season at Christian Dior, Palau wound strands into a tight topknot, accentuating it with French braids that snaked up from the nape of the neck. A messy bun this was not—instead, the sculpted-but-sensual vibe captured the pro-feminist sentiment expressed in the collection by the fashion house’s new artistic director. “Maria [Grazia Chiuri] is very particular and always has a very strong idea about her girl,” says Palau. “I find the finished look a bit tomboyish in a way, with a feminine twist.”

Or, consider the moulded-to-the-head chignons at Givenchy, which came off as both steely and sexy. “I’m using lots of gel directly on the hair to make an almost catlike, mannish shape,” he explains. The result is striking for what it lacks—namely pillowy volume. “I find that, in general, hair is getting flatter,” says Donoghue, pointing to the popularity of buzz cuts among women and a more gender-fluid definition of beauty. “This look is along the same lines, but it’s a little more forgiving.”

So is this the end of I-just-woke-up-like-this beachy waves and free-flowing layers? Not likely. But perhaps the beauty of a controlled look is that it’s not super-conventional at the moment; it’s still a bit countercultural, and that explains the appeal. Palau, for his part, plans on keeping blunt cuts in his repertoire. “I think we will continue to see a structured feel,” he says, hinting at what might be coming down the pike for fall as well as what’s being pinned on designer’s mood boards. “It gives an interesting dimension to the hair and allows the clothes to become more of a focus overall.” Donoghue agrees—so much so that she’s currently growing her shaggy “mullet” into a blunt bob. “I tend to think hairdressers adopt a look first, and then it starts to enter the mainstream,” she says. One thing’s for certain: The chiselled look cuts a sharp profile, as I learned after posting my own freshly cropped bob on Instagram. To date, the photo has racked up more likes than any other shot of me. Blunt, in my eyes at least, is definitely back.

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beautySKIN

Note to Selfie

Is there a skin-damaging downside to spending too much time perfecting your profile pout? he first thing I do when I wake up is check my phone for texts—just in case I suddenly got popular overnight. Then I scroll through the day’s headlines and my Insta feed. Next, I peruse Apple Music to find the perfect soundtrack to my morning routine before tapping up an Uber to take me wherever I need to go that day, all the while bouncing around from app to app on the big screen of my iPhone 7 Plus. After hours of squinting at my laptop while suppressing rage over unrealistic deadlines, unbelievable headlines and ridiculous Facebook posts, I spend the evening reading on my iPad while watching Netflix before going to bed so I can do it all again the next day. There are countless reasons for me to step away from my phone (increased stress, butterfly brain, eroding social skills...), but I’ve never considered the effect that so much screen gazing has on my skin. It turns out that living in my digital bubble may actually have some pretty significant beauty consequences IRL. Increasingly, dermatologists and skincare companies are sounding the alarm about the various types of skin damage that our smartphones and other tech devices can cause. Of great concern are high-energy visible (HEV) light rays—the glowing blue light emitted from the liquid crystal display (LCD) screens of our phones, computers and tablets. “It’s a harmful artificial light that will affect your skin by giving it premature damage,” says Adrienne Penna, director of product development, skincare, for New York’s Make Beauty, a company that targets tech-obsessed millennial shoppers. HEV

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damage can reportedly include fine lines and loss of elasticity and structural components of the skin, like collagen and elastin. To minimize this potential damage, Make launched Moonlight Primer. It’s made with a vegetal-sourced melanin, an ingredient that “shields against this spectrum of light and absorbs it,” says Penna, who was tipped off about HEV by members of the eyewear industry studying its role in macular degeneration. The research on its role in skin damage is still in its infancy, though. “We really don’t know how this particular spectrum of light will affect people in the long run,” she says.

However, she’s particularly concerned about what impact HEV rays will have on the generation that has been using tablets and smartphones since before they could walk.

Some dermatologists are reporting finding poikiloderma, a form of skin discoloration usually caused by sun exposure, in unusual areas like underneath the chin and the side of the face.

It’s because of sun exposure and how we hold our phones, suggests Dr. Dendy Engelman, a dermatologic surgeon based in Manhattan. “A lot of people will come in and say ‘I have a rash on the side of my neck,’ but it’s not a rash at all. The central part of their neck looks young and smooth and even, because it has been protected from the sun, and then the lateral aspect looks mottled and wrinkly.” Beyond this anecdotal evidence, a 2014 study from the Autonomous University of San Luis Potosí in Mexico on 61 female patients undergoing hydroquinone skinbleaching treatments for melasma found that those who wore sunscreen with added visible light protection showed between 4 and 28 per cent increased improvement in their de-pigmenting treatments over those who just wore UV protection. »

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T

By Caitlin Agnew

beautySKIN Clearly, HEV light does, indeed, play a role in the development of melasma. Meanwhile, it’s not just HEV rays that are a concern but the possibility of UV reflection as well. A 2015 small observational study conducted on mannequins by the University of New Mexico found that the screens of our devices actually reflect UV rays back onto our chins and faces, with the iPhone 5 found to increase UV exposure by 36 per cent. (The exposure was monitored for one hour.)

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L

ight-induced damage doesn’t stop at the blue end of the spectrum. Infrared rays (IR)—an invisible type of light that humans experience as the feeling of heat—are emitted by everything from LCD screens to remote controls.

But not all IR rays are created equal. Different types of IR light can be beneficial; infrared saunas, for example, have a celebrity following for their ability to relax, detoxify and stimulate collagen production, and IR laser treatments have been used as a non-invasive skin-resurfacing option for years.

An excess of exposure to near-infrared rays, however, has been found to cause skin changes similar to those of UV, including dermal inflammation, photo-aging and photocarcinogenesis, the creation of cancer cells caused by light. For the moment, there are no creams that protect against harmful near-infrared rays, but topical antioxidants have been shown to reduce damage. In 2015, a study of 30 volunteers at the Leibniz Research Institute for Environmental Medicine in Düsseldorf, Germany, found that those who applied sunscreen enriched with a cocktail of antioxidants had significantly less response to the near-infrared rays than those who wore SPF alone. Look for skincare containing grape seed extract, vitamin E, ubiquinone and vitamin C— researchers used a mix of all four in the study.

It’s not just devices themselves that can harm skin but also the way we physically interact with them—in particular, the hours spent looking down into our laps as we text, tap and swipe. (A 2015 study by digital research firm eMarketer found that Canadian adults spend an average of two hours and 12 minutes a day on their mobile devices.) “What I have seen is

a much older-looking neck, even in my young patients, and that’s because for the majority of their lives they’ve had a phone,” says Engelman. “They’re looking down in their laps, and they’re creasing their necks down a lot more than the 90-degree angle of just looking up and out at humanity.” The result is signs of “tech neck,” a premature wrinkling across the area. “The more we hold our skin in a crease, the more prone to wrinkling it is,” she says. “You can see these transversal horizontal lines running across the necks of people who are always staring down at their smartphones.”

This creasing also happens in the forehead and eye area, a digital droop often blamed on the fact that we spend our nine-to-five lives frowning at a computer screen. “Increasingly, I’m seeing young women and men coming in complaining of looking stressed, unapproachable or miserable,” says Dr. Diane Wong, a cosmetic physician at Toronto’s Glow Medi Spa. “They’re just sitting in a permanent scowl,” adds Engelman. In other words, “resting bitch face” is on the rise. While many clients will opt for an injection of a relaxing neuromodulator like Botox, the best treatment in the case of forehead wrinkling, Wong says, is prevention. “Even when you’re not intentionally trying to frown, the muscles are in action and leaving residual evidence of it with the ‘number 11’—the two lines in between the brows—leaving those telltale signs of a constant frown,” she says. “If you haven’t developed this habit yet, you can more easily prevent it.” Wong suggests an appointment with your optometrist to rule out any squinting caused by poor eyesight, while Engelman stresses the importance of taking breaks from your computer. It comes down to being mindful of your facial expressions and taking a moment here and there to consciously unfurrow your brow.

So before you reach for a needle, take a deep breath and put down your phone. Not only will this reduce the impact of harmful light rays and wrinkle-forming expressions but it may also make you smarter. Research now finds that a digitalcentric lifestyle has a negative impact on our cognitive abilities.

A good filter may be able to hide your under-eye circles, but there’s nothing it can do for a waning IQ.

beautyfitness

True to Form

Can your smartphone replace a personal trainer?

L

ast fall I was offered the chance to work out with a Tier-3 (read: top level) personal trainer at Toronto’s Equinox Bay Street. To some, this might sound torturous, but for a health editor and fitness fanatic, it’s the fitness equivalent of a spa day. (The change rooms feature private showers with Kiehls products, a sauna and a steam room, and cool eucalyptus towels are available in the gym.)

Having spent the past near decade writing about fitness, I thought that I knew my way around a gym and that I could achieve whatever fitness goals I set out to accomplish—on my own. In fact, just a few months prior I had cancelled my YMCA gym membership, relying instead on my fave fitness app—Nike+ Training Club, or NTC—and workouts I’d made up out of moves I’d tried in various classes around Toronto. It’s free, I told myself, and all I need is enough room to roll out my yoga mat, which I did, sandwiched between my dining room table and living room.

This approach to fitness wasn’t foolproof, though. When I did manage to muster the willpower to choose exercise over Netflix, I often became frustrated with the plyometric moves, such as burpees or mountain climbers, that my app told me to do. Because of pre-existing lower-back strain, I could barely hold a plank without feeling it. After one particularly inspiring bootcamp class I took IRL in which I watched instructors doing push-ups and one-legged squats with ease, I decided that sometime this year I, too, would be able to do them. So when I met with personal trainer Drew Noel, a former CFL player, I filled him in on these rather specific goals. We had 12 weeks.

During my second training session—the first was a thorough fitness assessment—Noel assessed my squat. Without weight it was a cinch and my form was correct, but when he handed me

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a 15-pound kettlebell, that same nagging lower-back pain took over not even halfway through the set of 10. Anytime I had a twinge of discomfort, Noel would scrap the move—this was not a time when the “no pain, no gain” mantra was appropriate—replacing it with a modified version that alleviated the discomfort. This often meant forgoing weight to further perfect my form, ensuring that my legs, glutes and core were the focus in squats, deadlifts and lunges. He taught me how to brace my core, which meant fighting my natural urge to tilt my pelvis backward. “What’s the first thing you’re going to do?” Noel asked me innumerable times. “Brace my core,” I learned to respond. (I even found myself doing this on my walk to work.)

While my app and group fitness instructors would tell me to “keep my core tight” on the reg, I didn’t know how that translated to my body. I had always made a valiant effort to squeeze my abs whenever I was told to do so. And each of us likely has some sort of disconnect between what we tell our bodies to do and how they actually respond.

According to Catalyst Canada, a digital marketing company in Canada, 75 per cent of Canadians own a smartphone and 30 per cent of them have downloaded one or two health apps.

And while health apps can range widely in scope, a 2015 study published by the Journal of Medical Internet Research (JMIR) found that the main reasons why people download them are to track physical activity, food consumption and weight loss and to learn exercises.

In theory, this should mean that we’re well on our way to leading happier and healthier lives, but are we? To find out, researchers looked at the behaviour change techniques (BCT) that are used in apps—from providing feedback to selfmonitoring to goal setting. A study published in the American Journal of Preventive Medicine found that some apps tend to »

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use less effective BCTs like social media to provide social support instead of ones that are more effective like selfmonitoring. (Many tracking devices and apps require no such act.)

So why, then, are some of our fitness apps gathering digital dust? The JMIR study found that 46 per cent of those surveyed had health apps they no longer used. Noel tells me that even in his “analog” biz there are barriers to success, the top three being a lack of focus, inconsistency and an inability to make a long-term commitment. Despite managing a busy work schedule and a three-hour daily commute, I carved out time for my twice-weekly hour-long sessions. I stayed committed because I always left the gym feeling so strong and energized. I also felt more productive. In terms of stress management?

Like hairdressers, personal trainers are incognito therapists. (Sorry, Drew.)

During my personal training sessions at Equinox, I learned a lot about performing exercises properly and got hella strong—I could deadlift with weight (!!!), plank like a champ and do push-up exercises with zero back pain. But what struck me the most was the lesson I got in goal setting.

“I think a lot of people come in with the mindset of ‘I want to look like this’ or ‘I want to lift this much weight in this much time,’” says Noel. “To drop 10 pounds in

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three weeks because you’re going on a vacation is not realistic. Sometimes I just have to correct people and say that’s not a realistic goal and kind of adjust it. I want my clients to effectively train and develop practical lifestyle habits.”

While I have yet to do a one-legged squat, I’m thrilled with the results I didn’t even know I desired. I learned how to counteract the root of my back pain, and I reignited my love for lifting weights. I now feel prepared to reopen NTC— which has been updated to be more adaptive, so the more you use it, the more it caters to your schedule and adjusts your workouts—because I know my limits, and I also know that choosing not to do something that hurts is totally OK. An article in Time magazine last fall extolled the virtues of exercise with an unprecedented level of hype. Marcas Bamman, director of the Center for Exercise Medicine at the University of Alabama at Birmingham, said: “If you think of exercise as a true form of medicine, which it is, it’s not good enough to just look at a patient and say, ‘You need to do more exercise’…. That’s no better than handing someone a bottle of pills and saying, ‘Here, take a few.’”

I feel like I got my exercise prescription in those 12 weeks, and when I feel an ache or a pain, or reach a plateau, I know who to call for a checkup.

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beautyHEALTH

Screen Fiends

By Flannery Dean

he smoothie-bowl-Instagramming crowd likes to talk up the life-altering effects of finding balance in life. While it’s true that you can eat a balanced diet (still working on that one) and follow a prescribed exercise routine (same), the notion gets tricky when applied to our Internet and cellphone consumption and the attendant ubiquity of Snapchat, Twitter, Facebook, Google, YouTube, Netflix, Net-a-Porter, Tinder...shall I go on?

When it comes to finding equilibrium between our worlds online and off, the scales are not tipped in our favour. A 2015 report by comScore found that Canada and the United Kingdom are tied for the most-logged-in nation in the world in terms of the average time people spent on a desktop. “The Internet is part of everyday life, so it’s hard to come up with [an amount of] time that’s enough or too much,” says Michael Van Ameringen, a professor in the department of psychiatry and behavioural neurosciences at McMaster University in Hamilton, Ont., who has studied Internet addiction.

Avoiding the digital world is kind of like trying to steer clear of your ex’s new girlfriend’s Facebook profile.

And it doesn’t help matters that the world we watch on our screens is just so damn entertaining. Funny memes and viral videos enliven dreary days at work, celebrity baby news delights us (Beyoncé is having twins!) and virtually any question that comes to mind can be answered with a simple search.

But you can have too much of a good thing. Both China and South Korea

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consider excessive use of the Internet and digital technology a public health concern and have established webaddiction rehab centres to address the problem. While North Americans aren’t yet in rehab mode, we have begun to see the value of a “digital detox,” and there’s good reason for it.

Internet junkies sleep less and get less exercise, and a U.K. study suggests that web addicts are 30 per cent more likely to catch colds and the flu. Researchers hypothesize that the combination of poor lifestyle habits and the stress of addiction increases the production of the hormone cortisol, weakening the immune system.

The URL world can mess with your head, too. A 2015 survey by the Centre for Addiction and Mental Health (CAMH) found that 7 per cent of Canadians experience at least one negative health effect associated with Internet use, while 19 per cent of Canadians aged 18 to 29 struggle with multiple effects, such as tension and anxiety that can only be relieved by logging on.

Most of us aren’t full-on addicted, but we could use a little help. “Pay attention to how you feel—it’s a clue,” says Dr. Hayley Hamilton, a researcher at CAMH. “Take breaks from your use, and set boundaries around when you use it and for how long and why.” If you don’t think you can do it on your own, apps like RescueTime and Moment help track your time online. Take a page out of the wellness guru’s handbook, too, and swap some virtual time for mindful activities like yoga and meditation. You may not achieve spiritual perfection, but you’ll reclaim a little peace of mind IRL.

Quiz

IS IT TIME TO DIAL BACK YOUR DIGITAL HABITS? Your smartphone is your preferred dinner/drinking companion, even when you’re out with real people.

You sleep with your phone beside your bed.

Your sleep is poor or interrupted.

You’re not getting out to see friends and/or getting enough exercise.

You feel tense if you can’t check your email/texts all the time.

Friends and family are repeatedly telling you to put your phone down.

You didn’t even finish reading this list before you stopped to check your phone.

If you ticked any or all of the above boxes, you’re letting your device call the shots. Time to show it who’s boss.

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photography: waterfall by bruno poinsard/trunk archive; celebrities by getty; stethoscope by istock

Are you a digital junkie?

Here are some signs that it may be time for a digital detox.

beautyhealth

Healthy Apps Analog and digital methods face off.

Which is better for your well-being?

By Lisa Hannam

PaPer Journal Calendar aPP Relying on a calendar app to remind yourself about a nail appointment is both a good and a bad thing. According to a study published in the journal Trends in Cognitive Sciences, using a physical action to reduce cognitive demand (such as relegating daily tasks to a smartphone) frees up your brain to focus on more difficult tasks (read: finishing a project) but also affects short-term memory. (The more you off-load, the more you forget.) If you’re looking to flex your brainpower, try the Bullet Journal. Digital-product designer Ryder Caroll created the analog organizational method because there wasn’t a single app that could do all the things he wanted.

You create it in a blank notebook and use symbols and an index to organize daily and monthly tasks. Plus, according to a 2014 Psychological Science study, you’re more likely to remember something if you write it down instead of type it.

styled PiCs

real MoMents

You’re having brunch with friends when you see the perfect waffle shot for Instagram. Do you grab your phone to get “the angle,” or do you enjoy the moment? According to a 2016 study published in the journal Depression and Anxiety, participants aged 19 to 32 used social media for roughly 61 minutes a day—those who checked their feeds most frequently had three times the risk of depression. If you do take photos of food, why not make it beneficial to your health? Meal Snap calculates the calories of the food in your photo, and See How You Eat logs your pics and sends you meal reminders. wINNer: A tie. Enjoy your friends and try some healthy apps.

wINNer: Paper journal

doCtor’s aPPointMent Virtual diagnosis

We’re sad that Russell Brand’s breakup text to Katy Perry and Zayn Malik’s to Perrie Edwards may have normalized ending a relationship via messaging. According to a 2013 poll by Christian Mingle and JDate, 59 per cent of people aged 21 to 50 would consider saying #ByeFelicia via text if the relationship was casual, and one in four would consider ending an exclusive relationship that way. (Ouch.) But a 2015 survey by Mic, using Google Consumer Surveys, found that we’re not that bad: Seventy-two per cent of respondents aged 25 to 34 said they would normally break up with someone in person. But if you do get dumped via iMessage, there are lots of great apps that will help heal a broken heart (and clean up the remains in your social media feeds), including Rx Breakup, Kill Switch and more.

Will tech ever replace the expertise of doctors? According to a report published in Nature, computer scientists at Stanford University developed a skin-cancer-detecting app that is just as accurate at detecting cancer as 21 board-certified dermatologists are. And since, according to a recent survey, almost 70 per cent of Canadians avoid the doctor’s office because of barriers such as long wait times and limited clinic hours, the Maple app could be a lifesaver. Launched in Ontario, Maple connects patients with doctors via a secure web portal, allowing you to wait in the comfort of your own home. (The service starts at $49.) Other similar services, including Akira (an app, in Ontario, that uses text and video chat) and Ask the Doctor (a website), are also available. If only Benedict Cumberbatch’s Doctor Strange were an MD; then we Cumberbitches wouldn’t mind waiting to see him.

wINNer: While a face-to-face breakup is best (it’s called “adulting”), modern tech can save the day—and your heart.

wINNer: A tie, but the virtual visit is looking pretty tempting.

Virtual duMP FaCe-to-FaCe BreakuP

April 2017 | F A S H I O N

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c u lt u r e i d e a s,

i s s u e s,

d o e r s

a n d

t h i n k e r s

the Post-Internet trailblazer Online and IRL, Juliana Huxtable creates the communities she yearns to see.

By Michael-Oliver Harding

hether it’s the early disco era, New York’s ball culture or Berlin’s post-wall techno scene, clubland has long provided a sanctuary for society’s outliers and marvellous misfits. Growing up in a conservative Bible-belt town—and in a Baptist family to boot—transgender artist, poet and DJ Juliana Huxtable took an early interest in disco ephemera for everything it came to symbolize.

“I’ve always had this outsider obsession with nightlife, the way some people might have an obsession with collecting cars or antiques,” explains the 29-year-old Huxtable. “As a kid, I’d find websites that documented it and was drawn into that world because it’s queer in so many ways. Identity within it is hyper-fragmented and super-diverse. It’s a space one can read as hedonistic and shallow, but it’s also a fertile ground for developing a sense of identity and artistic cross-pollination.”

It’s no mere coincidence that the Bardeducated, New York-based performer and LGBTQ activist—a prominent figure in post-Internet-art circles—frequently acknowledges the World Wide Web in her saturated, subversive and decidedly fluid body of work. Before »

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being confronted with the trolling that regrettably plagues certain corners of the web, she grew up romanticizing the Internet’s potential for inclusivity. “Being who I was, my early years involved being threatened on a regular basis,” she says. “I found my sense of safe space on LiveJournal, Myspace and all those early forms of social media.”

How fitting it is, then, that her avataresque experiments in self-portraiture have been embraced by a community of avant-garde artists with a similar predilection for juxtaposing disparate elements.

In Huxtable’s world, nods to Lisa “Left Eye” Lopes, J. Edgar Hoover and the artist’s own body might all jostle for space and attention in a piece grappling with surveillance technology, Nuwaubian cosmology or the possibility of post-identity politics. At the influential New Museum Triennial in 2015, Brooklyn artist Frank Benson’s show-stopping 3-D-scanned plastic sculpture of Huxtable’s naked body rapidly became the exhibition’s pièce de résistance, with some art buffs hailing it as a shining example of virtuosity by way of virtuality.

For Huxtable, the blurring of URL and IRL boundaries had been a long time coming by the time she moved to New York in 2010. That’s when she set out to create a positive, difference-friendly space that would celebrate gender experimentation and hybridization, because “there wasn’t anything at the time that fit my idea of what I wanted to see in the world,” she recalls. Needless to say, after-dark denizens everywhere embraced Huxtable’s all-caps SHOCK VALUE parties, which were promoted and archived

through websites such as Tumblr—platforms that facilitated meaningful social engagement, she notes.

“As for the things I found frustrating about social media—like ganging up on someone or attacking them for making a silly statement—those kinds of antagonisms tend to dissolve in a party space,” adds Huxtable. “What really excited me about SHOCK VALUE was to be in a city where there could be a direct back and forth between the communities generated online and nightlife as a physical space, which allows these same communities to flourish. It’s truly one of the most productive and desirable aspects of nightlife, if you ask me.”

With a solo show scheduled for the spring at hip Lower East Side gallery Reena Spaulings and a forthcoming book compiling a large chunk of her writings, 2017 will find Huxtable sharing her historically fluctuating, pop-culture-laden mythologies far and wide, both offline and on. Which makes me wonder how she feels about all the fake news, Internet vigilantism and algorithmic bubbles our culture seems swept up in at the moment.

“I think people make tacit assumptions about social media communities, especially when it comes to politics,” she tells me shortly before President Trump’s inauguration. “We’re not all in the same algorithmic bubble, and it has taken recent political events—Black Lives Matter, the war in Syria, the U.S. election, the issue of reproductive rights—to prove that. So I’d say the interesting conversation to be had moving forward revolves around self-selecting audiences.

And it’s one we need to have.”

Juliana Huxtable is a boundary-blurring artist wHo embraces tHe power of sHock.

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b y: A l e x A n d r A b r e e n

Music

Heavenly Sounds

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ashion plate Annie Clark (a.k.a. St. VINceNt ), who is always being snapped with fashion’s coolest crews, is set to give us more of her signature ethereal tunes when she releases her fifth album this spring.

She told Guitar World that the follow-up to her Grammy-winning self-titled album will be her deepest and boldest one yet, reflecting on the current political climate. (Hint: A recent tweet of hers consisted of one word: “tragedy.”) We can’t wait to hear more of her otherworldly sound and continue to be inspired by her ever-morphing aesthetic.

you nAme it!

It’s been more than a decade since Garden State’s release, but tHe SHINS’s soundtrack for the film still loops in our head. Now, five years after their critically acclaimed Port of Morrow, they’re back with another potential soundtrack for the summer: Heartworms.

Rolling Stone called the first single, “Name for You,” a “femaleempowerment” song inspired by singer-songwriter James Mercer’s three daughters—something we could definitely use right now.

Art Over 100 works by the “mother of American modernism” are arriving at the Art Gallery of Ontario on April 22 for the GeOrGIA O’KeeFFe exhibit. The show, which is in partnership with the Tate Modern, runs until July 30.

In addition to her iconic paintings of blooms and landscapes, you’ll see intimate photographs (think portraits and nudes) of O’Keeffe taken by her hubby, Alfred Stieglitz. Need a teaser? Check out our homegirl art star Petra Collins’s short tribute on YouTube called Georgia O’Keeffe, Interpreted by Petra Collins.

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MISSed cONNectIONS For a bleak but hauntingly beautiful take on modern love, visit the late Teiji Furuhashi’s 1995 art installation, lOVerS , before it leaves New York’s Museum of Modern Art on April 16.

Here, life-sized nude images of “lovers” projected onto the walls of the gallery run toward and past one another to gesture a hug but are never truly able to connect or interact, eventually disappearing into an abyss. The eerie beauty of it more than makes up for the fact that it is, no doubt, a bit of a downer.

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photography: clark by getty

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Television Movies

Alternative Facts

J

ust in case Black Mirror doesn’t have you freaked out enough about technology’s threat to your identity, the new sci-fi thriller THe CIrCl e , based on Dave Eggers’s doomsday novel, will finish the job. “Knowing is good, but knowing everything is better,” says Tom Hanks’s character in the trailer. Hanks plays Bailey, the founder of a powerhouse tech company that is hell-bent on removing the notion of personal privacy by equipping people with special cameras that record—and broadcast—their lives in real time. Emma Watson plays Mae Holland, a recent grad who scores a job at the company and discovers first-hand the not-soawesome effects of her workplace’s “Secrets Are Lies” motto.

Shell game

Scarlett Johansson, Michael Pitt and Juliette Binoche star in gHOST IN THe SHell, an action-packed sci-fi movie about a cyborg police agent (ScarJo) who is trying to figure out where humanity ends and she begins. While the jury is out on the casting—director Rupert Sanders (Snow White and the Huntsmen) received a ton of flak for choosing Johansson to play the lead in the Japanese comic series adaptation—the trailer proves that Sanders will, at the very least, score high praise for the pic’s stunning futuristic-punk look.

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Cl AudIA O’dOHerT y considers herself to be one of the luckiest women in comedy. After the 33-year-old Australian actress and comedian caught the attention of Amy Schumer, she landed an acting role in Trainwreck and a writing gig for Inside Amy Schumer.

“It was very shocking,” recalls O’Doherty.

“I had just walked out of an audition for a crummy show, and she messaged me on Twitter saying she liked my guest appearance on the podcast series Comedy Bang Bang. The next day I was invited to a table reading for Trainwreck. Everything changed really quickly.”

Following Trainwreck—which Judd Apatow directed and Schumer wrote and starred in—O’Doherty landed the role of Bertie in Apatow’s Netflix series Love. The show, which launched its second season on March 10, explores male and female perspectives on dating. O’Doherty plays the lovable, upbeat roommate to Mickey, who is played by Gillian Jacobs. “In real life, I think I’m a very cruel and judgmental person,” she laughs. “Probably more like Mickey, though not a drug addict.”

Like Bertie, however, O’Doherty does have at least one cringe-worthy post-date moment. “It was barely a date,” she recalls of the “milkshake date” she went on years ago with a musician in London and quickly cut short. She was so shocked to receive a text from him about how great the date was that she “very expressively” reacted to the message.

“I was shaking my head and shaking my fist in the air,” she says. “Then I realized he was behind me, so he would have seen me.” Unlike Bertie, O’Doherty says she has had plenty of good fortune in her life. “I’ve been really lucky,” she says. “For women in comedy, there are definitely fewer parts, so that makes it harder...but I’ve had a particularly lucky set of events.” —Madelyn Chung

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photography: bottom right by istock

Lucky in Love

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You’ve Got Mail…

Books

Inconvenient Truths

Graphic novelist Jillian Tamaki’s online friendships are not second-class relationships.

F

or cartoonist jIllIAN tAmAkI , the many tensions between our “real” flesh-and-blood selves and the curated online fantasies we broadcast to the world are a source of endless fascination. Boundless, the Governor General’s Award winner’s forthcoming collection of illustrated short stories, finds a variety of women navigating their way across increasingly nebulous IRL/URL fault lines. Take 1. Jenny, for instance. It’s about the titular heroine’s fixation on a mirror Facebook version of herself: vacation check-ins, relationship selfies, watching Top Gun— the works. The story raises the question: Which Jenny can lay claim to the most exciting, aspirational, envy-inducing life?

“Despite our best efforts to present authenticity online, how can we help but want to manicure, edit and truncate part of our real lives?” she asks. “As artists and writers, I think we’re well aware that editing is inevitable, but we still do it, whether we’re striving to be authentic or not.”

While the 36-year-old Torontonian acknowledges her longing for a more naive, anonymous, long-expired iteration of the World Wide Web, with its “intoxicating” Yahoo chat rooms and peak Tumblr experimentation, she also embraces its current form. “I’m part of a community—the indie comics

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world—that exists largely online,” says Tamaki. “When you become friends with people online, the relationships are just as varied in intensity and ‘authenticity’ as they are in real life. When you eventually meet, at a comics convention or on a book tour, you tend to get along really well. I don’t think it’s fair to treat an online friendship as some kind of second-class friendship.”

Since 2010, Tamaki has built up a voracious online fan base via her highly irreverent SuperMutant Magic Academy webcomic. It may be set at a prep school for teens with paranormal powers, but the splashy witchcraft and mutant antics take a back seat to the unrequited crushes and pimple-ridden angst that we can all recall. I wonder whether Tamaki, a pillar of young adult novels and someone who has taught a generation of “digital natives” at New York’s School of Visual Arts, believes that adults are overly alarmist and unfair in arguing the Internet has fundamentally altered the way we relate to one another.

“I think it’s a continually evolving relationship, but I also just feel as though the Internet at this point is value-neutral,” reasons Tamaki. “Like, life is value-neutral.

There are amazing days and much darker ones, right?”—Michael-Oliver Harding

“The Year is 1995 and email is new...” reads the first line of the publisher’s description of Elif Batuman’s semiautobiographical novel tHe IdIOt. The main character, Selin, is an 18-yearold Harvard student trying to sort out her shit while navigating a confusing email relationship with her older Hungarian crush, whom she met in Russian class. Generation Xers will feel a pang of nostalgia as they follow Selin making new friends, falling for a boy and winding up Europe-bound for the summer, all while toiling with the possibilities, frustrations and guaranteed overanalyzing inherent to online relationships.

Perfect Sheen

In my NOt SO perFect lIFe , millennial Londoner Katie Brenner is killing it on Instagram. To her followers, she appears to be leading the perfect existence: cool job, chic pad, rad social life, etc. Of course, Brenner isn’t quite so #blessed in reality: She has a crappy rental, annoying roommates, boss issues—you get the gist. But as author Sophie Kinsella explains on her Twitter feed, after her heroine gets canned from her job and is forced to move out of the city, she realizes that “not so perfect can be pretty perfect.”

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Vocal Reaction

For performers whose voices don’t conform to digitally enhanced convention, singing isn’t just a form of entertainment; it’s a feminist act—one that reconnects us with reality.

t’s no secret that aesthetic beauty is a job requirement for most female performers: Immaculate skin, exquisite bone structure, hair that cascades in effortless waves, curves precisely calibrated to reflect an impossible ideal. Even for stars who don’t wake up like this, it’s easy enough to feign flawlessness through a careful regimen of airbrushing and contouring, waist trainers and stylists, Snapchat filters and Photoshop.

In an era of #nomakeup selfies and unflattering tabloid shots of A-listers making Whole Foods runs in sweats and flip-flops, most of us are conscious enough of the real work that goes into giving good face that we can approach outer glamour with a healthy dose of skepticism. But we’re less attuned to the fact that if you’re a woman in the public eye, you’re put through a gauntlet of idealized beauty standards that go beyond skin-deep, extending to the very nature of how you sound.

Take, for instance, Hillary Clinton, who spent the bulk of her time on the campaign trail beset by critics who took issue not with what she said but how she said it. Clinton sounded “angry” and “unrelaxed,” griped pundits; she was “shrill” and “loud” and made people feel like they were being “lectured.” Michael Savage, a right-wing talk-show host, described her “grating voice” as “very

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offensive,” adding “I don’t like women who are not feminine.” That disapproval wasn’t strictly gendered, either: Writing in The Wall Street Journal, reporter Peggy Noonan said Clinton reminded her “of the landlady yelling.” For all her efforts to be more likable and relatable, the Democratic presidential candidate was sunk, in part, because she couldn’t muster the dulcet, breathy tones associated with being “a ‘nice’ woman,” as Stanford linguist Penelope Eckert explained in an interview with New Republic.

Of course, Clinton’s perceived vocal failings are hardly the only example of female voices being put through the wringer. In King Lear, Shakespeare’s eponymous monarch sings the praises of his favourite daughter, Cordelia, musing, “Her voice was ever low, gentle, and soft—an excellent thing in woman.” More recently, vocal fry— that creaky, glottal, drawn-out tic perfected by various Kardashians—was a lightning rod; before that, critics ranted about the controversial practice of uptalk. And in the ’80s, coquettishly daffy Valley Girl-speak was the target of sexist ire.

This gendered scrutiny may extend across all facets of culture, but it’s especially prevalent in pop music, a discipline that’s defined in many ways by its ability to project the illusion of perfection in various dimensions, including, obviously and understandably, voice. Singing, in pop, involves an aspirational polish that has everything

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photography by trunk archive

By Sarah Liss

culturefeature to do with conformity—especially since the advent of What’s flummoxing is that Austra’s approach is far that great robot-calibrating equalizer, Auto-Tune. The from abrasive. A classically trained vocalist who spent lines between hit singles blur, voices melting into a sleek, her youth absorbing arias in the Canadian Children’s silvery, melismatic soup. Where we were once awed by Opera Chorus, Stelmanis possesses extraordinary range, the seemingly superhuman vocal talent demonstrated by power, depth and timbre, qualities she’s honed over artists in real life, we’re now transfixed by the stunning time—sometimes through unlearning things she’d already achievements of studio production wizardry—perfection learned. “In choir,” she recalls, “they’d always encourage achieved in a virtual space, which renders irrelevant the us to smile while we sang, which accesses a different part of your gut.” Later on, Stelmanis began to find her own notion of actual skill.

Because of this tendency toward computer-generated method, encouraged by a teacher who eschewed North consistency, the artists who do go against the grain American techniques for European ones. “This woman stand out, often to their detriment. While male vocalists used a word…I forget what it is in Italian, but it literally can get away with blemishes—Bob Dylan is the most translates to ‘vomiting,’” she says. “You’d vomit out the frequently cited example here, but the tepid warble of sound. There was this big contrast between that and the Twenty One Pilots’s Tyler Joseph comes to mind, as light style of singing I associated with Canada.” does the froggy croak of July Talk’s Peter Dreimanis— women are expected to sound, well, a particular kind of n “Future Politics,” the title track from Austra’s pretty. And when they don’t, it can be an act of defiance. latest album, which came out in January, she draws Think of Janis Joplin, whose ragged, fervent caterwaul her voice into a barely contained quaver, wielding became shorthand for her many unquenchable appetites, it percussively through the verses and building to a or Kate Bush, whose otherworldly trills turned her into hesitant rallying cry in the choruses. It’s rich and a reclusive cult icon (in the ’80s, a time when the innate intoxicating. And though Stelmanis revels in experimentweirdness of new wave allowed the mainstream to be ing with production and digital manipulation, the natural texture of her vocals is far closer to the variance of what much more forgiving of misfits). More recently, Sia’s blood-curdling hollers—evoking both anguish and women sound like in real life than the smoothed-out gloss ecstasy—have done at least as much to shore up her we hear in most chart-topping pop songs. “When I’ve reached into the mainstream, people think [my singing] is oddball rep as has her penchant for performing with her back to the audience and her face obscured by an just way too intense,” she says. “I do strongly believe it’s oversized wig. If her vocal delivery hews closer than the connected to gender. There are lots of male voices with average pop star’s to heartbreaking realness, it has made intense vibratos, and nobody has any problem with them.” her that much more protective of her public persona.

That resistance to “overbearing” female voices is nothToronto’s Austra has received accolades from critics ing new. Today, composer and conductor Joan La Bararound the world, including positive words from review- bara is viewed as a visionary of modern classical music. ers at the BBC. But conceptual, intellectual praise and But when she began performing experimental works that concrete support—the kind that pays royalties, connects involved imitating string and woodwind performers and with new fans and sells albums—are two different things. trying to make instrument-like sounds with her voice, And Katie Stelmanis, the singer, songwriter and key- audiences were utterly baffled. “If we go back 40 years boardist in the dark synth-pop band, says her songs have to when I started doing it, it was very confusing and startreceived little of the latter from the British public broad- ling. Sometimes I’d get people giggling in the audience,” caster. “Their official statement was that they thought she recalls. La Barbara’s fluttering, guttural ululations— my voice was too ‘divisive’ for radio, but I automatically “Twelvesong,” her first so-called “sound painting,” cretranslated that to mean my voice was too womanly for ated in the ’70s, can leave you feeling as though you’ve radio. People only want to hear 21-year-old pop stars. passed through a rainforest, surrounded by beasts’ primal And when I was 21, I sounded like I was a 42-year-old screeches, twitters and drones—eschew crowd-pleasing woman. It didn’t really fly.” aesthetics in service of evoking a mood, conjuring an »

I

They thought my voice was too ‘divisive’ for radio, but I automatically translated that to mean my voice was too womanly for radio.

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culturefeature THe iconic Janis Joplin

environment and conveying a message. La Barbara’s male contemporaries and collaborators, like John Cage and Philip Glass, were lauded for their work in similarly unconventional forms at the time, but it was novel to hear a woman so deliberately embrace weirdness.

N

early half a century later, female artists still encounter resistance when they use their own instruments, rather than computers, to tackle unpretty, brawny sounds with gusto. At 20, Sparx (née Emilie Carrey) has built an international reputation as a beatboxer; in 2015, the Sudbury, Ont., native placed second in the World Beatbox Championships in Germany and was the first woman ever to compete in the Canadian Beatboxing Championships. Accolades aside, she’s quick to note that the “unfeminine” nature of her percussive techniques—grunting, trilling, spitting and clicking—can be catnip for haters. “In the time since I started beatboxing, I’ve been told ‘You shouldn’t be doing that. It’s not for girls.’ Or, ‘Ew, you’re a girl.

That’s gross. You shouldn’t be spitting everywhere.’” For Carrey, the thrill of being a pioneer in a traditionally male-dominated field usurps any negative commentary; she sees what she does as a form of feminist activism. “I mean, you are making weird noises with your mouth and spitting everywhere,” she says. “When you’re dancing, you’re sweating everywhere. It’s not ‘ladylike,’ but who cares? It’s like seeing a woman playing in the NHL. It gets people thinking. So many women have told me how encouraging it is for them to see me onstage, how much more comfortable they feel after watching me.”

Like Carrey, Stelmanis draws a great deal of security from her voice. “Of all the aspects of music, it’s the one thing I’ve felt super-confident with. I’ve always known that I have this power in my voice. I’m not fazed if people like it or don’t like it. I feel very good about it.”

Indeed, for performers as well as audiences, refusing to conform can be an act of liberation. Flouting convention has been one of the only constants in Björk’s 30-plus-year career, from her teenage stint in an all-girl punk band (called, delightfully, Spit and Snot) through her forays into electronic and chamber music all the way to her more recent projects, which defy categorization. Though Björk has always taken a unique approach to singing—with

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gasps, hiccups and yodels—it was on 2004’s Medúlla that she seized the expressive potential of the human voice. As part of this endeavour, she tapped Tanya Tagaq, a then relatively unknown Canadian artist who was putting an innovative spin on traditional throat-singing techniques, to join her on the album and on tour.

It was the first instance of Tagaq’s visceral, potent performance on record but far from the last. Since then, the Nunavut-born dynamo has released four stunning albums, including last year’s astonishing Retribution, which frames her purrs and groans, howls and moans, huffs and wails in percussive, atmospheric arrangements. To watch Tagaq onstage is to be left breathless—solo throat singing, as she does it, is a staggeringly athletic feat. Some people don’t get it. Audience members have walked out of her shows; armchair critics have recoiled at the sheer muscularity of her approach. From Tagaq’s perspective, she’s not pushing back against what it means to be a lady—just the opposite. “I think every culture has a different idea of what femininity is. Women have to be really, really strong up north to be respected,” she says. “My aunt can go out and kill a polar bear with a bow and arrow by herself with a dog team. That, to me, is very feminine; it’s a beautiful example of femininity.”

Tagaq didn’t grow up surrounded by throat singing, she explains; she was drawn to the practice after her mom sent her a tape of traditional performers when she was feeling homesick at university. Today, she says, she’s enchanted by the expansiveness of the sounds she makes. “I love the ecstatic and extreme emotions I can convey while singing.

There’s sex and death—procreation, fear, anger and laughter. Sometimes people leave the shows, and I’m thankful that they do. I wouldn’t want to share that intimacy with someone who doesn’t want to receive it.”

“It’s so personal,” echoes La Barbara. “We live inside our instruments, so you’re getting a lot of emotional content. Some of it may be intentional; some of it you may not even know is there. And people are deeply affected by vocal music—that’s something each of us who deals with this instrument has a responsibility to comprehend, to know you have this power to take listeners to another place.”

And when that instrument bucks the programmed, polished and impossibly perfect norm, it may even offer a glimpse of a better, revolutionary reality.

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photography: tagaq and joplin by getty

THroaT singer Tanya Tagaq

mannequin series cross canada tour spring 2017

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PhotograPhy by Javier Lovera (StyLing, george antonoPouLoS). Jacket, $4,360, and Skirt, $2,005, courrègeS at the room. choker, $1,730, and earringS, $510, Jennifer fiSher. ring (on Left), $160, aLexiS bittar at eko acceSSorieS. ring (on right), $320, Pierre hardy.

April 2017

1. Bring some tech-inspired fashion drama into your real-life wardrobe.

2. Post a selfie.

3. Go viral!

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Dress coDe Tech-inspired fabrics and 3-D accessories bring a digital artistry to fashion.

Photography by Javier Lovera Styling by George Antonopoulos Top, $830, pants, $1,515, and shoes, $915, Salvatore Ferragamo.

Necklace, price on request, Daniel Christian Tang.

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This page: Dress, $915, DKNY. Sunglasses, $625, Karen Walker. Chokers, $145 each, Jenny Bird. Earrings, $585, and curved rings, from $285 each, Jennifer Fisher.

Thick gold rings, $225 each, Uncommon Matters; and silver rings, $175 each, Elissa Paris at Archives Toronto.

Opposite page: Top, $2,165, Ellery; dress, $1,725, Toga; shoes, $390, Michael Michael Kors; and bangles, $80 each, Zenzii, all at Nordstrom.

Necklace, $225, Alienina at Archives Toronto. Earrings, $250, Monies at Eko Accessories.

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This page: Top, $1,180, skirt and peplum, price on request, Vera Wang. Shoes, $520, DKNY. Earrings, $70, Nordstrom.

Choker (on top), $1,730, Jennifer Fisher. Choker (on bottom), $765, Mawi.

Opposite page: Top, $1,025, Maison Margiela at The Room.

Pants, $895, Carven. Shoes, $520, DKNY. Sunglasses, $375, Sunday Somewhere.

Earring, $445, and gold ring, $225, Uncommon Matters at Archives Toronto. Chokers, $145 each, Jenny Bird. Bracelet, $915, and silver ring, $295, Jennifer Fisher. Two-finger ring, $320, Pierre Hardy.

This page: Jacket, $4,360, and skirt, $2,005, Courrèges at The Room. Shoes, $210, Jeffrey Campbell at Nordstrom. Choker, $1,730, and earrings, $510, Jennifer Fisher.

Ring (on left), $160, Alexis Bittar at Eko Accessories. Ring (on right), $320, Pierre Hardy.

Opposite page: Jacket, top, skirt and boots, price on request, Louis Vuitton.

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Top, $725, and skirt, $1,480, Versus Versace. Shoes, $780, DKNY. Choker, $145, Jenny Bird. Earrings, $520, Jennifer Fisher.

Hair, Justin German for P1M.ca/Bang Salon. Makeup, Diana Carreiro for P1M.ca/Make Up For Ever. Manicure, Irina Badescu for P1M.ca.

Fashion assistant, Lucia Perna.

Big Time

Play with proportions, whether you opt for oversized silhouettes or pansy-sized paillettes.

Photography by Richard Bernardin Styling by Zeina Esmail

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This page: Neckpiece (worn as visor), price on request, Carole Tanenbaum Vintage Collection.

Choker, $145, Jenny Bird.

Opposite page: Top, $675, Acne Studios at Holt Renfrew. Pants, $205, J.Crew.

This page: Dress, $6,490, and belt, $320, Saint Laurent

by Anthony Vaccarello.

Opposite page: Top, $1,090, Balenciaga at Saks Fifth Avenue. Pants, $710, Jacquemus at Ssense.

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This page: Top, $2,660, skirt, $2,660, belt, $1,700, and shoes, $1,485, Marni.

Opposite page: Top, $1,785, Sportmax.

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This page: Top, $1,950, Raf Simons at Ssense.

Opposite page: Dress, $1,700, and bag, $3,350, Balenciaga.

Hair, Justin German for P1M. ca/Bang Salon.

Makeup, Genevieve Lenneville for Nars.

Fashion assistant, Eliza Grossman.

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e x p l or e e x p e r i e n c e,

t r a v e l,

t a s t e,

d i s c o v e r

World Wide open Some things are best done IRL.

l

photography by istock

ike a lot of people, I spend most of my time staring at a screen. So when it comes to the natural world, much of my interaction is through BBC’s Planet Earth or Google’s “7 Natural Wonders of the World.” I’m not outdoorsy, and when I leave the city, it’s often to go to another city. Case in point, I went to Las Vegas last spring but hadn’t thought much about going to visit the nearby Grand Canyon. I’d seen it in countless photos and thought “It’s a huge rock pit. Who cares?” But when I woke up extremely hungover one Vegas morning, I thought the fresh air might be nice and booked a tour. When I arrived, still in a haze from my bus nap, I looked out at that “rock pit” and it knocked the air right out of me. I stared at it for what seemed like hours in a kind of trance, and then, yes, I took some selfies. I had experienced the Grand Canyon online countless times, but no amount of Google could have prepared me for what I would feel staring at a 30-kilometre-long eroded gorge. My senses were overwhelmed by its greatness, and I was reminded that we’re all tiny bits of stardust adrift on a big rock suspended in the atmosphere. The Internet connects us in an instant, but often it’s through a tiny fingerprintsmudged camera lens. Some things are worth seeing, smelling and feeling all over your body and that’s that. Was this a mini-existential crisis?

Perhaps, but it was fun. —Winter Tekenos-Levy

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exploreRoadtRip

City by the Bae

A drive through Napa Valley and San Francisco takes one couple back to their engagement.

t’s been two years, but I can still recall the hot California sun beating down on me as I got down, drenched in sweat, on bended knee. This wasn’t some kind of offering to the gods. My damp fingers gripped a blue velvet box containing a brilliant solitaire diamond ring.

What had begun as a “poke” on Facebook led to a wonderful romance with Nafis, which, in turn, led us to Facebook HQ (meta, right?) in Silicon Valley for a very public marriage proposal. This was the highest-stakes moment of my life, and it was happening in front of Mark Zuckerberg, Sheryl Sandberg and hundreds of other Facebook employees. It was terrifying, and if Nafis had said “No,” our two-hour tour of Alcatraz afterwards would have been pretty awkward. Fortunately, her response was an overwhelming “Yes!” Admittedly, that trip was one of the most epic moments in our time together, but our recollections of the Bay Area were a complete blur. The proposal and my bro hug with “the Zuck,” which was picked up by CNN, Good Morning America, the Daily Mail and the Huffington Post, to name a few, overshadowed the rest of the visit. So when an opportunity to return to California presented itself (less the stress of a proposal)—under the guise of testing the new 2017 Lincoln Continental—we couldn’t resist retracing our steps.

Our car is waiting at San Francisco International Airport, and I’m reminded that my now wife is a sensation-seeking car enthusiast. Cars are her thing. In Napa, she takes the wheel as I explore a set of door-mounted buttons that recline my seat and trigger massage mode. A console control spins Frank Ocean’s latest through the 19-speaker Revel Ultima audio system, and we’re ready. We head north for Davis

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Estates, located in the city of Calistoga.

The 63-hectare winery boasts spectacular views of the valley and a wine-tasting cave that would make Batman proud. The estate produces Sauvignon Blanc, Chardonnay, Viognier, Pinot Noir, Cabernet Franc, Merlot, Cabernet Sauvignon, Petit Verdot and dessert wines. Suffice it to say, I’m lucky my wife likes to drive.

From there, we head to the famed Calistoga Ranch, located in a private canyon surrounded by ancient oaks and rolling hills. This 50-lodge eco-luxe resort is designed with a focus on an indoor-outdoor lifestyle. Our room has an outdoor fireplace, outdoor hot tub, an alfresco shower and a secluded patio dotted with stones and dense trees. That evening, we dine inside the property’s large wine cave that doubles as a romantic event space. Our stay ends with a couples massage at the ranch’s Auberge Spa and a dip in a pool that features Calistoga’s famous healing waters.

With the help of the Lincoln’s voice-activated navigation system, we hit the road to discover San Francisco, one of America’s fastest changing cities. We begin our adventure with—what else?—food. This city has the most farmers’ markets and restaurants per capita in North America, 54 of which have earned Michelin stars. (Six Bay Area restaurants have three Michelin stars.)

We eat at the Obama-approved Twenty Five Lusk, a trendy South of Market (SoMa) supper club. The restaurant was visited by the former POTUS a few months prior. The melt-in-your-mouth lamb over fennel and fava bean purée is delicious. We wind down our evening at the prestigious St. Regis San Francisco and share a Bloody Brunello cocktail in the lobby lounge before taking a late-night dip in the hotel’s 24-hour-access infinity lap pool.

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photography: bridge by getty; napa by nafis rahnama

By Steve Kawalit

exploreRoadtRip The LisT

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Sightseeing in San Francisco is made easy, as most of the city’s attractions are located within approximately 121 square kilometres. In just two days, Nafis and I visit all that we missed on our last trip: the Golden Gate Bridge, Fisherman’s Wharf, Union Square, Chinatown’s Dragon’s Gate, Coit Tower and the Mission District’s murals. We get behind the wheel again and veer out of the city to visit Baker Beach, which has some of the best photo ops of the bridge. But be warned: This is a nude beach, so your photos may be upstaged by a sunburned beach bum wading in the tide nearby. With its artwork, drumming and Frisbee play, the place has a real Burning Man-type vibe to it; it’s a reminder of what makes San Francisco so San Francisco. One of the beach goers invites us to join in on the clothing-optional endeavours, but we politely decline, clasp hands and head back to the car.

Maybe we’ll save that for our 25th anniversary.

april 2017 | F A S H I O N

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exploreVirtual

Immersion Blender How technology can enhance our boots-on-the-ground travel experiences.

I

t’s pretty hard to beat a “top of the world” moment like jumping into the air at Machu Picchu’s highest point.

Yes, it’s a clichéd photo op—but for a most exhilarating reason: You can’t fully take in this singular 360-degree experience (complete with the high-altitude-induced breathlessness) any way but in person.

Yet when I finally did it seven years ago, it felt wonderfully familiar. I’d been anticipating a visit to the iconic Inca citadel since I was a teenager by watching any and all documentaries, IMAX films and old-school travelogue presentations—the kind run by a real person using a clicker and a carousel of tiny slides on top of a projector—about Peru. Thanks to these technologies, I already knew the place (at least a little bit) before I arrived. That extra layer of intimacy greatly enriched how connected I felt there and the strength of the memories I formed.

I think the two best things technology can do for travel are getting our mouths watering to see a place in real life and virtually transporting us into destinations most of us likely won’t ever be able to reach in person. Technology broadens the scope of where we can actually “travel”—and how we may see the world. From FOMO-inducing geo-tagged #nofilter Instagram posts and live camera feeds right up to new travel video games and the latest virtual reality apps, digital tech is gifting us with an increasingly rich taste of “as close as you can get without actually being there.”

The easiest way to do this right now is by downloading a VR app onto a smartphone that you then slip into a headset by

136 F A S H I O N | april 2017

Samsung Gear VR, Oculus Rift or Google Daydream (or even a low-tech cardboard version) to view 360-degree videos. VR travel apps like Ascape and Jaunt VR transport you to dozens of countries around the world for a few minutes at a time— from Paris to Tokyo to Moscow. National Geographic’s ViewMaster Wildlife app takes you on a personal safari with the world’s most arresting animals—or you can opt for Nat Geo’s exclusive visit to Yosemite National Park with none other than Barack Obama. Tourism boards, airlines, tour companies and a variety of brands have launched their own VR travel apps and 360-degree YouTube videos. G Adventures takes you sailing on the Ganges River in India, The North Face leads you on a walk through a village in Nepal and Cartier even takes you back in time to relive the history of its New York flagship store.

The technology is so new that the quality of these experiences can vary greatly from one VR platform and 360-degree video to the next. (Facebook’s Mark Zuckerberg recently said, “I don’t think that good virtual reality is fully there yet.”)

But some of the best work—in particular the VR created by Emblematic Group, based in Santa Monica, Calif., and NYT VR Virtual Reality by The New York Times—is being done to showcase places that you can’t realistically go to, like the streets of Aleppo in Syria, alongside Iraqis fighting ISIS or inside a meticulous digital recreation of a solitary confinement cell in a U.S. prison. These eye-opening destinations don’t currently appear on any real-life travel bucket list, but they are worthy of a VR travel list. Although they are sometimes

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photography by trunk archive

By Christina Reynolds

explorevirtual rge

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hard to take in, I’ve checked these virtual visits off my VR list because they provide me with a new perspective, an opportunity to learn, and they’ve increased my empathy, compassion and desire to help make the world a better place for everyone (which are also some of the reasons why I like to travel in real life). VR travel provides as close an experience as we can currently get to walking in someone else’s shoes.

There is one more not-to-be-missed real-life place that VR travel can take us: space (the final frontier!). Last year, I became mesmerized with a new “video” of the Milky Way that had just been released. It’s actually a scrolling 12-metrelong picture of the galaxy—coloured in cosmic blues, reds and pinks—that takes eight minutes to watch. This composite image, captured by the Atacama Pathfinder Experiment telescope in Chile, is four times larger—and much more detailed—than any previous snapshot, but it’s still only a minuscule fraction of the galaxy. I often watch it as a kind of meditation before I go to bed. No addition of a tiny “you are here” arrow on a galactic map will ever be powerful enough to help me hold on to the vastness of what is still out there to explore—on our own planet and beyond. So I am more than happy to take advantage of every possible digital and real-world way to do that. I’ll be packing hiking boots, space boots and VR boots too.

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Going Dark

If offline and bedtime mean the same thing to you, it’s time for a Wi-Fi-free adventure.

1

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If you’re less than confident about your intention to unplug, try Nayara Springs’s “digital detox” program.

You’ll be forced to surrender your tech devices to hotel staff or store them in your room’s safe, leaving you free to explore the lush rainforest and tropical hot springs, enjoy a morning yoga class or relax at the spa. nayarasprings.com 2. QuAlICum BeACH, CANAdA

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Free Spirit Spheres

Just imagining these sphere-shaped “treehouse” cabins suspended in the rainforest on Vancouver Island is enough to lower your heart rate. Each structure is inspired by the principle of biomimicry, which is based on the idea that innovation should imitate sustainable strategies we see in the natural world. Outdoor activities abound in this part of the country, but the emphasis here is on becoming one with nature as your room sways gently in the branches. freespiritspheres.com 3. KOH SAmuI, tHAIl ANd

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This award-winning Wellness Sanctuary and Holistic Spa Resort is perfect for anyone wanting to cleanse the mind, body and spirit. Programs offer tailored solutions for emotional balance, detox and stress, and burnout.

Treatments include hydrotherapy, far infrared saunas and personal meditation and yoga sessions, all set in the calming atmosphere of the rainforest. kamalaya.com

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Daniel Christian Tang

A

Spring 2017

rchitecture is not fun,” says Mario Christian Lavorato, when I ask if he has any plans to return to his field of study. Maybe this is obvious because we are talking about Daniel Christian Tang (DCT), the 3-D-printed fine jewellery brand he started two years ago with his brother Luca Daniel and former architecture classmate Heng Tang. Despite Lavorato’s declaration, all their pieces are inspired by architecture. The Hive (above) is DCT’s riff on the hexagonal beehive design that Lavorato describes as “one of the strongest structures in nature and architecture.” A DCT prototype is made using architecture software, and that, he says, allows them to do “really incredible things that you can’t do with jewellery-design software.” It took a total of 400 hours to conceptualize the Hive before it went via file transfer to a Hong Kong manufacturer to be printed out using gold powder.

While the medical and automotive industries have jumped into 3-D printing, Lavorato says it’s not as common in retail and mass production, although he predicts this will change as people discover the true appeal of this technology. “The amount of human error is almost zero,” says Lavorato. “It comes out exactly the way it’s supposed to look.” —Jacquelyn Francis

142 F A S H I O N | april 2017

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photography by carlo mendoza (styling, rei briedis for judyinc.com)

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