Eng Male vol20 MADE NOW by MADE NOW

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MALE...

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Illustration by Carlos Carvajal

EDITOR’S letter ink is a girls’ colour”. “Boys don’t wear skirts”. Really? In the 21st Century, the rules of the game have changed completely; what was once attached to one sex or the other, nowadays blurs its boundaries and allows bigger inclusion than ever before. It is true that, in the beginning, heels were worn by aristocrats in a display of social superiority, but to refresh the memory and some concepts, Caten twins decided to include them in their Dsquared2 male collection for this season. Anything else? Sure; Gucci’s Alessandro Michele offered the new emblem for the house’s tailoring, printing all its suit - with flowers if possible. But, with no doubt, the pole position goes to Maria Grazia Chiuri in her first collection for Christian Dior, with gender ambiguity in the art of fencing as the main inspiration to a collection that exhales feminist allegations -because we all have said it: We Should All Be Feminists. And at MADE, how do we percibe all this “new masculinity” that occurs in the fashion universe? Well, let’s begin with an impressive Marta Purriños, on the front page, promoting this season’s most desirable trousers. Continue with a good dose of boyish styling, keep on with some articles that analyse gender fluidity in the last years and, finally, discover the feminisation of the contemporary male. Et voilà! The reinterpretation of the masculine universe, seen from both sides of the bed, meets in our pages to declare its love to the genderless trend and oversized silhouettes. In this “new masculinity” -or femininity, Daniel Albericio Editor-in-chief depending on how we look at it-, one thing is for sure: boys wear skirts, girls wear suits. Respect all.

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COVER PAGE: Marta Purriños, photographed by Cristian Navarro with styling by Daniel Albericio and MUA Romina Elorrieta, with a BIMBA Y LOLA total look

Director Rubén González Co-Director Lola Rufino Creative Director Rubén González Editor-in-chief Daniel Albericio Fashion Editor Rubén González Art Director Carlos Carvajal Editor Florángel Sánchez Production Director Guillermo Reyes Beauty Director Lulú Ventura Make Up Director Romina Elorrieta Public Relations Lupe Castro Communication Mónica Rodríguez Redactor Susana Martín Redactor Yolanda Castrodá Redactor Paula Albericio Translation David González

Stylist Isabel Nóbrega Stylist Raúl Rodríguez Stylist Dan García Stylist Cris León Stylist Katia León Hairdresser Moisés Pérez Make-up Patricia Santana Make-up Andrea Pérez

EDIT MADE NOW MADE NOW. Tenerife: 38297 La Laguna Canary Islands / Spain

Photographer Sara García Photographer Luis Sosa Photographer Gema Hernández Photographer Cristian Navarro Spots Eduardo Giménez

MADE NOW magazine is not responsible for the opinions expressed by contributors in their articles.

Graphic Designer Nayra González Graphic Designer Naila Pérez Graphic Designer Ana Lía Pérez Diseñadora gráfica Yurena Vera Diseñadora gráfica Bárbara López Web Designer Carla Correa

Reproduction prohibited, edit or transmitted or in part by any means run out written authorization of MADE NOW

HAVE COLLABORATED IN THIS ISSUE

Grupo Número Uno / Bimba y Lola Canarias / POP HOUSE / Roche Bobois Las Palmas / Edificio la Unión y el Fénix

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Editor Loves H2O gold and silver bracelet by MARTA MOORE. H2O gold and silver necklace by MARTA MOORE.

Illustrations by Mara Hernรกndez

MALE #vol20

Fashion Diaries por Ms. Castro Rides

The end of the Fashion Month always feels a little bit odd! We see so much, take so many photographs and write so much in such a short space of time, fueled by gallons of coffee and very little sleep. And then just as suddenly as it all started, suddenly it is over. Well, perhaps ‘stops’ is the wrong work, because after the main four fashion weeks on New York, London, Milan and Paris, then there are the other fashion weeks in other destinations, which might be considered less prestigious, but still with amazing amounts of talent, so you can’t completely ignore them. It is hard to relax and still the mind for a bit in order to really focus on what I have seen and take it all in. So, just to recap, and to gather my current thoughts of the fashion scenario in the face of the current political situations worldwide; yes, there were some visual protest in the form of slogans, colours and headpieces; and perhaps there might have been more diversity on the catwalks. Definitely, there is a current trend for increased gender fluidity; but I guess what struck me most was the sense of escapism, and I for one will definitely buy into that. So, sparkles and paillettes here I come! At least until the end of the press days.•

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ParisStyle

Photographs by Parisdise Photography

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Photography by Beata Siewicz

ParisStyle

Photographs by Parisdise Photography

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Viviano Sue Interview to

Although Tokyo is still not considered in one of the top four Fashion Week destinations, Japan’s vibrant, bustling and super stylish capital is still considered one of the most influential fashion hubs in the world, and the Japanese buyers and fashionistas have a leading reputation for their innovation and out-of-the-box dress sense and fashion forward creativity.

As passionate follows of the world’s leading emerging designers, it was a great honour to get model & artist Eena Irina to go behind the scenes with Tokyo-based fashion designer, Viviano Sue, to find out his thoughts on masculinity and gender fluid fashion and model a couple of the pieces. The house of Viviano Sue is renowned for its edgy unique avant-garde clothing, that mixes cultures from the East and Western, having lived on both sides of the world. Plumage was the inspiration behind this season’s collection, and Viviano collaborated with designer of headdress and artist costumes Misa Liof IImisa, to create some stunning catwalk pieces. How would you define masculine on the fashion scene today? Masculine is not just about the physical, it could be how you feel; for example, if you feel strong. You can be masculine psychologically.

What are your thoughts on the gender fluidity being seen in the industry? I don’t see genders are something that defines who you are, and what you have to wear. Now itis all mixing together. Girls can wear suits, guy can wear skirts. In fashion, it doesn’t matter anymore. How is this reflected in your designs? I do not design for a specific gender. With different styling, the pieces could be worn by both men and women, and looks completely different. What I want for my clients is to wear clothes without feeling any limitations, boundaries or restrictions. Wear what you want, the way you want.

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Personal Shopper

BY BORJA ROMERO

uman beings are faced with a constant complexity in the development of their “social self.” On the one hand, there is a taste for permanence, unity and equality and, on the other hand, interest in variety, particularity and singularity. As if only adolescents were but in general, people tend to imitation, allowing them the feeling of collectivity in their actions and freeing them from a routine choice. Simmel (1988) stated that fashion plays a fundamental role in the human capacity of differentiation or imitation of the group. The choice between these two options may be influenced mainly by the need for affiliation and personality. The use of clothes to cover the naked body has been part of human history and our society, acting as a tool of mediation between the social environment and the person. The decorum of the body (see styling) has become one of the main tools that allows the projection of elements related to identity, as is the case of gender.

The thick lines that separate each genre at present suffer strong impacts that have an impact on the erosion of these barriers. First, it was the feminist and then the queer / trans movements who have fought for the positive erosion of these walls. However, there is no doubt about the current existence of gender bipartisanship with a blue man and a pink woman, short or long hair, flat shoe or heel, and terms like “boyfriend” or “man cut”.

“Coco Chanel, who designed garments outside the strict feminine clothing”

Gender is a category “that analyzes the historical synthesis between biological, economic, social, legal, political, psychological, cultural issues; It involves sex, but it does not exhaust its explanations there” (Hernández, 2006: 13). Therefore, we treat an aspect of social construction defined by history and each culture, which allows individual differentiation within some canons. We can choose very specific garments associated with each gender to identify us within each role and, later, we choose other aspects of those garments that we use for personal differentiation. It is plausible to understand fashion as an instrument of creation, production, reproduction and validation of gender roles. This allows the option to highlight

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appropriately, the same for a minority than for a majority, working the freedom intimate to leave the “slavery” of the collective.

Today, we are still struggling to reconstruct or redefine roles, and the “Androgynus” trend (andro, by masculine and gynus, by feminine), combines culturally standardized elements for women with others that have been for men. Its goal is not the dissimulation of sex, but play with its ambiguity.

Historically, androgyny and fashion have made and still make a nice combination, whose main inspiration was Frida Kahlo. This one was followed by Coco Chanel, who designed garments outside the strict feminine clothing. In the music world, androgyny took on strength in the 1960s with rock idols like David Bowie and Mick Jagger. And on the catwalk, the inclusion of androgyny is due to the great Yves Saint Laurent, who converted the Saharan and the tuxedo into women’s heritage. For those who wonder how to achieve an androgynous look we should avoid the prints, accepting neutral colors as the basis of our wardrobe. Straight cuts and natural fabrics, austerity and sobriety. Monochromatic structures and powdered colors that are harmonized with diplomatic stripes, achieving stylings without gender. •

Editor Loves MANGO pumps over a HISSIA bracelet

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Always Three by

Yolanda Castrodá

Chapter 9

IT’S HIM Julia has had a bad night. She couldn’t forget the name she read on the tombstone. She still feels bad, she believes that she has betrayed Emilia’s confidence. “Maybe I shouldn’t have gone to the cemetery,” she thinks. She needs to see Emilia and apologize to her, it will be the only way to feel good. Today she has dressed differently: she has put on a suit, shirt and shoes, all masculine. Only a thin belt marks her silhouette. She is very attractive and feminine. A large bag hangs from her shoulder falling to the height of her hip. Dragging a small suitcase, she is heading for the port. Her steps are short and there is a faint smile on her face. It’s a beautiful May morning and she enjoys those soft rays of sunshine as she walks. Margarita is at the port, she sees Julia and approaches her. - Hello Julia. Good Morning. How are you? - Hi. Good, very good. I wanted to make this trip —Julia says. - I see you different —says Margarita, pleasantly surprised. - I wanted something different —Julia answers. - You’re right, you’re very beautiful, Julia. I like it very much how you are dressed that I’m going to buy a suit of that style for me. Julia, with a wide smile and satisfied to have liked Margarita, replies: - You’d be perfect.

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As they continue talking, they walk towards the control to get into the boat. Julia loves the sea. For her work, she makes the journey between Ceuta and Algeciras, and always enjoys that moment. Once in Algeciras, they walk calmly towards the station, they still have two hours to leave the train. They sit down to have coffee on the way, they thought they’d better eat on the train. Julia checks her cell phone and sees several missed calls from Marta, she is thoughtful. “What will happen?” She murmurs, “I’ll call her later.” As she enters the train, Julia looks around and is surprised to see the man who caught her eye the day before, when she was with Margarita. “IT’S HIM!” Julia thinks, “the same as yesterday. It’s him. Sure. Is he following us? God, what a creep!” With a startled face, Julia approaches Margarita. - I think someone’s following us. - What? —Margarita answers—. What is it, Julia? - There is a boy in the seat next door, I saw him yesterday in the cafeteria, before in the port, and now in the train. I do not know, I feel something is wrong. - Julia, for God’s sake! It will be a coincidence, people travel. He had to take the boat and now the train, like us. - And yesterday? He was in the cafeteria —Julia says.

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Margarita, taking away importance, responds: - It will be a coincidence, Ceuta is a small city. - I do not know, I think he’s following us, I have that feeling —Julia is not convinced. - Let’s see where he gets off —Margarita says—. Now calm down, let’s eat something. Enjoy the trip, okay? - Okay —Julia says, looking unhappy. Although the route between Algeciras and Madrid is a beautiful trip, with beautiful villages and beautiful landscapes, Julia cannot enjoy it, she is convinced that they are being followed. After five and a half hours, the train arrives punctually in Madrid. - The boy is still there, Margarita —Julia says. - Easy, Julia. Now we take a taxi to the hotel and we will not see him again. Once in the hotel, located in the heart of Madrid, in Gran Vía, both women decide to rest; It’s late and they’ve been traveling all day. Margarita has booked two rooms, one for Julia and one for her.

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Their stay in Madrid is going to be for three days. Margarita will see her son, who studies in this city, and she will take the opportunity to do some shopping with Julia. In the room, Julia remembers that she has to call Marta. “I had forgotten so madly,” she murmurs. - Hello, Julia —Marta answers on the other side of the phone. - I’m sorry, Marta. I have not been able to call before. Is anything wrong? I have several missed calls from you. - No, no, calm down —Marta says—. Is something wrong with you? I noticed you being very fast. Where are you? - I’m in Madrid. I’m fine. How are you? Kamel, is he okay? - Yes, Kamel is fine, do not worry. I just wanted to talk to you, but I’d rather do it when you get back, in person; on the phone, I do not like it. - Don’t leave me like this, tell me something, Marta. - It’s nothing important Julia, really, they are stories of mine. I’d rather tell you when you get back. - Okay, I do not want to be insistent, but you leave me worried. - Do not worry —Marta says—. I’ll tell you. It’s late, Kamel has to sleep. Enjoy the trip. Be careful. - Kisses. “Now,” Julia thinks, “more things in my head.” Julia’s thoughts are plenty. Orlando worried to know about Margarita (which she does not understand), the name she saw on the tombstone, the boy she thinks he is following her and now, Marta. She is overwhelmed and decides to go down to the hotel bar, she needs to relax, it is impossible to sleep like that. In the cafeteria...

Illustrations by Israel Castro

“IT CANNOT BE,” thinks Julia, “IT IS HIM, IT IS HIM” She’s looking at the train boy. She gets very nervous, she is not able to put the chamomile cup that is drinking in the bar, the glass falls, Julia apologizes to the waiter and runs away. “I have to tell Margarita,” Julia murmurs as she runs down the stairs. She does not dare to take the elevator. She reaches the floor of their rooms with her tongue out of so much running. She takes up some air and she looks up, paralyzed. “What is this?” she thinks. Margarita kisses a man who enters her room... •

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By Paula Albericio

do not know if you will know the movie “Victor Victoria”, in which the protagonist, Julie Andrews, plays Victoria, an actress who must use crossdressing to work in the Paris cabaret. “Tootise” may sound too; in this case, it is Dustin Hoffman who must pretend to be a woman to get papers... Why do I start like this? Simply to demonstrate that ambiguity, transvestism and even transsexuality are not contemporary issues, but they have been with us for many years now and have been the subject of books and films for some time.

Bimba Bosé parading by Davidelfin

Fashion has not been alien to them, even before the different companies and brands played the ambiguity in their collections or that we began to wear their clothes to achieve that tomboy look, great female celebrities did not hesitate to do their own masculine style, sometimes taking it to another level or making it the basis of their personal seal.

Until recently, when a girl or a woman chose to cut or shave their hair, wear clothes classified as too masculine for a young lady, etc., they had to endure “tomboy” or “lesbian” comments. And maybe today will continue to happen much more than we expect. But by now it should be clear that the clothes we wear do not define our sexuality, nor should anyone label others, either by appearance or by any other cause. The fact that a woman chooses to adopt a masculine look does not detract her from beauty, personality, elegance or sensuality. And in addition, we have historical examples that demonstrate this: remember that the master Yves Saint Laurent turned sexy and feminine one of the masculine garments par excellence, the tuxedo.

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Marlene Dietrich

Clamp trousers, suspenders, men’s shirts and moccasins. Katharine Hepburn defied the trends and made the masculine look her identity, turning it into an act of rebellion. From the big screen to reality, the stylings that Diane Keaton showed in the film “Annie Hall” became part of the day to day of this great actress, which even today is customary to see wearing suits and men’s shirts. Who said a woman could not be smart wearing something like that?

Nowadays we also find many examples among the celebrities, from Karolina Kurkova to Caroline de Maigret, for whom a tomboy look is much more than putting on her boyfriend jeans and lace-up shoes (thank you!). And if we talk ambiguity, I cannot finish this article without making a special mention to Bimba Bosé, whose androgynous beauty conquered the fashion industry. •

Katharine Hepburn

German actress Marlene Dietrich, one of the divas from the 20s and 30s and an immortal icon of beauty, was one of the pioneers in playing the sideline with her sexuality and she played an important role in her dress and, above all, her attitude: a femme fatale that disarmed men in a tuxedo or wearing a frock and without the need to show her long legs.

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OBJECTS OF DESIRE Originally designed for women, these pieces receive a visit from the other genre in an exercise of excessive greed. By Daniel Albericio Photographs by Gema Hernรกndez 20 | 20 MADE | MADE NOWNOW - MALE - MALE

“Luz” and “Iris” bracelets in ebony and crystals, by HISSIA. PREVIOUS PAGE: Necklaces by DOMINGO AYALA.

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Necklaces by DOMINGO AYALA and printed bag by MANGO.

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“Africa” bracelets and chain bracelet, everything MCM JEWELERY.

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Wooden bracelets by MCM JEWELERY, and rope-belt by LOCAPLAYA.

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“Mencey va a NY” necklace by MARTA MOORE, and “Safari” bracelet by HISSIA.

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“Ondas” silver ring and cristal ring, by MARTA MOORE.

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“Árabe” silver bracelet by MARTA MOORE. NEXT PAGE: Circle python bag with strap by LOCAPLAYA. Model: Cristian Navarro. Dicital tech.: R.W. Creative direction: Rubén González.

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HÉCTOR DE LA PEÑA

new talent is born in the industry about who, undoubtedly, we will talk and really good in a near future. Héctor de la Peña, exclusively for MADE NOW.

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Wide silhouettes and shapes that cover the body. How is this style born? Everything began with my collection “Noire”, where I was inspired by a world conquered by panda-bears. I searched the size of an average specimen and created the pieces for a person that size, that was how these wide silhouettes were born. Oversized styling is a common feature of yours; “Noire” or “SAC SS 2017” are examples of this. How would you mix it with the genderless trend? I normally design pieces with masculine tailoring or hat do not fall in a feminine style so I can use them for both boys and girls. Legends and fairy tales inspire your designs, that is for sure, but how do you get all those concepts that end in the presentation of your collections? Firstly, I analyze the characters and scenery of the story and, from there, I get textures, silhouettes and colors in order to make them alive in my clothes and how the design process flows, paying attention to different pieces such as dresses, jackets… After some years balancing your studies and work, do you still feel the same when presenting a collection? How do you analyze your past collections? Generally, I am a nervous person; feelings are the same nowadays and in relation to how I see my past collections… Well, I see them as examples of good exercises to know who I am aesthetically speaking, in my collections and in how I design. When designing, do you listen to music or do any ritual for concentration? The music I listen to depends on where I get the inspiration from. For example, next fall-winter 2017 collection was designed listening to The Pirouettes and Bagarre. I have a ritual, too: I burn green tea or copal incense before I start sketching. A color, a piece, a season… A black coat during a cold winter.

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APOLLO The antifashion experience We talk to the team behind the fashion film “Apollo”, filmed in Gran Canaria with Cristian Velasco leading, and which has been selected to the Canadian International Fashion Film Festival. “Apollo is born from the willing to create, to investigate and to enjoy what is being done, which characterizes everyone who takes part in this project,” are the first words said by a euphoric Cristian Velasco, leader of the project. Besides, the illusion for being selected for different international festivals constitutes the biggest motivation for the adventure. Although its styling is focused in the antifashion trend, this is not everything. “Apollo is not centered only in antifashion; antifashion is just an excuse, a perfect excuse in the perfect moment. Freedom of expression was the most important value. I have to admit that this was the perfect concept in order to seduce the rest of the team.”

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Cristian, your career as filmmaker is short, but intense. Do you see your future in this discipline in the islands or abroad? What is the most crucial factor when it comes to the creation of a fashion film? I see future in the islands. Apollo tries to show, apart that the fact that there is plenty of talented people in the Canaries, that it exists a necessity of including the fashion film (where aesthetics go on top of the product itself) as a new communication trend. There it is the key factor, sort of saying. A piece of advice you would give a starter… Hmm… There are two things I always say to my team: First, we must enjoy what we are doing, and second, we cannot let anyone stealing our illusion for it. In “Apollo”, I’m sure that the experience itself has been the most important part for all of us. Through this adventure, Cristian has been surrounded by a team in which we find familiar faces to the pages at MADE NOW, such as stylist Dan García or our beloved Marta Purriños and Alex Mercurio —protagonist of the film with Marta. They also lived an unforgettable experience. What has been the most difficult part, Dan, developing the idea of antifashion, or finding the right clothing options to carrying it out? The truth is, every single piece of this project has its own difficulty… Developing the idea was hard, and finding the clothes or it was a challenging task, but rewarding, bearing in mind that I had Joel Martín and Almudena Palma (partners at the styling process) working with me.

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Marta, what was so appealing in “Apollo”? You know, it is not always a matter of thinking what to do or not; sometimes you just need to let everything flow. Cristian transmitted in every single moment that it was going to be something unique, different, abstract, and that was so appealing to me, besides the professionality that characterizes him. I mean, everything made the offer so, so attractive. But I think the best question would be what was it so appealing of me for Cristian? That’s a real quiz; I just know it has been an unrepeatable experience, as a shooting star. Undoubtedly, “Apollo” is a visual spectacle where planets collapse creating a huge chaos.

And in your case, Alex, what would be the best experience? Comradeship, with no doubt. And the respect between all of us there. There were no egos of any kind. We wanted to create something beautiful and we did it. I had met both Cristian and Marta before, but we had never worked together. It was a pleasure, and with the rest of the team, too. I would do it again, definitely. But filming was not everything at “Apollo”; photography also played a vital role there. Marcos Cabrera and Cristian worked in perfect harmony.

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Photographically speaking, what has been the most difficult part of the project? When you surround yourself with such an amazing team as the one taking part in “Apollo” where everyone gets involved in it, nothing can be difficult; everything is worked up to the detail for the days of the filming to have everything clear, most of all in my area, photography, with lighting, atmospheres and framing of each scene. Two of the models at this adventure tell us their experience. Laura Morales and Esaú Sánchez share with us their best on-set moments.

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“My best moment?” Laura begins. “Seeing myself characterized, as the hairstyling, as well as makeup and clothing were highly elaborated, so it helped me getting my role in the film, but I think the best thing was staring at everyone’s happy faces when we finished. It was a real pleasure working with such a professional team as Cristian’s”. A team work that is also highlighted by Esaú: “From the director, following with the stylists and makeup artists, till the last of my partners, we got a pleasant familiar atmosphere where we helped each other.”

How was that team work? Personally, I had met just a few faces there at “Apollo”. At the beginning, I was a bit cold… To be honest, I have to thank Cristian for counting on me for this project; it has been fantastic!

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by Susana Martín

Since 1975, Miguel Marinero has been in charge of his own team and has led the development of the brand, placing it in international markets. Combining in his collections, in an unconventional way, fashion and sculpture. This has evolved not only in design, but also in artistic exhibitions that have traveled to several destinations.

References to the world of painting have been a constant in their collections. I have seen that it cites concrete names like Sonia Delaunay or Gustave Klimt like inspirations... Do you think that, finally, fashion is taking its place in the universe of Art? Fashion is an art itself, as it combines inspiration, creativity, expression and communication. Any creative activity establishes synergies with other similar activities and from there the inspiration flows. In my case, I am also a choreographer and I have added fashion and art in different moments of my career. Throughout this year in three exhibitions, I combined fashion and sculpture. My collection “Pentimento” of the current MBFW of Madrid is a tribute to Velázquez.

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Sketch Miguel Marinero

Miguel and Nicolás Marinero

Currently the designers of the firm are Miguel and Nicolás. Father and son complement experience and knowledge with the feelings they express through their creations. Their vision is the constant challenge of combining the practicality of a garment with the beauty of it, mixing simplicity and glamor.

You have been very connected to the world of scenery, in fact, your 2010-2011 collection is called Great Divas Is there a nostalgic look? Do you think that classic elegance still has a place in the current scenario? Each epoch keeps an aesthetic between mysterious and elegant that can be replicated over the years. There have been especially glamorous moments in the history of fashion, and what really matters is being able to keep that aura and raise it on the runway. Today’s women, feminine and aggressive in a world in continuous evolution that requires women with well-defined personality and who know what they want: to be unique and elegant without going unnoticed but without calling deception. Some of your pieces have been photographed by the best photographers in the world... Mario Testino, greatest among the greats, in fact, worked with them for Spanish Vogue special of December 2012. This has been one of their most emblematic issues. What did you feel when you were printed on those pages? Obviously, the sum of Testino, absolute reference, with Vogue, dean and classic publication of glamor, and my creations, is something that produces a huge satisfaction. Nevertheless, to that stellar moment it is necessary to add the day to day, the satisfaction of each interview and photography in different media and by different professionals. But above all we must add the satisfaction of seeing your designs on the

street, in people who trust in you for their day to day and for a special occasion and thanks to them they feel unique and exclusive. The quality of your raw materials, the creativity of its designs and the savoir faire of your atelier makes them one of the most important representatives of fashion in our country... What is the meaning of the “Spanish brand” outside our borders? If it were only up to you, what three adjectives would you like for defining your brand? Do you feel supported by the Spanish institutions as an ambassador of fashion in this country? What measures do you think can be taken to enhance the work of national creators? Design, creativity and excellent raw materials are the three attributes that define us. And they are acclaimed on the five continents. Any successful initiative has to do with what you do and with whom you do it. My brand creates and designs and it has the best suppliers of textiles. Spain is traditionally a handcrafted mark and that is evident in each pattern and in every cut. Evidently Spanish fashion gives a lot to the outside world and it is a passport of quality that the Ministries of Industry and Culture especially and in addition to the one of treasury, should potentiate. All haute couture designers belong to the SME sector, in a universe of 4% of annual GDP. It is our greatness, but we also find ourselves every day with huge funding difficulties, because

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the margins are narrow. Similarly, both Casa Real, as well as the political and administrative representatives of our country, should bet unconditionally to take our fashion in all their interventions. It would expand the showcase. From the Association of Creators, ACME, we advocate for these “must” to start with. One of the fundamental pillars on which Miguel Marinero is based is the use of luxurious furs that adapt to the various times and styles and that mix ingeniously with other materials. How do you see the future of fur, now that the vegan philosophy gains ground? Have you had problems with any association or group? Do you think that a balance is possible or that it will be an ideologically constant war? It is a tame issue and in particular my firm is more environmentally-minded than many other industries. We now combine collections of leather and textile, but we do not abandon our history, which is what has kept us from 1975 onwards. There is a whole series of neat control mechanisms that show that no type of animal abuse is committed. It is completely regulated and talking about it without data is fallacious. I admit individual tastes but well-reasoned and without demagogy. To give you an example, few people dye, like us, with natural dyes which are respectful to the environment. Precisely because we have always complied with a set of rules that other sectors can skip. Finally, I would like to steal a little bit of your wisdom and knowledge in the fashion industry... If you looked back, would you like to be able to change some of the professional decisions you have made at the beginning or, at least, to have looked at them from another angle? If only you could give some advice to those who are starting to walk on the fashion road, what would you say? The fact that my son Nicholas follows my steps is a sign that I have not done wrong. Maybe I have been involved in specific issues in my youth that occasionally were not what I imagined, but I have endorsed almost forty years of solvency and I have had a career spanning different arts. I do not lose my passion in what I do because that is only the source of youth. And now the “Pentimento” textile collection on the Madrid MBFW catwalk is my great illusion and seeing it on the catwalk is like a new baptism and I get as nervous as 40 years ago. Whoever wants to start working in this world now I would advise: listen, travel, read, surround yourself with the best and live your passion without limits.

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Illustration by Mara Hernรกndez

HAUNTING

VOLUME Strong shapes on the face, natural colours and darkness. For the hair, an exercise on volume with no limits. Photographs by Sara García Hairstyling by Moisés Pérez Make-up by Andrea Pérez

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Model: Carlota García (POPHOUSE). Digital technician: R.W. Artistic direction: Rubén González.

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MARTA PURRIÑOS ADDICT BE ICONIC CALLS THE SHOTS

Photographs by Cristian Navarro Styling by Daniel Albericio She is probably one of the most recognizable faces in the islands’ blogosphere. Marta Purriños robs the masculine style and represents, among seams, the feminist earthquake that is shaking fashion.

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Marta, with a black wide-leg jumpsuit, coral necklaces and leather sandals, everything BIMBA Y LOLA.

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Gingham-printed top over dress and trousers in the same print, platform braided sandals and raffia earrings, everything BIMBA Y LOLA.

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Dress over black trousers, leather sandals and XXL earrings with gingham, everything BIMBA Y LOLA.

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Printed dress over the â&#x20AC;&#x153;Ikatâ&#x20AC;? trousers, leather sandals, multi-colored bag and gold and black bracelets, everything BIMBA Y LOLA.

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White basic tee under a ruffled dress, green trousers, platform braided sandals and necklace, everything BIMBA Y LOLA.

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Oversized black blazer, red bag with logo printed on the strap, gingham printed necklace and leather sandals, everything BIMBA Y LOLA. Make-up: Romina Elorrieta. Creative direction: Rubén González. Special thanks: Grupo Número Uno.

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Shirts and denim jacket, LEE; trousers, COMPLOT; sneakers, LE COQ SPORTIF.

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MALE POWER Photographs by Charly V. Real Styling by Sergio GuÃa do Carmo

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Sweater, NOT TO BE UNDERSTOOD; shorts, KAPPA; sneakers, REEBOK.

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The model wears head-to-toe ADIDAS.

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Puffer coat, NOT TO BE UNDERSTOOD; sweater and sweatpants, LE COQ SPORTIF; sneakers, GUCCI.

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High-neck jersey, NOT TO BE UNDERSTOOD; bomber jacket, BOLIVIA; pajamas, SILVIO SIERRA.

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Here, head-to-toe NOT TO BE UNDERSTOOD.

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Sheer tee, COMPLOT; shorts, KAPPA; sneaker, LE COQ SPORTIF. Model: Bautista (K-MANAGEMENT). Hairstyling: Gabo Escobar. Styling assistants: Ana Beatris de Sola and Violeta Betz Pompozzi. Digital tech: Brooklyn Studio.

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MASCULINO

SINGULAR Photographs by Sara García & Gema Hernández Styling by Katia León

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Ethnic print vintage shirt and yellow wide-leg trousers, STRADIVARIUS.

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Grey vintage suit, black lace bra, STRADIVARIUS, fur slides and cap, both PRIMARK, chokers and sunglasses, stylistâ&#x20AC;&#x2122;s own.

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Vintage stripped tee, FRED PERRY, jeans, socks and necklace, stylist’s own, vintage belt, LEVI’S, masculine shoes with PVC, ZARA.

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Vintage polo-shirt under leather harness and pleated skirt, both STRADIVARIUS.

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Model: Andrea Santana. Make-up: Sara García. Creative direction: Rubén González and Daniel Albericio.

BE THE TYPE

OF MAN YOU WANT

to meet

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Photographs by Eduardo Cabrera Styling by Raúl Rodríguez

FRÁGIL, LA MASC U LINIDAD

Shirt by THREEONES, skirt by ZORAIDA CASES, sheer top by PRIMARK and stylistâ&#x20AC;&#x2122;s own belt.

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Dress by BREA, bra by ANILLARTE, kimono by THREEONES, belts (downwards) by ZARA, vintage, by ZARA and PRIMARK, and boots by XAVI REYES.

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Oversized shirt by THREEONES, belt by ASOS, earring by MARÍA MAGDALENA, dress by STRADIVARIUS and boots by ZARA.

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Model: Miao Fang. Make-up artist: Andrea Gรณmez.

Jacket by BREA, belt by ANILLARTE, dress by BERSHKA, shoes by BUFFALO and earring by HAMMERHOJ.

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Opulence and masculinity go together and embrace the most eclectic and colorful fashion. Photographs by Luis Sosa Styling by Miriam de la Vega

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Silvia, with a ZARA jumpsuit, a soft pink AURELIA GIL trench, LAURA LUJÁN earrings, CALZEDONIA socks and stylist’s own shoes. Maxi wears a ZARA blouse with big sleeves, soft pink culottes by AURELIA GIL, ZARA heels and CALZEDONIA socks.

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Suit and shoes from PEDRO PALMAS’s “Dolce Vita” collection and LAURA LUJÁN earrings.

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Silvia wears MASSIMO DUTTI white top and skinny trousers, black shirt by BIMBA Y LOLA CANARIAS, LAURA LUJÁN earrings and hat at ZARA MAN. Maxi, with an oversized black shirt at BIMBA Y LOLA CANARIAS, COOSY white ruffled top, LAURA LUJÁN earrings and ZARA MAN hat.

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AURELIA GIL saffron tulle shirt, ZARA high-waisted shorts, and MANGO bag and Asian-style platforms.

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COOSY multicolored ruffled dress, ZARA MAN blazer, ZARA yellow stilettos and LAURA LUJĂ N earrings.

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White blazer at ZARA, white wide-leg pants at UTERQÜE, black leather belt at MASSIMO DUTTI, and LAURA LUJÁN earrings and gloves.

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Models: Silvia Urrutia and Maxi (both at POP HOUSE). Maku-up: Alba Vega. Hairstyling: Blik Peluqueros. Production: Mónica Rodríguez. Special thanks: Edificio la Unión y el Fénix and Roche BoBois Las Palmas.

Maxi, with PEDRO PALMAS black tulle top and skirt, LAURA LUJÁN yellow leather gloves, ZARA hat and FLORI GÓMEZ silver and crystals earrings. Silvia, PEDRO PALMAS sequined jacket, LAURA LUJÁN gloves, ZARA hat and silver and crystals earrings.

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Illustration by Mara Hernรกndez

MODERN CLASSICS Photographs by Charly V. Real Styling by Sergio GuÃa do Carmo

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Short trench, 111; shirt and trousers, ANUNNAKI; shoes and belt, TERRIBLE ENFANT; bowtie, MR. HARRY. PREVIOUS PAGE: Blazer and shirt, 111; printed kerchief, BOLIVIA

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Trench, BURBERRY LONDON; suit and shirt, 111; shoes, HUSH PUPPIES.

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Silk suit, GARÃ&#x2021;ON GARCIA; blazer, 111; shirt and bowtie, MR. HARRY. PREVIOUS PAGE: Wool sweater, ANUNNAKI; watch, SWATCH CHRONO.

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Model: Gabriel Hulgich (K-MANAGEMENT). Photography assistant: Emmanuel Jonnas. Styling assistant: Violeta Betz Pompozzi. Digital tech: Brooklyn Studio

Shirt and stripped kerchief, SILVIO SIERRA; palazzo pants, SANDRO; belt, HUSH PUPPIES.

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NEXT PAGE: Marble-printed puffer jacket, 111; shirt, SILVIO SIERRA; trousers, ANUNNAKI; sneakers, CLASSIC LEATHER X KENDRICK LAMAR; belt, TERRIBLE ENFANT.

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...OR FEMALE?

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