MFI Magazine Winter 2015 by MFI Magazine

WINTER 2015 M E N ’ S FA S H I O N I R E L A N D M AG A Z I N E

MFI MAGAZINE ISSUE 12 Magazine Credits

Contact Information

Editor in Chief Adam Gaffey

For all enquires please email us at info@mfimagazine.com

Art Director Michelle Walsh

@MFIMagazine

Fashion Editor James Butler

MFI Magazine has official channels on Facebook, Twitter, Instagram, YouTube and Pinterest.

Copy Editor Elaine Connolly Graphic Designer Jake McCabe Staff Writers Rory Cashin Niamh O’Donoghue Guest Writers Paula Burns Lewis Robert Cameron Contributing Photographers Dorje de Burgh Caoimhe Hahn HOYmedia Du Jingze Patrick Quinn Byrne Myriam Riand Contributing Illustrators Charlotte Lee

MFI Magazine past issues available on mfimagazine.com

Issue 12 | On the Cover Photographer Patrick Quinn Byrne Creative Director Adam Gaffey Stylist James Butler Make Up Caroline O’Shea at LA College of Creative Arts Models Lukman, Dylan Moran and Ryan Barrett at NotAnother Agency Lukman wears Raincoat, Stutterheim at Nowhere, Sunglasses, Sun Buddies at Nowhere Ryan wears Sweater, Alexander McQueen at Brown Thomas; Trousers, Valentino at Brown Thomas; Shirt, River Island. Dylan wears Jacket, A Kind of Guise at Nowhere; Sweatpants, Marni at Nowhere.

MFI Magazine is registered in Co.Wicklow, Ireland. ISSN 2009-7654 (Print) ISSN 2009-7662 (Online)

Photographer Conor Palin-Stewart

EDITOR’S NOTE In August 2014, I found myself in a situation that would force me to ask myself the following three questions: What does the future hold for my business? How am I doing as a self-taught entrepreneur? And what was going to come next in my career? At this point of my journey, I had already been challenged by the usual knockbacks that come with a position in fashion, faced the critics and learned the basic, valuable lessons you need to succeed. I remember right after we had a small launch party in Dublin, I woke up the next day and with this idea in my mind that MFI Magazine would be printed so that people could physically hold and appreciate it. I could picture it, feel it and almost smell the paper as I leapt out of bed with a single mission! I was already brainstorming about how we could expand our content and improve the quality of our publication to provide a more enjoyable reading experience for our wonderful audience. But even though I knew what I was doing, how much work it would take, and the risk that was in it, I had something that motivated me and I was determined to put it into action. Was it possible to transition from a digital magazine platform, a growing market in the modern age, to becoming a print publication? I was still quite young. I hadn’t been upskilling in the business side of things and I was focused more on the creative element. I never had a slight thought about dealing with distribution companies or printing costs because I was day dreaming about how good our new editorials would look on paper. And here we are, over a year and six print issues later! We are continuously blessed to have the opportunity to meet and work alongside many unique and talented Irish people who inspire us by what they do and how much passion and creativity goes into their work. Emma Fraser and Dean Ryan McDaid who have recently launched NotAnother Agency (page 70), Irish designers like Rory Parnell-Mooney (page 58) and Alan Taylor as well as store owners like Brian Teeling from Nowhere (page 52) and Conor Rhatigan and Cillian Drury from Castle & Drury. Let’s celebrate the future of the people who are pushing the boundaries and breaking the mould in fashion. It’s time for the new era! Take risks, be creative and, most of all, be self-minded.

ADAM GAFFEY

DIRECTORY

C Collaborative Contenders LEWIS ROBERT CAMERON

D The Dark Side of Movie Marketing RORY CASHIN

Contemporary Coats Banking on Banksy MICHELLE WALSH

JAMES BUTLER

Eco Fashion

ELAINE CONNOLLY

F BLOQ NIAMH O’DONOGHUE

The Craft: Rory ParnellMooney ADAM GAFFEY

Fashion + Technology MICHELLE WALSH

The Growth of Male Grooming

JAMES BUTLER

New Season Essentials

O Outfit Grid No.1

Outfit Grid No.2

Footsteps

In Focus: Berlin

Fresh on the Scene, NotAnother Agency ADAM GAFFEY

Going Nowhere, Here to Stay ADAM GAFFEY

NIAMH Oâ&#x20AC;&#x2122;DONOGHUE

Magic

Private Blends ADAM GAFFEY

Street Style: Dublin A Third Dimension

PAULA BURNS

What is the Future for Print? NIAMH Oâ&#x20AC;&#x2122;DONOGHUE

Through New Eyes

Wishlist

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Black/Blue Boiler suit €300 Topman Design; Blue Sand Orange Backpack €90 Rains at Indigo & Cloth; Black Low-Top Achilles €340 Common Project at Nowhere; Sunglasses €29.99 H&M

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THREE WAYS TO WEAR

CONTEMPORARY COATS THE DECONSTRUCTED SILHOUETTE

Photographer Michelle Walsh

Coat, River Island

THE STATEMENT SHEARLING Coat, River Island

For seasons on end, trends have often been a little tiresome when it comes to men’s coats. While we fully appreciate the transformative prowess of a classic pea coat or a slim-line puffer, we have on more than one occasion found ourselves a tad jealous when it comes to the outerwear of our female fashion counterparts. Luckily, it would appear that AW15 has become a garment game-changer when it comes to men’s coats with both designers and the high-street creating new silhouettes and textures to whet our winter appetites quite handsomely. Of course, we know that our readers are always on the hunt for the latest looks, so I have chosen my top three contemporary coats just for you! Indeed gentlemen, the coat game has a whole new set of rules. Who will you be playing for?

JAMES BUTLER @JamesPatrice

THE LONGLINE BOMBER Coat, H&M

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IN FOCUS

BERLIN Wolfgang Joop, Heidi Klum, Hugo Boss, Karl Lagerfeld, Tomas Maier and Jil Sander: these are just some of the most iconic and powerful names to come out of fashion this century. They have been creating innovative and exciting new trends that radiate around the world. This thriving European city is best known for its magnificent architecture, world-renowned works of art, underground nightlife scene and of course its rich abundance of style. Welcome to the German capital city of Berlin! In an exclusive interview, I talked to Junior Buyer at Voo Berlin, Thibaud Guyonnet, about what makes Berlin so special, fashion blogging and his favourite places to be in Berlin. Originally from a tiny village in the centre of France, the young creative moved to Berlin in 2010 with his partner Devid and established starecasers.com, a fashion and lifestyle blog. “We really feel at home in Berlin. This is where my partner and I created starecasers.com and in the last year we decided to make the blog a curated platform. We take care of everything involved on the site from web design and photography to graphic design and styling. Our focus is fashion, design and travel.” Thibaud’s style has developed and grown over time from punk-pop to sophisticatedlux. The creative’s minimalistic style is clean cut, laid back and excellently reflects his suave lifestyle: “Most of my outfits are based on a white t-shirt mixed with large pants. Not sure how to interpret it but I was told one day that my style was very ‘Italo-minimal’. Instagram is a great inspiration since I work a lot with social media. I drag a lot of inspiration from the profiles I follow. Clothes played a big role when I was growing up. I used to think it was important to stand out. Right after I came out, I really felt the need to wear crazy things and experimented a lot. My style was definitely loud and colourful: red hair,

fake fur, dangerously skinny pants and lots of rings and necklaces.” Berlin has progressed into a city where trends are born and re-born again, reinventing styles and alternatives to catwalk creations. The German fashion footprint developed slowly over time before it established itself as a dominant force in the fashion world. It took a while for industry experts to realise that German people could also be on par with those in New York, London or Tokyo. “Tons of creatives are based here. The city plays a big role in high-end fashion but unfortunately most of it happens behind the walls of studios and lofts. Clothes are definitely used as a power statement in German culture. Clothes and style are indicators of who you are and how you want to present yourself to others. I would described the Berlin ‘fashion uniform’ as sneakers, a parka, acne jeans and a Nike sweater.” When he isn’t jetting around Europe or collaborating with global brands, Thibaud works as a Junior Buyer at Voo Berlin. It’s an independent fashion store that specialises in luxury branding and street wear in a truly unique space located in Berlin’s cultural quarter of Kreuzberg. Situated on the premises of a former locksmith, Voo Berlin prides itself on selling pieces that emphasise design, creativity and excellence in craftsmanship. “As a buyer it’s a big challenge to buy for the fashion market and as a fashion blogger it is hard to create content that the German audience will appreciate. I can’t point to one specific trend for SS16 but I can see that high waist trousers are going to be popular for the boys this coming season.” Follow Thibaud on Instagram @thibaud_guyonnet

NIAMH O’DONOGHUE @CulturedCuppa

- TRAVEL Gendarmenmarkt

THIBAUD’S BERLIN

TOP FIVE PLACES TO SHOP 1. 2. 3. 4. 5.

Voo Store (vooberlin.com) Modulor (modulor.de) Overkill (overkillshop.com) Murkudis (andreasmurkudis.com) Above (store.bvdst.com)

Voo Store Regierungsviertel

TOP FIVE PLACES TO VISIT 1. 2. 3. 4. 5.

Hip hop night club, Prince Charles in Kreutzberg Concrete heaven, Regierungsviertel A stunning square in the city, Gendarmenmarkt Galleries, nice bars and great ice cream in Auguststraße National park, Tiergarten

TOP FIVE PLACES TO EAT 1. 2. 3. 4. 5.

Prince Charles

La Galleria Italiana for Italian Toca Rouge for Asian fusion Kantine for seasonal food Tin Tan for Mexican Industry Standard for game meat

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STREET STYLE

DUBLIN As the temperature drops and the days get shorter, people on the street are rocking more and more layers. This is the time to show off your woolly accessories and, of course, your winter coat. Photographers Michelle Walsh, Jake McCabe, Du Jingze

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Timi Ogunyemi @tweetymonkey

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Lawson Mpame @Lawofstyle_

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BLOQ Before saying goodbye to 2015 and the year of Irish design we caught up with the creative directors behind urban brand BLOQ Apparel who have captured and harnessed their creativity to create a uniquely Irish and innovative fashion label. Launched in late 2014, BLOQ Apparel is a metropolitan clothing brand designed and produced locally by Dublin natives Simon and Brendan. The inventive duo left their financially stable careers in retail and finance to fulfil their desire for design. One year on and three collections later, we find out whether their risk was worth taking.

BLOQ Collection 02

For many, an obsession with creativity and design begins at a young age and is

Simon, Co-Creative Director at BLOQ.

Simon has a background in online marketing and digital strategy and has experience in luxury retail. While Brendan studied business and entrepreneurship where he acquired a solid skill set that prepared him for starting out in business. “We both offer a completely different dynamic which is why we work so well together,” added Simon.

Both the brand concept and name are unique to the Irish market, as he explains:

“We want our clothing to be everyday wear but to also have the versatility and adaptability to be that ‘special piece’ in your wardrobe. The name is derived from the term ‘Bloc’ which translates as ‘a combination of groups who share a common interest and who have formed an alliance. A community.’ We dropped the ‘C’ and replaced it with our trademark ‘Q’ to give us individuality but still keeping with the original pronunciation. At its core, BLOQ is a community of people who are passionate about, and share, a common interest.” Simon and Brendan have successfully built a solid customer base within the last 12 months and are enjoying continued success from their third capsule collection, as Brendan illustrates:

“IT’S GREAT TO SEE MORE YOUNG DESIGNERS AND BRANDS MAKING A GO OF IT HERE.”

“The overall feel for Collection03 is that we are embracing designs and fits that are resounding of late 90s and early 00s street and athletic wear. This is broken into three subsections – t-shirts, sweats and headwear. later ignited by a growing devotion to produce beautiful designs in industries like technology, culinary, advertising and fashion, to name a few. The finished product behind the design may be different but the semantics and passion required remain the same. After conforming to the social norms of going to college, obtaining a degree and getting a ‘9-5’ job, both Simon and Brendan, who are life-long friends from Dun Laoghaire, repeatedly found themselves being bored in their mundane day jobs. “I was doing it because that’s what I was told you were meant to do. Since a young age, I’ve been obsessed with all forms of art and design. Looking back, I should’ve definitely gone down that road,” says

We have five t-shirts that fall under our ‘classics’ that we are carrying on from the previous two collections. In addition to these, we’ve added on two more freshly designed t-shirts, a long-sleeve sweater, a hoody and a crewneck. We work with a manufacturer on designs from the beginning. This is a lengthy process but it’s done so that we can provide the exact cut, fit and fabric that we feel our customers will really appreciate and love.” Although the Irish fashion community has welcomed BLOQ, the directors believe that more needs to be done to ensure the longevity of independent Irish labels. “There’s a reason why we’re so far behind the likes of London and Paris, but in my opinion, there just isn’t the support systems in place for independent producers. We

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BLOQ Collection 03

Model MJ Mobolaji Photographer, Art Director Simon Bastable Stylist Brendan Ennis and Simon Bastable

felt that we were on our own at the beginning. However, even though it is extremely difficult, it’s great to see more young designers and brands making a go of it here.” What do the directors hope to achieve in 2016? Simon and Brendan will soon be launching two new concepts to the brand – BLOQ Sound system and BLOQ Natives – with the aim of further enhancing the lifestyle aspect of the brand. They are also actively looking to take BLOQ to an international market. “We launched in winter of 2014 and have seen a massive rise in such a short space of time. This has given us the impetus to keep pushing boundaries and see how far we can go. Exciting is an understatement,” says Simon. You can follow Simon and Brendan’s story and progress @bloqapparel

NIAMH O’DONOGHUE @CulturedCuppa

Photography Caoimhe Hahn Stylist Stephanie J Paulo Grooming Jihye Sim Models Charlie Adshead and Simon Skitch at Established Models Simon wears Shirt, Topman; Leather jacket, Diesel Black Gold.

FOOTSTEPS

This page: Charlie wears Coat, Sandro; White Shirt, Diesel Black Gold; Trousers, Topman; Socks, COS; Shoes, Robert Clergerie. Opposite page: Simon wears Jacket, E.Tautz; Polo, Stylistâ&#x20AC;&#x2122;s Own; Trousers CMMN SWDN; Boots, Grenson.

This page: Charlie wears White polo, Sandro; Navy jumper, E. Tautz; Trousers, Topman. Opposite page: Simon wears Jacket, E.Tautz; Polo, Stylistâ&#x20AC;&#x2122;s Own; Trousers, CMMN SWDN; Boots, Grenson.

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Charlie wears Coat, Sandro; White Shirt, Diesel Black Gold; Trousers, Topman; Socks, COS; Shoes, Robert Clergerie.

Simon wears Vintage green polo and Burgundy jumper, E.Tautz

Charlie wears Denim Shirt, Leviâ&#x20AC;&#x2122;s; Blue Jacket, Dickies

Left Trousers, CMMN SWDN; Shoes, Grenson. Right Trousers, Topman; Socks, COS; Shoes, Grenson.

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COLLAB ORATIVE CONTEN DERS November 2011 is a time that I’ll never forget. A month I like to call: Versace month. Versace and H&M dominated the world and – had the term existed – they would have undoubtedly broken the internet. In short, Versace catapulted H&M to new heights, pulling in a massive demographic from the catwalk category and setting a precedent for a fashion phenomenon that high-street retailers and independent brands have been hungry to replicate. In 2015 alone, Christopher Shannon teamed up with River Island, Puma with the House of Hackney and Yeezy collaborated with Adidas. H&M’s 11th designer collaboration is with the massively adored Balmain. It’s fronted by Kendall Jenner, Dudley O’Shaughnessy, Gigi Hadid and Jourdan Dunn who are thrilling the masses and looking damn good while doing it. They bring their own individual stamp to the brand and explore new avenues of creativity not confined to their catwalk characters while still keeping in tone with the personality and character of the designer.

Photographer HOYmedia Clothing Balmain X H&M Modelled, Styled Jonathan S. Zegbe

Take Yeezy Season 1, for example. It screams Kanye. The fur-lined parkas, the oversized camouflage tees, the desert boots, the distressed, dystopian military sweaters and the fur-infused bomber jackets. Kanye has produced a collection that suits him and as a result it will be consumed by those who follow him.

So, what makes a designer collaboration a hit? The answer: A combination of exclusivity, commercial design, an effective marketing campaign, a host of celebrity endorsements and all the Instagrammers and hashtags in between.

EXCLUSIVITY Two words: limited edition These items are one of a kind, never to be released again and once they are gone, they are gone for good. As a result, not only are you buying into a high-end product that a small percentage of the world’s population will own but you are also capturing a little piece of fashion history. A once-in-alifetime opportunity! If we look at A Kind of Guise X Adidas, an independent brand that has steadily built a solid and highly acknowledged reputation for its simplistic and sophisticated design joins forces with an iconic label to produce a limited edition range. The collection featured premium materials to uphold their high-quality standards, reinterpreting a popular Adidas style from the 80s in AKOG’s own unique way. What makes this any different from the other Adidas collaborations floating about? The exclusivity that surrounds it. The collection is only available in Munich, Berlin, Paris and a selected few retailers worldwide which includes Nowhere on Aungier Street in Dublin. It’s the only store in Ireland to house the elite collaboration. How’s that for exclusive?

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COMMERCIALITY We all know when it comes down to it the success of a designer collaboration comes from its commercial ability. Versace X H&M sold out in less than 60 minutes worldwide. Websites crashed, eBay almost imploded and women suffered broken nails on a global scale. The key for a catwalk designer lending their talents to a fastfashion giant is found in their commercial flair to fit their aesthetic to the needs of the retailers’ customers.

MARKETING Christopher Shannon X River Island showed us a taste of things to come before the official launch of their collection by releasing a fashion film, illustrated sketches, product imagery and an official look book. They offer up a story of independent catwalk design from start to finish, creating an online presence and enabling us to feel the essence of the designer’s imagination. It hooks us in and lets us know that this isn’t your average, run-of-the-mill high street collection.

ENDORSEMENT In the case of Kanye’s Yeezy X Adidas, we have something extra. Here, a celebrity not only endorses the product but also has a hand in the creative process. Yes, it is limited edition and yes, it is a high end collection but the allure of living and aspiring to the life of our celebrity idols heightens the exclusivity factor tenfold. For a brand, the product sells itself when

a high profile actor, musician, designer or blogger joins the party. They tap into a new audience and create a celebrity-infused identity which is synonymous with the brand’s core beliefs.

HASHTAGS Finally, we have what is without a doubt the biggest tool in pulling off a successful designer collaboration: social media. To be more specific: Instagram. Balmain’s Olivier Rousteing has over 1.4 million followers and with hashtags like #Balmainarmy and #HMBALMAINATION. His fans, acolytes, style disciples and Balmain troops are instantly linked and ready to receive their orders. It cements the idea that Balmain isn’t becoming a part of the H&M family but rather for a really short period of time H&M is joining the force that is Balmain. Brand ambassadors and PR gurus can explore, adapt, utilize and inject everything they need to do to secure a victorious designer collaboration by using social media and tracking bloggers, stylists, models, influencers. The power of the hashtag teamed with the amalgamation of a designer’s mind and a high street giant’s vision and resources is basically an unstoppable machine. A machine that will continue to produce many more monumental collections for a long time to come. Why? Because we want it to.

LEWIS ROBERT CAMERON @lewisRcameron

Runner, A Kind of Guise x Adidas Photographer Du Jingze Available in Nowhere, Dublin.

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ECO-FASHION Andrew Morgan’s documentary, The True Cost, gives us a shocking insight into the increasingly large footprint that the fast fashion industry is leaving on our world. Morgan starkly juxtaposes the glamour of the fashion world to which we’ve grown accustomed with the horrific working conditions experienced by women and men in garment factories in countries like India and Cambodia. According to his research, the fashion industry turns over three trillion dollars per year. A staggering 1 in 6 people work in the global fashion industry, making it the largest labour-dependent industry in the world. We purchase over 80 billion pieces of clothing per year which is over 400% more than we bought two decades ago. The rate at which we buy has changed so dramatically in such a short space of time that people are only “beginning to question the impacts of a model built on careless production and endless consumption,” as Morgan explains. We live in a capitalist society where generating profits is the top priority for most corporations. However, as Morgan’s documentary highlights, capitalism completely disregards human capital and the effects that these kinds of profit-driven industries have on our environment. The ‘true cost’ of something like the fast fashion industry is only fully realised when you look at statistics such as, 11 million tonnes of non-biodegradeable clothes are dumped per year by the US alone – these will take at least 200 years to decompose – and that makes the fashion industry one of the highest polluting industries on earth, second

only to the oil industry.

THE SUPPLY CHAIN The True Cost investigates each aspect of the supply chain and identifies particular areas where the fast fashion industry creates problems. One cotton farmer commits suicide every 30 minutes in India, amounting to a shocking 250,000 suicides in the past 16 years. Corporations have monopolised the cotton seed and pesticide market in these countries. They sell these to farmers at high costs and seize the farms of those who can’t pay them back. The pressure becomes too great and the consequences are devastating. Dr Pritpal Singh has conducted extensive research on the effects that pesticides have on humans. He has focused on the villages surrounding these cotton farms and discovered that there has been a significant increase in children born with birth defects and mental illnesses as well as a greater likelihood of various cancers. Governments of developing countries are so desperate for large corporations to invest in their economies that they often ignore labour laws which govern wages and working conditions. As a result, workers in garment factories which make clothing for fast fashion companies are often earning very little and are forced to work in dangerous conditions. In 2013, one of the largest industrial disasters occurred when an eight-storey garment factory collapsed killing over 1,000 people in Bangladesh.

ELAINE CONNOLLY

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WHAT CAN YOU DO? CHECK THE LABEL Before you buy, take two seconds to check what materials have been used when making the item of clothing. Are they eco-friendly fabrics like organic cotton, linen or wool? You pay more for these fabrics but if something appears cheap, you need to think about the human cost.

EDUCATE YOURSELF Do some research about companies and designers who are creating clothes in a way that is better for our planet. Stella McCartney has accepted the challenge of creating beautifully designed clothes that are also friendly to the environment. People Tree ensure that all of their clothes are produced ethically and have labelled themselves as ‘slow fashion’. International brands like Kuyichi and Nudie Jeans recycle your old jeans, turning them into raw material for new yarn.

SUPPORT YOUR LOCAL COMMUNITY Look closer to home for eco-friendly solutions. Kinsale-based Mamukko are pioneers in recycling fabrics by using salvaged boat sails, life rafts, leather and textiles to create unique bags. Ayuvastra, an Irish online business, specialises in high quality yoga wear for men and women that utilises an ancient Indian technique of dyeing textiles with medicinal herbs. However, these are only small changes we can make to our everyday lives and isn’t a complete solution to the problems that fast fashion and profit-driven industries have created. Real change needs to happen at government level with legislation introduced to force these industries to slow down and consider what kind of mark they’re leaving on our planet. We only have one, please don’t destroy it.

A THIRD DIMENSION Love & Robots store, Dublin Photographer Du Jingze

I have to confess that when I was asked to write this article I knew very little about 3D printing. I put it down to the fact that technology and me have never been great friends. Don’t get me wrong, it does fascinate me and I do wish that technology would love me a little bit more but what can I say, we just don’t connect so well. So when I went to research 3D printing and fashion I realised I’d been missing out on a whole new realm of design. There had been entire catwalk shows designed purely through 3D printing. I felt like I had stepped into a technological Matrix of the fashion world. While I was blown away by the visually stunning designs that had been created by a printer, I had to first try to understand how a printer – the inanimate object that has been the bane of many office workers’ lives – could be the life source of creativity. It turns out that a 3D printer can produce different objects in different types of materials. But how? According to an article by Andrew Walker in the UK Independent, it’s achieved through layering. Thanks to Walker’s step-by-step explanation of 3D printing for dummies, I was able to grasp the concept. He explained that if you look at a printed page you see that the ink sits on the surface of the page. In theory, if you printed over that same page thousands of times eventually the ink would build up enough

layers to create a solid 3D model of each letter. Easy! So if you wanted to create something physical, you design it on your PC, connect to a 3D printer and let the magic happen. Walker went on to explain that the 3D printing process turns a whole object into thousands of tiny little slices that makes it from the bottom up, slice by slice. Those tiny layers stick together to form a solid object. In fashion terms, 3D is extremely exciting. Fashion has become more fast paced than ever before with some design houses churning out up to six new collections a year. With a need for something new, innovative and cutting edge in short bursts, creativity can become stinted. 3D design allows creativity to flow through a new medium. This is a fresh approach to design where realisation of many diverse results is achievable. It enhances the opportunity for a more fluid, bespoke edge to design. One Irish design team embracing the innovative technology is Love & Robots. Their design mantra is uniqueness: creating a product that is personal to the customer. With a team of designers and techies, Love & Robots puts the customer at the centre of the product creation. A favourite of ours here at MFI is the 3D printed Bow Ties. The range utilises 3D printing to create classic style accessories. The design is made to look like a cloth bow tie with a wire frame design. The customer can tailor the piece to choose the shape and colour giving them one of a kind design. While accessories are the most obvious way of bringing 3D printing into fashion reality, the technology goes far beyond this. For their AW15 collection, Pringle of Scotland looked back to the future. The Scottish label mixed their classic tapestry prints with 3D printed fabrics. The catwalk

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was transported to the past in celebration of the label’s 200th anniversary. Woven heavy knits were designed in juxtaposition to 3D-printed, chain mail front panels made from nylon powder. According to Creative Director Massimo Nicosia, he wanted a way to look at the trend not only in a retrospective way but also looking forward to the future. We live in a world where technology has, in some sense, taken away the elements of being original. Due to technology, social media and the Internet, fashion has become so readily available. It has become saturated and in a way that it’s losing its originality. But 3D printing technology is giving back that innovative aspect to fashion. So is there a future for 3D printing in fashion? If the sceptics are to be believed, it could be the ultimate downfall of the industry. There is the theory that with the right technology and 3D home printers, what’s to stop us creating an exact replica of the season’s must-have Saint Laurent shirt for example with just the touch of a button? While it seems this would be the cheaper way out we already have a counterfeit market yet people still choose the original. If counterfeit isn’t the way forward then maybe the future success of 3D printing lies in its partnership with other

technologies. Already designers such as Paola Tognazzi have developed wearable garments that transform with movement while others have explored shoes that react to our brain waves. It has taken Nike 30 years to perfect the self-tying shoelaces, so who knows how long we have to wait for shoes that are controlled by our brains. It seems that Nike aren’t ready to stop their technological advances with the self-tying high top. They’ve jumped on the 3D printing bandwagon by recently being granted a patent for automated strobel printing. The strobel is one way that a shoe can be shaped to that of the foot. This won’t ultimately change the way Nike make their shoes but instead will progress and modernise the making of their shoes. Maybe 3D printing is the microwave oven of fashion. It’s quick, convenient and easy, but does it beat the original? There is no denying that there are no limits with technology so it’s difficult to say where exactly it will bring us or who in the fashion industry will be brave enough to embrace it to its full potential. At the moment it’s exciting and the only thing we can hope for is that the creativity of the fashion industry can work in harmony alongside these great technological advances.

PAULA BURNS @Stylewhisperer1

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FASHION + TECHNOLOGY

WITH MATTHEW DRINKWATER

The Web Summit opened its doors, possibly for the last time, in Dublin this November. Three days of panels, talks, presentations and interviews took place across multiple stages, covering everything from music to marketing and data to security. On the last day, the Fashion Summit claimed a room, that was arguably too small, as the queue drifted out the door and back into the main hall. Fashion and tech are beginning to be on better terms despite their rocky start. So who better to talk to than a man at the forefront of making this relationship a reality. Matthew Drinkwater is the Head of Innovation at the London College of Fashion and the Fashion Innovation Agency who took time to chat about technology in fashion, changing the system and the future of wearables. How did the Fashion Innovation Agency come about?

Recharging Belt Casely-Hayford / XOO

We were part of a European-funded bid three years ago to look at innovation around designer’s business models. And typically what you see with a designer business is that they will graduate from college and set up their own label, typically under their own name. They have an aspiration to show at London Fashion Week, aspire to sell their collection wholesale and quickly discover that is a very tough way to grow a business. And so, what we wanted to try to do was look at ways that we could use technology to begin to disrupt that business model. So our work is specifically aimed at the way designers are making their collections, working with smart materials and smart processes, and the way they’re showing their collection. We do lots of activity at Fashion Week and then ultimately look at

how they end up selling their collection. If I told you that less than 40% of designers that show at London Fashion Week have an e-commerce platform, it gives you an indication that the fashion industry will project itself as an early adopter, it’s anything but! It is an archaic system that is churning out a conveyor belt of designer businesses that struggle to grow in a way that is scalable. Before you start thinking about a solution to this, do you need to find people from technology and fashion that are willing to just experiment together? That is absolutely vital. We are there to be that bridge between the two industries to begin to facilitate some of the collaboration. More than collaboration, I always think about co-creation. Getting those two industries under the same roof. So, we incubate designer businesses at the London College of Fashion and we’d also quite like to put technology businesses under that same roof. And have it multidisciplinary? Working alongside each other and I think we’d begin to see some crossover, crosspollination. They have to experiment and try to figure out what is right for them because currently you’ve got traditional fashion designers over here and coders, engineers over here and nothing is in the middle. There is an enormous gulf. What about projects you are working on at the moment? Secret? Sadly always secret. But I guess what we are really interested in is moving the discussion on wearables away from those moments at Fashion Week, which are great and have their place. We delivered a really

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“WE INCUBATE DESIGNER BUSINESSES AT THE LONDON COLLEGE OF FASHION AND WE’D ALSO QUITE LIKE TO PUT TECHNOLOGY BUSINESSES UNDER THAT SAME ROOF.”

big project last year with the Walt Disney company.

available and how we might be able to apply them to the industry.

The Tinkerbell dress?

Something that we were playing with just today was the Oculus Rift (Virtual Reality glasses). But have you tried out the smaller plastic glasses for your phone?

Yes. It looked amazing. It did look amazing, but the only negative we got was that you couldn’t buy it. The second you put it on that platform, the consumer expectation is that it is ready. That was the work of a number of individuals over a few weeks to make that particular product. Can we create a value change for wearable technology? That is absolutely what we have to do and I think what’s missing is that when consumers imagine the wearable technology, then simply presume that we would be able to take a traditional manufacturer, give them some electronics and they’ll be able to make lots. So when it comes to the commercial side, that dress in particular was very creative and exploring technology and fabrics. But what about something that is more commercial, like the trousers at London Collections that could charge your phone? So we actually sold those. They were £900 each… cheap (laughs)

The ‘Tinkerbell Dress’ Disney / Richard Nicoll / Studio XO

Nothing! But do you see that developing quicker than the aesthetic side? I think genuinely what people want to see now is that move from something on a catwalk to something that they will be able to buy that adds utility, that has aesthetic value, that you can deliver at scale. That’s a fair challenge but I think there’s lots of ways that you can do it. But I think what is exciting, particularly about coming to Web Summit, is engaging with start up businesses. We did a project a year ago with a company that had developed a flexible battery. This was the re-charging belt project with Casely-Hayford? Exactly. So that was a really fun way of bringing start up and fashion designers together. Fashion designers never crowdfund, they have an issue with doing that. So it was an interesting way of showing them the different routes, working with a start up whose prototype, by their own admission, wasn’t where it needed to be. So working with fashion designers to bring it to a level which was more aesthetically attractive for consumers was a great thing to do. And that did really well! I think that raised $80,000. So I’d like to engage with more companies like that, find emerging technologies that we can use. I spent a lot of time in San Francisco in the last new months to see what technologies are

Yeah I have. I think every aspect, virtual reality and augmented reality both in a use case and as a wearable, there’s a design input. I think there is also a use case within the industry for VR as a creative tool and as a showcasing tool. So we will take the technology and think about every element and how we could link it back to the industry. Sticking with the virtual reality, when we were using them we saw music and sports events and we immediately thought, we want to sit at home in our PJs and be on the Front Row. Do you think the Fashion Innovation Agency will be involved in developing that kind of technology for fashion week? Absolutely. It’s not that it hasn’t been done, Topshop experimented with that three years ago and Rebecca Minkoff has just done 360 videos but I think the technology is advancing at such a rate it‘s becoming so much more accessible. That we can get it on our phones? So yeah, it is an amazing way for what is a very closed industry to reach a huge global audience. I love Google cardboard, but it is an entry level way for people to experience VR and the fashion industry needs to use technology to widen its reach and let people in to what is an exclusive industry Lastly, is there a particular designer that isn’t working in the technology field now that you would like to see explore and see what would be possible to achieve? I think what’s really interesting is that the high-end luxury brands are still struggling with how technology will be integrated, not just into clothing but into a store environment. We’re trying to find out what the value is for them as a brand and for their consumers. So right at that top end, if you were to go and talk to some of those luxury brands, which we do, there’s a disconnect between a lot of them perceiving themselves as heritage brands but having to navigate what is very rapidly evolving world. So yes, luxury brands. That’s what you want to see? Yes please!

MICHELLE WALSH @MichelleA_Walsh

- FEATURE -

BANKING ON BANKSY ART WORTH

The street is no longer the sole domain of this illusive street artist. Banksy’s work now graces Sotheby’s and similar high-end auction houses, mostly without his permission. Not many artists are welcomed into this commercial art world despite years of work and sacrifice. Even less are street artists, who are still struggling with the commercial validity of their work, although that has improved dramatically in recent years. During a New York residency, he talked to the Village Voice, “commercial success is a mark of failure for a graffiti artist.” For an artist supposedly worth $20million, why does he feel like he has failed? We know his work is for the public just by looking at where he places it. It lives on walls, buildings and in public spaces. However, the valuable nature of the work now means this won’t always be the case. Once a confirmed Banksy appears, more often then not, it is professionally protected, removed and sold to the highest bidder. So anyone (with a fat wallet) can enjoy their very own Banksy without having to share. He is very much against this practice and often refuses to authenticate a new piece on his website. In Forbes he states, “Graffiti art has a hard enough life as it is, before you add hedge-fund managers wanting to chop it out and hang it over the fireplace. For the sake of keeping all street art where it belongs, I’d encourage people not to buy anything by anybody, unless it was created for sale in the first place.” In 2014, Kissing Coppers went for £345,000 after being extracted from a wall in Brighton against the artist’s wishes. Banksy is the ‘face’ of contemporary street art. Most people, regardless of their knowledge of art or culture, could identify his trademark style. His identity is still a secret which is even more note-worthy as every year passes when you consider the majority of us share our identities and private details online. You can find out the most intimate details about someone but we still can’t unmask Banksy. In our digital world, his silence is golden.

His most expensive sale was actually a manipulation of another artist’s painting. Keep it Spotless (defaced Hirst) went for $1.87million. In a recent experiment in New York City, some small canvas pieces were sold near Central Park on the street. People bartered and haggled but very few were sold or were identified as the real thing. According to a report in The Guardian some of the pieces were worth up to £140,000. However he only made £263 that day and sold eight paintings. This booth was never about making money. This was his statement on commercialism and the contemporary art market. Value is changeable, while context is everything.

DISMALAND The impact of a Banksy piece is tangible to the people lucky enough to own the property he ‘vandalises’. So what happens when he uses this money-making superpower on a derelict space? Dismaland was a month-long exhibition installed at the abandoned Tropicana Lido in Weston-Super-Mare in Somerset. Fifty-eight artists took part in the so-called ‘Bemusement Park’ including Damien Hirst, Mike Ross and Jenny Holzer with performances on Fridays from Run the Jewels, Pussy Riot, De La Soul and Damon Albarn. Fatboy Slim also played a surprise gig featuring subverted hits from the Disney back catalogue. About 150,000 people visited the exhibition that took place this September and were greeted each day by security guards who frowned. This is a staggering number when you look at visitor figures to modern art galleries and special exhibitions. We also cannot overlook the fact that this particular business closed due to low visitor numbers in 2000. According to the BBC’s Business Correspondent, Dave Harvey, Banksy’s anti-capitalist Dismaland ironically brought £20million to the local economy. Hotels were booked out each night, restaurants had an unusually busy September and any land on the seafront was turned into temporary car parks.

Photographer Myriam Riand

We cannot underestimate the economic impact of art on tourism and on public spaces. It has the power to transform, particularly at this scale. Darren Cullen, a contributing artist to the park said, “It is just amazing having this much sarcasm in one place.” Critics once again couldn’t agree on whether the largest piece of conceptual art in history was groundbreaking or simply a purposefullydistressed façade. This tired debate is just one of many surrounding the artist’s work. What are his motives? Who exactly is he making fun of? Does he treat us all with the same disdain or just the people who don’t ‘get it’? We are talking about the artist whose body of work includes the piece, I can’t believe you morons actually buy this shit (2007). In the 2010 documentary, Exit Through the Gift Shop, one pervasive question emerged. Is it real? Did the film’s subject,Thierry Guetta, really become the artist he claimed to be? In an interview with the LA Times, Guetta claims that “Banksy captured me becoming an artist. In the end, I became his biggest work of art.” If there is a joke here, who is the victim? Is it Guetta, the people who buy his work or the viewer who can’t determine fact from fiction? Personally, I think only the artist can answer this but that won’t stop the debate raging, so we may never know! Banksy is challenging how we value art and how street art is perceived. He is leading the race in public displays of sarcasm and even though he may mock us mercilessly, we still want more.

MICHELLE WALSH @MichelleA_Walsh

Ryan wears Top, Dries Van Noten at Brown Thomas;Â Shirt, Dsquared at Brown Thomas. Dylan wears Sweater, Kenzo at Brown Thomas.

Photographer Patrick Quinn Byrne Creative Director Adam Gaffey Stylist James Butler Make Up Caroline Oâ&#x20AC;&#x2122;Shea at LA College of Creative Arts Models Lukman, Dylan Moran and Ryan Barrett at NotAnother Agency

Lukman wears Mask, Rory Parnell-Mooney at Nowhere; Trousers, Kenzo at Brown Thomas.

Dylan wears Sweater, Kenzo at Brown Thomas.

Ryan wears Sweater, Alexander McQueen at Brown Thomas; Trousers, Valentino at Brown Thomas; Shirt, River Island.

Dylan wears Jacket, A Kind of Guise at Nowhere; Sweatpants, Marni at Nowhere.

Lukman wears Raincoat, Stutterheim at Nowhere, Sunglasses, Sun Buddies at Nowhere.

Ryan wears Sweater, KTZ at Nowhere; Shirt, Alexander McQueen at Brown Thomas.

Lukman wears Sweater, Christopher Shannon at Nowhere; Trousers, Rory Parnell Mooney at Nowhere.

Dylan wears Sweatpants, Alexander McQueen at Brown Thomas; Trainers, A Kind of Guise X Adidas at Nowhere.

Illustrator Charlotte Lee

- FEATURE -

OUR RECOMMENDED INDEPENDENT ZINES Polyester mag Huck W mag AnOther The Gentlewoman Delayed Gratification

WHAT IS THE FUTURE FOR PRINT MAGAZINES? Attendees and content aficionados were treated to an array of expertise on the opening morning of the fourth annual Web Summit in November. There was an interesting air of uncertainty on the content stage as leading industry professionals from The Guardian, GQ, Forbes, CNN, The New York Times and Vogue delivered interesting arguments on the aging debate surrounding the future of print. The process of storytelling is a necessity that makes modern communication possible and is the backbone of good journalism. Once considered a sacred and intimate activity using word of mouth, storytelling has lead the way for what we consider to be modern ‘news’ and has subsequently undergone enormous change in its lifetime. Technological advancement allowed for storytelling to be developed into print, audio, broadcasting and would eventually become virtual. The rise of the World Wide Web has undoubtedly altered how we receive, digest and react to news in a constant 24-hour cycle. Not only is it economically viable in terms material use, but it is instant. Remember that not too long ago, the only way to receive breaking news was on the six o’clock bulletin or in the morning papers – even though the ‘news’ may have happened 12 hours previously. Are newspapers and magazines following the footsteps of the music industry? Tanya Cordrey, Chief Digital Officer at The Guardian, began the conversation with the notion that print is undoubtedly in decline but that there is a distinct magic still associated with it: “It is a fast death for few and slow death for many. Revenues for print are under threat. It’s about finding the right medium for the right story. But there is an emotional side involved in print that cannot be

justified by ‘the digital experience’. Digital products have yet to crack the potency of having an actual physical magazine.” Wil Harris of Condé Nast Publications, which produces GQ, Elle and Vogue, and Eric Schurenberg of Inc.com disagreed with Cordrey’s notion, however, and agreed that print was in fact safe. Schurenberg highlighted how there is still an elite stance in seeing yourself in a magazine and that this is an issue that the web still has to capture. “With print, you’re committing to the notion that the group of editors have knowledge that you don’t have, and you trust them to deliver stories you want to know. When you open a magazine in a public place, the cover and title is evident and can reveal a lot about the individual. People make judgements on your choice of publication. Brand power is something that magazines have as opposed to seeing the back of someone’s head at a computer screen,” says Schurenberg. Similarly, Wil Harris confirmed that print has a really strong future at Condé Nast and that the circulation of Vogue has been consistent in the last five years. Harris pointed out that advocates of high-end publications like Vogue are not going to stop buying the magazine but people who buy magazines casually are more likely to view online content instead. This poses the question to the different types of content created for online and print. Content online tends to be short and to the point, often disregarding long pieces of excellent journalism. Does print content give the same impression online? Is there room for long pieces of good journalism in the digital age? Addressing the matter, Harris stated that people react and engage differently to online-specific content. “I think digital is the ultimate serendipity platform. You buy magazines for the

certainty: you know what’s in the magazine before you buy it – whereas online you don’t necessarily know what you’ll see,” he said. Schurenberg believes that the medium dictates the content but good journalism really shows in print. Inc.com produce 60 stories a day online but only 40 stories per issue (Inc.com produce 10 issues per annum), which means the stories have to be of a high standard and quality. “Is it economical to spend €150,000 on advertising revenue on a six page spread? Yes. However, this wouldn’t be sufficient online where traffic may only peak at 20,000 visitors; where as there is a much larger print readership.” Tanya Cordrey closed the discussion with the unanimous decision that there are three things keeping print alive: magic, money and serendipity. Schurenberg finished on the notion that print will continue to have a ‘velvet rope’ or ‘celebrity appeal’ that digital simply cannot yet offer, while Harris emphasised the importance of taking a break from the digital world and that reading a magazine should be seen as a luxury. So what do you think? Is print dead? While older magazines may seem to be disappearing from the newsstands, independent magazines seem to be appearing at a staggering pace. It seems to me that digital people say print is dead, while those in print counterargue that point. Undoubtedly, the internet is a mega fast and cheap way to distribute and disseminate information to the masses. Print, however, is tangible: it is a physicality of beauty that requires skill, dedication, aspiration, patience and creativity.

NIAMH O’DONOGHUE @CulturedCuppa

- FEATURE -

GOING NOWHERE, HERE TO STAY.

Menswear in Ireland has been growing at an exceedingly slow pace compared to other cities around the world. We’re not just talking about Irish men keeping up with the latest trends. It’s more than that. It’s about the culture, it’s about masculinity and it’s about the freedom of self-expression. However, it is growing nonetheless and we have independent Irish formal wear stores, department stores and a dominant creative industry. So, what is it that has been slowing down the growth of menswear in Ireland? Or fashion in general? Is it because we don’t break boundaries enough to earn international recognition? Is it because most of the content in Ireland is commercialised? And what is changing now that menswear is moving that little bit faster? I spoke with Brian Teeling, co-founder and director of the independent Irish menswear store Nowhere on Aungier Street, Dublin. He’s recently been disrupting what we like to call the ‘formula’ and is driving a force of innovation, individuality and change for the men’s fashion industry in Ireland. The store launched at the end of 2014 and stocks designer brands, including Raf Simons, KTZ, Matthew Miller, Alan Taylor, Craig Green, Christopher Shannon, Christopher Raeburn, Rory Parnell-Mooney, Bonagrew and A Kind Of Guise. I wanted to find out more about Brian’s strategy for the brand and I began the conversation by asking about the process and idea behind the name ‘Nowhere’ and the brand’s core aesthetic. “I’m a big fan of Shoegaze and one of my favourite albums of the genre is Nowhere by Ride. We went through a lot of names for the store but we had Nowhere from the start. I guess it just really fit with how myself and David were feeling at that moment. We’re all such strong-headed people here, creatively speaking, at Nowhere. We’ve all got previous experience and all contribute to the identity. We approach the identity of

the store openly and naturally. What we present is who we are.” As an independent menswear store in Ireland, Nowhere challenges the typical retail experience for men. It has an authentic story behind it and looks into the future of culture and masculinity. What is it that drives Brian’s interest in the retail sector? “Music is what drove me to fashion. I wanted to be in a band. Not really for the music, but mainly because I loved the clothes so much. I started working in fashion retail when I was 17 in Topman, Clerys. Since then I’ve gone on to work for All Saints, The Kooples, Brown Thomas, Revolver Project and Indigo & Cloth. I’ve also helped out the guys at BLOQ and Filthy Club, when it was around, and studied Fashion and Textiles in Colaiste Dhúlaigh. I guess having this as my career for now has worked but I don’t see my future exclusively being involved in fashion.” The store was designed by Irish architects, abgc, and its focal point is the continuous rail in brass and walnut which runs throughout the store. “We wanted to have a very precise design – engineered, handmade, filled with masculine materials such as leather, wood and metals. Rather than a traditional gentleman’s environment though, the result is a progressive and future-looking design with practical but also playful elements. The unbroken hardwood rail allows the store to change and adapt continuously. It’s the opposite of a traditional men’s store where everything is fixed,” says co-founder David Erixon. Along with the standalone store in Dublin, Nowhere also reaches out to a much wider audience through its website, social media platforms, events and podcasts. I questioned Brian about his strategy towards innovation in retail, both as a physical and online store?

“STYLE IS INNATE. IT IS THE EPITOME OF CONFIDENCE IN ONESELF.”

Photographer Du Jingze

“We just present what is interesting to us. If we were to exhibit ourselves as anything but, it would be disingenuous on our part. I guess that’s our strategy: show a different side to menswear, open up the discussion about masculinity, offer an alternative.” Brian recently launched Belfast musicians’, Girl Names, new album Arms Around A Vision in store. I asked him to tell us a little bit about his musical interests and how this will be incorporated into Nowhere in the future? “It’s something that’s so important to us in the shop. We all connect over music and it’s become such an integral part of the store. I can’t talk much about the future on this as we’re trying to stay as tight-lipped as possible.” The Nowhere podcast is another element of the brand and I wanted to know more about the topics discussed on this platform. “The podcast ‘A Nowhere Man’ is hosted and produced by David Erixon. Every episode David has a guest who joins him talking about various topics all centred around masculinity. We’ve talked about technology, ballet dancers, drag queens and even the colour pink!” Nowhere continues to have an impact on the Irish and international fashion scene. I asked Brian which was his favourite fashion capital to visit for buying season. “For the shows, it’s London without a doubt. Although Paris has the bigger brands and designers, London has a more

unique energy about it. There’s a real sense of community there with all the designers being incredibly supportive of each other and often attending the shows of their colleagues. Paris is more about work. You get to see a couple of shows but your time is mainly spent in the showrooms buying. It’s my favourite part of the job to be honest, but it is also the most stressful – long days and even longer nights.” Nowhere changes the identity of men’s fashion in Ireland through innovation, creativity, and fearlessness. I wanted to know what Brian thought were the differences between fashion and style? “Everyone has their own style, but when we’re talking about style when compared to fashion, we’re talking about a completely different thing altogether. Fashion is temporary. Something adhered to by conformists, by people who want to look the same as each other, a thing that is consumed. Style is innate. It is the epitome of confidence in oneself. Not a lot of people have it.” What does the future hold for Nowhere? What’s the next step? “We don’t even know that yet. But we’re excited to find out.” Join the movement and follow Nowhere on Instagram @anowhereman or visit their website anowhereman.com

ADAM GAFFEY @AdamGaffey

THE GROWTH

- GROOMING -

Remember when a slick of Dax Wax and a spritz of that birthday gift set deodorant was deemed suitable enough to count as being sufficiently presentable? Those were the days, my fashion friends. Of course, while I’m more than happy to have discovered appropriate hair care and actual fragrance in my latter years, there’s still a lot to be said for the simplicity of said times. Nowadays, it appears that there’s a lotion and potion for everything (not that I’m complaining – anything but) and with that comes an apparent pressure to hone and preen every last inch of our person to the point of apparent perfection. Or, so it would seem. While salons and skincare brands are championing an abundance of products and treatments for men, the Irish male still hasn’t quite embraced his full grooming potential. Or if he has, he certainly isn’t telling anyone.

that I begin to ask myself why this elusive beauty entity was only ever confined to the forearms of my person. I guess it was ultimately because our arms are usually exposed during summer anyway, so the ‘fake’ element of tan wasn’t so fake – essentially, I was merely taking advantage of the plausibility that my artificial glow may be real. But why was I so afraid to own up to my coloured cover-up? Fake tan certainly isn’t a new-found invention and has been championed by Irish women for years, so much so that ‘fake tan Thursdays’ have become a fabulously ritualistic activity for many a gal. This is where the notion of that ‘macho’ male comes into full masculine glory. While women gladly parade the fact that their instant glow is merely a make-up myth, some men are considerably less inclined, for fear of not fitting into the societal male psyche that wouldn’t dream of setting foot near a tanning mitt.

OF MALE GROOMING “...AN INCREASE IN MALE GROOMING OVER THE LAST YEAR ESPECIALLY IN OUR FACIAL TREATMENTS AND WAXING AND NOW IN TANNING.”

The ‘metrosexual’ was a popular figure in the noughties but it seems that, in recent years, he may have gone into hibernation. Better yet, perhaps he has been taken over by a new male. A male who manages to have a perfectly preened undercut, a sleeve of tattoos and an enviably luscious beard. While this new-found ‘macho’ (for want of a better word) male is of course hardly a product of nature, it would seem that he is rather reluctant to divulge his secrets. Although male grooming in itself is a whole world of treatments and salon secrets that very few men will discuss, one that I find to be a particularly ‘grey’ area (or brunette, depending on your age) is that of men’s intimate maintenance. If a man were to wax or trim his nether regions, how often would you hear him discuss the perils of ingrown hairs or the importance of aloe vera gel to avoid any burning bits? The answer, frankly, is rarely. So, why is this the case? Snapchat star James Kavanagh puts the whole thing down to exposure, arguing that men are “less-inclined to maintain their bits because everywhere you turn, the male image is heavily promoted as hairy and bearded. Men are probably just reacting to this!” Indeed, perhaps this ‘facial hair, don’t care’ mentality has caused some Irish men to quake in their brogue boots at the very thought of a wax strip or a razor. But what about other treatments? Take tanning, for example. I myself will admit that over the years I’d have been partial to the odd slick of instant tan on the arm of a night out but never on my face or anywhere else. And it’s only now

But, gentlemen, it appears that there may be light at the end of the tunnel. Salons have become increasingly more male-focused in recent years, with more men than ever booking themselves in for a variety of treatments. According to Jennifer Butler, one half of the duo behind Vanity Rooms Salon and fake tan sensation The Tan, her business has seen “quite an increase in male grooming over the last year especially in our facial treatments and waxing and now in tanning,” stating that “guys are now realising that’s it’s okay to have a facial and are loving the results.” So, if it is ‘okay’, then why the secrecy? Is it deemed inappropriate to be so open about your desire to be a preening pro? Ultimately, it would seem that, like fashion, Irish men are just a tad behind when it comes to embracing what’s, essentially, totally normal. And, as is the case with a myriad of cultural milestones, it could all just be a matter of timing. I’m certainly hopeful for a new-found wave of pride when it comes to grooming – after all, whoever thought we’d see the day of mankets and manbuns? So gentlemen, if you have, or are considering, a cheeky treatment or a subtle glow here and there, please do let people know. Who knows – in 10 years time, we could all be walking, talking images of preened perfection. Well, nearly.

JAMES BUTLER @JamesPatrice

- FASHION -

NEW SEASON ESSENTIALS

2 1 AGAINST THE RAIN 1. Colour Block Rain Coat €225 Stutterheim at Nowhere 2. Padded Leather Mittens €69 COS 3. Scarf €6 Primark 4. Umbrella €18 Next 5. Black Champion Boots €145 Dune

- FASHION -

PARTY SEASON

1. Cuff Links for events €18 River Island 2. Single Breasted Colour Block Blazer €965 Givenchy at Brown Thomas 3. Silver Cuff Bracelet €13.95 Topman 4. Leather Wrist Watch €37.00 Burton 5. Lightweight Knitted Sweater €125 Wood Wood at Castle & Drury

- FASHION -

THE CRAFT

RORY PARNELL-MOONEY While I was on my search for Irish mavericks in the fashion design community, there was one particular person who I was intrigued to talk to: London-based designer Rory Parnell-Mooney. Rory launched his AW15 collection in Nowhere, Dublin on Aungier Street and I availed of the perfect opportunity to meet him.

support from the incredible Fashion East and their MAN platform. The AW15 collection resembles an ecclesiastical aesthetic in church garments which Rory has created through the ritual art of dressing. He uses minimal designs and mixed this aesthetic with an aggressive concept of ‘a boy at riot’ or ‘a boy at protest’.

Born and raised in Galway, Rory travelled to London to pursue a career in fashion at the young age of 18 and went to study at London’s Central Saint Martins. He finished college after achieving his Masters in Menswear and showing his graduate collection at London Fashion Week 2014.

“I love the linen fabric. It takes a ridiculous amount of time to make but it’s something that we came up with in the studio that I’ve never actually seen before. I look back at the show now though and I love the energy that’s in it: the colour palette is really nice and I think there’s a really raw, angsty teen energy which I really like about it as well.”

I wondered why he moved to London at such a young age? “I decided to move to London to see what it was like, first of all. I knew I wanted to study fashion so I did a one year foundation course, and I kind of thought if I didn’t like it I could just come home. And that was really the main reason I decided to go: see what it was like. And then it just expanded.” When we take a look at the career possibilities that are available for designers in London compared to Ireland, is it surprising that most designers move abroad to pursue their careers? Is it possible for an Irish designer to earn a living in Ireland?

Photographer Michelle Walsh

“I mean, when you work in different parts of the industry you need to be in different places for different things. An independent menswear store in Dublin (Nowhere) – this is amazing! And that needs to be encouraged everywhere. Somebody needs to go into the department stores and say: ‘you need to start stocking Irish people!’ But personally, I feel for designers. It’s very, very hard to be based outside of a fashion capital. It would cost me thousands of pounds to ship a collection to London to show at Fashion Week. And that’s just another added cost, you know. For the sake of me paying £200-£300 pound for rent in London. Logistically it’s a nightmare.” Rory made his debut at London Collections: Men in January 2015 with

I asked him about why he chose this career in fashion and what keeps him inspired. “I don’t think I could not do it, you know. I’m not really one of those people who are like ‘I lovvveee fashion’ but I just love clothes. Getting dressed in the morning is my favourite thing to do. I love how clothes feel, and everytime I walk into a store and want to touch every fabric I see.” Fashion design is a craft which requires creativity and passion to succeed, but also entrepreneurship and business skills. Today, we are seeing more and more people in Ireland pursue this as a career. Although the fashion market in Ireland remains an underdog in the international market, it’s growing at an immense pace and the boundaries are finally being broken down. But challenges are still faced by young and upcoming designers today. “Money. One hundred percent, money ... and understanding how to run a business, which again I put down to getting that backing. You can’t just say to someone: ‘Here’s four grand, here’s a studio ... go and design a collection that we’re going to show at fashion week.’ You’ve got to work with them! I’m so lucky to be working with somebody like Fashion East and Topman, because I can call them up at any time and say: ‘I have no idea what I’m doing!’ Or ‘I’ve never invoiced someone before. What do I do?’ I think that’s the main challenge.

People should take a really long look at themselves and their business before setting something up.”

NOW THAT THE ‘NORM’ IS BECOMING MORE AND MORE EXTREME, PEOPLE ARE TRYING TO FIT IN WITH THAT

Finally, I couldn’t end the conversation without asking him about how the perceptions of menswear in Ireland have changed in recent years? “I think men in general, not just in Ireland, but everywhere, are becoming more and more receptive to ‘extreme’ fashion. I think people in Ireland are now looking elsewhere and seeing that the likes of ASAP Rocky and all of his crew care about fashion! And they’re all in Astrid hanging out. And people are finally seeing that ‘Oh right, if I wear fashion clothes it doesn’t make me gay or it doesn’t make me a loser... ’ People are growing up. Now that the ‘norm’ is becoming more and more extreme, people are now trying to fit in with that.” Rory continues to create collections that carry a specific identity that defines himself as a creative artist and he continues to perfect his craft in the world of high-end design. He has achieved an incalcuable amount of credibility in a short duration of time and has taken his craft seriously from the beginning. It takes this determination, creativity and self-mindedness to be dubbed a maverick. Follow Rory on Instagram @roryparnellmooney.

ADAM GAFFEY @AdamGaffey

Tape Sweater Christopher Shannon

Photographer Dorje de Burgh Styling Brian Teeling Model Jamie Mann at NotAnother Agency Clothing Nowhere

Tape Sweater Christopher Shannon

Tyler Leather Jacket, Matthew Miller; Grey Fleece Sweater, Fanmail; Type 05 Brown Glasses, Sun Buddies

Gobi Shirt Rust Corduroy, Permanents Denim, Bogino Pique Cotton T-shirt all by A Kind of Guise; Jewellery, All_Blues; Glasses Type 05 Brown, Sun Buddies.

Photographer Dorje de Burgh Stylist Brian Teeling Model Jamie Mann @NotAnother Agency

Tyler Leather Jacket, Matthew Miller; Grey Fleece Sweater, Fanmail; Type 05 Brown Glasses, Sun Buddies

Gobi Shirt Rust Corduroy, Permanents Denim, Bogino Pique Cotton T-shirt all by A Kind of Guise; Jewellery, All_Blues; Glasses Type 05 Brown, Sun Buddies.

Tyler Leather Jacket, Matthew Miller; Grey Fleece Sweater, Fanmail; Type 05 Brown Glasses, Sun Buddies; Grey Sweatpants, Fanmail.

Gobi Shirt Rust Corduroy, Permanents Denim, Bogino Pique Cotton T-shirt all by A Kind of Guise; Jewellery, All_Blues; Glasses Type 05 Brown, Sun Buddies.

- FEATURE -

FRESH ON THE SCENE

NOTANOTHER AGENCY I recently met two Irish entrepreneurs who have me extremely excited about the future of the Irish modelling industry – Emma Fraser and Dean Ryan McDaid of the new creative agency NotAnother and owners of one of Dublin’s leading vintage stores, Nine Crows. On one early morning in Ireland’s finest rainy weather a few months back, we met for a coffee and we began to talk about each other’s brands and touched briefly on what our goals were as young entrepreneurs. We went on to talk about the creative aspect of fashion and what it had to offer. NotAnother has a unique, urban vibe and their aesthetic is young and cool. Social media accounts went into a frenzy when the agency was revealed. Their models have been noticed by agencies abroad in

Photographer Patrick Quinn Byrne

an extremely short amount of time too. Our winter cover model Dylan Moran was recently signed by Select Model Management in London, the same model agency as male supermodels David Gandy and Jon Kortajarena! We continued to chat over the following weeks and soon joined forces for our latest model contest in collaboration with MFI, NotAnother and Nowhere. The MFI Live Cast took place over the months of September and October this year. We saw a line of male models compete through a series of castings for the winning prize of a one year contract with NotAnother and an exclusive photoshoot with Brian Teeling (interview on page 52) and photographer Dorje de Burgh. Jamie Mann from Dublin took first place when it came to crunch time!

- FEATURE -

So why start up a modelling agency?

“I THINK THE INDUSTRY HERE NEEDS TO OPEN ITS DOORS TO THE MORE UNUSUAL FACES, SHAPES AND SIZES.”

NotAnother came from a need of ours to find the faces that suited our brand Nine Crows in Ireland. We had been trying to cast models for photo shoots from other agencies and just weren’t finding what we needed. For us, NotAnother is a passion project. We want to showcase Irish models and creatives. We want to show that the talent based here is of an international standard. You also run Nine Crows. How do you find the time to manage two businesses at the same time? Nine Crows is pretty much self-sustaining at this point. We have a great team behind us that manage the day-to-day tasks so that Dean and I can focus on growing the business and work on NotAnother. The agency has made quite an impact in Ireland and abroad since the launch. What are your goals for NotAnother? Emma: We just want to see a change here in Ireland. We think this country has a lot more to give and we would love to retain some of the talent we have here. We have a lot of big plans for the future and we’re only getting started. We’ll just keep working hard and building our client base but the future is looking very bright. How would you describe the state of the modelling industry in Ireland at the minute? I think there hasn’t been enough change in the modelling industry here. We have stayed in an Irish bubble of sorts and have not kept up with the international industry. I think the industry here needs to open its doors to the more unusual faces, shapes and sizes. Social media and a model’s online identity are hugely important too. It’s no longer just about a pretty face, brands are interested in the whole package and a good attitude which is a big priority of ours as an agency. Has modelling become a popularity contest due to social media? I don’t think it is a popularity contest. I think social media is a very important tool

for a model. I think new models should study the successful models that are doing it well and start to build a network of their own. Social media is endless and there is room for everyone. What do you think are the key skills a model requires to be successful? I think a model needs to be fully aware of what a career in modelling will entail before getting into it. You need focus and a really strong work ethic. It is a skill that needs to honed and developed. A good attitude and personality is very important as this will always help you rise up in your career, especially in Ireland where the industry is so small. It’s well known that models are often required to maintain a specific weight and body shape which can sometimes be unhealthy. What are your thoughts on this? We have great relationships with our models and make sure we keep an eye on their wellbeing at all times. We encourage healthy eating and exercise but never feel like someone should have to change themselves for the industry. We select our models based on who we feel brands are looking for and many times this is not the ‘perfect’ model measurements. If you look at our book you will see this represented there. Lastly, what can we expect in the future from NotAnother Agency? Well now you’ll just have to wait and see. But the sky’s the limit! Emma and Dean are another example of self-minded, creative, and innovative talent in Ireland. People who are taking risks and breaking the mould in fashion, extending their opportunities beyond our green island and they’re not holding back. Take note! Follow NotAnother on Instagram @notanotheragency

ADAM GAFFEY @AdamGaffey

- GROOMING -

PRIVATE BLENDS THE BEAUTY RANGE Apart from luxury clothing, the Tom Ford brand offers a wide range of beauty products for the modern-day man. If you’ve got a beard, there’s scented Beard Oil that can be used to treat it and a beard comb that glides smoothly through your facial hair minimising damage. If you have baggy eyes, there’s Anti-Fatigue Eye Treatment. You can keep your face fresh with the Tom Ford Purifying Cleansing Oil, Intensive Mud Mask, and Oil-Free Moisturiser. Along with the basic grooming products, the range has also expanded into new areas by offering concealer for men, a smooth lip balm and even a bronzing gel.

THE PRIVATE BLEND While Lady Gaga dances theatrically in true Gaga style for the latest SS16 video campaign, we’ll be dancing around the Christmas tree, dosing ourselves in a range of Tom Ford fragrances. The Private Blend collection is a line of prestigious and captivating fragrances launched in 2007. Each fragrance can be mixed to create an aroma that provides long-lasting scent which is tailored to your personal preference. Woody, fruity and delicate smells appear throughout the collection which includes, Tuscan Leather, White Cotton, Tobacco Vanille, Noir Noir, Venetian Vermont and Jasmin Rouge personally leading the pack. Night, day, summer, winter: there’s something for everyone and every season. Who thought you could design a fragrance that completely fulfils your wishes? Through smart marketing techniques and a high expectation of quality, Tom Ford has once again provided us with something unique, while he changes the face of men’s beauty. Visit your nearest Brown Thomas store for the Tom Ford Private Blend experience.

ADAM GAFFEY Photographer Jake McCabe

@AdamGaffey

- FASHION -

FCUK Xmas Jumper €135 French Connection; Star Detail Black Leather Bomber Jacket €435 Givenchy at Brown Thomas; Black HiShine Leather Shoes £74.99 Ask the Missus at Office; Sterling Silver Ring €59 COS; Grey Jean €49.95 Jack & Jones Vintage at Arnotts

- CULTURE -

June 9th 2012

THE DARK SIDE OF MOVIE MARKETING

An excerpt from an interview with Marion Cotillard for the Hollywood Reporter when asked if she was playing Talia Al Guhl in The Dark Knight Rises: ‘All she’ll confirm is that, contrary to some fans’ belief, she does not play Talia, the vengeful daughter of Liam Neeson’s character, Ra’s Al Ghul who “is fascinated by Wayne Enterprises. They go through difficulties, and she wants to help provide the world clean energies. She’s a good guy.” But does she stay that way? “Yes,” she insists.’

July 20th 2012 The Dark Knight Rises is released in cinemas, and Marion Cotillard is playing Talia Al Guhl.

December 12th 2012 Benedict Cumberbatch to Access Hollywood when asked if he was playing classic Star Trek character May 9th 2013 Khan in Star Trek Into Darkness: “A few have asked that which is strange. I play a character called John Star Trek Into Darkness is released in and not that other name. It’s interesting. Speculation is cinemas, and Benedict Cumberbatch is speculation and that’s all fun.” playing Khan.

April 7th 2015 Christoph Waltz to GQ Magazine when asked if he November 6th 2015 was playing classic Bond character Blofeld in Spectre: “That is absolutely untrue. That rumour started on Spectre is released in the Internet, and the Internet is a pest. The name of my cinemas, and Christoph character is Franz Oberhauser.” Waltz is playing Blofeld.

- CULTURE -

Are we sensing a trend forming here? And what do all of these movies have in common, besides involving an actor defiantly claiming to NOT be playing a specific character, only then to turn out to be playing that very character? Well, they’re all from the kind of movies that the internet just absolutely LOVES to obsess over, freeze frame every second of every teaser trailer, trawl through every aspect of the marketing in the search for the tiniest snippet of the information that will help prove their cinematic conspiracy theory.

Batman v Superman: Dawn of Justice

After some time had passed, Star Trek Into Darkness director J.J. Abrams spoke to MTV about having to lie about the plot detail: “The truth is I think it probably would have been smarter just to say upfront ‘This is who it is.’ It was only trying to preserve the fun of it, and it might have given more time to acclimate and accept that’s what the thing was. The truth is because it was so important to the studio that we not angle this thing for existing fans. If we said it was Khan, it would feel like you’ve really got to know what ‘Star Trek’ is about to see this movie,” he said. “That would have been limiting. I can understand their argument to try to keep that quiet, but I do wonder if it would have seemed a little bit less like an attempt at deception if we had just come out with it.” Another thing all those movies had in common is a rich and long history of stories previously told; Blofeld has been around the Bond movies since 1963, Khan first appeared in an episode of Star Trek back in 1967 and Talia Al Guhl first appeared in the comics in 1971. Why do we mention any of this? Well, what other decades old story, with internet loving fans and tease-bait trailers has been doing the rounds lately? Oh yeah, a movie involving more movie conspiracies than just about the rest of them combined. October 27th 2015 J.J. Abrams to the Associated Press as to why there’s no footage of Luke Skywalker in any of the Star Wars The Force Awakens trailers so far: “It’s no accident. These are good questions to be asking. I can’t wait for you to find out the answers.” December 16th 2015 Star Wars Episode VII – The Force Awakens is released in cinemas. Having apparently learned his lesson from Into Darkness about not lying to your prospective audience, Abrams isn’t giving up any information at all in his interviews

about the topic, which is both a good and a bad thing. It’s good because then, when the truth comes out, we can’t run to the internet and once again call him a big dirty liar. And bad because, without a specific direction for the conspiracy theories to head in, they end up heading in every direction. Solely regarding the issue of the lack of Luke, fan theories have ran the gamut from his being pulled over to the dark side and actually being the big bad guy in this movie, to being dead along and only appearing as a mental projection à la Obi Wan Kenobi or Yoda. The Internet is filled with people who have too much time on their hands. And given enough time, they will eventually guess every possible outcome for a story’s mystery, and the surprises become less of a surprise and more an answer to a multiple choice quiz. Is Luke Skywalker (a) Evil? (b) Dead? (c) Not Relevant To The Plot? (d) There For Fan Service Only? (e) All Of The Above? Giving us even the slightest amount of breadcrumbs will eventually lead someone, somewhere back to the truth. But the fault lies on both sides of the Hollywood sign. We, the public, are just as guilty for ruining the surprise. Either for voicing our theories for all and sundry online or searching them out to see if there’s anything we’ve missed. Is there a cure for this ailment? Yes, absolutely! But you’re not going to like it. Either the movies are honest with us upfront – Cumberbatch is Khan, Skywalker is Kylo Ren (you’ll know whether that’s true or not soon enough) – or don’t give us anything to work with in the first place. Unfortunately, this phenomenon isn’t going to end any time soon... September 9th 2015 Zack Snyder to Yahoo! Movies about a particular rumour relating to the Robin character: “There are so many [rumours], it’s insanity. It’s funny because every now and then someone will touch on something that’s kind of true but the next thing they say makes me realize that they took a wild guess. They’ll say something and I’ll say “Oh snap, they must have seen the script.” And then they’ll say, “And this happens!” And then I’ll go, They have no idea what they’re talking about.” March 25th 2016 Batman v Superman: Dawn of Justice is released in cinemas...

RORY CASHIN @roarEcashin

- FASHION -

WISHLIST

WINTER ‘15

Arcus Carabiner €39.95 SVORN Crafted from Zinc alloy, the carabiner is light as a feather and won’t add unnecessary weight to your everyday carrying load, while its carefully selected size will prevent from having an uncomfortable and bulky pants pocket when carried. Finished in a captivating Chrome Noir that won’t fade over time, the Arcus Carabiner keychain is a small piece of sophistication in your hand.

- FASHION -

2 3

1. Classic Neoprene Backpack €395 McQ by Alexander McQueen 2. Bronze Shoes €90 River Island 3. Foam Jacket €149 H&M 4. Anchor Set €120 Otter Knives at Nowhere 5. Yeezy Boost 350 Black €200 BT2 6. Camouflage T-shirt €295 Valentino at Brown Thomas 7. KUTULA 5-sided cap €43 8. BMW Cruise Bike €949