Weather williams
NU - Mode´
Haze lara
quint
Jan
amy
judd
abt
ryan
fy:r coleman
clothes sáfara
millet
Mineral
brave
DESIGN ART & CULTURE
fragments
Sarah Abney The s . s Edition no.14 Photography ACE AMIR
numodemag.com
Weather williams
NU - Mode´
Haze lara
quint
Jan
amy
abt judd
ryan
fy:r
coleman
clothes sáfara
millet
Mineral
brave
DESIGN ART & CULTURE
fragments
Shennai Saunders The s . s Edition no.14 Photography JD Barnes
numodemag.com
Weather williams
NU - Mode´
Haze lara
quint
Jan
amy
abt judd
ryan
fy:r
coleman
clothes sáfara
millet
Mineral
brave
DESIGN ART & CULTURE
fragments
Farina
The s . s Edition no.14 Photography Gregory Keith
numodemag.com
Weather williams
NU - Mode´
Haze lara
quint
Jan
amy
abt judd
ryan
fy:r
coleman
clothes sáfara
millet
Mineral
Brave
DESIGN ART & CULTURE
fragments
Brave Williams The s . s Edition no.14 Photography Kenneth Jones
emily abay photography
emilyabay.com
N U - M O D E´ LATOYA P. HENRY EDITOR IN CHIEF & CREATIVE DIRECTOR
t
h
e
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FASHION & ART DIRECTOR Irina Romashevskaya FASHION EDITOR RENESSTA OLDS FEATURES & MUSIC EDITOR ALEXANDRA STEVENS Social Media & Web content Editor Arielle Chambers Contributing Art Editor Vera Shaban
SARAH ABNEY wears. Dress BY MALINA Photography ACE AMIR styling JAHULIE ELIZALDE
Interns Kyrsten Bates PHOTOGRAPHERS Ace Amir . Gregory keith . Jd Barnes valeria mitelman . Cameron Grayson Carmen Rose . EMILY DELPHINE . SHEREE PORTER Karla Majnaric . Sybilla Patrizia . Kenneth Jones STYLING JAHULIE ELIZALDE . Candice Lewin Maria vlasova . Cat Morrison Raytell Bridges . CAITLIN QUICK JAM BAYLON Paris Johnson . Charlotte Ghesquiere
Shennai Saunders Photography Jd Barnes creative direction Raytell Bridges make up artist Dre Brown
MAKE UP ARTIST . HAIRSTYLIST & Nail Artist CHRISTYNA KAY . Ana Makridis . Sheran Azmi VANESSA BARNEY . CAROLINE MASSOLA . BARNEY GLEESON Dre Brown . Julie Provis . sarah marx delphine premoli . rosalina johnson Torrence Forde . T. Cooper Team Assistants Thomas Watson . Samantha Sawyer JEAN - BAPTISTE PEREIRA . Sheiba “Indya” Burroughs ADVERTISE ADVERTISE@NUMODEMAG.COM
Farina wears . coat art/c Top, pant & skirt bernard chandran hat stylist piece Photography Gregory Keith styling Maria Vlasova
SUBMISSIONS & ENQUIRIES Zöe Payne INFO@NUMODEMAG.COM NU-MODE´ MAGAZINE PUBLISHER LATOYA P. HENRY BROOKLYN, NY 11238 T. 7 1 8 . 8 1 2 . 5 8 1 5 WWW.NUMODEMAG.COM WWW.TWITTER.COM/NUMODE Instagram @numodemag WWW.FACEBOOK.COM/NUMODEMAGAZINE Special Thanks To Caroline Minar | Display Gallery | displaygallery.uk West Street Studios | westststudios.com
Brave Williams wears. Dress Abbie Fairren Photography Kenneth jones Fashion Editor Renessta Olds
e
r
CONTRIbUTORS
ACE
AmIR
Fashion Photographer located in New York and bogotá. Aceamir.com
jD
bARNES
“jD barnes’ approach to his photography can be summed up in one phrase ““Today everything exists to end in a photograph.” He works from West St Studios in greenpoint, brooklyn.” thejamesbarnes.com
CAmERON
gRAYSON
born and raised in Australia, Cameron grayson studied graphic Design at Swinburne University and Photography at the R.m.I.T before moving to New York in 2000. His move a result of winning a photographic competition for bmW judged by Richard Avedon, michel Comte, bettina Rhiems and Anton Corbjin. grayson went on to gain valuable experience assisting notable international photographers such as max Vadukul, Steven klein, Cedric buchet, Francois Nars to Name a Few. grayson has spent most of his career in New York and is now based in Australia traveling internationally and nationally for an array of clients. www.camerongrayson.com
EmILY
DELPHINE
ANNAbELLE
TIAFFAY
gREgORY
kEITH
Paris based photographer. Assisted jean-jacques bugat (Vogue) for several years. Publishes photo series in different magazines such asVS, Oyster, Dealer de Luxe, Soon, Style, Qvest, Oob,marie-Claire etc. Also collaborating with luxury brands such as Weston, Hermès, Cotélac, Piaget and different artists. Her personal approach tends towards abstraction and graphic force.
“gregory keith lives and works in New York City.”
CARmEN
SYbILLA
ROSE
Fresh out of Rmit Photoimaging in melbourne, Emily Delphine is currently making her way into the fashion photography industry. She found that putting herself out of her comfort zone has given her the most benefits of her career so far and not looking back. Emily’s favourite part of being in this industry is have the opportunity to meet and work with amazing creatives with a similar mindset to her own.
I remember the first time I picked up my mum’s camera, I knew it was something I was going to do the rest of my life. my first job taking photos was with an orchid society. I’d go hunting for rare orchids with the over 70s it was a hoot looking for rare orchids in the southeast hills of Perth where I grew up. It’s sort of the same for me now working with the rare talent out there. I’ve never stopped loving what I started.
instagram.com/emilydelphine_photography
www.carmenrose.com.au
www.gregorykeith.com
PATRIzIA
Sybilla Patrizia is an Austrian photographer who is currently based in London, but aims to move to japan – the country of her dreams – after graduation in 2016. Other than becoming a photographer (and a geisha!) it is her biggest dream to master the japanese language and to document and comprehend japan’s many underground cultures. www.sybillapatrizia.com
14
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editor’s letter Pg. 15
designed By Theory Pg. 56
spoken word sáfara millet Pg. 128
Femininity Fuels Fantasy Pg. 15
symbiotic Pg. 68
defeat your Fears And Be Brave Pg. 130
Plaster master Pg. 17
white Pg. 81
how to Appear without A trace Pg. 136
J moon new wave of design Pg. 21
lara Quint hannibal Pg. 87
style over Fashion Pg. 146
Animation to Abstraction Pg. 25
Behind The haze Anonymous interview with eyewear designer Pg. 88
Add white Pg.150
A – line pg. 27 sincerely isabelle Pg. 40 Grey see Gray Pg. 47 Farewell From Faraway Pg. 54
reminiscing remnants Pg. 95 Binding vines Pg. 106 saint Écho Pg. 118
Aerien Pg. 163 with love Pg. 170 stocklist Pg. 180
jd barnes
photography
www.thejamesbarnes.com
14
eDitOr’s
letter
Fragments is a conceptualization of how we gather the necessary materials to create. While breaking down the basics of brainstorming, everything begins with a blank piece of paper, pencil and a idea. With these tools we’re able to strategize the foundation of a concept. Our initial outlook this season is to exhibit visually impactful curators who base their craft upon such step by step methods. From my viewpoint, I’m curious to figure out the reaction of the readers. How do you normally look at a picture when you’re in front of it and how do you break down an image, painting, sculpture or even music. I personally feel that fragments exist in the daily process of our well being, there are essential strides we take in order create an end result.
LatoyaP Henry latoya P. henry editor in chief
nU-mode´ tHe ss edition .15
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A M Y J U D D. RED NU-MODE´ the SS edition .16
AMY
JUDD
Artisan
file
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Words arielle chambers
Hicks Gallery Wimbledon represented London based artist Amy Judd who channels her talent to portray whimsical, fantasy-driven images. With a bachelor’s degree in fine art and a Master’s in fine art painting, she has an extensive educational background allowing her to master her craft. Judd’s artwork aims to evoke emotion from her audience through composition, light and positioning of her subject. Her chosen technique causes the audience to interpret mythological narratives or creatures within her work.
wards and away from the subject as the paintings progress. Though the birds are significant factors in Judd’s art collection, the overwhelming shield of feathers make the paintings breathtaking.
Judd pays close attention to detail, as her brush strokes reflect a sensual, pink-pigmented woman in every single painting. She purposefully juxtaposes the delicacy in the wing’s pattern with the flesh’s texture. Though both the bird and the woman are intended to represent light and fragility, their bold compositions directly contrast just that. Judd’s paintings possess a distinct style and uniformity. Feathered Mysterious backgrounds of black, gray, and emerald, are added to the wings accompany subjects in the majority of her work. Despite already enigmatic subject to create a sense of bravery and strength. wings carrying a generally delicate connotation, the feathers are positioned in a way, similar to armor, to protect the subject. The The subjects in the paintings are presented as bare, naked bodies. wings often blindfold the woman, hinting at shielding her from Nakedness can be interpreted to openness and free will of a woman, outside influences yet this concept is left up for interpretation. or adding credibility to the overall bravery already expressed through In addition to the feathered armor, Judd also paints images of other techniques within the painting. Subjects also pose in fluid manbirds flying to and from the subject; a clear magnetic force ex- ner. The movement implied adds to the femininity of the work. Judd’s ists between the woman and the bird. Birds chronically flying to- out-of-this-world whimsicality makes her a standout artist of the time.
FAMILY AFM 100 X 120 NU-MODE´ THE SS edition .17
PLASTER MASTER
A
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ARTIST
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JAN
ABT
interview
INTERVIEW ARIELLE CHAMBERS Images courtesy of Jan Abt & Arielle Chambers
Self-proclaimed “failed musician” turned successful sculptor, Jan Abt masters matters of clay and plaster. Originally from Germany, Abt decided to relocate to the United States to fulfill his artistic aspirations. He initially moved to Chicago to play the saxophone, but his desire to sculpt landed him in New York City in 1997. Abt draws inspiration from past artists such as Aristide Maillol, Hans Arp, Henri Matisse, Marino Marini, Pablo Picasso, Gaston Lachaie and Alberto Giacometti. He considers gravity, form, and volume imperative to his artwork. Delving into matters of space and negative space, his sculptures express intentional fluidity and evoke emotion. Abt’s awareness of his muse and his decision to create audience affinity to the being has led to his rising popularity. How long have you been interested in art? Ever since I can remember. When I was a kid, my parents forced me into it. When I was a teenager, my ears started growing and listening to music. I was really into music for about eight years but I will consider myself a failed musician.
What instrument did you play? Saxophone. I transcribed all these solos from Sonny Rollins. I moved to Chicago from Germany when I was 19. I learned a lot there from the musicians. That was from ages 19 to 23. I returned to Germany to reconsider what I was going to do and sculpting came back into my life. I moved to New York in 1997 and I’ve been in New York ever since. Why sculpt people? I just have a natural affinity to do that. I’ve done some abstract things, nonfigurative, but even those seem to have organic kind of structures. The forms always end up relating to what we know. Even if you look at abstract art, it will always relate to the figure to some degree. For me, the figures are most interesting because they are the most endless. I hope to expand to more abstract things in the future. Right now, the forms are not naturalistic at all. It’s about the composition of things, how gravity works, the expansion, form and volume…and narrative is the human figure. It’s one’s story I guess. And that is what I’m curious about.
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ARTIST
JAN
ABT
interview
“Thinking is one thing, but my sculptures are more about the feeling, the experience, and the sensuality of things.”
How do you go about finding just the right subject for you? When I said narrative, the narrative in the human being is the narrative in itself. I hope not to put too much personality into it because ultimately, it will become self-serving. When you walk into a park, naturally you feel happy. All the cells in your body feel delighted by the event and you don’t really question it too much.
experience.
How long does it take you on average to sculpt? It takes about 3 months to do the whole thing. First I use clay, cast it in plaster, and then rework the plaster because they never come out the way I want to. I opt for a slower process by sending and reshaping those things. Using plaster is an interesting process. It’s much slower and more personal experience with plaster as opposed to clay. Plaster slows things down and gets me more into the sculpture. What would you like the audience to take away from your work? I hope they can get some kind of empathetic experience from the sculpture without being drawn by the story, the narrative being just the figure itself and the tactile experience.
T
What do you look for in posing? Space. I like enough space and negative space. That’s all apart of the
the
R
Are they all based one model? They are based on the one. It’s not about the literal representation, but more so about the form and structure.
and
A
I hope I can have the same type of thing with the sculpture-doing something major without making a big story. Thinking is one thing, but my sculptures are more about the feeling, the experience, and the sensuality of things. I hope it will be a tactile experience. Without having to touch it, but you can feel like you can touch it.
sculpture
I hope they get some joy from the shapes and negative forms. From every angle, there’s something new to tell that you can live with and be with for a while.
NU-MODE´ THE SS edition .21
J
MOON
J MOON
Design
new wave of design
WORDS LATOYA P. HENRY
Aiming
D
esi
g
n
sign, the
to
new
revolutionize age
strives
the
to
era
revamp
of
the
de-
mod-
ern physics of fashion. In question, what exactly is a great
sentation
designer
of
and
a
how
is
designer
the
repre-
translated.
With the power of design, a designer has the ability to
reflect, teach and embark on a journey that others may have not experienced, by developing a collection based
on a place, time or setting. Design has the capability of
delivering a story or drawing you into a specific scene. In perspective, it’s capabilities is an art form in itself and with J Moon a London based womenswear label, designer Jinhee Moon collections explore the artistically structured direction of garment design. Recently graduating from
London College of Fashion in 2014, Moon has internationally garnered the attention of notable publications and fashion insiders, after collecting ‘The Best Directional Use
Of Color & Textile award at the LCF 2014 BA Press show. The feedback the designer received from her opening collec-
tion has led to Moon becoming noted as the one to watch. Skillfully, Moon’s composition synthesizes experimental and
playful components. Fusing intricate textures and colors,
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AESTHETICS
D esi g n NU-MODE´ THE SS edition .23
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MOON
Design
AESTHETICS
Moon states that she finds fun in design realization of 2D
drawing to 3D garment. Distinguishing her signature technique with unconventionally shaped garments. For Jinhee Moon’s most recent collection, the designer has notably
depicting her capability to transition the infrastructure of
n
Overall the integrity of Moon’s aesthetic suggests the out
g
modern design.
esi
collections. Solely focusing on geometrics, color and knit,
D
scaled on the exaggerated artistic pieces from her previous
look of contemporary design is changing, people are looking
forward to more than a traditional piece of clothing. We’re seeking to be storytellers through the options we wear, the
fairytale of style doesn’t end during our youth. J Moon es-
tablishes that womenswear clothing should be expressive and exciting and it’s compelling to discover the conversion of new age creativity.
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A O
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Words arielle chambers
Ryan Coleman’s vibrant art, at minimum will instantly capture audience’s attention. Florida-native, Coleman, received a BFA in painting from the Atlanta College of Art. Following his education, he began a career as a freelance animator for Cartoon Network. His desire to explore other opportunities within his field, Coleman moved to New York City in 2003. He immediately began expanding his art in his personal Brooklyn space, as well as serving as a studio assistant for artist Jeff Koons. As Coleman gain experience and expertise, he decided to focus on his own work, thereby returning to Atlanta in 2011. Coleman’s art may seem abstract and disorderly at first glance, but a definite cohesion exists among all of the works. Colors are projected onto paper and large can-
RYAN COLEMAN. NU-MODE´ the ss edition .26
vas with references to nature, traditional equal amount of chaos is present, as the Cel animation and the history of painting. signature, circular strokes reign evident. Coleman delves into visual and philosophi- Several drawings initially created with cal implications by exploring dichotomies black, but are furnished in color. Splotchwithin the composition: abstraction vs. es exist in a few of the drawings as well. representation and spontaneity vs. control. Animation experience during Coleman’s Filled with dynamic strokes of color vari- post-graduation, early career trickled ations, Coleman’s paintings are layered in down to his personal development. Colean intriguing way. He has a healthy bal- man has an ongoing series of mixed media ance of pastels, bold colors, and black. The pieces, created using Cel animation techstrokes appear to drip, creating movement niques. These too contain the colorful, cirthroughout pieces. Some of the paintings cular, chaos, most similar to his paintings. are done in more of a street aesthetic, while others exude more traditional fine art appeal. Currently, Coleman’s creations are being nationally noticed. Recently awarded the 2015Coleman’s drawings do not contain as 2016 Artist in Residence by ConsultArt, Inc., much color as the paintings, but the style this abstract artist is certainly one to watch. is fluid throughout both mediums. An
PAREIDOLIA (black & White 1) 26”x40” Ink and enamel on arches paper 2014
Ryan
coleman
artisan
file
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Apophenia (2) 30”x40” Oil on Canvas 2014 NU-MODE´ THE SS edition .27
a
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PHOTOGRAPHY Carmen Rose STYLING Cat Morrison t shirt Veronika Maine
l
in
e
shirt Bassike bralette cos trousers camilla and marc
shirt Bassike bralette cos trousers camilla and marc slides sol sana
dress BĂşl skirt Veronika Maine
t shirt maiden noir skirt scalan and theodore pumps lipstick earrings George Fitzgerald
sweatshirt asos Knitted vest Veronika Maine trousers Camilla and Marc
bralette & maxi skirt cos necklace Lovisa
t shirt maiden noir skirt scalan and theodore earrings George Fitzgerald
dress BĂşl skirt Veronika Maine Necklace & Socks Cos Pumps Lipstick
Dress Bassike Pumps lipstick
skivy topshop skirt ellery necklace cos
bralette & bobby pins cos necklace lovisa Photography Carmen Rose styling Cat Morrison Make up artist & Hairstylist Sheran Azmi model dana at pride models
Isabelle
S I N C E R E LY PHOTOGRAPHY Karla Majnaric STYLING Paris Johnson
Athfort dress BĂşl
Textured top Saba Lois Utility pant Country Road slide Isabel Marant
trouser & Sweather H&M
Collar Coat Life With Bird Boucle Sweater Life With Bird Silk short Bassike
Bonded Marle Longline Vest Veronika Maine felt hat Country Road
Sleeveless Belted Coat Life With Bird Aberdeen Top BĂşl Long Patch Pocket Skirt Life With Bird Photography Karla Majnaric styling Paris Johnson Make up artist & Hairstylist Julie Provis Model Isabelle at london management group
Pleated dress EMILIE BENNET pant ELLE LOUISE Brogues LONDON REBEL
G R E Y s e
Photography SHEREE PORTER styling JAM BAYLON
e g r a y cropped feathered top ELLE LOUISE pant MAVEN THE LABEL wollen jacket ELLE LOUISE point laced shoes
Knitted sleeve Top ELLE LOUISE Jumpsuit CHENQ point flat laced shoes TRUFFLE
Dress maven the label pant EMILIE BENNETT coat maven the label Point flat laced shoes truffle
faux fur jumper ELLE LOUISE pant CHENQ skirt EMILIE BENNETT
vacancy top S WALLIS jumpsuit worn as pant ELLE LOUISE
Legacy Cross Over Crop Top S WALLIS Long Line Cable Knit Jumper ELLE LOUISE Photography SHEREE PORTER styling JAM BAYLON make up artist CAROLINE MASSOLA hairstylist BARNEY GLEESON model BIANCA KUE at london management
oetry P
F a r e w e l l f
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Dedicated to Timothy Alexander Beresford-Hill NU-MODE´ the ss edition .54
Spoken
word
sÁfara
Two
disquieted,
Upon
our
Plaguing What From To
what
have
From
the
I
nestled
Meeting Oh I
and
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could
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shoes?
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incidents
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love
breezes
on
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your
comfort limbs
And my unholy winds pelting off some of your bark Mother
nature
So
different
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Our
Existence, Pended I’m So,
upon
creations,
secrecy, of
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and
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love
love
completely on
know
each
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so
me
what
now
of
back too
infinity
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forever final
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say
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miss
stay
and
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five
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well
of
why. fears
forward,
please
have
our
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you
it
movement
as
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chemistry
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for
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must
an
perfect
me
of
to
supple
what
One
ways
are
great
isn’t
forgive
poetry
My
too
please
too
level
consciousness differences goodbye
-Sáfara Millet
NU-MODE´ THE SS edition .55
designed by theory
desi
g
n
Designers Fy:r clothes & mineral weather
NU-MODE´ the ss edition .56
interview
INTERVIEW LATOYA P. HENRY Photography Lucy Zharikova
We take delicate steps before the arrival, through creation we’re able to manipulate, manifest and manufacture. The fundamental of garment design is the ability to develop structures that reflect the wearer. For any ensemble, accessories walk hand in hand with the perfect jacket or dress. When placed together, you create a statement look. Even though the pieces you put together may not have the ability of speech, there’s an unspoken communication that describes a bit of your personality or the type of person you may be. For fy:r clothes and Mineral Weather, here are two Russian based brands that create pieces for those who want to be distinguished from the crowed. The bases of their design is to create something refreshing and appealing towards the eye, in clear contrast to one another the designers have developed something fascinating with geometrical shapes and clean lines. Reflecting their passion, for aesthetically pleasing design.
realized that I didn’t see myself as part of the corporate structure, preferring to work alone and create something by hand I decided to study Fashion Design professionally. To pay for my education in British Higher School of Art and Design in Moscow I continued to work, but now it’s time to change my life significantly and choose Fashion Design.
fy:r clothes
fy:r clothes, what does the name signify and when did you decide you wanted to design womenswear collections? “Fyr” means, “light house” in Swedish. Lighthouse depicts for me the figure of a calm person, working alone, and doing something very simple, but not less important than others – lighting. I am a very introversive and this image seems to suit me a lot. At the same time Swedes have very inspiring approach to design. Using rule “Form follows function” they create lifestyle objects with genially clean shape. I want to translate this dissonance between “genius” and “simple” to fashion design, that’s why we use “transcription” as a brand logo.
The first moment you decided design was the path you wanted to pursue, when and how did you know and tell us a bit about the beginning stages? I think it is important to mention here that I got my first degree in Programming and Mathematics. For the past seven years until now I am still working as an IT Project Manager. This has had a huge influence on me because I take programming and application development as a creation process. At that time I realized that I couldn’t find something suitable for me in fashion-shops and I started to create something for myself by studying from magazines and books. I spent full days in the office and after hours and I never saw my home till the morning. For several years I
Designers select a particular technique when designing a collection, how would you describe your way of constructing a design and in terms of technique do you aim for a refined or articulate style and why? I prefer to work in two areas – with form and textile. It always begins with an idea – metaphorical or visual with the research process following. I enjoy this step because it means for me new knowledge and usually fresh look on common things. The most interesting and difficult step follows after – you need to turn all ideas and facts you’ve got during the research into something pure and therefore brilliant. In the meaning and technique the main idea of the design I create is the beauty of the Dissonance – it can be shown in forms
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“I see fashion design as the way of talking to the world. Every season our message is different depending on social and political situation, level of light industry development and scientific discoveries.” - fy:r Clothes
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Designers Fy:r clothes & mineral weather
and the technologies I use, in colors, fabric and textile, these are where the main idea lies behind the collection. That’s why choosing between refined and articulate style I prefer to create wearable garment with a touch of art. Describe the most influential part of design, how do you figure out the specifics of a concept before it’s a physical piece of clothing? The research is the deepest step for me. During it the first idea can change significantly, when you find more and more interesting facts and all the thoughts add up to the concept. Visualizing of the concept, giving it a form, color, structure could be an endless process and you need to set yourself on a deadline to stop.
Express the most difficult aspect of design, have you dealt with any challenges along the way as a designer and how did you manage to surpass the obstacle? For me the most difficult aspect of design is the manufacturing process. We do not have a fashion industry in Russia, with small-scale production sites, textile manufacture, government support and clear laws. So everyday we are suffering from overdue deadlines, quality of tailoring and fabric costs depending on currency rates, learning from our mistakes on how to deal with each “link in the chain”. I truly believe that now is the time to step forward and to show all and myself the possibility of doing fashion-business in Russia. For me the process manager, it’s not a problem it’s just a reality we need to organize.
g n
The collaboration between fy:r and Mineral Weather how did it come together, plus explain a bit of the art direction and concept of the look book? What opposition can you imagine to the pure lines, clear fabrics and geometrical prints of fy:r clothes? Bionic objects made of natural materials with its unstructured beauty – that is how I see Mineral Weather jewelry. And the more contrast in the photo - the more beauty of each object is shown. The girls are like two heroes with opposite inner nature – one in fy:r clothes with clear and architectural, the other in jewelry - with natural and bionic.
esi
In terms of versatility, do you aim to make a certain distinction with the pieces you construct and how do you manifest your overall goal? I see fashion design as the way of talking to the world. Every season our message is different depending on social and political situation, level of light industry development and scientific discoveries. Some of us want to be heard and accepted by many of the people – that are working in the mass-market niche; in other instances some of us are not interested in other’s opinion. I want to create trusted wearable design with a touch of art. Using “talking to the world” metaphor I can describe it like having a conversation with an introversive person – he will
be quiet most of the time, speaking only if he really has something significant to say.
D
Pionographic, the latest collection you release for spring – summer 2015. You described the collection as a deconstruction of classic botanical prints combined with geometrical graphics, how did you put together the concept for this collection and why did you decide to combine geometrics and botanicals? In the Pionographic collection I wanted to put an accent to the process, not the result. I took botanical illustration as a core idea, because it describes all the technical details of the plant thereby showing the inside beauty of the flower. From the other side I wanted to show that every process should have a plan, structural steps – simple or complex – no matter what. The process of natural birth is very straightforward, that’s why I decided to add geometrical prints to the design.
interview
For fy:r clothes who is the ideal woman wearing your collection and is there a statement you want to execute through the wearer? I see Lea Seydoux in fy:r clothes and Loui Garrel if he was a women. There is something a bit rebellious in the pure French elegance. Are there any future hopes you intend to achieve with design and where do you see the future of fy:r clothes? In several years I see myself working in fy:r clothes studio with the group of close friends working for the project development. I hope we’ll have experimental production sites where our design ideas will come true. Also we are doing our best to have an opportunity to work with people we are inspired by and to make fy:r
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“we try to keep the natural shapes of the things we work with intact and combine those shapes with modern materials and ecological technologies.” Mineral Weather
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Designers Fy:r clothes & mineral weather
clothes available to people not only in Russia. #14 “Fragments” focuses on finding, constructing and teaching. What is the message you would like to leave behind for those pursuing the path of design? The advice I can give is to enjoy the process - from the “white paper” step, the research, to the finishing touch.
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Mineral Weather For anyone who isn’t familiar with Mineral Weather please give us a brief introduction, why did you decided to work in the field of jewelry design and was it always something you wanted to pursue? Anya Pavlova: I had never really been interested in designing jewelry and working with metal. I graduated from Moscow State Academy of applied arts with a BA in Ceramic Design, and the technological process here is similar in certain ways. It was Sasha who suggested starting designing jewelry pieces back in the 2011. Ever since he was little he has been interested in working with metal, and it just happened so that he managed to sort of draw me in that. I find working with metal particularly interesting because it allows you to create lots of tiny details, which is very important for me. It’s always very emotionally satisfying to create good quality molten stuff made of good materials. Sasha: Our project is about four years old. Before me and my friends used to have something like a loft design workshop where we would just spend our free time relaxing and crafting different stuff. I hadn’t really had any plans to create jewelry before I met Anya. Together we tried to work with different kinds of metal. We first experimented in my garage, but after I installed a special oven there our neighbours noticed the smoke coming out of the garage and thought the garage was on fire. That’s why we had to move the oven to our dacha and work there. At the moment we don’t really mold metal on our own — we design pieces and then have them molded. Mineral Weather is described to be a combination of materials and time together with the use of historical things. In detail how would you break down your design
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aesthetic and what do you find the most interesting about using historical pieces? Anya Pavlova: In most cases it’s Sasha who uses items found at flea markets. For us it’s a great opportunity to mix different complicated details in order to create very eclectic (in a good way) pieces. If I get to work with such items, I normally use them as a source of inspiration. The way they look gives me an image of what a future piece might look like. Sasha: That’s very interesting. It just comes... natural. We often go to flea markets because old stuff inspires us. Moreover, I found this centipede in a trash dump. It was part of an insect collection. I threw the rest of the insects out and took the centipede with me, molded it and then later installed amethysts in the metal version. Your pieces consist of precious stones and metals. Why did you decide to work with raw materials, are there any interesting techniques you’ve used to construct certain pieces and what is the time process behind the jewelry construction? Anya Pavlova: Natural stones have that special energy, it’s always an immense pleasure to work with them, especially when it comes to rough stones and crystals. Designing a lot of our pieces begins when we just put all the stones we’ve got on the table and try combining them in different ways. It’s the stones that dictate the way a certain ring will look like. I also like working with wax or gypsum plaster models. I create objects of different shapes outof them and then mold them because I like creating things that I can easily copy afterwards in different versions, adding different stones et cetera. Sasha: I’ve never actually studied design. I had been working on the TV for five years, and that was boring as hell. We’re going through this phase now, we try different kinds of materials in their natural forms. We like combin ing rough stones with opals, for instance. My friend who travels in the most distant places of Russia and explores stone sources that were discovered back in the Soviet years brings and sells us a lot of stones. There’s a special method we use when we make rings. We first make wax models and stick stones to themto have an idea what the piece will look like after. Then we take the stones out and mold metal rings in which we later install stones.
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Photography Lucy zharikova clothing design fy:r clothes jewelry mineral weather Models olga druzhina & sonya akimceva
Designers Fy:r clothes & mineral weather
Initially what do you want to distinguish with your concept of design and what do you hope to unveil in the near future from Mineral Weather? Anya Pavlova: I’d rely like to work with ceramics more, especially when it comes to china. We’d also love to have a go at designing accessories and interior objects. In a sense, I love everything related to design and handwork. I love hand sketching our pieces and I love crafting them. For some reading the idea of 3D-designing them isn’t exactly my cup of tea. Perhaps it’s all about the influence Russian traditional crafts had on me. Sasha: My goals are creating bigger, more complicated pieces and making music.
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In terms of Fragments, how would that relate to towards your style of design? Anya Pavlova: I’ve always liked to use tiny details and pay careful attention to them. I’m pleased when people hold a complete thing in their hands, the one they can view for a while. Especially I love to create things not connected with jewelry being at large so much that they attain a jewelry status whether it’s a garment, a piece of interior or an accessory Sasha: I think it will affect the work with large things that will become more detailed, we’ll take a cup make it ceramic with a metal holder and encrust some stones in it and now it’s not just a cup. The same with garments where you can use some metal or rubber details in some parts and the thing becomes totally different, but when you work with such tiny things sometimes you wish to make something different like a fontain with foam lasers and transperent patchy jelly with crazy bass beats music and special sound system and a fire and a man wearing sumo suit beating a gong and actors reading lines from Karamazov brothers books you see it’s a thing that I think will definitely turn me on and it’s much more closer with my inner side.
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Collections have a storyline or a certain visual you would like to portray to the future wearer or someone viewing your pieces for the first time. Describe a bit of the vision you want to portray through your pieces and who is the ideal person wearing Mineral Weather? Anya Pavlova: I like the idea of eco-friendliness getting closer to nature. One of the projects I made at the university was a set of ceramic Christmas tree decorations that looked like little animals wearing human clothes, and this portrayed my perception of the world perfectly. I like creating things that cause positive feelings, make one kinder, in a way. It’s amazing to create something that will mean a lot to our customers, become their favorite things. There aren’t many such things in the modern world of mass market. I’d like to get back to the times when valuable things were cherished and passed from one generation to another. I guess the image of our ideal customer is pretty close to the actual customers we’ve got so far. After having participated in quite a lot of different design markets and met lots of different people we realized our customers were very creative - mostly architects, designers, actors, artists, people working in fashion industry. Most of them were young - under thirty. Sasha: The concept is simple — we try to keep
the natural shapes of the things we work with intact and combine those shapes with modern materials and ecological technologies. Every piece we create is unique — and at the same time affordable. Our customers are beautiful and open-minded people with kind souls.
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When developing a new collection, I’m sure there’s a building process before the actual making of a jewelry piece. Describe some of the methods you use in order to design a certain piece and how do you approach most of your new design concepts? Anya Pavlova: I’m inspired by plants, animals, different antique decorative pieces and ethnic motives. I love live sketching - often jewelry ideas occur to me when I sketch. Sometimes I see an amazing stone and imagine a piece it could be in the same moment. But normally it’s Sasha who gets those ideas immediately. At the moment we don’t really have any collections in the conventional sense of this word. Everything we’ve done and are doing now can’t really be divided into what one could call collections. In the future I’d love to see our work more systematized, have certain collections dedicated to certain ideas and work with them. Sasha: The ideas may come right during the process of crafting. Or they can be inspired by a certain visual image or material. For instance, I created a ring with a magnet inside that would fit an electric screwdiver.
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Final Thoughts? And at last- come visit us at Barcelona Joya exhibition where we gonna show our last collection and thank you for the interest we love and cherish you!
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S y m b i o t ic PHOTOGRAPHY Sybilla Patrizia STYLING Charlotte Ghesquiere
top & Knit Yushan Li
Jacket & Trousers Hannah Fickling Blouse Vintage Stylist’ own
Jacket Hannah Fickling Blouse Vintage Stylist own
top, botton & Knit Yushan Li
top & Knit Yushan Li
top, botton & Knit Yushan Li
jumper, trousers, headband & Shoes benrice socks stylist own
Coat Hannah Fickling Jumper Ben Rice
top, bottom, knit Yushan Li
jacket, jumper & Headband Ben Rice
top, botton & Knit Yushan Li
top, bottom & Knit Yushan Li Photography Sybilla Patrizia styling Charlotte Ghesquiere model Kris B. at AMCK
ALL GARMENTS WORN THROUGHOUT H&M
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Photography VALERIA MITELMAN make up artist & Hairstylist SARAH MARX model VIVIEN AT MUGA MODEL MANAGEMENT
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DESIGN
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Photography yuliya zhdan make up artist dasha taivas model viera stankeieva at munich models
LARA QUINT
‘HA N N I B AL’ WORDS LATOYA P. HENRY Photography yuliya zhdan
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Quint’s latest collection ‘Hannibal’ is a reflection of the designer’s continued aesthetic. Most recently inspired by the novel of Thomas Harris, which tells a the story of a man we all know as ‘Hannibal Lector’. A talented surgeon and psychiatrist who was a serial killer that practiced cannibalism on his victims. Quint describes her collection to be a reflection of Dr.Lector’s beautiful mannerisms; he was never rude and mostly carried himself elegantly and airily. Hinting that ‘elegance is a peculiar feature of the collection’. Creating long coats and low waist jackets of “garçon” style, suits with exaggerated tulip flowers growing through trousers and jackets, blouses accented on cuffs and collars. Dominated with deep and dark tones along with nude and powdery tints, reflecting the human skin.
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Creating a tale of wonder and finesse. Through the eyes of a designer there is a story to be told, from piecing together fragments of ideas to the selection process of the final product. A concept is built on sequences. Once a collection of materials is gathered, the designer advances with an outlook of what is soon to be developed. In theory, I do find the concepts of certain designers fascinating, as such Avant-guardian designer Lara Quint showcases a talented significance towards minimalism, selection and silhouette. Quint’s innovational designs reflect the designer’s ability to touch extreme theories without losing functionability and wear-ability within her garments. Creating unique pieces by working with the transformation of images into clothing with the assistance of color, line, articulate shapes and materials.
While continuing to capture the essence of Dr. Lector’s appreciation of the arts and his complex appetite, designer Quint collaborated with world-renowned collage artist Ashkan Honarvar. Grasping the idea of the ‘Hannibal’ collection, Honarvar created ten exquisite prints that represent the overall visual of what Quint wants to reflect. Featuring a man consuming himself from the inside and devastates his soul, feeling a sense of emptiness while glossing over the beauty of decadence and luxury. Each of the prints are placed on a series of semitransparent shirts, jeans, sweatshirts and a personal favorite from the collection straitjackets. Though the collection may be viewed as a little obscure, the designer obviously knows how to grasp the attention of the consumer. Developing pieces that are not only articles of clothing, but pieces that tell a story expressing what and how a person may interpret themselves. The beauty of Lara Quint work reveals her desire to build confidence in the ideal person wearing her garments. From viewing Quint’s designer perspective, her goal is to create something that is much more beautiful than garments that hang from the body, but pieces that feed the soul. NU-MODE´ THE SS edition .87
DESIGNER
HAZE
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BEHIND THE HAZE Anonymous interview
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Interview IRINA ROMASHEVSKAYA Images courtesy of haze
From February to mid-April a small town in and took shape in what now known as Haze. China gets covered with a dense fog. The air did you start? becomes saturated with water vapor and when How humidity reaches its peak, it starts to drizzle. When my partner and I launched Haze in 2014, it wasn’t as easy to begin as we origiThe two most miserable couple of months nally envisioned. We thought, we’ll make in the entire year are also the most memo- something and sell it, but we were rerable. The mystery behind the fog becomes ally lucky that the first colorful styles we an inspiration. This is how Haze was born. showed to a couple of stores were exceptionally well received. We’ve learned a lot What prompted you to start your own brand? since then, and even though the brand is still Working in the corporate environment, I felt pretty young, it has become a lot smoother. mainstream eyewear labels lacked creativity. I wished for more innovation in my work We’ve started with the EDGE style, which and so I partnered up with my childhood came in six different colors, and now we friend to create a different eyewear brand. have about 16 or 17 different styles in many We envisioned a collection, which would more exciting color ways and patterns. We’ve employ unusual design elements and qual- just developed this new metal piece for our ity materials in unexpected color combina- model Seize. It’s a laser-cut detachable mask tions. Out of frustration with the industry, and it’s something completely customizthis amazing idea for a new brand developed able, you can take it out or wear it together.
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It’s more of a lifestyle choice really, and that’s what we want to give to our customer. Why Haze? There is a bit of a story behind the name. I’m not good at creating names and had to brainstorm with a couple of friends to find a suitable word for my new brand. I wanted to convey a special feeling and find something relatable to both my heritage and my vision, so I immediately thought of my childhood memories of my hometown in China, which left a deep visual impact. There are a couple of months in the beginning of the year when it’s always humid and foggy there, with an occasional drizzle. Apart from the fact that it’s bad for trying to dry your clothes, that fog is actually really pretty. I’ve always felt inspired during those months. So out of every possible synonym for ‘fog’ suggested by my friends, ‘haze’ seemed like the most fitting and mysterious.
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“It’s curious to see the relationship between reflections,
colors and structures in architecture. I sometimes wonder if I can design in that way. Honestly speaking, everything can be used as inspiration, even garbage found on the ground.” What would you call your design signature? Haze collection is already known for its uncommon colors and attention to detail. Our sunglasses are fun, easy to wear, and come in shapes that fit a lot of people. We do make a lot of classic shapes, but a lot of times the real newness comes in the materials we use. We also try to aim our brand to be unisex, and not to divide each style into either men’s or women’s.
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What is your favorite color? It’s a hard question because it always changes. I like green and red, and certain shades of
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How would you describe your design aesthetic? Our style is always minimalist, very clean. It stems from my love for geometric forms and color blocking.
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How did you develop your logo? When we started our brand, we thought we needed a symbol. I remembered my friend telling me back in college, that I was so edgy and angular back then. So I thought a triangle would be a great idea for a logo. It’s a simple geometric graphic, but it reflects well our design identity. A lot of things in our collection come in threes; certain styles would come in three colors. Like in a triangle. It’s aesthetic, movement and then hopefully we can develop something that has a function. We always strive to do something innovative. Even when you look at our black frame, it’s not just black, there is always commitment to detail, there is always something extra to please the wearer.
blue. But when creating a new collection, it would actually depend on the materials we’d work with. We enjoy developing our own colors with the factory instead of just using preexisting Pantones. It takes more time to develop a new color, but the result is always worth it. We also like to develop our own patterns instead of using just solid raw materials, for example designing customized tortoise or marble patterns instead of using generic ones. It’s always the subtle details that make a difference: in the front you see just another pair of stylish black sunglasses, but on the sides -- it’s a whole different story. This individualized approach is what really makes us stand apart from bigger eyewear brands, and our customers appreciate it. How would you describe your personal style? I love color, but I do wear a lot of black. I enjoy shopping for accessories and clothing, of course. I prefer things that are more structured and streamlined, with intricate stitching and interesting material use versus things that are bright or have a busy pattern. I feel it’s actually cool if you wear some basic neutral stuff you can brighten up with sunglasses. Do you have a particular customer in mind when you design? As designers we always design for ourselves first. I always askmyself: ‘Would I wear this?’ and if the answer is yes, then we expand the vision by choosing particular materials and colors.
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DESIGNER
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What kind of lenses are you using? We use a lot of mirrored lenses. For women we use gradient lenses. We don’t really use polarized lenses, but if that’s what customer wants, then we can do a polarized version as well. What inspires you the most in your work? I like to travel and get inspired a great deal by architecture. It’s curious to see the relationship between reflections, colors and structures in architecture. I sometimes wonder if I can design in that way. Honestly speaking, everything can be used as inspiration, even garbage found on the ground. It’s all about the light and how it hits and shapes various objects. How do you usually work? I like to draw, but I use hand drawing a lot less now. Details and technical sketches are easier to be drawn on the computer. Some frames in the collection I drew by hand because I wanted to see the relationship between the pieces. But most of the artwork is done on the computer. It has to be symmetrical; you draw one side and mirror the other. The new hardware we have for the next season -- I drew it by hand first and then took it to computer to render it. Sometimes we would actually print a 3D piece for the factory to further explain the intricacies of the craftsmanship. I love building 3D models! It’s really a fun way to work and it gives you more control. Sometimes what you see on paper may end up either too small or too big, so it’s nice to see it before making an actual sample.
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Do you follow trends? Not really. We like to stand on our own. We do however watch out for a general direction in eyewear. The trends in clothing right now are going towards a looser, bigger silhouette with more details, which means the eyewear has to be simpler. We’ve been seeing a lot of plastic frames in the past few seasons, so metal frames are definitely coming back and we do have to take that into account. As much as we would like to be innovative, we still need to sell. How do you see your brand developing in the next couple of years? We want to be an accessory brand. Starting with eyewear and then slowly introducing into the market other accessories, like bags and clutches. We prefer to build our brand slowly and see the reaction it gathers. My partner and I would like to expand the selection of the products we are making to become more of a lifestyle brand. More products will be coming out later this year, so stay tuned. Where do you currently sell? Our eyewear is sold in a few selected stores in Asia, and this May we are scheduled to start selling in Australia. In New York we proudly sell at Selima Optique. Anything exciting you would like to share with us? Alicia Keys is currently one of our biggest fans, and we’ve been trying to schedule a personal appointment with her to take her through our entire line. That’s a huge compliment.
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Photography JD Barnes Creative Direction Raytell Bridges Make up artist Dre Brown Model Shennai Saunders at D’Management Milano Photographed at West Street Studios
binding vines PHOTOGRAPHY ACE AMIR Creative Direction/STYLING JAHULIE ELIZALDE
garment worn throughout by malina
Photography ACE AMIR creative direction/styling JAHULIE ELIZALDE make up artist & Hairstylist CHRISTYNA KAY Model SARAH ABNEY at FUSION MODELS
dress & coat art/c hat stylist piece shoes cedric charlier
PHOTOGRAPHY gregory keith STYLING maria vlasova
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coat art/c Top, pant & skirt bernard chandran shoes christian dior hat stylist piece
dress bernard chandran belt alexandre delima top & pant a.f.vandevorst hat laurence bossion
coat stephanie coudert neck collar norah reiser
jacket, top & pant cedric charlier hat stephanie coudert
dress lucien wang coat christine phung
top & skirt issey miyake shoes cedric charlier bag the volon Photography gregory keith styling maria vlasova make up artist delphine premoli hairstylist rosalina johnson model farina at vip, paris
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Brave
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Tell us a bit about your first experience performing in front of an audience, What was it like and how did you feel? It was liberating. There’s a sense of freedom you get when your giving who and what you are to an audience. I was 15 at an open mic in downtown Baltimore. The piece that
I performed was very radical in its social consciousness. That was the beginning of “Brave” as the audience was kind of taken back by what I was saying at such a young age. As a music artist how would you describe your greatest ambition and is there something or someone who motivates you? Honestly, my faith. Without it- there would be no ambition or intense desire to want to keep going after the disappointing moments. We all experience them. It’s important to not stay in those moments mentally. My faith, reading the bible, restores what those moments try to deplete. He’s my motivation.
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Overcoming obstacles, with perseverance, dedication and endurance, Brave Williams sets the stage as more than an R&B and Hip-Hop songstress. She demonstrates that music has the power to elevate you emotionally, whether there’s of moment of sadness or anger. Through words and sound we’re able to feel empowered and driven. Reigning in from Baltimore, Maryland. Williams developed her passion for music at a tender age, gaining inspiration from her predecessors; she found the desire to create music that would inspire. Most noted for swift lyrics and angelic sound, Brave Williams embraces the culture of capturing your dreams, pushing forward and simply being Brave. So let’s talk about when you first found your interest in music, how old were you at the time and did you always know what specific genre you wanted to pursue? I was very young when I knew I would captivate an audience with performing arts. It started out as writing poetry and performing it as spoken word, then rapping and then stumbling into singing after turning my rap into a song years later. Once I realized I had a voice - I knew then I had to develop it. That’s when I created the girl group “Richgirl.”
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Interview Latoya P. Henry Photography Kenneth Jones Fashion Editor Renessta Olds
Personally I feel that it’s important for a musician to have a unique identity, a possession of ‘The It Factor’ that separates you from other artist. How do you make a distinction from other artist? I embrace each side of my artistry and expose it honestly. The poetry, the rapping, the singing, the painting,.. It’s all different sides of Brave. Describe a bit of the sound behind your most recent single “Fearless” and what is the significance behind the title? I named my EP Fearless because I’ve learned on this journey that fear has never told me the truth. Fear always projected a false reality. I learned you have to be “fearless” in life. The entire project musically is a marriage of hip hop & R&B. There’s something on there for everybody especially my ladies.
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We face major obstacles in the pursuit of our dreams. Tell us a bit about the toughest obstacle you had to face during your career and how did you mange to overcome this challenge? What’s the best advice you could offer to those who are facing a tough time? Shortly after my group Richgirl disbanded, my father past away from Alzheimer’s, a few weeks later my manager of 7 years died of an unexpected heart attack. It had to be the roughest year in my entire life. The group that I worked so hard to create and was in for the past 5 years broke up which felt like a death, my dad who had been with me the entire time was gone, and so was the one man who stood with me musically through it all. I was lost. I was depressed. That moment made me question my strength not just as a woman but as an artist. Was I strong enough to continue alone?.. Literally. No more record label, support, team, dad, the phone stopped ringing... I was at a very low point and knew that if I didn’t find the strength to bring my self out- I would self destruct. Everyone has a breaking point. And I believe the day I thought I hit it- He heard my cry and reminded me I still had so much more to give. I was mourning for a little over a year. Till finally - I knew I had to change and asked for the know how and strength to do it. I prayed. It was answered and answered abruptly. From that day- I somehow remembered who’s I was. I wasn’t born a quitter. I started making calls to producers, and began the journey of figuring out who I was as an artist and what I wanted my sound to be for the world to hear. 2 years later- I was able to meet an incredible management team whose faith and belief in me superseded anything I could have asked for, producers & writers that were ready to work at any given moment- and doors opening from places I couldn’t of imagined. So is there a specific style you want to distinguish with your upcoming album compared to previous works, and are you exploring a new music aesthetic with this album? Do you ever plan on branching into another direction with your music? Only time will tell how I’m inspired creatively for the next project. For right now, I’m happy with the hip-hop & R&B infused sound of Fearless. With every musician there is a specific element within their music that they want to relay through their music. What is your sole purpose as a musician and what do you hope to achieve? To inspire. I want people who listen to my music, who look at my videos, who I’m able to reach to be inspired. To be reminded that your dream won’t quit you, as long as you don’t quit “it.”
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to happen “right now” and can overwhelm ourselves being eager and anxious.”
“Patience. Endurance. And patience. You must be patient. As artist we love for things
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If you could have a discussion with one musician past or present, who would it be and what would you like to talk about? Tupac. I would love to have a real conversation with him about music, his social views, his inspirations. His music (when hearing it at 10 years old) left a lasting impression on me and inspired my poetry. Are there any contemporary music artists that you think are refining the style of R&B music? I think each R&B artist brings something different to the table. They’re not interchangeable. I appreciate artist that don’t follow the rules to fit in like Jhene Aiko.
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What is your greatest ambition as an artist and what’s next for Brave Williams? I just hope to continue to progress by expanding my brand. I just did an amazing partnership with a brand called “Me” for a fragrance called “Embellish.” It smells amazing and celebrates women. I encourage everyone to try it at bfragranced. com and I’ll send it to you for free using promocode: bmorebrave
For the new generation of musicians following your path, name a few essentials an aspiring artist should take note of along with a few words of wisdom? Patience. Endurance. And patience. You must be patient. As artist we love for things to happen “right now” and can overwhelm ourselves being eager and anxious. I tell artist to be patient with the process. The music business is not a sprint. It’s a marathon. And you have to have a strong endurance and stamina to run this race. Just don’t give up before it’s over. You’re stronger than you think. Braver than you think. Just put your head down and keep working. Don’t quit.
Photography Kenneth Jones Fashion Editor Renessta Olds Make up Artist & Nail Technician Torrence Forde Using Zoya, color Rowan Hairstylist T. Cooper Using Oribe Styling Assistant Sheiba “Indya” Burroughs
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Words latoya p. henry images courtesy of display gallery
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We’re in constant study of the artists who are reshaping the aesthetics of artistry. Modifying
the theories of technique, while forming their own interpretations. When generating resources a
to produce an end result. The artist creates a foundation based on thesis and logic. Through
this developmental process, they’re able to formulate a concept that engages the viewer. Investigating the common link between what’s unusual and eerie,Manila born artist Nicole Coson
first solo exhibition,‘ How to Appear Without a Trace’featured at the Display Gallery in London. Showcases the artist desire to investigate further into the philosophies of Freud, while delivering
deconstructed figures that viewers may find terrifying, Coson evolves her work into something beautiful and mysterious.In a previous interview I had with the artist,she expresses her intentions to
‘create work that can freely speak without prescribed screens of ethnicity and anthropology that may
precede it.’With the latest exhibition,the artist slightly remastered her use of color and placement.
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Exploring further into thought-provoking shapes that resem-
ble partially abstract figurines to bold and powdery hues all the while remaining true to her essence of black and white mate-
rials. In particular Coson’s use of larger scale pieces of Perspex
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sheets combined with wool and steel bolts, shows the artist’s
capability to diversify the overall visual of her monotype prints. r
Referencing several inspirations behind her most recent
celebrated series. Aside from Freud’s ‘uncanny’ the art
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ist examines Kandinsky relativity, emphasizing her ability to manipulate specific characteristics featured in her work. Though Coson bases her prints upon ghostly and
spectral figures, from her perspective she’s never expe-
rienced a personal encounter with supernatural forces.
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Embracing the apparitions surrounding, she steadily fears of what lurks within the unknown, however finding the same unknown prospects articulately fascinating. As a result, the formatting of Nicole Coson’s pieces continues to convey an element of surprise in which it evokes the thoughts of what is
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next for this young artist. Personally I perceive Coson’s proficiency to construct fundamentals as a successful artist, includ-
ing developing methods for the emerging generation of art
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istry. With each refreshing idea, someone is passionately tak-
ing the lead, challenging the masses with his or her ideologies. t
With Nicole Coson I wouldn’t say her trace is hidden, I believe
she’s created her mark and it’s right there for the world to see.
Featured at Display Gallery, London ‘How To Appear Without A Trace’
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Featured at Display Gallery, London ‘How To Appear Without A Trace’
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While the stuff on the runways is technically a preview of next winter, the seemingly endless cold snap we’re currently experiencing has us far from ready to bust out our spring wardrobes. Most of this season’s trends are ready to be test-driven now. The list below highlights some of the best stuff we saw this time around.
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Head Games - And, of course, there must always be at least one popular trend that is totally inexplicable. This year featured some seriously over-the-top headgear, including face masks, headdresses, and chain-mail hoods. We’re down with the cascading, beaded headdresses at Mongol, and fashion bloggers have proved that veils, like those seen at Thom Browne, are actually possible to wear in real life without looking like a runaway bride. One student designer for the Art Institutes sent out a model in a nude face stocking; Shayne Oliver of Hood By Air took that up a notch by drawing on faces and hair on stocking-covered heads to create an effect that everyone agreed was a little disturbing.
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True Model Diversity - An incredible roundup of disabled models gorgeously graced the runways this season, many for their first time. Jamie Brewer, best known for her recurring roles in the FX hit American Horror Story, made headlines as the first model with Down syndrome to walk at New York Fashion Week. FTL Moda’s runway featured incredible prosthetics, and models in wheelchairs gave the au-
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Brown Is In Town - While no color will ever truly be “the new black” (not even orange - sorry Piper Chapman fans), brown has certainly returned with a vengeance. No longer content with being ignored, brown was spotted all over the runways this season in shades that could be called anything but drab. Tan, camel, and rich chocolate looked sexy and sophisticated as soft knits, trench coats, and earthy leather.
Venti, Extra Whip, Extra Drizzle - Bigger was better this season - bigger jackets, bigger sweaters, bigger furs, and more layers than ever. Many womenswear designers worked with a borrowed-from-the-boys looks for oversized outwear, while winter fur upped the drama by getting fluffier and fluffier. There was no shortage in the accessories department; we saw shoulder-brushing earrings, oversized pendants, elaborately decorated belts, and a slew of hair clips and barrettes. Scarves, hats, and jewelry were all layered for looks that were complex but wearable.
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Trapper Keeper - Practical and fun? Count us in. Fur was obviously all over the place this season, both real and faux, both on and off the runways. Our favorite fluffy rendition is the warm, comfy trapper hat like seen at Ralph Lauren. We loved the way Zoë Jordan topped slim, sexy suits with oversized hats for balance and heat.
New Cleavage - Side boob and under boob seemed to have bid us farewell this year, replaced by the chest-baring look of forgetting your first layer, whether that be your bra, your shirt, or both. Blazers and vests are kicked up a notch by wearing nothing underneath, a look that takes an outfit from business casual to bottle service with sophistication and ease. The abundance of full-coverage turtlenecks and oversized jackets were contrasted with plunging necklines and the occasional bellybutton.
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Turtle Club - In a serious and widespread case of Man-Repelling, turtlenecks unexpectedly swooped in and stole the damn spotlight this season. Higher-than-usual necklines took the form of textured sweaters, mock turtle knits, and funnel-necked jackets. Oversized fur collars also created a sort of faux-turtleneck effect, seen at Berenik and Jason Wu. Ryan Roche featured varying styles of turtleneck in every neutral shade a girl could want, and mock turtles made a more subtle statement, even appearing on a voluminous, pink-and-silver gown at Malan Breton.
dience a refreshing look at what garments look like from the runway sitting down. Except for the occasional seated model at a presentation, it’s unusual to see a look from any perspective besides standing. While there are still many glaring issues in the lack of diversity in fashion, particularly in print, it only takes one good example to get the ball rolling.
On The Fringe - In another nod to 70’s style, fringe is back for what seems like the umpteenth time. Every time it seems like fringe is fading, designers change their minds, stripping fabric for skirts, shoes, and dresses. Mongol featured a metallic rose fringe cage dress over a long-sleeve crew neck, while further fringes were seen at the likes of Mara Hoffman, Tom Ford, and Timo Weiland. We also caught fringe’s less-popular cousin, the tassel, making several appearances.
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I was so mesmerized by the amount of exposed skin, I barely even noticed what she was wearing. Keep your coats on, guys.
Come
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CULTURE
Hard to imagine, but there once existed a time when black clothing wasn’t considered cool at all. In fact, wearing all black meant that someone had died recently, which is a lot more depressing than stylish. While we won’t be ousting black again anytime soon, even the trends with the strongest staying power have to fade out eventually. But, as proven in this year’s 70’s-revival, it all comes back eventually. So if anything on the list below really breaks your heart, don’t be too sad - it’ll probably be back in full force by 2055.
Make Unders - High fashion presents the opportunity for make up artists to play and experiment, using bold colors and unexpected material to create temporary, wearable art. But as cool as it looks from the runway, bleached eyebrows, blue lips, or having rhinestones/feathers/pieces of leather glued to your face doesn’t always (or ever) translate to real life. This season, designers decided to keep it simple with natural-looking faces, showcasing the kind of no-makeupmakeup that takes a lot more time and product than you’d ever expect. Neutral palettes, flushed cheeks and dewy skin helped steer attention towards hair, which was decked out in clips, headdresses, and even paint.
The Lowdown - There is still so much to be said for flat, sexy, shoes. Audiences saw fur-trimmed ankle boots by Thakoon, lace-up combat boots at Wes Gordon, and low, chunky flatforms at Roomeur. Even attendees ditched the stilettos in noticeable numbers - record-breaking low temperatures and scattered snow showers made flat footwear seem all the more inviting. Oxfords, brogues, and loafers are sleek and androgynous in black and white, while winter boots ranged from sexy, ankle-baring chelseas to thigh-high and furry. And with the recent release of a Rodarte x Superga collection and a certain hype-heavy Adidas collaboration, sneakers are undoubtedly having a moment.
A Sticky Situation - As the rest America debates the woes and wins of the ubiquitous selfie stick, the fashion world has settled the matter with a resounding no. Every other densely populated area in the city has been thoroughly infiltrated by wand-wielding selfie wizards, the tents/studios/ballrooms of NYFW as the rare exception. Don’t get me wrong - there were still so many selfies being taken, just all from a normal arm’s length, as though it were still late 2013. The only (single!) person I saw with a selfie stick was possibly foreign, and seemingly confused about technology. While I woefully thought of how helpful the stick could be to get great pictures of runways from the third or fourth row, said woman inexplicably took pictures of the actual presentation with her iPad.
Street Style Mobs - This year, February in New York has been fucking cold. Pardon our French, but we’re talking recordbreaking, pipe-bursting, wear-two-jackets kind of cold. Peacock-ing and photo-snapping were kept to a bare minimum while exposed to the elements, and only the boldest of fashion photogs braved the cold to stand around outside between shows. Die-hard fashionistas exposed bare ankles, hands, and maybe even a little bit of midriff to nail the look. The slightly less dedicated donned tights and left their coats unbuttoned. As for the rest of us? We went all-in, hazmat style, covered from chin to toe in multiple layers, hoping people would mistake madness for genius. At one point I stumbled across a photo of a fashion blogger, smiling on a New York City sidewalk in a sheer top, skirt, and heels. No sleeves, no tights, no jacket. Was the outfit cute, at least? To be honest with you, I can’t even remember.
So Long, Lincoln Center - After a lawsuit last year over Damrosch Park, New York Fashion Week has officially been given a well-heeled boot from its Lincoln Center premises. Most of the uptown hopefuls from NYFW’s Bryant Park days have been disillusioned in the years that have passed; less and less of the big players show in the tents, and many say the media circus and product placement have given the whole venue a commercial feel. But where to next? Speculators have pointed to SoHo, TriBeCa, and Chelsea. According to the Huffington Post, IMG Fashion Week will move to a permanent venue, the currently under construction Culture Shed at Hudson Yards, around 2018. Venues like Milk Studios, the Park Avenue Armory, Pier 94, and the Standard have become satellite hubs during recent years, but there has been no official word yet on where people might expect to go come September.
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“Hard to imagine, but there once existed a time when black clothing wasn’t considered cool at all. In fact, wearing all black meant that someone had died recently, which is a lot more depressing than stylish.”
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The binding art of adding white to create pastels of neutral hues with low saturation leaves room to enrich fashions with textures and patterns with a breath of freshness.
Photography Cameron Grayson styling Candice Lewin
Humilis top Ellery Palazzo Pants Seagulls
flora dress gucci Brogues Wittner
Humilis top Ellery Tweed swimwear chanel
Bow dress (Runway Collection) Louis Vuitton Crop shirt Seagulls
Ruffle blouse Oscar De La Renta Vintage belt (stylist own) Fendi Pencil skirt Seagulls Mary Janes Wittner Bobby socks Witchery
Wool pants Saint Laurent Jewel Lace trench coat Burberry Lace bodysuit Seagulls
Silk blouse Saint Laurent chinois Capri pants Mollini brogue Seagulls
Jewel dress (Runway Collection) Giambattista Valli Mary janes Wittner Bobby socks Witchery Photography Cameron Grayson at AUSTRLALIAN AGENT VIVIENSCREATIVE | USA PRODUCER RANDOM PRODUCTIONS styling Candice Lewin make up artist & Hairstylist Ana Makridis USING MAC COSMETICS model Ilona Novacek at AGENT VIVIENS Photography assistant Thomas Watson Hairstylist assisant Samantha Sawyer
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Photography ANNABELLE TIAFFAY styling MARIE REVELUT
Dress DEFINED MOMENT
Dress DEFINED MOMENT cape augustin teboul
Dress DEFINED MOMENT Photography ANNABELLE TIAFFAY at BRICE-PASCAL SUISSE Agency styling MARIE REVELUT make up artist MELANIE SERGEFF at L’ATELIER 68 Hairstylist KAZUKO KITOAKA UNIA at CITY MODELS Photography assistant JEAN-BAPTISTE PEREIRA
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LovE PHOTOgRAPHY EmILY DELPHINE STYLINg CAITLIN QUICk
DRESS búL
PANTS & VEST búL SHOES bARED FOOTWARE
Blazer BĂşl
Culottes & Blazer BĂşl Shoes Bared Footware
Dress Apom Hat 66 The Label at Apom
Jumper & Skirt BĂşl Shoes Bared Footware
Shirt Apom
Dress BĂşl
Jumper & Skirt Búl Shoes Bared Footware Photography EMILY DELPHINE styling CAITLIN QUICK make up artist & Hairstylist VANESSA BARNEY Model BROOKE MEREDITH
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Shakuhachi www.shakuhachi.net
giambattista Valli www.giambattistavalli.com
Nike www.nike.com
Isabel marant www.isabelmarant.com/en
Christine Phung www.christinephung.com
With & Wessel withandwessel.com
by malina www.bymalina.com
Le Lourve www.lelourve.com.au
j brand www.jbrandjeans.com
Tocca www.tocca.com
Issey miyake www.isseymiyake.com/en
Pura Lopez www.puralopez.com
Defined moment www.defined-moment.com
bassike www.bassike.com
bared Footware www.bared.com.au
miu miu www.miumiu.com
The Volon www.thevolon.com
Dominic Louis dominiclouis.com
Augustine Teboul www.augustin-teboul.com
Cos www.cosstores.com
mSgm www.msgm.it
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marc jacobs www.marcjacobs.com
Cluny clunynyc.com
Ellery www.elleryland.com
Camilla and marc www.camillandmarc.com
Apom www.apom.net.au
Life With bird www.lifewithbird.com
Suzanne Rae www.suzannerae.com
Lanvin www.lanvin.com
Seagulls www.seagullsofstkilda.com.au
Topshop www.topshop.com
Vivienne Westwood www.viviennewestwood.com
Saba www.saba.com.au
Stine goya www.stinegoya.com
Parkchoonmoo www.demoo.com
gucci www.gucci.com
bĂşl www.bul.com.au
66 The Label www.66thelabel.com
Cedric Charlier www.cedric-charlier.com
Yushan Li yushan-li.com
Acne www.acnestudios.com
Wittner www.wittner.com.au
Sol Sana www.sol-sana.com
Comme des garcon www.comme-des-garcons.com
Christian Dior www.dior.com
Hannah Fickling www.hannahfickling.co.uk
Nill Lotan www.nililotan.com
Chanel www.chanel.com
Celine www.celine.com
Lovisa www.lovisa.com.au
Art/c art-c-fashion.com
ben Rice 1granary.com
Lucien Wang www.lucienwang.com
Louis Vuitton www.louisvuitton.com
maiden Noir www.maidennoir.com
Emilie bennet www.emilie-bennett.com
bernard Chandran www.bernardchandran.com
Stutterheim stutterheim.com/usa
H&m www.hm.com
Oscar De La Renta www.oscardelarenta.com
Scanlan and Theodore www.scanlantheodore.com
Elle Louise www.ellelouisedesigns.com
Alexandre Delima www.alexandre-delima.com
minimarket www.minimarket.se
Lipstick Shoes www.lipstikshoes.com.au
Fendi www.fendi.com
Asos www.asos.com
London Rebel londonrebel.co.uk
A.F. Vandevorst www.afvandevorst.be/en
Loma London www.lomalondon.com
j Crew www.jcrew.com
Witchery www.witchery.com.au
Veronika maine www.veronikamaine.com.au
maven The Label info@maventhelabel.com.au
Laurence bossion www.laurencebossion.com
Diane Von Furstenberg www.dvf.com
& Other Stories www.stories.com
Saint Laurent www.ysl.com
marni www.marni.com
Chenq www.chenq.com.au
Stephanie Coudert www.stephaniecoudert.fr
by malene birger www.bymalenebirger.com
Clare V www.clarev.com
burberry www.burberry.com
Calvin klein www.calvinklein.com
S Wallis www.s-wallis.com
Norah Reiser norarieser.com
Correll Correll www.correllcorrell.com
Candela www.candelanyc.com
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