March 2012 issue

FRESH FOR FANTASY

NEW AS MORNING DEW: DESIGNERS, ARTISTS, MUSICIANS & MORE! FEATURING ELEANOR AMOROSO IS KNOTTY BY NATURE OVER THE MOON 4 VANESSA MOONEY THE TALENTED TIMOTHY K BLEUBIRD LOVES CATS & CANNONBALL

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IN THIS ISSUE

04 FROM THE EDITOR

SPRING AHEAD

FRESH CUTS

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Starting A Small Business Passion and perseverance pays big

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Full Bloom Spring beauty; photographed by Remi Kozdra & Kasia Baczulis

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Day Job To Dream Job Vanessa Mooney creates a beautiful future one bead at a time

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Retro-spective How to shop vintage

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Sew Jealous Maria Aparicio Puentes stitches a new dimension into found images

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It’s A Doll’s World After All Playful fashion; photographed by Xi Sinsong

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Designer With A Twist Eleanor Amoroso elevates traditional techniques into the future

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The Cat’s Meow The music scene pounces on bleubird and his new album

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What Dreams May Come Whimsical womenswear; photographed by Alvin Nguyen

BUZZWORTHY

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A Piece Of Cake A behind-the-scenes taste of our feature editorial

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Beauty Gone Bad Beauty products gone bad is less than a pretty picture

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The Artist The man behind French fashion’s daring design

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In The Spotlight Feature designer Timothy K

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EDITOR-IN-CHIEF Hayley Maybury CREATIVE DIRECTOR Nicole Bechard MARKETING & TECHNICAL DIRECTOR Jamall Oluokun ADVERTISING DIRECTOR & PUBLISHER Shomari Miller FASHION EDITOR & COPY EDITOR Jessica Young FASHION COORDINATOR Nicole Herzog WEB DEVELOPER Jason DePeaux INTERNS Sarah Scolaro social media Stephanie Wilcinski graphic design

CONTRIBUTING WRITERS Carley Burke Alyssa Davis Nicole Herzog Grant Klein Danielle Sipple Koral Webb Jessica Young Lindsay Zgonina

CONTRIBUTING ARTISTS/ PHOTOGRAPHERS Kasia Baczulis Conor Doherty Grant Klein Remi Kozdra Alvin Nguyen María Aparicio Puentes Xi Sinsong

GUEST BLOGGER The Jealous Curator

ON THE COVER

Photographed by ALVIN NGUYEN

Hair/makeup by JOHNNY GONZALEZ Assisted by VERONIKA ROBOVA Styling LSC FOR 4SEASON STYLE MANAGEMENT Model MARCELINA (NEW YORK MODELS) Special thanks to OPENHOUSE GALLERY for the location 3

FROM THE EDITOR FRESH FOR FANTASY

Time for some spring cleaning Papercutters!

Lets pack up our drab winter gear and break out the pastel jackets and open-toe heels, I know you are all dying to get into them! What brightens up a mood better than some eye-catching colors and floral prints?! Yet, if you’re not feeling motivated to make the switch from winter to spring, after you flip through a few pages of this issue you will be born again! I know I am!

In this issue, fall down the rabbit hole as our amazing editorial team turns the tables on the cold February streets of NYC. Celebrating a Central Park spring dream in our “What Dreams May Come” editorial, we feature one of my favorite NYFW designers, HONOR. This whimsical story will not only have you longing for a picnic in the park but will also have you lusting over HONOR’s spring collection.

Once you are done gawking over the vibrant images, get familiar with some of the latest up-and-coming talent. From Vanessa Mooney’s gorgeous jewelry, to the unique rhyming sounds of Jacques Bruna, a.k.a bleubird, this issue has a little taste of everything!

Until next time! xo

FROM TOP: editor-in-chief Hayley Maybury; some behind-the-scenes peeks at our “What Dreams May Come” editorial (page 18) shot at Openhouse Gallery’s Pop-Up Park.

OPPOSITE: our adventures at NYFW this past February.

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STARTING A SMALL BUSINESS PASSION & PERSEVERANCE PAYS BIG. Written by ALYSSA DAVIS It may be surprising to learn that you do not need certain degrees or certifications to be successful doing something you love as a living. If you’re willing to do what it takes, you can overcome your obstacles and follow your passion to becoming a small (yet profitable) business owner. No one said it would be easy. Be prepared to work nights and weekends when you keep your day job, read endless tutorials on web design and deal with the occasional headache brought on by the stress of having to make each and every decision.

What newbies don’t realize is that many small business owners are not just the creators—they act as web designers, accountants, photographers, marketing directors and customer service support. Be prepared to be your 6

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own PR team too and learn to master the art of networking.

On a positive note, staying focused is all worthwhile. It can be a blast building a business, having no boundaries or limitations aside from those you set yourself. Not to mention the satisfaction and fulfillment of pursuing your craft.

Being a prospective small business owner myself, I know the struggles firsthand and have found strength and encouragement from speaking to experienced business owners. Read about my personal journey, how they got their start, what advice they have and what they wish they knew from the beginning!

KEEPING YOUR DAY JOB Most people I’ve spoken to don’t plan on starting a small business from the start. They may be working in another

field when the urge to flex their creative muscles strike. Although it’s natural to believe that one must have majored in or have upheld special training in their desired craft to be successful, that’s not entirely true. Numerous profitable individuals did not discover their “calling” until years or even decades after graduating college! Sometimes, despite where your journey has taken you, you must really dive in and give whatever you are passionate about 110%. That being said, be smart, save accordingly, and if you need to keep your current job in order to fund your growing business, then do just that.

After creating my blog, Little Girl, Big Eyes (www.littlegirlbigeyes.com), I realized that I truly loved calling the shots. Constantly brainstorming new ideas and topics to write about, my mind

OPPOSITE: Cursive Design necklaces. THIS PAGE, CLOCKWISE FROM TOP: Little Girl Big Eyes “Karma” bracelets; Cursive Design bracelet; Hoist Away Bags tote; Project Chane by Chane “Twiggy” tee; “Neckalina” by KaVatee.

was on overdrive. It wasn’t until after I started managing regular contributors and editing each and every post that I started to think about the bigger picture: developing the brand that can support my love of jewelry making and writing. With the adrenaline rush comes a lot of stress and long nights reviewing different website platforms while reading through government legalities to ensure I’m embracing state and town laws I’ve never had to tap into before.

Yet, I know essential planning will be worthwhile in the end.

Chane, of Project Chane graphic tees (www.chane.com), recounts that his small business transitioned over the period of six months and then he just jumped in to see if he would survive.

In 1993, he literally took off to NYC with absolutely nothing (everything he owned had been stolen a week before in his college house). “The decision to go to NYC seemed to be more of an omen. With only $300, no place to live and a head full of hope set the stage for dreaming that would never see an end,” he says.

On the other hand Laura, of Hoist Away Bags (www.hoistawaybags.com), needed some level of confidence based upon sales to prove she could sustain herself and still help pay for her daughter’s college education. “Personally I’m not a risk averse person and have worked

for enough startups to know there will always be risk regardless of how well mapped out a plan one has. From the time I started Hoist Away Bags to the time I decided to work at it full-time was less than a year,” says Laura.

Although both of these designers developed their business in less than a two year period, the transition isn’t always that easy. It all depends on the specific individual, their financial situation and personal savings. Coowners, Katie and Valerie of KaVatee (www.kavatee.com), who created the Neckalina, met at Parsons School of Design in NYC. They decided to pursue their KaVatee dream about five years ago. “We still both work other jobs to pay the bills. We cannot wait to do KaVatee full time and are hoping the transition will happen later this year.

KaVatee is a seven-day-a-week job.

We work our other jobs in between, in the mornings, at night and on the weekends. It is hard sometimes but we always have the big picture in the back of our minds,” says Katie.

Sarah Fox of Cursive Design (www. cursivedesign.com) says, “I started my business slowly while still holding down a 9-to-5 office job. Client orders and wholesale orders started to snowball and it became evident that I could make it work financially. I definitely took a

pay cut in the beginning but I didn’t even notice. It was a total shock to see my tax statements the next year. I had made so much less than I had made at my office job but I was much happier in my new life. I learned that working on your own is so time consuming but if you truly love what you’re doing you’ll be so much happier.”

IS IT REALLY A ONE MAN SHOW? Define what you’re good at, what you like doing and what you’re not good at and what you don’t like doing. Then figure out when the time and cash flow is right, what will be the first things you’ll delegate or outsource. Don’t wait for that time either—start looking for those people now. Although I’m still in the startup phase, I’m already researching advertising costs for the future and making contacts at different publications because I know it will come in handy later on. I’ve always excelled at PR and writing so I see myself continuing those tasks in the future.

However, although I’m organized I am nowhere near experienced enough to do my own taxes and will be seeking advice for that when the time comes.

“I use a CPA and have contracted with other professionals as needed. As for tips to manage the admin side, put it on your calendar to do “X” certain 7

days of the week/month. Chunk it out, it’s all important. Schedule doing these tasks for various times of the day that you don’t think you’ll be as creative,” says Laura. “Also get a good accounting program. All the CPA’s will love you for it and will take you more seriously too! The devil is in the details and the numbers are part of those details. As much information you can track early on and quantify things, the smarter decisions you will make as you grow,” she advises.

“This past year we divided the entire business by task (so we are each in charge of different areas).

Before, we would tend to do every task together. This delegation has helped tremendously, we both have completely different strengths and weaknesses,” says Katie of the KaVatee team, “Plus, we have a fierce law team behind us as well as a fantastic accountant! It is completely worth spending money on these services, there are a lot of mistakes that can happen and if you have a solid team behind you, you will be guided down a good path.”

THE IMPORTANCE OF NETWORKING & HAVING A SUPPORT SYSTEM Social networking today is completely different than what networking might have meant ten years ago. Social platforms like Facebook and Twitter have proven to be more than a trend. These sites attract millions of people varying in ages on a daily (and sometimes hourly!) basis. Think of it as nothing less than free advertising, which makes it completely worth learning to use properly. It’s important to build a relationship with customers.

I make it a point to post on the Little Girl, Big Eyes Facebook page daily.

Connecting with readers is not only rewarding but it also works as a great customer service tool. You can easily see what products they do and don’t react to, as well as any concerns they may have and respond accordingly. Create a username that makes it easy for fans to find your page—if your business name is already taken, make it something short, related and memorable. For example, I use facebook.com/big3yes which is the same as my twitter username (@ big3yes). Excelling in social media is an ongoing learning experience, it’s always changing and it’s crucial that you keep up with the new developments. If you’re working in the creative field, Pinterest is a great new tool. By uploading photos of your designs that link back to your online shop or blog, you can easily boost traffic!

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Of course there are more traditional means of networking that should not be forgotten. A solid group of collaborators make a great support system. “We have a fabulous entrepreneur group that we are a part of (www.preneur.net). It’s a wonderful network of other entrepreneurs all over the nation, great connections, tips & tools and a wonderful sounding board 24 hours a day,” says Katie. “I would be nowhere without my husband, family and tight group of friends who are also artists and designers here in Chicago. When we hang out, we inevitably end up discussing business and strategy. Often, I care as much about their projects as I do my own.

It’s a very nourishing environment and I’m extremely fortunate,” says Sarah.

Unless you have a lot of startup capital when planning your small business, you’ll have to pick and choose your compromises since you can’t have it all. When starting out, one of the first things small business owners do is create advertisements or do photoshoots for a current collection.

Models and photographers can be expensive but high quality images really make a product more than a listing and add brand credibility.

Reach out to your friends or colleagues to model or photograph your work.

You might even come across other individuals with skills like graphic design that can come in handy when building a website. Often peers will be more than happy to support you in any way they can and if they’re still in college you’re helping them build their portfolio as well.

I like to carry a few business cards on me at all times. You never know when you might run into someone who could benefit your business. Part of becoming an entrepreneur is stepping out of your shell. I’m naturally an introvert and have a quiet personality.

Yet, I’ve learned that shying away from opportunities that could become a great business venture will leave you with more regret than suggesting a great idea to an acquaintance. Make a note to get an email address, if not a phone number. Sometimes ideas sound better in writing!

ADVICE FROM THE PROS With no one aside from yourself pushing you to move forward and find success in your small business, it can often be difficult to stay optimistic and motivated. “I work from my home studio—so one thing I dedicate myself to do is get out of my house once a day.

That might be taking a bike ride, going

sailing, gardening or visiting with friends. I have a reminder in my studio that prompts the question, ‘What have you done for your endorphins today?’” says Laura on staying active.

My advice for any young design business is to focus on making an amazing product. Start slow, listen to your customers and stay true to your vision. It can be competitive and it’s important to keep your work your own. If you’ve got a great product that people love and you’re willing to work relentlessly at it then you’re going to make it work,” says Sarah.

Financial advice? “Contact your local office of economic development and apply for one of their many grants,” suggests Chane, “and never ever hire friends or family!”

While these designers all have great advice, it’s different for every individual. Unlike other jobs, you don’t have someone watching over you telling you what needs to get done that day or every other day. Your success is a direct result of your work ethic—and it shows. Sometimes I get caught up in the smaller details and spend hours playing around with a new web layout when I could have been more productive working on other tasks. Other days it may be the opposite, constantly running down my to-do list, I often forget to give myself a chance to breathe. I find that being committed to other activities like a weekend yoga class or frozen yogurt with the girls will take the edge off and lower stress. It’s not always fun but working towards owning a small business is something I continue to achieve daily in hopes to accomplish a longtime dream and gain well-deserved pride that only comes from making mistakes and picking yourself up again.

My advice? Don’t dwell on defeat. Make note of that experience, alter your strategies and move on to better things!

WANT THE LATEST IN FASHION, ART, CULTURE & NEWS? DON’T FORGET TO VISIT US ON THE WEB

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DAY JOB TO DREAM JOB DESIGNING DESTINY, VANESSA MOONEY CREATES A BEAUTIFUL FUTURE ONE BEAD AT A TIME. Interviewed and photographed by GRANT KLEIN It’s winter in L.A. and the weather is beautiful. The smell of bacon-wrapped hot dogs leads me to a parking structure in a seedy back-alley off Maple Ave. I’m in the epicenter of fashion in Los Angeles.

Tourists think the heart of fashion in Los Angeles is on Rodeo Drive. It’s not.

The L.A. Fashion District spans about 100 blocks in south downtown L.A. Wholesale fabric stores, sweatshops, and showrooms line the streets and somewhere in between it all I find the headquarters for Vanessa Mooney. I arrive to the 5th floor and find two gigantic loft spaces with a thriving jewelry business and its 25 employees bustling on a Friday afternoon.

Every day you hear of some awful news story about a business failing. Recession, recession, recession. Your friend’s so-andso is on unemployment, blah, blah, blah.

It’s fucking depressing, right? Well, this is a story of how a girl working a 9-to-5 started moonlighting as a jewelry designer and in just two years grew her company to a recognizable brand worn on the likes of celebrities such as Olivia Wilde and Adele.

You can also find her jewelry in over 500 stores worldwide including Shopbop and Bergdorf Goodman. Yes, you can read that again. She did this all in two years.

The beautiful part about her journey is that all of her success had nothing to 10

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do with luck. She never got a break or a bailout. She worked really hard for it.

Late nights and a lot of determination were her driving force in building a jewelry business while we’re coming out of an economic recession. If you ask her, the key to it all was finding herself as an artist and realizing that she didn’t want to be a rat scurrying through life for scraps. Deep down, she was more than her day job and she learned that you just have to go for what you want in life.

In two years, most people usually become a little dumber and a little lazier. Vanessa Mooney did the opposite.

At 30 she straight up turned her life around. It can happen. It does happen.

And this is how it happened.

WHAT INSPIRED YOUR JOURNEY TO BECOMING A JEWELRY DESIGNER? Two years ago I was working in the photography industry as an artist rep and I realized this was not what I wanted to do anymore. The music industry was totally on the way out with photography and you could sense people were just doing work to make money. It felt strange to me and I was like, “Wow, that’s what my life could be. I could be doing work just to make money.” It really freaked me out.

I’ve always known that my passion was in art. When I was a teenager, I

painted, wrote poetry and I was into the Hollywood fashion scene. I loved going to vintage stores, buying crazy pieces of clothing and reworking them. Creativity with fashion was something I could do all day long. It is very inspiring for me.

HOW DID YOU TAKE YOUR INSPIRATION AND TURN IT INTO A REAL BUSINESS? Honestly, when I was about to turn 30 years old. I went, “Oh my God, if I don’t go and pursue what I want to do right now, the window could close for me.” I didn’t want to spend the rest of my life working at something that I didn’t love just to make money. I would rather go for it and see what happens than pretend I’m something that I’m not. I never felt myself. Why should I pretend to be something because it’s my job?

HOW YOU DID YOU GET OUT OF THE 9-TO-5 TRAP AND FOCUS ON YOUR JEWELRY? Every day after work I would come home and work on my jewelry. I fell into jewelry because it was something that came really natural to me. I had a lot of ideas immediately right off the bat. I was in a store one day and I saw a set of bracelets that were $700. I realized that I could go and make them myself. I just bought the beads and I made it. I started going to antique stores and I was able to duplicate

the jewelry by visually looking at it. I just started immersing myself in that world.

I felt naturally inclined to jewelry. I started designing my own jewelry and I would stay up until 2:00 or 3:00 a.m. in the morning because I was really into it.

It felt good. I was able to sell my jewelry in a few stores when finally a sales rep saw my jewelry in a friend’s store. I was looking for a sales rep at the time and she really connected to my art. She started selling and selling and then she sold it to Shopbop. I knew that was the big one. I was like, “Whoa, if Shopbop wants to buy my jewelry, then everyone’s going to love my jewelry.”

SO THAT ORDER SEEMED TO VALIDATE THE JEWELRY YOU WERE CREATING? I still didn’t have confidence, honestly.

It was a little surprising. We just kept getting more and more orders and I was like literally making it out of my house with one other person. My very own hands made the first Shopbop order.

I realized I loved this and obviously people are interested in it. People wanted to buy it and I was making money. There were a couple of months when I made more money off the jewelry than I did at my day job. That gave me the confidence to go, “Fuck it, I’m going to just quit my job.”

AS YOU GREW BIGGER AND BIGGER WERE YOU JUST WINGING IT? It happened so fast that I never really thought about it. You know when you’re put in a situation when you don’t have time to think? You just go into action.

That’s what it feels like and it still feels like that. I feel like in America today you have to work your fucking ass off. You just have to go for things. You can’t get stuck down in the mentality of, “My future is in someone else’s hands” or “I go to work to make money so that I can have a house.”

You just have to work hard.

I think a lot of designers don’t understand that it takes hard work.

They go “Well, I’m an artist and I’m not a business person.” You better be both.

just immerse yourself in the industry if you can’t go to school. Always have the goal of what you want to do in mind. Keep your goal strong. Apprentice or intern to work in fashion. Always take something from those experiences.

BUT IF YOU ARE ALMOST 30, THEN WHAT? Fucking go for it. Seriously.

WHO ARE YOUR FAVORITE DESIGNERS RIGHT NOW IN FASHION? I love A.L.C. because they make the most beautifully tailored clothing you’ll ever see. I also love what Reformation is doing with clothing. I’m currently obsessed with Rag & Bone’s shoes and I love Blu Moon’s hippie look. Obviously, I’m all over the place.

ARE YOU ATTRACTED TO DESIGNS BECAUSE OF THE LABEL? I love all kinds of labels, but it doesn’t mean that I like what they are doing each season. In terms of my own jewelry, I want people to wear things and buy things that make them feel good, not just because of the brand. I want the jewelry I design to reflect me at that moment. I want it to reflect what I’m feeling or what I love that season.

WHAT’S NEW IN 2012 FOR VANESSA MOONEY? We are getting our company more organized. This means as a designer I can now focus on travelling and going places to be inspired. I now have the time to work with different metal smiths and spend more time on my designs.

WHO’S YOUR DREAM CELEBRITY? Honestly, I don’t follow too many celebrities, but I really love it when an artist really

likes my jewelry. So, I guess I don’t have a dream celebrity, but I do love Rihanna.

IS THERE A SPECIFIC GIRL YOU DESIGN FOR? I don’t necessarily design for any one specific girl, but I would say that it’s the girl you pass by and think that—there is something interesting, beautiful and eyecatching about her. You can’t look away because you want whatever she has and she has a hold on you for that moment.

TELL OUR READERS A LITTLE ABOUT YOUR DESIGN PROCESS. There is a feeling of uninhibited intuition with my design process. I don’t think about what will sell, I think about what I want to create for someone to wear. Raw materials, colors and shapes constantly inspire me. I sketch a lot when I am working on my pieces that are cast from metals. I create five full collections a year. Each collection takes me about two months of fulltime work and I usually have about a week between each collection before I move onto the next one. I create large collections, sometimes 100 to 200 pieces per season, and I design pieces that seem to flow one into the next.

HOW DO YOU SEE YOUR BRAND EVOLVING? My love is jewelry. I think the jewelry will always be evolving but I am also working on handbags, shoes and other accessories.

WHAT PIECES IN YOUR NEXT COLLECTION ARE YOU EXCITED ABOUT? I am working on this cuff that I am extremely excited about. It will have talons that meet and open in the center of the wrist. It has a really strong and futuristic bohemian, Mad Max vibe.

WHAT’S YOUR ADVICE TO A 19-YEAR-OLD GIRL THAT WANTS TO GET INTO FASHION? Go to school for it. If you know at a young age that that’s what you want to do, you should get as much information about the industry as you can. If you have time to learn, study and perfect your knowledge and craft, then you should go to school. It’s not going to hurt you.

However, it doesn’t mean you can’t do it if you haven’t gone to college. I hate the concept that you have to have a degree to be in the industry. You just learn it. You 11

SEW JEALOUS

MARIA APARICIO PUENTES STITCHES A NEW DIMENSION INTO FOUND IMAGES. Written by THE JEALOUS CURATOR Gah! That was the sound that came out of my mouth the first time I saw the work of Chilean artist, María Aparicio Puentes. By day she is an architect (which probably explains all of the gorgeous geometric patterns in this work) and by night she spends her spare time making me insanely jealous with her mixed media artwork.

Black and white photographs, usually found on Flickr, become even more beautiful when María starts to sew. Her delicate, precise, colorful embroidery brings an entirely new story to the already beautiful images she finds. Gah! Oh boy, there I go again.

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DESIGNER WITH A TWIST PROGRESSIVE LONDON DESIGNER, ELEANOR AMOROSO, ELEVATES TRADITIONAL TECHNIQUES INTO THE FUTURE. Interviewed by KORAL WEBB London-based designer Eleanor Amoroso has dazzled the likes of Vogue with her unique handcrafted signature style.

Inspired by Japanese rope bondage, Eleanor always keeps a look out for unconventional shapes and textures to experiment with. By twisting and wrapping materials around the body, she forms powerful silhouettes and pushes the boundaries of fashion design, even in today’s diverse creative sector.

Young Eleanor, a recent Womenswear graduate from the University of Westminster has begun her career with a blast, appearing in a variety of publications including Volt Magazine, Tank, AnOther Magazine and i-D Online. This season, her latest collection was featured at Blow Presents Live London Fashion Week, exhibited at the Fashion Space Gallery and she showed her AW 12/13 collection at the Vauxhall Fashion Scout stage, quite a feat for her second season as a full-fledged fashion designer.

I was eager to find out her inspirations and background to such innovative sculptural pieces as she takes the ancient craft of macramé and transforms it into a beautiful modern technique. The lady behind the masterpieces, meet the lovely Eleanor Amoroso.

TELL ME A LITTLE BIT ABOUT YOUR BACKGROUND, WHERE DID YOU GROW UP? WOULD YOU SAY YOUR UPBRINGING INFLUENCES YOUR WORK? I am originally from Bedford. I went to a private all-girls school where I was encouraged to pursue careers like Law or Medicine like most of my friends but nothing really interested me other than Art. I would spend all my time in the art studio and working on my art coursework, everything else came second. I moved to London to study art foundation at Wimbledon School of Art, but then progressed to fashion design.

HOW DID YOU DECIDE ON USING MACRAMÉ TECHNIQUES? CAN YOU EXPLAIN THE PROCESS OF HOW YOU CREATE SUCH FANTASTIC AND INNOVATIVE KNITWEAR PIECES? For my graduate collection, I wanted to create something really exciting and different to what everyone else was doing, something that would really stand out. I have always been very interested in knitwear and fascinated with the work of designers like Mark Fast and Sandra Backlund. I don’t know how to knit, however.

So, I was looking to create something similar to knitwear but without actually knitting. I had never heard of macramé before I began working on my graduate collection.

I began experimenting with wrapping and tying different materials around the body and then came across the ancient craft of macramé which I self-taught myself by books. I found it fascinating and I soon became obsessed with all the different patterns that could be created with just a series of knots. I would say that my main inspiration for each collection is, in fact, that technique.

The way I work and create collections is actually quite unusual. Due to the nature of the pieces, it is impossible to sketch out exactly how a piece will look beforehand. I have lots of ideas in my head when I start to produce a new collection but often they will develop and evolve as I work. I might start making a piece with an idea in my head of how it will go but 14

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as I progress it will evolve into something very different. The more I do the more ideas I have, and generally each piece will inspire the next piece.

therefore I can make larger quantities to fill demand. They are currently on sale on Notjustalabel.com, Darkroom and Sister (Tokyo). I hope to increase these stockists for the next season.

ALL OF YOUR PIECES ARE HANDMADE WITH INTRICATE TWISTS, TURNS AND IMMACULATE ATTENTION TO DETAIL. HOW LONG WOULD YOU SAY IT TAKES YOU ON AVERAGE TO MAKE ONE PIECE? It’s difficult to say as I often begin by making small sections which then develop into bigger pieces and often I am working on several pieces at a time. When I first began, I was very slow at tying the individual knots and I often had to restart things but now I can knot much quicker. However, the pieces have become more complex in design so it still takes a long time to make. One of the pieces from my graduate collection was entirely knotted from the shoulder down to the ground and took months to finish.

Each piece contains thousands of individual knots that I’ve handcrafted with a lot of hand sewing to stitch the pieces together. I hand sew the pieces because a machine could not create the same effect I am looking to create.

WHAT CAN WE EXPECT TO SEE FROM ELEANOR AMOROSO IN THE FUTURE? I hope to keep exploring new and exciting techniques to create unexpected and innovative pieces. I am also currently looking into making pieces that are more “wearable”, take a shorter amount of time to make yet remain true to who I am as a designer.

WHAT DO YOU THINK HAS HELPED YOU THE MOST TO ACHIEVE THE PROFESSIONAL PLACE YOU’RE AT IN YOUR CAREER RIGHT NOW? I think being selected to show in our graduate show was a great stepping stone in building exposure. I was signed to Blow Presents (Blow PR) shortly after and from there I have received a huge amount of press which I never expected to happen. Having the opportunity to show during London Fashion Week last season has also helped me immensely which lead to my collection being featured on Vogue.com alongside long established brands.

WITHIN TODAY’S SOCIETY, HAVING TO BREAK THROUGH THE SEA OF “FASHION DESIGNERS”, WHAT WOULD YOU SAY SETS YOU APART FROM ANYONE ELSE THE MOST? I think it is incredibly important to just be yourself and not to try things just because you think everyone else is doing them to fit in. Fashion is about bringing something new and innovative.

WHAT DO YOU ALWAYS KEEP IN MIND WHEN DESIGNING A COLLECTION? I always try to push the limits of what can be created through using my signature knotting technique. I love the movement that the loose fringing creates (especially for the catwalk) and the contrast of the tough knotted sections with this fluidity. I like to focus on a different way of knotting each season and really explore the shapes and textures that can be created, all the while keeping everything clean and modern.

My graduate collection was entirely held together by knots, without any sewing at all. Now it is much more about developing new shapes and textures while introducing new materials into the process. SS 12 was about the creation of increasingly sculptural pieces, pulling the knots tight to allow bending and curving to form naturally. I only used one type of knot which was repeated in rows, but varied slightly in each piece. AW 12/13 was more about creating bolder, heavier pieces for winter. It reflects my previous work but is much more refined and uniformly knotted, again focusing on a different knot to create a different texture.

YOUR JEWELRY COLLECTION IS BEAUTIFUL. IT’S NICE TO SEE YOUNG DESIGNERS EXPAND AND STRETCH THEIR TALENTS. WILL YOU BE CONTINUING TO MAKE JEWELRY ALONGSIDE YOUR SEASONAL COLLECTIONS? Yes, I really love making the jewelry pieces. I made a few pieces to style my first collection and it has just carried on from there.

As they are much smaller they take a lot less time to make 17

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WHAT DREAMS MAY COME

Photography by ALVIN NGUYEN Styling by LSC for 4SEASON STYLE MANAGEMENT Hair/makeup by JOHNNY GONZALEZ Assisted by VERONIKA ROBOVA Model MARCELINA (NEW YORK MODELS) Special thanks to OPENHOUSE GALLERY for the location

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THIS SPREAD AND PREVIOUS Hot pink sharkskin suit by HONOR; necklace by KARA ROSS NY; bracelets by GEMMA REDUX; shoes

by Cesare Paciotti

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THIS PAGE AND OPPOSITE Lemon crepe dress with leather trim

by HONOR; necklace and cuffs by YOUNG&NG; ring by AVANT GARDE (not shown); shoes by ZACK LO

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THIS PAGE AND PREVIOUS Absent collar dress with sheer back by HONOR; necklaces by GEMMA REDUX; cuff by LEE ANGEL; shoes by WALTER STEIGER

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THIS PAGE AND OPPOSITE Tee with blue lace appliqué and white chantilly skirt (not shown)

by HONOR; necklace by MADAME MATHIDE; necklace by KARA ROSS NY; earrings and ring by LEE ANGEL; cuff by JENNIFER ELIZABETH; shoes

by United Nude

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Wallpaper jacquard and lace tee and shorts by HONOR; necklace by DELPHINE CHARLOTTE PARMENTIER; earrings by LEE ANGEL; bracelet

by MELLINA & COMPANY; bracelet

by TULESTE MARKET (not shown); shoes by Cesare Paciotti

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A PIECE OF CAKE

GET A BEHIND-THE-SCENES TASTE OF OUR “WHAT DREAMS MAY COME” FEATURE EDITORIAL. Written by JESSICA YOUNG “We need fabulous flowers and everything that embodies fresh, fresh spring!”

After months of dark edge, moodiness, men and off-kilter concepts, we are ready to shed winter at Papercut and shove some saccharine in your teeth.

Yes, all is good and well while skipping down the happy path to an overtly charming photoshoot concept; however, one catch. Where does this blossoming oasis exist in the cold-concrete jungle hell of a February NYC?!

Lucky for us, New York City is teaming with marketing innovators thinking outside of the box and is essentially a playground for pop-up shops and experiential concepts. Tucked away on 201 Mulberry Street in NoLiTa, lays a balmy refuge that any regular sidewalk psycho can easily stalk by.

Almost a neighborhood secret, through the floor-to-ceiling window-paned walls of Openhouse Gallery resides the PopUp Park. A winter wonderland opposite of the conventional variety, lush green grass, trees and colorful flora bursts from every corner. Sure, it’s all fake but that’s entirely beside the point. Like any real metropolitan summertime green space, the sprawling NewGrass incites the same lethargy amongst its visitors encouraging massive marathon picnicking, marathon make-out sessions and the same sort of lolling about that makes wasted weekend hours blissful.

Attracting street performers, food vendors and activities of all kinds (planned by the park staff or not) the Pop-Up Park essentially recreates the outdoor atmosphere that New Yorkers wistfully miss during frigid weather.

The experience even includes the sound of birds chirping on speakers, a steady 75 F temperature and lighting via Seasonal Affective Disorder lamps.

Serotonin rising? To say the least.

Perfect for our sunny-sugary fantasy, the springtime in Central Park themed Pop-Up Park became our model, Marcelina’s dream. Frilled out in HONOR’s SS 2012 collection, Marcelina loses herself in a landscape of ladylike loveliness. Contrasting sheer delicacies and innocent frocks with a severe suit in the most shocking pink, Marcelina explores softness and strength in this 30

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garden of femininity. With the symbiosis of both sides in our fruitful utopia, a coquette flourishes into full womanhood.

Let winter wither away. A confectionary spring is oh-so sweet!

PERFECT FOR OUR SUNNY-SUGARY FANTASY, THE SPRINGTIME IN CENTRAL PARK THEMED POPUP PARK BECAME OUR MODEL, MARCELINA’S DREAM. FRILLED OUT IN HONOR’S SS 2012 COLLECTION. NOW THAT SPRING’S IN THE AIR… What is Openhouse Gallery up to now?

The Pop-Up Park is hibernating for next winter; however, the team at Openhouse has a food-and-art-filled event to tantalize your appetite for fun. Behold the Big Lobby Art Dog. BIG LOBBY ART DOG Hailed as the most ambitious pop up yet, Big Lobby Art Dog blends

outrageously creative installation art with an artisanal hot dog throwdown.

From March 29–April 1, blow your mind on larger-than-life pieces by New York’s contemporary artists including Time Out New York’s Most Creative New Yorker, Jason Borbay, and signed prints

by Salvador Dali. To top off your art trip, succumb to a flavor explosion as city chefs work to transform the city staple, hot dogs, into culinary masterpieces.

You decide which is more sensory overstimulating: the art or the hot dogs.

FOR MORE EVENT DETAILS CHECK OUT: www.openhousegallery.org Openhouse Gallery 201 Mulberry Street New York, NY 10012

Tee with blue lace appliqué and white chantilly skirt (not shown)

by HONOR; necklace by MADAME MATHIDE; necklace by KARA ROSS NY; earrings and ring by LEE ANGEL; cuff by JENNIFER ELIZABETH; shoes 31

by United Nude

BEAUTY GONE BAD

MAKEUP ARTIST, CARLEY BURKE, EXPLAINS HOW BEAUTY PRODUCTS GONE BAD IS LESS THAN A PRETTY PICTURE. Written by CARLEY BURKE

Have you ever looked into your makeup bag and examined its contents? Did you find mascara which has seen more Christmas parties to last a lifetime?

It’s time to start paying attention to those makeup bags just like you would your food basket. All makeup has an expiration date like many things but for some reason most people seem to neglect this fact. We are all guilty of this, even me. I probably have lip gloss or gloopy mascara that should be disposed of years ago.

Out-of-date makeup can be doing us more harm than we actually realise.

A new study from Opinium Research in London shows that women are putting their health at risk by using cosmetics that are past their best. Many admitted they simply did not realise

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cosmetics could go off. Makeup contains chemicals that can be harsh on the skin.

Sometimes this could take years of use for any noticeable damage to appear on the skin surface. This can happen with fresh, just- bought makeup but becomes 10 times worse when expired makeup is used. The common chemicals contained in makeup are preservatives which can strip the skin of its natural defence by drying it out thus impacting the skin’s natural PH level of 7. Using an expired eye shadow may cause serious damage to the eye area. The skin covering the eye area is the thinnest organ on your body, which means harsh chemicals used on this area will cause damage much faster. Some examples of eyelid damage which may occur are eczema, crow’s feet and premature aging.

Dr. Donald Grant, who conducted a study on dermatitis for natural beauty brand Skin Shop, said, ‘”Unfortunately, I do see an awful lot of women who have eczema or inflammation on their eyelids and nowhere else. The tissue around the eyes dries out as you get older.”

He adds, “The best way to retain this moisture and the skin’s defences is not to use cosmetics every day, some of which contain strong chemicals such as preservatives which strip away the natural defences and dry out the skin.”

(Daily Mail, February 12, 2011).

Here are some facts about what happens to our makeup and their shelf life: Once our makeup is open and used it is contaminated by micro-organisms (bacteria), yeast and moulds which are present on our skin and in the air.

One of our bodies’ first lines of defence against bacteria is our skin. Our skin is the barrier which stops infection from entering the body. Millions of microorganisms live harmlessly on our skin and in the air around us. Products with more water content such as liquid foundation, moisturizer and mascara are more susceptible to contamination.

EYES One needs to be particularly careful with the eye area as this is one of the most sensitive parts of the body. Mascara, liquid eyeliner and any eye products that contain water as an ingredient shouldn’t be kept any longer than 3-6 months from the time of opening.

Irritations that may occur to the eyes when using expired makeup include: eye infection, impetigo, skin conditions, styes and conjunctivitis to just name a few. Eye shadow and eye pencil may be used a little longer as they do not contain water as an ingredient meaning it is more difficult for bacteria to breed.

These products last approximately 1224 months until expiration.

SKIN Skin infections, eczema, impetigo and dark spots can all be caused by contaminated makeup. Liquid

foundations and moisturizers will have a shorter shelf life as they do contain water to create the right effect for the skin when applied. Preservatives are also added to foundations and moisturizers to give them a longer shelf life which is approximately 6-12 months. One should also be careful with lipsticks and lip glosses as their wands are being dipped in and out of the containers, pushing the bacteria deeper into the product. Then, one transfers the germs on to their mouths.

However, blush is the only product where it’s difficult for bacteria to breed giving it a shelf life of 12-24 months.

OUT-OF-DATE MAKEUP CAN BE DOING US MORE HARM THAN WE ACTUALLY REALISE...

SKIN INFECTIONS, ECZEMA, IMPETIGO AND DARK SPOTS CAN ALL BE CAUSED BY CONTAMINATED MAKEUP.

However, it’s not only your cosmetics in your makeup bag that can cause harm to your skin. The actual makeup bag, brushes and sponges are a breeding ground for bacteria. Regular cleaning with soapy water can bring a new lease of life to those makeup brushes and be safe for use on the skin. As a makeup artist, I am always cleaning my brushes and bags. I usually fill a bowl of hot water containing some Fairy Up Liquid and leave my brushes to soak overnight.

Then in the morning, I wash each brush by hand with more Fairy Up Liquid and leave to dry by an open window. As for makeup bags, the washing machine on hot will kill all those germs.

It’s time to start binning as an excuse to start buying!

People do not eat out-of- date food for fear of food poisoning, so why use out-of-date cosmetics? Imagine the toxins that are seeping into the skin without us even realizing. There’s even the possibility that spots can be caused by contaminated facial makeup, and I know for a fact no one likes a spot! So, how does one know when their makeup is about to expire? Take a look at any makeup, moisturizers or hair products and one will find a little open jar symbol with a number. The number represents the number of months until expiration after opening. Other ways to detect outof- date makeup is that the smell or the appearance is off. Discolouration or product separation clearly signifies that the makeup is expired. Have you ever found an old foundation and see that the product has separated? The foundation is usually on top with a misty liquid at the bottom. This is a key example of expired makeup.

So, remember ladies, if the product smells or is discoloured it’s time for the bin!

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FULL BLOOM Photography by REMI KOZDRA & KASIA BACZULIS Hair by MAGDALENA TUCHOLSKA using UNITE Makeup by KINGA SZEWCZYK Models JULIA & PAULINA N. (GAGA)

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RETRO-SPECTIVE HOW TO SHOP VINTAGE.

Written by LINDSAY ZGONINA It’s a rainy Saturday afternoon. You could be at the mall buying the latest cookie-cutter fashion off the rack of some trendy clothing store. But instead, you’re digging through a small, dark, mustysmelling second-hand store, hanger by squeaky hanger, looking for nothing in particular but something special all at the same time. Part of it is the thrill of the hunt. The other part is the excitement of potential hidden treasures. And at the same time, there is the risk of total disappointment that comes with leaving empty-handed if Valentino or Dior doesn’t reveal themselves from cozy hiding spots between rows of cheap polyester and moth-eaten sweaters.

So, why would anyone want to want to waste their time with this unpredictable treasure hunt? One reason is that we are constantly striving for individuality.

Shopping vintage is a way to ensure that what we are wearing is one-of-a-kind.

It’s a way to go against the grain, to be a non-conformist. Or, at least it used to be. The rise in popularity of vintage shopping over the last several years leads me to believe that it’s no longer so much about the former, but more about the fact that we are actually a nostalgic generation, hungry for that chance to bring a little bit of sentiment, personality and romance of a bygone era into our lives. It’s fun to imagine who might have worn a particular item when it was new.

Where did they live? What was their life like? We’re all just looking for a piece of the good ole days.

Growing up watching shows like “I Love Lucy” and “The Patty Duke Show” when all of my friends were watching MTV definitely influenced my style and led me to be a lover of vintage style. Imagine my delight when vintage finally became trendy. However, the popularity of this newfound trend didn’t come without a downside. As vintage clothing has continued to become more mainstream, everyone wants to jump on the bandwagon. Vintage clothing stores are popping up on every corner of every trendy neighborhood in every city in America. But it’s not just the brick-andmortar shops that are sprouting up like weeds. There’s a whole crop of them online as well. From a distance, this seems like 40

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it would be a positive effect, but truth be told, an abundance of these stores are simply peddling second-rate handme-downs at department store prices to wannabe-trendsetters who don’t know any better.

So, when it comes to vintage, how do you know if you’re getting a fair deal or just paying for the overhead of a glitzy, retro-inspired clothing store? Following a few important tips will help you be sure that you’re not only getting a good price, but that you’re getting top-notch merchandise as well.

SHOP THE ROAD LESS TRAVELED Avoid a majority of the newest vintage shops, especially those in ultra-trendy neighborhoods. They aren’t going to offer the best bargains. Instead, look for places that are off the beaten path or that have been around for a long time and are well established, like David Owens Vintage Clothing in New York City. I stumbled upon this place last fall while on vacation.

They offer a great selection of fur coats, designer clothing and accessories. Their merchandise isn’t “cheap”, but it is priced reasonably considering the impeccable quality of items that they carry. That means bargain, my friends.

Also, check out local flea markets, antique malls and estate sales. These all sell a variety of merchandise in addition to clothing, thus they do not need to rely heavily on turning a profit from fashion items. Since clothing and accessories aren’t highly sought after by shoppers at these locations, it means that vintage hunters will be paying even less for that diamond in the rough when they find it.

Keep in mind that there isn’t always a broad selection when shopping at these types of venues, so you may have to keep checking back or leapfrog from place to place, but finding that hidden gem is well worth it.

LOOK FOR AN OLDIE, BUT A GOODIE A diamond in the rough should still sparkle. When you find an item you like, look it over thoroughly to examine its condition. Is there any type of damage to the piece? Things like broken zippers, missing buttons and raveled hems are all fixable and shouldn’t deter you from

buying a garment. Keep in mind that the price should reflect these issues. If you don’t know how to make these repairs, your tailor will and it won’t cost much.

Holes, stains, pilling, color distortion and fading, however, are unfixable so move on no matter how much you like the piece despite these flaws.

IF THE SHOE FITS…TRY IT ON AGAIN JUST TO BE SURE When considering a garment or shoes, check the size and then TRY IT ON! Depending on the era from which the garment originated, the sizing is likely to be inconsistent with modern sizing.

For example, a size 12 dress from 1945 is not the same as a size 12 dress in 2012.

Also, unfortunately, vintage items are rarely returnable depending on where you purchase them. Buyers beware!

BE A LABEL LOVER Check the labels for designer/brand, care and fabrication. Everyone is looking for items by well-known designers, but it’s also exciting to come across a rare brand no longer in existence, something oneof-a-kind. For example, several months ago, I bought a yellow wool, fifties-era swing jacket from the Tennessee Antique Mall in Nashville, TN. The jacket is a store-brand item from Harvey’s, a grand department store that thrived for many years in downtown Nashville, but now no longer exists. It’s a little piece of history.

If you find an interesting item ask the dealer. Sometimes they can offer more information about it.

The care label is important to look for because most vintage items won’t have one. The Care Labeling Rule went into effect in 1971, so garments produced before this time were not required to have one and therefore probably don’t. This is a good way to ensure that you are getting an authentic piece of vintage merchandise.

Also, pay attention to fabrication. Silk and fur, as well as anything “handmade” or ornate details will increase the value of a garment. However, these aspects will also increase its delicacy so look it over carefully. Expect a higher price on items like these but remember that the higher price correlates to the quality of the merchandise.

BE SURE IT “FITS IN” The final thing to keep in mind when shopping vintage is whether or not it is wearable. How can it be worked into your wardrobe? Does it still have relevance in today’s fashion? Consider the style and silhouette of the garment as compared to the current trends. Most vintage items transition very easily into a modern wardrobe due to the fact that today’s designers often draw inspiration from past style. Look for pieces that relate to what’s current but are still unique in character. The idea is to find pieces that can be mixed, matched and enhanced with your modern wardrobe. Remember what you already have in your closet and how it will work with your vintage find. For example, pair a hippie-chic flowy, floral 1960’s blouse with a pair of colored skinny jeans, boots and a motorcycle jacket to bring it into the 21st century.

Vintage shopping is exhilarating when you find an unexpected treasure but just make sure you know what you’re getting. It’s easy to get caught up in the romanticism and end up with something that will not only drain your wallet, but also wind up rotting in the abyss of your closet never to be worn. Just shop smart and ask questions. Before long your vintage wardrobe will be the envy of all the local hipsters. Also, whatever your style is, when it comes to vintage fashion remember that it’s all about the story.

However, it’s not about what’s already been written, it’s about how we re-tell it to a new generation. We may not be able to live in the past, but the memories can shape our future and influence how we write our own chapter about the good ole days of the present. Have fun, be creative and happy hunting!

CONOR DOHERTY

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IT’S A DOLL’S WORLD AFTER ALL Photography by XI SINSONG www.sinsong.com Styling by EMILY BESS www.emilybess.com Prop styling/styling assistant GARY RUSSELL FREEMAN http://postmoderntease.com Hair by ARTURO SWAYZE http://houseofarturo.com Makeup by EMILY EDGAR www.emilyedgarmakeup.com Model Michelle Schermer (New York Models)

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Gold dome earrings by LARUICCI; heart ring by MICHELLE MONROE Studios; Man Repeller dress

by CHARLES HENRY; bralette by KAROLINA ZMARLAK

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OPPOSITE Gold dome earrings by LARUICCI; Marabou jacket by ADRIENNE LANDAU; Man Repeller dress

by CHARLES HENRY; bralette by KAROLINA ZMARLAK; heart ring by MICHELLE MONROE STUDIOS; tights by WE LOVE COLORS; platform shoes by WALTER STEIGER THIS PAGE Triple bauble necklace by CIRCA SIXTY THREE; cropped blouse by SAMANTHA SLEEPER; tunic dress

by CHARLES HENRY; tights by WE LOVE COLORS; platform shoes

by WALTER STEIGER

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THIS PAGE AND OPPOSITE Chain and stud earrings by CRUX; printed blouse with collar and reversible dress by KAROLINA ZMARLAK; gold and crystal bracelet by LARUICCI; pumps

by WALTER STEIGER; socks are stylist’s own

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OPPOSITE Sweater by ZOE TWITT; skirt with lace panels by CHARLES HENRY THIS PAGE Headpiece by SATYA TWENA; gold chain necklace by LARUICCI; sweater by ZOE TWITT; houndstooth jacket by ASHISH; skirt with lace panels by CHARLES HENRY; socks

by WE LOVE COLORS; platform shoes

by WALTER STEIGER

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OPPOSITE Hoop earrings by MICHELLE MONROE STUDIOS; bralette

by BLANK SILK; vest, printed cardigan, and petticoat are stylist’s own; floral-print skirt by SAMANTHA SLEEPER; large chain bracelet by LARUICCI THIS PAGE Gold and crystal flame ring by PERVIS ROSS; blouse from FLUKE VINTAGE; shorts by CHARLES HENRY; knee-high tights by WE LOVE COLORS; flats with frontbuckle detail by WALTER STEIGER

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THE CAT’S MEOW

THE MUSIC SCENE POUNCES ON BLEUBIRD AND HIS NEW ALBUM, CANNONBALL. Written by DANIELLE SIPPLE

Debuting his song ‘Giehe 1977’ at the 2011 South By Southwest festival, bleubird spilled his heart on stage, sweat pouring down his face in a venue that provided a proper lack of air conditioning.

The song details his family’s history in Italy, revolving around the theme of the wine his grandfather made for him the year he was born. bleubird pours his whole self into his music, no matter what the cost. This level of commitment to his craft is revealed in his newest album, Cannonball. With the complex personality of a nomad and a neverending imagination, this Florida native is not your typical rapper. bleubird, born Jacques Bruna, is not a newcomer to the scene of rhyme scheming. With over ten years under his musical belt, he has cultivated a distinct sense of flow within his creative endeavors. He spits words quick and fast, lashing tongue licks that cut words off at their edges quickly. Touching on topics that range from his Floridian hometown, political situations and cats, Bruna captivates a thematic range that is not classically stylized as hip-hop. He is able to add his own flare to every song that creates a distinct sense of swagger.

The most basic thing about this Florida native is that music comes first in his life. What follows after that is quite simple: cats, family, fun and beaches. Everything about music defines who Bruna is. He dives head first into his passion and subsequently reaps the benefits greatly. One of these benefits is his ability to collect amazing camera phone pictures of sweet little cats from around the world, thus fueling his obsession with the felines. Everyone has a loving weakness and this rapper has a sweet spot for the furry, purring creatures. True story.

For the last year and a half, Bruna’s taken to the road in a touring RV, affectionately named the Freeebird.

Part house and part mini-stage, the Freeebird is a social experiment masterminded by the heads at Grimm Image Records. Bruna uses the RV to tour around the country playing shows, all the while documenting it online through episodic video blogs. These

extensive blogs include show clips, road images and interviews. Coupled with Bruna’s predilection of constantly social networking on Twitter and Facebook, the social experiment of the Freeebird was a complete success and created the anticipatory momentum for the release of Cannonball.

If anything could be bigger than the potential 2012 apocalypse, it’s Bruna’s release of Cannonball this past January. This album is a sneak peek into the heart, soul and mind of a well traveled storyteller that is attempting to create a basic understanding of his current state of life. Emotions are

EVERYONE HAS A LOVING WEAKNESS AND THIS RAPPER HAS A SWEET SPOT FOR THE FURRY, PURRING CREATURES. TRUE STORY. interjected with every word, with the effect ranging from laughter to complete sadness. From reflections on love and intimacy, to intense historical recounts of his family’s origins, all the way to environmental damage that affected his home state of Florida, Cannonball is eleven songs of blood, sweat and tears that make you feel with him and not just for him. Each song can stand alone but together they tell a story.

A simple look at the essence of this story is the title of Bruna’s album, Cannonball. A splash in a giant pool that impacts everyone, this metaphor is a perfect example of how his nomadic lifestyle, whether chosen or through Freeebird, affects his life experiences. At one moment having claimed Montreal, Berlin and Florida as his home, Bruna is open to chance which happens when you are living life to the fullest. Unwilling to conform to social standards, thus creating a refined sense of self, this rapper allows for a special sense of reflection to occur in his music. This reflection of his own life is infectious with his fans. Bruna acts as a conduit, connecting his fans to the visceral parts of himself that are integrated onto Cannonball: his heart

breaks, his world-wide travels and the intense brow sweat that accumulates during performances.

The next step for Bruna is nonstop touring while leaving no corner unvisited. With planned tours in Europe, North America and Japan, 2012 is already packed for him. Whatever venue, city or country has Bruna for the night they will be eager to take home a musical piece of him and Cannonball can deliver that company. It is plain exciting to see someone so excited about their own personal creative efforts, which in turn is so deserving of such excitement. Not to overuse the word but Bruna is just exciting!

Outside of his solo career, Bruna is one half of Boyfriends Inc. with Astronautalis and one third of the international musical group, Triune Gods. Each of these collaborative collections has its own flavor and distinct direction, all of which he plays a large part. His musical expression works best within collaborative spaces.

When given the chance to create new sounds with his friends around the world, he jumps at it.

Despite the saturation state of music nowadays, it is refreshing to come across an artist that knows what they are doing in the game. Bruna has paid his dues in the hip-hop world.

With a level head, he is fervent in his passion and unwavering in his desire to succeed. The tidal wave that Cannonball creates is still unfolding but it’s major for Bruna. Unbeknown to all, 2012 is the year of bleubird.

OPPOSITE: All cat images taken by bluebird on his worldwide travels.

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THE ARTIST

THE MAN BEHIND FRENCH FASHION’S DARING DESIGN, JACQUES BERNAR MOVES TO THE FOREFRONT AS AN ARTIST. Written by LEE HERSHEY A very cold Saturday found me waiting outside the atelier of artist Jacques Bernar (http://jacquesbernar.free.fr/). Bernar is not a fashion designer per se but rather a sort of artisan working with great brands like Chanel, Christian Lacroix, Jean Paul Gaultier—to name just a few. And yet, he doesn’t use fabric nor does he use a needle and thread. Instead, he uses his own fascinating material called rodalège, melting it to create dresses or details upon fabrics.

If one searches for his name on the Internet very little is written about him or the work that he does. Despite having created a new material and a new method of fashion production, and despite being sought after by many famous fashion designers, he is relatively unknown. His work—the embroidery, the extra details which completes a dress and transcends it from simplicity to complexity, makes him a player among many others on the stage of major fashion houses.

His studio is located along a strip of similar studios and ateliers on rue du Faubourg des Arts in a very luxe area of Bordeaux called les Chartrons.

Bernar, a former professor at the the Fine Arts School of Bordeaux, now teaches exclusively through his own studio classes which he calls, “Le Dessin en acte”. In the early nineties, the studio was Bernar’s boutique and workshop where he both created his pieces and sold them. Today in the early morning, there are no art sessions scheduled and from the outside the studio looks cold and empty. Indeed, except for a few wanderers, the street is deserted.

“J’arrive!” said a voice coming from a door just a bit down the street. Jacques Bernar emerged into the gray morning and asked if I had waited long. Noticing that I was shivering, he quickly let me into his studio.

It was a typical atelier of an artist: open at the front with a grand table for lessons, the rest of the place given to storage for past projects, works from other expositions, mannequins halfclothed in metallic fabric, hair-dryers— bespattered with paint—on the floors, tables and shelves.

“Sit,” he said, turning on a tiny heater, “Warm yourself.”

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I was introduced to Bernar through a colleague of mine at the lycée. Bernar was a student at Max Linder in the fifties, “a long, long time ago.” After Max Linder and Libourne, he studied at the Fine Arts School of Bordeaux and then travelled to Paris where he attended the Beaux-Arts de Paris to study the history of art and philosophy. The early eighties saw him working on political newspaper (“I was interested in socialism at the time…”).

Afterwards he travelled to Montreal, “to learn English; I never learned English while at the lycée. It’s very important to know English, yes?” From Montreal, he went to Los Angeles to discover contemporary art of the time (“I really like abstract American art…”). In Los Angeles, he developed an interest in using nontraditional methods as well as to experiment with textures.

In the late eighties through the nineties, the fashion world experienced a golden age: new designers emerged while old designers rose in fame. There was money all around and much money to be spent. For Bernar, this was the era he began working with Jean-Paul Gaultier, Christian Lacroix, Versace, Karl Lagerfeld, Chanel and Paco Rabanne.

These designers sought his expertise for his ability to fuse aesthetics and chemistry. Recall Paco Rabanne’s “cement dress” of 1994, or perhaps Madonna’s wardrobe during the Blond Ambition 1990 tour? Both famed fashion moments, they were made possible by Bernar’s work. Paco Rabanne once called him “the embroiderer” or the detailist, as he’s also known. It was Bernar and his new materials that constructed the necessary elements to make the dress more elaborate and certainly different by fusing synthetics and melting them onto fabrics.

Bernar ticked off the names casually as he clicked through his archive of photos. “Who did I do this dress for?”

Bernar asked himself and paused for a moment. “Oh, yes…” he said after awhile.

“A French designer…Gaultier.”

Through his research at EADS (Aerospace) during the nineties, Bernar began creating clothes using unusual materials: rodalège, vinyl, silicone, polymers and others. At the time, importing certain fabrics into France

was prohibited. So, Bernar sought new material. “I am always searching for the new material, the new things,” he said.

The result was rodalège (from the Greek radalegein, meaning “to say sweet things”).

The material is made up of high-tech polymers, synthetics that are derivatives of vinyls, thermoplastics and elastomers.

Heated up to 180ºC, the rodalège is then applied through various methods to create desired effects. The materials he works with are melted directly onto the mannequin (or model) and molded onto the figure or fabric. Bernar waved his hand around at the many hairdryers and other heaters laying around the room, then at a table where some melted paints maintained their liquid state. “It is better; it is easier to work with and I like it.”

When working with these materials, the result is that one no longer needs needles, threads, sewing machines and scissors. The dresses are nearly seamless.

An example, a bustier is futuristically enamored with gold, feathers and rhinestones. Imagine the cut in cost of production: one no longer needs to employ a host of seamstresses—not when the rodalége can simply be melted down onto any piece of fabric, model or mold.

However, working with the designers “was too much…They were always making impossible demands: to create things, to work. They would say something impossible, and I would say, ‘Oh, yes of course, I can do it.’”

One example of the impossible demands that designers would make was when Gaultier asked him to make a dress that looked like the material was made of shattered crystals across black sand. Bernar said that request took a while. The process took many attempts conducted virtually with a computer program as well as manually through trial and error. The rodalège can be easily adapted to desired effects but one needs to learn how to master the technique.

Computers allow Bernar to experiment virtually before attacking it in reality. He is very interested in fabricating natural elements like sand with the rodalège; however, combining aspects such as the color black with the shattered crystal effect (as Gaultier requested) would take manipulation. Furthermore, the effect

had to be visible from far away while maintaining the same textures.

Replicating natural textures with rodalège fascinates Bernar. He experimented with colors and melting effects to imitate sand grains, wisps of grass, unruly blonde hair, honeycomb patterns and vine-like swirls. “You see,” Bernar said, clicking through image after image of what the material can do and how it duplicates the complicated designs found in nature, “the diversity and the possibility of the material.”

Bernar enjoyed ten years in the fashion world. Afterwards, his works were commemorated in an exhibit at the Beaux-Art Museum of Bordeaux while the Contemporary Art Museum currently maintains his pieces in its collection. He once traveled to New York City with business representatives from the Aquitaine area of France to present a collection at the French Embassy.

Models traipsed barefooted down stairs and through the crowds in gold dresses of rodalège which draped off their bodies like delicate netting.

Bernar did not specifically desire a career as a fashion designer or to work in the world of fashion. He did not create the rodalège to melt it into dresses, it just happened. His work fascinated not only the art world but the fashion world as well and so they sought him. At one point, he did own a boutique where he sold cheaper pieces to the public while working on commissions from clients (like the details on a woman’s wedding dress or wedding veil) and it was popular for a time. However, first and foremost, Bernar was an artist and eventually his

work with the rodalège led him back to his beginnings.

He continues to look for new materials and will occasionally work for large fashion houses; however, now he prefers to focus on his favorite discipline, painting. In addition, he gives his “Le Dessin en acte” lessons from his studio (formerly his boutique) as well as private seminars on the “Melt and Dress,” the act of creating clothing from rodalège.

Bernar has an upcoming exposition at Le Troisième Oeil, an art gallery in Bordeaux sometime in April or May of this year. When pressed about what he would be exhibiting he said, “Ah, well, I will give you a preview, no matter.” His upcoming exhibition represents the human visage— faces expressing fear, anger or reflection.

However, the faces appear as masks with little detail beyond the contours of the face.

Instead, much of the expression is revealed in the eyes—ferocity, sadness, hunger.

His paintings can be violent or subtle, concentrating on the visage and the dreams of the conscious and subconscious.

Indeed, because Bernar is interested in interpreting primitive emotions, the human shape can be somewhat primitive bringing to mind the drawings in the Lascaux Caves not far from this region.

But behind the faces and around the lines of the body, a chaos of colors and textures contrast the simplicity representing the conscious and the sub-consciousness.

Women are often the subject and I was transfixed by one study of a woman caught in self-reflection, her eyes expressing apprehension and timidity.

Before I left, Bernar handed me a copy of a play he wrote called La Muse

Inquiète, a piece that investigates the mysteries of creation: how it occurs, is obtained and completed. The work is a reflection of art creation for Bernar as well as a philosophical study on the transcendence of humanity through art.

Originally, I was fascinated with Bernar because of his work with major fashion brands as well as his humbleness in his un-credited work.

As we spoke, my interests swiftly changed to understanding how he used his material, rodalège, and what prompted him to create such a material. The idea that he is “always searching for the new material, the new things,” has led him down his diverse path as an artist.

For Bernar, his muses, new ideas and new experimentations are critical not only to his work but his understanding of the world and his interactions with people. His material, the rodalège, in a way symbolizes the diversity and malleability he seeks out in people and their expressions also represented in his paintings. His play La Muse Inquiète, a very philosophical piece, illustrates transformation and how art can bring along the transformation through process.

Since my first meeting with Bernar, my concept of him transformed from the player on the stage, to the artist and now, to a very dear friend I frequently visit. When he worked for fashion designers, perhaps he was only sought after to make the slightest of embroideries and elaborations. But then, one steps back and all the tiny, complicated details come together to become the whole dress.

TOP AND TOP RIGHT: From 1998 at the French Embassy in NYC when Bernar went with other business leaders in the Aquitaine.

BOTTOM RIGHT: an example of current work.

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THE ARTIST

THE MAN BEHIND FRENCH FASHION’S DARING DESIGN, JACQUES BERNAR MOVES TO THE FOREFRONT AS AN ARTIST. Written by LEE HERSHEY AS JACQUES BERNAR IS A PREDOMINANTLY FRENCH SPEAKER, THE ORIGINAL INTERVIEW WAS CONDUCTED IN FRENCH THEN TRANSLATED TO ENGLISH BY LEE HERSHEY. BECAUSE WE LOVE OUR FRENCH AUDIENCE, WE’VE INCLUDED BOTH VERSIONS FOR YOUR READING PLEASURE. BISOUS! —THE PAPERCUT TEAM

Par un samedi très froid, j’attendais à l’extérieur de l’atelier de l’artiste Jacques Bernar (http://jacquesbernar.free.fr/).

Bernar n’est pas un créateur de mode, en tant que tel, mais plutôt un brodeur, qui a travaillé avec de célèbres marques comme Chanel, Christian Lacroix, Jean Paul Gaultier—pour n’en nommer que quelques-uns. Et pourtant, il n’utilise pas de tissu, il n’utilise pas d’aiguille ni de fil. Au lieu de cela, il utilise un matériau fascinant qui s’appelle rodalège, en faisant fondre le matériau pour créer les robes ou les détails sur des tissus.

Cherchez son nom sur la toile, il n’y a pas beaucoup d’informations sur lui ou ses œuvres. Bien qu’il ait créé un nouveau matériau et une nouvelle méthode de production de la mode, et bien qu’il soit recherché par beaucoup de célèbres créateurs de mode, il est relativement peu connu. Ses œuvres— la broderie, les détails complémentaires qui complètent les robes et transforment la simplicité en complexité, font de lui un simple acteur parmi beaucoup d’autres sur le théâtre des maisons de mode importantes.

Son atelier est situé dans une allée d’ateliers semblables dans la rue du Faubourg des Arts dans un quartier chic de Bordeaux qui s’appelle les Chartrons.

Bernar, un ancien professeur à l’École des Beaux Arts de Bordeaux, enseigne désormais exclusivement à son atelier, des cours qu’il appelle, “Le Dessin en acte.” Au début des années quatre-vingtdix, l’atelier était à la fois un atelier et une boutique, où il créait ses oeuvres et les vendait. Aujourd’hui, si tôt le matin, il n’y avait pas de cours, et de l’extérieur, l’atelier semblait froid et vide. D’ailleurs, à l’exception de quelques passants, la rue était déserte.

“J’arrive!”, dit une voix qui venait de derrière une porte un peu plus loin dans la rue. Jacques Bernar apparutt dans le matin gris et me demanda si

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j’avais attendu longtemps. Il remarqua que je frissonnais et me fit rapidement entrer dans son atelier.

Un atelier d’artiste : ouvert devant avec une grande table pour les cours et le reste de la pièce était livré au stockage de projets passés, d’œuvres d’anciennes expositions, des mannequins demi-vêtus de tissu métallique, des sèche-cheveux— couverts de peinture—sur les planchers, les tables, les étagères. « Asseyez-vous, » me dit-il en allumant un petit radiateur. « Réchauffez-vous. » J’ai rencontré Bernar grâce à une collègue du lycée ; il était élève à Max Linder dans les années cinquante, « il y a longtemps. » Après Max Linder et Libourne, il étudia à l’École des Beaux Arts de Bordeaux, avant de voyager à Paris, où il s’inscrivit à l’École des Beaux Arts de Paris pour étudier l’histoire de l’art et la philosophie. Dans les années quatre-vingt, il travailla pour un journal politique (« J’étais intéressé par le socialisme à ce moment-là… ») Et puis, Montréal, « Pour apprendre l’anglais. Je n’avais jamais appri l’anglais au lycée. C’est très important d’apprendre l’anglais, n’est-ce pas ? » De Montréal, il a venu à L.A. pour découvrir l’art contemporain du moment (« J’aime beaucoup l’art abstrait américain… » Là, il a développé une passion pour l’emploi de matériaux non-traditionnels, ainsi que l’expérimentation sur les textures.

A la fin des années quatre-vingt et pendant les années quatre-vingt-dix, la monde de la mode connaissait une époque dorée : les nouveaux créateurs de mode émergeaient ; les anciens atteignaient la renommée. Il y avait de l’argent partout, de l’argent à dépenser. Pour Bernar, c’est le moment où il commença à travailler pour Jean-Paul Gaultier, Christian Lacroix, Versace, Karl Lagerfeld, Chanel, et Paco Rabanne ; ces créateurs recherchaient son expertise pour sa capacité à fusionner l’esthétique et la chimie. Vous vous souvenez de « la robe de ciment » de Paco Rabanne en 1994 ? Ou, peut-être les costumes de Madonna pendent le « Blonde Ambition Tour » de 1990 ? Appelezle brodeur, comme Rabanne autrefois, ou détailliste ; c’était Bernar et ses nouveaux matériaux qui construisait les éléments nécessaire pour créer une robe plus

compliquée, et certainement, différente, grâce à des produits synthétiques fondus sur les tissus.

Bernar a cité les noms en passant tandis qu’il cliquait sur ses photos archivées. « Pour qui j’ai créé cette robe ? », se demanda Bernar, et il fit une pause un moment. « Ah, oui… », dit-il après un certain temps. « Un créature de mode français…Gaultier… » Bernar crée des vêtements avec des matériaux uniques : le rodalège, le vinyle, le silicone, les polymères et d’autres.

Ses recherches ont commencé dans les années 90 avec l’EADS (Aerospace). Les matériaux avec lesquels il travaille sont fondus directement sur le mannequin et moulés sur la silhouette ou le tissu.

Bernar fit un geste vers tous les sèchecheveux et les autres chauffages partout dans la salle, et puis, vers la table où des peintures fondues restaient à l’état liquide. « C’est mieux ; c’est plus facile de travaille, et ça me plait. » Le résultat de ce travail avec ces matériaux est qu’il n’y a plus de fil, d’aiguille, de machine à coudre, ni de ciseaux. Les robes n’ont quasiment pas de coutures ; les bustiers futuriste ne font qu’un avec l’or, les plumes, les strass.

Imaginez les coûts de production qu’il réduit : il n’y a plus besoin d’employer un grand nombre de couturières— pas quand le rodalège peut se fondre simplement sur un morceau de tissu ou sur le mannequin. À l’époque, l’importation en France de certains tissus était interdite, donc Bernar cherchait un nouveau matériau. « Je cherche toujours de nouveaux matériaux, de nouvelles choses », ditil. Le résultat fut le rodalège (du grec radalegein qui signifie « dire des choses douces »). Le matériau est composé de polymères high-tech, de synthétiques qui sont des dérivés de vinyles, de thermoplastiques et d’élastomères.

Chauffé à 180̊C, le rodalège est ensuite appliqué selon diverses méthodes pour créer les effets souhaités.

Pourtant, travailler avec les créateurs de mode « c’était trop…

Ils avaient toujours des demandes impossibles, pour créer des choses, pour travailler. Ils disaient quelque chose d’impossible, et moi, je disais, « Ah, oui,

certainement, je pourrais le faire... » » Un exemple des demandes impossible que ces créateurs de mode faisaient, c’est quand Gaultier lui demanda de faire une robe qui donnerait l’impression d’avoir été faite avec des cristaux brisés sur du sable noir. Bernar a dit que la demande pris du temps.

Le processus nécessita de nombreuses tentatives, conduites virtuellement avec un programme informatique, mais aussi manuellement, d’essai en erreur. Le rodalège peut être facilement adapté pour obtenir les effets désirés, mais il est nécessaire d’en maîtriser la technique.

Le travail virtuel sur l’ordinateur permet à Bernar d’expérimenter avant d’entreprendre dans la réalité. Il est très intéressé par la création d’ éléments naturels, comme le sable. Mais avec le rodalège, combiner les aspects, comme la couleur noire et l’effet de cristaux brisés nécessitait des manipulations. De plus, les effets devaient être visibles de loin tout en préservant les mêmes textures.

La reproduction de textures naturelles avec le rodalège fascine Bernar ; il a expérimenté avec les couleurs et les effets de fusion pour imiter des grains de sable, des brins d’herbe, des cheveux blonds rebelles, des motifs alvéolés et des spirales comme des vignes. « Vous savez, » dit Bernar, en cliquant image après image des études de ce que ce matériau peut faire et comment il peut reproduire les motifs compliqués que l’on trouve dans la nature, « la diversité, la possibilité de ce matériau... » Bernar aima ces dix années dans le monde de la mode. Une fois, il y a une exposition au musée des Beaux-Arts de Bordeaux et le musée d’art contemporain possède ses œuvres dans sa collection.

Une autre fois, il est allé à New York avec des chefs d’entreprises de la région Aquitaine pour présenter une collection à l’Ambassade de France. Les mannequins pieds nus descendirent l’escalier et déambulèrent à travers la foule dans des robes dorées qui drapaient leurs corps comme un voile délicat.

Bernar n’a pas commencé son métier pour être un créateur de mode ou pour travailler dans le monde de la mode. Il n’a pas créé le rodalège pour le fondre dans des robes : c’est juste arrivé comme ça. Son travail ne fascinait pas seulement le monde d’art, mais aussi les créateurs des mode, donc ils le réclamaient. Pendant un temps, il a eu une boutique où il vendait des vêtements moins chers tandis qu’il travaillait sur commandes pour d’autre clients (par exemple, les détails sur une

robe de mariée et le voile) et la boutique a bien marché pendant un certain temps. Mais avant tout, Bernar est un artiste, et finalement, son travail avec le rodalège l’a ramené à ses débuts.

Il continue de chercher de nouveaux matériaux, et quelques fois, il travaille pour de grandes maisons des mode. Mais maintenant, il préfère se concentrer sur sa discipline de prédilection : la peinture. Et puis, il donne ses cours « Le Dessin en acte » à son atelier (qui était sa boutique, avant), et aussi, des stages « Fusion et robe » ou comment créer des vêtements avec le rodalège.

Bernar a un projet d’exposition à la galerie d’art Le Troisième Œil, à dans Bordeaux, en avril ou mai cette année.

Alors que je pressais Bernar de me dire ce qu’il allait exposer, il dit, « Ah, bien, je vais vous montrer en avant-première. » Son exposition à venir représente le visage humain—et l’expression de la peur, la colère, ou la réflexion. Mais, les visages sont pareils à des masques, avec peu de détails au-delà des contours du visage. Une grande partie de l’expression se révèle dans les yeux— férocité, tristesse, faim.

Ses œuvres peuvent être violentes ou subtiles, se concentrant sur les visages et les rêves du conscient et du subconscient.

Effectivement, parce que Bernar s’intéresse à l’interprétation d’émotions primitives, la forme humaine peut elle aussi être un peu primitive, rappelant les dessins dans les grottes de Lascaux, non loin de cette région. Mais derrières les visages, autour des lignes des corps, le chaos des couleurs et des textures contraste avec la simplicité : le conscient et le subconscient. Les sujets sont souvent des femmes, et j’ai été fascinée par l’étude d’une femme surprise en pleine auto-réflexion, ses yeux exprimant l’appréhension et la timidité.

Avant que je parte, Bernar m’a donné un exemplaire d’une pièce de théâtre que il a écrit et qui s’intitule La Muse Inquiète. L’œuvre explore les mystères de la création, comment elle vient, comment on l’obtient et comment elle se conforme. C’est pour lui une réflexion sur la création artistique ainsi qu’une étude philosophique sur la transcendance par l’art de l’humanité.

Au début, j’étais fascinée par Bernar à cause de son travail avec de grandes maisons de mode, mais il reste très humble à propos de son travail méconnu du grand public. Alors que nous parlions, mon intérêt a rapidement changé comme je comprenais comment il utilisait le matériau, le rodalège, et ce qui l’a incité à créer un tel matériau.

« Je cherche toujours de nouveaux matériaux, de nouvelles choses, » avaitil dit, ce qui, en tant qu’artiste, l’a amené sur un chemin diversifié.

Pour Bernar, la muse, les idées nouvelles, les expérimentations nouvelles sont nécessaire pas seulement à ses œuvres, mais aussi, à sa compréhension du monde et des interactions avec les gens. Son matériau, le rodalège, d’une certaine façon, est symbolique de la diversité et la malléabilité qu’il recherche chez les personnes et leurs expressions qu’il représente dans ses peintures.

Depuis que j’ai rencontré Bernar, l’idée que j’avais de lui s’est transformée, de l’acteur sur la scène à l’artiste, et maintenant, à un ami très cher à qui je rends souvent visite. Quand il travaillait pour les créateurs de mode, peut-être qu’il était demandé seulement pour ses broderies fines. Mais, c’est comme arriver à le connaître comme un ami : on prendre du recul, et touts les détails minuscules et compliqués se rassemblent pour devenir la robe tout entière.

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IN THE SPOTLIGHT: TIMOTHY K Interview by NICOLE HERZOG Photography by CONOR DOHERTY Hair by MEL PALDINO (ENNIS) Makeup by JASON ARAUJO Makeup assistant LAURA COLLUCCI Model TESA (MC2) All wardrobe by TIMOTHY K All jewelry by LISA LINHARDT at www.linhardtdesign.com Special thanks to BOND STREET STUDIO, BROOKLYN for the location

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ew York-based couturier, Timothy K, garners much attention for his ability in manipulating design to create garments which blur the boundaries between fashion, sculpture and architecture. His work is featured in a variety of magazines, exhibitions and boutiques while his first post-collegiate collection, Opus II, premiered during New York Fashion Week in February 2012.

Timothy’s work evolves within the process of discovering how best to achieve personal vision through the medium of fashion while working with the human body as a natural canvas. His work represents the struggle which arises while attempting to translate inspiration through the garment onto the body, all the while demonstrating caution not to disrupt physical structure or aesthetic vision. Timothy’s one-of-a-kind pieces are created in a small atelier setting in collaboration with his team of artisans.

DO YOU PREFER TO BE CALLED TIM, TIMMY, OR TIMOTHY? My friends call me all of the above, but I introduce myself as Timothy. This wasn’t just a personal choice; at a fateful dinner with Anna Wintour I introduced myself as, “Tim”. However, she didn’t hear me correctly and through a drawn out handshake she responded with, “Jim? Kim?” From that moment on I have introduced myself as Timothy. I have really come to enjoy the formality of it and find that it fits the aesthetic of my designs and company very well. Additionally, selling dresses that reach into six figures I feel “Timothy” matches the work better and a client will feel more comfortable purchasing this level of quality from a ”Timothy” rather than that of a “Timmy” or a “Tim”. It is quite minor in the grand scheme of things, but just as attention to detail is important in our work, the attention to detail in all aspects of the company is part of our backbone and I hope it helps us stand out.

WHAT IS IT ABOUT THE FASHION INDUSTRY THAT DRAWS YOU IN? A loaded question...many of us in the industry are very aware of what the industry is. It can be a scary thing to enter as a small designer; it will eat you up and spit you out. But keeping specifics to myself, I would say I am not the most stereotypical fashion designer. I prefer to remain on the outer cusp of the industry, enjoying it when I feel appropriate, but rather creating and indulging in my own scene and interests. This is similar

to Cristobal Balenciaga or Ralph Rucci.

Two genius designers and couturiers that recognized the juvenile and contrived aspects of this industry and rose above it, creating masterful work above the clap-trap of the fashion industry. They didn’t worry so much about trends and appeasing certain audiences and media.

In the end they have become timeless icons of the craft.

What draws me into the industry is “fashion” itself, a medium unlike any other. For my entire life my favorite subject is the human form. At a young age, 13, I positioned myself in a seemingly natural path to become an architect, already winning medals in national drafting competitions. But this interest in the human body and fine art led me away from that. As I took class after class in fine art studies, I just continued to cement this interest. First, it began to lead me in the direction of an industrial designer, combining the technical aspects of architecture with the interaction of the human, but I still felt unsatisfied by this. I felt that it didn’t achieve the beauty, honesty and artistic license that I was searching for in my work. I still remember my first fashion illustration I drew. Although I didn’t really know what I was doing besides placing shapes on my croquis, I was in love! I couldn’t get enough. The rest is history.

Exploration of this love has led me to discover the true beauty of fashion as an art form. I have found it is one of the rare mediums that can connect with all walks of life, cultural backgrounds and knowledge of art and design. What is so special about art is that although the artist creates each piece with their inspirations and intentions it is then placed to be viewed, knowing that everyone will then make their own interpretations and impressions. I have found fashion to be the medium that can reach out to the widest range of people. The recent Alexander McQueen exhibit at the MET proves this. The attendance of the exhibit was one of their greatest in history. While in line, I was a bit peeved when some young peoples’ only impression of certain pieces was the fact that Lady Gaga wore it, but then again the ability for this work to transcend age boundaries and reach these small children says a lot. Their impression might start as a piece they enjoyed seeing on a performer. However, since it’s such a fine piece of clothing it is a great base to pique the interest in fashion, promoting growth in the right direction. In the end, I hope to create this influence, no matter how small, on individuals’ perception of art, culture and fashion.

WHILE YOU WERE IN COLLEGE, WHAT WAS IT THAT DROVE YOU TO BE MORE THAN JUST A STUDENT? In school, I didn’t set out to be “more than a student”. I just tried to achieve as much as I could resulting in that interpretation.

I am quite the perfectionist when it comes to my work and quite hard upon myself for each creation to be better than the last. It’s a condition I have carried into my professional life outside of school, perhaps being my demise in the end, but it’s what keeps me constantly evolving as both a designer and as a person. Beyond my personal expectations, there are deep rooted emotions that promote a certain level of work. I have a vision of what I would like my work and life to become and the anxiety of not fulfilling this keeps me never at rest, always out to experience life’s next big adventure or create the next work of art.

WERE THERE OTHER STUDENTS YOU CONSIDERED YOUR COMPETITION? One of the wonderful things about attending Pratt, the department, as well as the whole school, felt more like a family than a competition. After our four years of study everyone found their own niche, mine just happen to head into avantgarde couture, while others went into menswear, party dresses and costume, etc. This made for such a pleasant work environment; we were each creating for the greater goal while helping each other where we could and sharing advice or opinions. So, I can’t say that the other designers were my competition because that is not why we were in it. Regardless, I found my graduating class to be very strong. Many of us have gone on to great careers already and I am very excited to see how we blossom.

I KNOW THAT YOU WORK FOR ANOTHER ATELIER IN THE EAST VILLAGE. WHO IS THE DESIGNER AND WOULD YOU SAY HIS/HER DESIGN AESTHETIC IS COMPARABLE TO YOUR OWN STYLE OF DESIGNING? I, in fact, just earned a position at Viktor & Rolf’s couture atelier starting this summer so I have recently left my position in the East Village to save up for my trip. The designer was Garo Sparo. Although we share the same ideology of taking classic techniques and silhouettes combined with the finest materials to created innovative pieces that push the boundaries of fashion, our specific design aesthetic is very different. However, I found this to be a great thing when working together.

It allowed us both to have our own companies while working together on 61

a daily basis without ever stepping on each other’s toes or feeling competitive.

BALANCING YOUR OWN COLLECTION AND WORKING FOR ANOTHER DESIGNER DURING THE DAY, HOW DO YOU MANAGE YOUR TIME MOST EFFICIENTLY? I’m not sure if “manage” is the right word here...I’ll explain through the example of a typical day for me. I wake up at 7:00 a.m. in the East Village and walk to my favorite coffee shop, Ninth Street Espresso, to drink my morning cup and have my morning scone. As I sit and sip, I answer emails, sketch and plan the day. Between 9:00 to 10:00 a.m., I head to Garo’s for the day to work on pieces for Daphne Guinness, the MET Opera and other wonderful performers and clients. Heading out on my quick lunch break, I meet with clients and collaborators who aren’t available in the evening. At 6:00 p.m., I get off of work, head to the store to pick up a couple craft beers and a vegetarian dinner of sorts. Returning to my studio on 10th Street, I turn on some good punk, crack one of the craft beers and plan out the projects for the evening. My assistants usually arrive around 6:30 p.m. and leave around midnight. We work on samples, client pieces and manage the many meetings that are on the calendar. By midnight, my meetings are usually done and my assistants head home. I stay up till around 3 a.m. enjoying the time I have alone with my work, surrounded by the warmth of beer in my belly, music on the speakers and the joy of the meditative time I have with my work. Passing out usually wearing what I wore at the studio table, I wake up after one 4 hour REM cycle to do it all over again.

So, manage...that would be an overstatement. I just try my best to map out what needs to be done and work my hardest to get through everything crammed into the day. With my assistants, we can usually balance it all and in the end, even with all the stress and minimal sleep, I wouldn’t have it any other way. This is what I live for.

HOW WOULD YOU DESCRIBE YOUR DESIGN AESTHETIC? Using the human body as its natural canvas, with an emphasis on technique and detail, each garment is designed with structure and craftsmanship in mind before being hand-constructed in the studio. The end result is a garment which transcends modern standards and is not only wearable, but can stand on its own as a work of fine art.

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As an artist, I continuously find myself existing in the space between the limitations presented by the medium at hand and the limitless sources of inspiration while seeking the beauty of creation which lies within this struggle.

This creative process is the most selfrewarding because I find it to be the most difficult.

WHAT WOULD YOU SAY IS YOUR GREATEST HORROR STORY? There are many...deciding which is the greatest is not easy. I have stayed up for so long trying to finish pieces that my eyes no longer could perceive the color black, it all appeared blue to me.

I have had dresses disappear without a trace, $50,000 gowns destroyed.

I’ve spent thousands on shipping and have rode over 30 miles on my bike to deliver a rush order. However, I would say the worst moment was when I had a rush order for Lady Gaga to create a custom piece for her in a week (the actual dress takes us up to six months to create). On the final night with the deadline fast approaching, we received a shipment from a stylist. It was one of our pieces we had been trying to locate for several months. It was the ivory bouquet wrap dress from Opus I, but it no longer looked like my creation. It was stained, crushed, altered and completely destroyed. To make matters worse, when it had been damaged, rather than bringing it to Madame Paulette’s like we suggested, it was washed in a bathtub then taken to a local dry cleaner, further driving the stake into its heart.

When it arrived I dared not address the stylist or the garment at the time, for I had to focus on the task at hand with Gaga’s dress. It was one of the saddest sights I ever witnessed when I eventually made my way out of the studio to take in the horror. My favorite dress…dead.

Instead of wallowing in sorrow, I took it completely apart, dyed everything jet black and rebuilt it from the ground up into the beauty you can now see on my site. In retrospect, it crafts a very interesting tale for the piece: its life, death and rebirth.

IF YOU COULD DESIGN FOR ANYONE IN THE WORLD, WHO WOULD IT BE AND WHERE WOULD THEY BE WEARING YOUR GARMENT? Many people have a specific muse or celebrity that they create around.

Personally, my approach is to please my own personal aesthetic. Not necessarily designing for myself, but rather approaching each design as a fine art. I discover the shapes, lines, silhouettes and

colors that please my eye and meet the interpretation of my inspiration that I am trying to convey in my work.

I would expect the pieces would most likely be worn at a gala, gallery opening, red carpet or fashion show, etc. However, I hope that my clients and customers don’t limit themselves to the situations deemed appropriate by society. I find fashion to be an outward expression of our inner selves. The only way we can shape the image of what we see on our inside, is through how we portray ourselves on the outside. Since this outside representation is all that is ever seen, it becomes a singular with the inside which increases the importance we place on our connection with it. Does the inner self exist in its conventional form then? But I digress...

I hope that the wearers of my pieces connect with the garments like an art collector has with a fine painting. I hope that it reveals something within themselves that they are unable to portray without utilizing the piece. So, whenever my clients wish to convey this concept to the public I hope that they do, even if it is going to pick up the milk at the corner store. If the mood strikes, wear it.

This idea of what we wear, how it defines us and the definition of self as a whole is a very inspiring subject to me and many of my collaborators and co-workers. We actually have some big projects coming up addressing and questioning this.

Although, if I must chose one person to make a piece for it would be my dear ole mom. Though her own style is nothing like my designs, she deserves one of my creations more than anyone else right now. I’ll be honest; I have had the help of many to get here, but none more so than my mom and dad. Without their support, trust and aid, none of this would have ever been possible.

WHAT ADVICE WOULD YOU GIVE YOURSELF 5 YEARS AGO BEFORE YOU WENT TO SCHOOL? Be yourself and work your hardest. You only get one shot at this. And this is the only way to start off on the right foot and really create something unique and progressive. I feel I did my best in this aspect: learning, building, growing and having a crazy fucking good time while at it. In those four years I was able to form an identity as a designer and a person that I’m sure will continue to grow as time goes on. I have seen too many people follow the opposite route that have faded away and lost touch with their creative dream. In the end, all we can ask for is happiness. Don’t let go of what makes you passionate.

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